Spinning is an ancient textile art in which plant, animal or synthetic fibers are drawn out and twisted together to form yarn. For thousands of years, fiber was spun by hand using simple tools, the spindle and distaff. Only in the High Middle Ages did the spinning wheel increase the output of individual spinners, and mass-production only arose in the 18th century with the beginnings of the Industrial Revolution. Hand-spinning remains a popular handicraft.

 

Characteristics of spun yarn vary according to the material used, fiber length and alignment, quantity of fiber used, and degree of twist.

 

HISTORY

HAND SPINNING

The origins of spinning fiber to make string or yarn are lost in time, but archaeological evidence in the form of representation of string skirts has been dated to the Upper Paleolithic era, some 20,000 years ago. In the most primitive type of spinning, tufts of animal hair or plant fiber are rolled down the thigh with the hand, and additional tufts are added as needed until the desired length of spun fiber is achieved. Later, the fiber is fastened to a stone which is twirled round until the yarn is sufficiently twisted, whereupon it is wound upon the stone and the process repeated over and over.

 

The next method of spinning yarn is with the spindle, a straight stick eight to twelve inches long on which the yarn is wound after twisting. At first the stick had a cleft or split in the top in which the thread was fixed. Later, a hook of bone was added to the upper end. The bunch of wool or plant fibers is held in the left hand. With the right hand the fibers are drawn out several inches and the end fastened securely in the slit or hook on the top of the spindle. A whirling motion is given to the spindle on the thigh or any convenient part of the body. The twisted yarn is then wound on to the upper part of the spindle. Another bunch of fibers is drawn out, the spindle is given another twirl, the yarn is wound on the spindle, and so on.

 

The distaff was used for holding the bunch of wool, flax, or other fibers. It was a short stick, on one end of which was loosely wound the raw material. The other end of the distaff was held in the hand, under the arm or thrust in the girdle of the spinner. When held thus, one hand was left free for drawing out the fibers.

 

A spindle containing a quantity of yarn rotates more easily, steadily, and continues longer than an empty one; hence, the next improvement was the addition of a weight called a spindle whorl at the bottom of the spindle. These whorls are discs of wood, stone, clay, or metal with a hole in the center for the spindle, which keep the spindle steady and promote its rotation. Spindle whorls appeared in the Neolithic era. They allowed the spinner to slowly lower, or drop, the spindle as it was spinning, thus allowing a greater quantity of yarn to be created before it had to be wound onto the spindle; hence the name "drop spindle," which is now most commonly used for the hand spindle with whorl attached.

 

In mediæval times, poor families had such a need for yarn to make their own cloth and clothes that practically all girls and unmarried women would keep busy spinning, and "spinster" became synonymous with an unmarried woman. Subsequent improvements with spinning wheels and then mechanical methods made hand-spinning increasingly uneconomic, but as late as the twentieth century hand-spinning remained widespread in poor countries: in conscious rejection of international industrialization, Gandhi was a notable practitioner. The hand spinning movement that he initiated as a part of the Indian freedom struggle has made the handwoven cloth known as "Khadi" made from handspun cotton yarn world famous. Women spinners of cotton yarn still continue to work to produce handspun yarn for the weaving of Khadi in Ponduru, a village in South India.

 

A great wheel (also called a wool wheel, high wheel or walking wheel) is advantageous when using the long-draw technique to spin wool or cotton because the high ratio between the large wheel and the whorl (sheave) enables the spinner to turn the bobbin faster, thus significantly speeding up production.

 

A Saxony wheel (also called a flax wheel) or an upright wheel (also called a castle wheel), can be used to spin wool or cotton, but are invaluable when spinning flax (linen). The ends of flax fibers tend to stick out from the thread unless wetted while being spun. The spinner typically keeps a bowl of water handy when spinning flax, and on these types of wheels, both hands are free (since the wheel is turned with a treadle, rather than by hand), so the spinner can use one hand to draft the fibers and the other to wet them.

 

INDUSTRIAL SPINNING

Modern powered spinning, originally done by water or steam power but now done by electricity, is vastly faster than hand-spinning.

 

The spinning jenny, a multi-spool spinning wheel invented c. 1764 by James Hargreaves, dramatically reduced the amount of work needed to produce yarn of high consistency, with a single worker able to work eight or more spools at once. At roughly the same time, Richard Arkwright and a team of craftsmen developed the spinning frame, which produced a stronger thread than the spinning jenny. Too large to be operated by hand, a spinning frame powered by a waterwheel became the water frame.

 

In 1779, Samuel Crompton combined elements of the spinning jenny and water frame to create the spinning mule. This produced a stronger thread, and was suitable for mechanisation on a grand scale. A later development, from 1828/29, was Ring spinning.

 

In the 20th century, new techniques including Open End spinning or rotor spinning were invented to produce yarns at rates in excess of 40 meters per second.

 

CHARACTERISTICS OF SPUN YARNS

MATERIALS

Yarn can be, and is, spun from a wide variety of materials, including natural fibers such as animal, plant, and mineral fibers, and synthetic fibers. It was probably first made from plant fibers, but animal fibers soon followed.

 

TWIST AND PLY

The direction in which the yarn is spun is called twist. Yarns are characterized as S-twist or Z-twist according to the direction of spinning (see diagram). Tightness of twist is measured in TPI (twists per inch or turns per inch).

 

Two or more spun yarns may be twisted together or plied to form a thicker yarn. Generally, handspun single plies are spun with a Z-twist, and plying is done with an S-twist. This is a cultural preference differing in some areas but surprisingly common.

 

PLYING METHODS

Yarns can be made of two, three, four, or more plies, or may be used as singles without plying. Two-ply yarn can also be plied from both ends of one long strand of singles using a center-pull ball, where one end feeds from within a ball of yarn while the other end feeds from the outside. So-called "Andean" plying, in which the single is first wound around one hand in a specific manner that allows unwinding both ends at once without tangling, is another way to ply smaller amounts of yarn. The name comes from a method used by Andean spinners to manage and splice unevenly matched singles being plied from multiple spindles. "Navajo" (aka "chain-") plying is another method of producing a three-ply yarn, in which one strand of singles is looped around itself in a manner similar to crochet and the resulting three parallel strands twisted together. This method is often used to keep colors together on singles dyed in sequential colors. Cabled yarns are usually four-ply yarns made by plying two strands of two-ply yarn together in the direction opposite to the plying direction for the two-ply yarns.

 

CONTEMPORARY HAND SPINNING

Hand-spinning is still an important skill in many traditional societies. Hobby or small scale artisan spinners spin their own yarn to control specific yarn qualities and produce yarn that is not widely available commercially. Sometimes these yarns are made available to non-spinners online and in local yarn stores. Handspinners also may spin for self-sufficiency, a sense of accomplishment, or a sense of connection to history and the land. In addition, they may take up spinning for its meditative qualities.

 

Within the recent past, many new spinners have joined into this ancient process, innovating the craft and creating new techniques. From using new dyeing methods before spinning, to mixing in novelty elements (Christmas Garland, eccentric beads, money, etc.) that would not normally be found in traditional yarns, to creating and employing new techniques like coiling, this craft is constantly evolving and shifting.

 

To make various yarns, besides adding novelty elements, spinners can vary all the same things as in a machined yarn, i.e., the fiber, the preparation, the color, the spinning technique, the direction of the twist, etc. A common misconception is yarn spun from rolags may not be as strong, but the strength of a yarn is actually based on the length of hair fiber and the degree of twist. When working with shorter hairs, such as llama or angora rabbit, the spinner may choose to integrate longer fibers, such as mohair, to prevent yarn breakage. Yarns made of shorter fibers are also given more twist than yarns of longer fibers, and are generally spun with the short draw technique.

 

The fiber can be dyed at any time, but is often dyed before carding or after the yarn has been spun.

 

Wool may be spun before or after washing, although excessive amounts of lanolin may make spinning difficult, especially when using a drop-spindle. Careless washing may cause felting. When done prior to spinning, this often leads to unusable wool fiber. In washing wool the key thing to avoid is too much agitation and fast temperature changes from hot to cold. Generally, washing is done lock by lock in warm water with dish-soap.

 

EDUCATION

There are number of guilds and educational institutions which offer certificate programs in handspinning. The Handweavers Guild of America (HGA) offers a Certificate of Excellence in Handspinning. Olds College in Alberta, Canada, offers a Master Spinner program both on campus and by distance education. The Ontario Handweavers & Spinners offer both a Spinning Certificate as well as a Master Spinning Certificate. These programs feature in-depth examinations of handspinning topics, as well as extensive assignments and skill evaluations.

 

TECHNIQUES

A tightly spun wool yarn made from fiber with a long staple length in it is called worsted. It is hand spun from combed top, and the fibers all lie in the same direction as the yarn. A woolen yarn, in contrast, is hand spun from a rolag or other carded fiber (roving, batts), where the fibers are not as strictly aligned to the yarn created. The woolen yarn, thus, captures much more air, and makes for a softer and generally bulkier yarn. There are two main techniques to create these different yarns: short draw creates worsted yarns, and long draw creates woolen yarns. Often a spinner will spin using a combination of both techniques and thus make a semi-worsted yarn.

 

Short draw spinning is used to create worsted yarns. It is spun from combed roving, sliver or wool top. The spinner keeps his/her hands very close to each other. The fibers are held, fanned out, in one hand, and the other hand pulls a small number from the mass. The twist is kept between the second hand and the wheel. There is never any twist between the two hands.

 

Long draw is spun from a carded rolag. The rolag is spun without much stretching of the fibers from the cylindrical configuration. This is done by allowing twist into a short section of the rolag, and then pulling back, without letting the rolag change position in one's hands, until the yarn is the desired thickness. The twist will concentrate in the thinnest part of the roving; thus, when the yarn is pulled, the thicker sections with less twist will tend to thin out. Once the yarn is the desired thickness, enough twist is added to make the yarn strong. Then the yarn is wound onto the bobbin, and the process starts again.

 

SPINNING IN THE GREASE

Handspinners are split, when spinning wool, as to whether it is better to spin it 'in the grease' (with lanolin still in) or after it has been washed. More traditional spinners are more willing to spin in the grease, as it is less work to wash the wool after it is in yarn form. Spinners who spin very fine yarn may also prefer to spin in the grease as it can allow them to spin finer yarns with more ease. Spinning in the grease covers the spinner's hands in lanolin and, thus, softens the spinner's hands.

 

Spinning in the grease works best if the fleece is newly sheared. After several months, the lanolin becomes sticky, which makes the wool harder to spin using the short-draw technique, and almost impossible to spin using the long-draw technique. In general, spinners who use the long-draw technique do not spin in the grease.

 

Such spinners generally buy their fibers pre-washed and carded, in the form of roving, sliver, or batts. This means less work for the spinners, as they do not have to wash out the lanolin. Spinners then have available predyed fiber, or blends of fibers, which are hard to create when the wool is still in the grease. As machine carders cannot card wool in the grease, pre-carded yarn generally is not spun in the grease. Some spinners use spray-on lanolin-like products to get the same feel of spinning in the grease with carded fiber.

 

WIKIPEDIA

. . . sadly Non-Hindus are not allowed inside the temple complex

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The Jagannath Temple of Puri (Odia: ଜଗନ୍ନାଥ ମନ୍ଦିର) is a famous, sacred Hindu temple dedicated to Jagannath and located on the eastern coast of India, at Puri in the state of Odisha.

 

The temple is an important pilgrimage destination for many Hindu traditions, particularly worshippers of god Krishna and god Vishnu, and part of the Char Dham pilgrimages that a Hindu is expected to make in one's lifetime.

 

Even though most Hindu deities that are worshiped are made out of stone or metal, the image of Jagannath is wooden. Every twelve or nineteen years these wooden figures are ceremoniously replaced by using sacred trees, that have to be carved as an exact replica. The reason behind this ceremonial tradition is the highly secret Navakalevara ('New Body' or 'New Embodiment') ceremony, an intricate set of rituals that accompany the renewal of the wooden statues.

 

The temple was built in the 12th century atop its ruins by the progenitor of the Eastern Ganga dynasty, King Anantavarman Chodaganga Deva. The temple is famous for its annual Rath Yatra, or chariot festival, in which the three main temple deities are hauled on huge and elaborately decorated temple cars. Since medieval times, it is also associated with intense religious fervour.

 

The temple is sacred to the Vaishnava traditions and saint Ramananda who was closely associated with the temple. It is also of particular significance to the followers of the Gaudiya Vaishnavism whose founder, Chaitanya Mahaprabhu, was attracted to the deity, Jagannath, and lived in Puri for many years.

 

DEITIES

The central forms of Jagannath, Balabhadra and the goddess Subhadra constitute the trinity of deities sitting on the bejewelled platform or the Ratnabedi in the inner sanctum. The Sudarshan Chakra, deities of Madanmohan, Sridevi and Vishwadhatri are also placed on the Ratnavedi. The deities of Jagannath, Balabhadra, Subhadra and Sudarshan Chakra are made from sacred Neem logs known as Daru Brahma. Depending on the season the deities are adorned in different garbs and jewels. Worship of the deities pre-date the temple structure and may have originated in an ancient tribal shrine.

 

ORIGINS OF THE TEMPLE

According to the recently discovered copper plates from the Ganga dynasty, the construction of the current Jagannath temple was initiated by the ruler of Kalinga, Anantavarman Chodaganga Dev. The Jaga mohan and the Vimana portions of the temple were built during his reign (1078 - 1148 CE). However, it was only in the year 1174 CE that the Oriya ruler Ananga Bhima Deva rebuilt the temple to give a shape in which it stands today.

 

Jagannath worship in the temple continued until 1558, when Odisha was attacked by the Afghan general Kalapahad. Subsequently, when Ramachandra Deb established an independent kingdom at Khurda in Orissa, the temple was consecrated and the deities reinstalled.

 

LEGENDS

Legendary account as found in the Skanda-Purana, Brahma Purana and other Puranas and later Oriya works state that Lord Jagannath was originally worshipped as Lord Neela Madhaba by a Savar king (tribal chief) named Viswavasu. Having heard about the deity, King Indradyumna sent a Brahmin priest, Vidyapati to locate the deity, who was worshipped secretly in a dense forest by Viswavasu. Vidyapati tried his best but could not locate the place. But at last he managed to marry Viswavasu's daughter Lalita. At repeated request of Vidyapti, Viswavasu took his son-in-law blind folded to a cave where Lord Neela Madhaba was worshipped.

 

Vidyapati was very intelligent. He dropped mustard seeds on the ground on the way. The seeds germinated after a few days, which enabled him to find out the cave later on. On hearing from him, King Indradyumna proceeded immediately to Odra desha Orissa on a pilgrimage to see and worship the Deity. But the deity had disappeared. The king was disappointed. The Deity was hidden in sand. The king was determined not to return without having a darshan of the deity and observed fast unto death at Mount Neela, Then a celestial voice cried 'thou shalt see him.' Afterwards the king performed a horse sacrifice and built a magnificent temple for Vishnu. Sri Narasimha Murti brought by Narada was installed in the temple. During sleep, the king had a vision of Lord Jagannath. Also an astral voice directed him to receive the fragrant tree on the seashore and make idols out of it. Accordingly, the king got the image of Lord Jagannath, Balabhadra, Subhadra and Chakra Sudarshan made out of the wood of the divine tree and installed them in the temple.

 

INDRADYUMNA´S PRAYER TO LORD BRAHMA

King Indradyumna put up for Jagannath the tallest monument of the world. It was 1,000 cubits high. He invited Lord Brahma, the cosmic creator, consecrate the temple and the images. Brahma came all the way from Heaven for this purpose. Seeing the temple he was immensely pleased with him. Brahma asked Indradyumna as to in what way can he (Brahma) fulfill the king's desire, since was very much pleased with him for his having put the most beautiful Temple for Lord Vishnu. With folded hands, Indradyumna said, "My Lord if you are really pleased with me, kindly bless me with one thing, and it is that I should be issueless and that I should be the last member of my family." In case anybody left alive after him, he would only take pride as the owner of the temple and would not work for the society.

 

THE EPISODE OF THE LORD´S GRACE DURING A WAR WITH KANCHI

At one time, a king of Kanchi in the down south remarked that the king of Orissa was a chandala (a man of very low caste or status) because, he performs the duties of a sweeper during the Car Festival. When this news reached the ears of the king of Orissa, he led an expedition to Kanchi. Before that, he implored the mercy of Lord Jagannath. The soldiers of Orissa marched towards Kanchi from Cuttack (earlier capital city of Orissa, located on the banks of Mahanadi, at a distance of 30 km from Bhubaneswar. It so happened that when the soldiers, headed by the king Purusottam Dev, reached a place near the Chilika lake, a lady, who was selling curd (yogurt) met him (the king) and presented a golden ring studded with precious gems and submitted. "My Lord, kindly listen to me. A little earlier, two soldiers riding over two horses (white and black in colour), approached me and said we are thirsty give us curds to drink.' I gave them curds. Instead of giving me money, they gave me this ring and said,'the king of Orissa will come here, after some time, on his way to Kanchi. You present it to him and he will pay you the money.' So my Lord, you take it and give me my dues.

 

It took no time for the king to know that the ring belongs to Lord Jagannath. He was convinced that Jagannath and Balabhadra were proceeding to the battle field ahead of him to help him there. To perpetuate the memory of this great incident, the king founded a village in the Chilika lake area. As the name of the lady was Manika, the name given to the village was Manika Patana. Even to this day, the curds of this village are famous.

 

LEGEND SURROUNDING THE TEMPLE ORIGIN

The traditional story concerning the origins of the Lord Jagannath temple is that here the original image of Jagannath (a deity form of Vishnu) at the end of Treta yuga manifested near a banyan tree, near seashore in the form of an Indranila nilamani or the Blue Jewel. It was so dazzling that it could grant instant moksha, so the god Dharma or Yama wanted to hide it in the earth, and was successful. In Dvapara Yuga King Indradyumna of Malwa wanted to find that mysterious image and to do so he performed harsh penances to obtain his goal. Vishnu then instructed him to go to the Puri seashore and find a floating log to make an image from its trunk.

 

The King found the log of wood. He did a yajna from which god Yajna Nrisimha appeared and instructed that Narayana should be made as fourfold expansion, i.e. Paramatma as Vasudeva, his Vyuha as Samkarshana, Yogamaya as Subhadra, and his Vibhava asSudarsana. Vishwakarma appeared in the form of artist and prepared images of Jagannath, Balabhadra and Subhadra from the tree. When this log, radiant with light was seen floating in the sea, Narada told the king to make three idols out of it and place them in a pavilion. Indradyumna got Visvakarma, the architect of Gods, to build a magnificent temple to house the idols and Vishnu himself appeared in the guise of a carpenter to make the idols on condition that he was to be left undisturbed until he finished the work.

 

But just after two weeks, the Queen became very anxious. She took the carpenter to be dead as no sound came from the temple. Therefore, she requested the king to open the door. Thus, they went to see Vishnu at work at which the latter abandoned his work leaving the idols unfinished. The idol was devoid of any hands. But a divine voice told Indradyumana to install them in the temple. It has also been widely believed that in spite of the idol being without hands, it can watch over the world and be its lord. Thus the idiom.

 

INVASIONS AND DESECRATIONS OF THE TEMPLE

The temple annals, the Madala Panji records that the Jagannath temple at Puri has been invaded and plundered eighteen times. The invasion by Raktabahu has been considered the first invasion on the temple by the Madalapanji.

 

RANJIT SINGH´S WILL

Sikh ruler Maharaja Ranjit Singh, had donated massive amounts of gold to the Jagannath temple. In his last will, he also ordered that Koh-i-noor, the most precious and greatest diamond in the world, to be donated to this temple, but the diamond could never actually make its way to the temple because the British, by that time, had annexed the Punjab and all its royal possessions. Thus, claiming that the Koh-i-noor was theirs. It is currently a part of British crown jewels and is located in the Tower of London.

 

ENTRY AND DARSHAN

Temple has 4 entrances in all directions.Temple security is selective regarding who is allowed entry. Practicing Hindus of non-Indian descent are excluded from premises, as are Hindus of non-Indian origin. Visitors not allowed entry may view the precincts from the roof of the nearby Raghunandan Library and pay their respects to the image of God Jagannath known as Patitapavana at the main entrance to the temple. There is some evidence that this came into force following a series of invasions by foreigners into the temple and surrounding area. Buddhist, and Jain groups are allowed into the temple compound if they are able to prove their Indian ancestry. The temple has slowly started allowing Hindus of non-Indian origin into the area, after an incident in which 3 Balinese Hindus were denied entry, even though Bali is 90% Hindu.

 

The temple remains open from 5 am to 12 midnight. Unlike many other temples devotees can go behind the idols(go round the idols).All devotees are allowed to go right up to the deities during the Sahana Mela without paying any fees . The Sahana mela or the public darshan is usually following the abakasha puja between around 7 to 8 am in the morning. Special darshan or Parimanik darshan is when devotees on paying 50 Rupees are allowed right up to the deities. Parimanik darshan happens after the dhupa pujas at around 10 am, 1 pm and 8 pm . At all other times devotees can view the deities from some distance for free. The rathyatra occurs every year some time in the month of July. 2 or 6 weeks before Rathyatra (depending upon the year) there is a ritual of Lord undergoing "Bhukaar" (sick) hence the idols are not on "Darshan". Devotees to make a note of this before they plan to visit the lord.

 

CULTURAL INTEGRITY

Shrikshetra of Puri Jagannath, as is commonly known, can verily be said to be a truthful replica of Indian culture. To understand this culture, one has to have some idea of the history of this land, which again is different from that of other countries of the world.

 

Starting from Lord Jagannath himself, history has it that he was a tribal deity, adorned by the Sabar people, as a symbol of Narayan. Another legend claims him to be Nilamadhava, an image of Narayana made of blue stone and worshipped by the aboriginals. He was brought to Nilagiri (blue mountain) or Nilachala and installed there as Shri Jagannath in company with Balabhadra and Subhadra. The images made of wood are also claimed to have their distant linkage with the aboriginal system of worshipping wooden poles. To cap it all the Daitapatis, who have a fair share of responsibilities to perform rituals of the Temple, are claimed to be descendants of the aboriginals or hill tribes of Orissa. So we may safely claim that the beginning of the cultural history of Shrikshetra is found in the fusion of Hindu and Tribal Cultures. This has been accepted as a facet of our proud heritage. The three deities came to be claimed as the symbols of Samyak Darshan, Samyak Jnana and Samyak Charita usually regarded as Triratha (of the Jain cult), an assimilation of which leads to Moksha (salvation) or the ultimate bliss...

 

Jagannath is worshipped as Vishnu or Narayana or Krishna and Lord Balabhadra as Shesha. Simultaneously, the deities are regarded as the bhairava with Vimala (the devi or the consort of Shiva) installed in the campus of the temple. So ultimately we find a fusion of Saivism, Shaktism and Vaishnavism of the Hindu religion with Jainism and up to an extent Buddhism in the culture of Jagannath and the cultural tradition so reverently held together in Shrikshetra.

 

ACHARYAS AND JAGANNATHA PURI

All of the renowned acharyas including Madhvacharya have been known to visit this kshetra. Adi Shankara established his Govardhana matha here. There is also evidence that Guru Nanak, Kabir, Tulsidas, Ramanujacharya, and Nimbarkacharya had visited this place. Sri Chaitanya Mahaprabhu of Gaudiya Vaishnavism stayed here for 24 years, establishing that the love of god can be spread by chanting the Hare Krishna mantra. Srimad Vallabhacharya visited Jagannath Puri and performed a 7-day recitation of Srimad Bhagvat. His sitting place is still famous as "baithakji." It confirms his visit to Puri. A famous incident took place when Vallabhachrya visited. There was a discourse being held between the Brahmins and 4 questions were asked. Who is the highest of Gods, What is the highest of mantras, What is the highest scripture and What is the highest service. The discourse went on for many days with many schools of thought. Finally Shri Vallabh said to ask Lord Jagannath to confirm Shri Vallabh's answers. A pen and paper were left in the inner sanctum. After some time, the doors were opened and 4 answers were written. 1) The Son of Devaki (Krishna) is the God of Gods 2) His name is the highest of mantras 3) His song is the highest scripture (Bhagavat Geeta) 4) Service to Him is the Highest service. The king was shocked and declared Shri Vallabh the winner of the discourse. Some of the pandits who participated became jealous of Shri Vallabh and wanted to test Him. The next day was Ekadashi, a fasting day where one must fast from grains. The pandits gave Shri Vallabh rice Prasad of Shri Jagannathji (The temple is famous for this). If Shri Vallabh ate it, He would break His vow of fasting but if He did not take it, He would disrespect Lord Jagannath. Shri Vallabh accepted the prasad in his hand and spent the rest of the day and night explaining slokas of the greatness of Prasad and ate the rice the next morning.

 

CHAR DHAM

The temple is one of the holiest Hindu Char Dham (four divine sites) sites comprising Rameswaram, Badrinath, Puri and Dwarka. Though the origins are not clearly known, the Advaita school of Hinduism propagated by Sankaracharya, who created Hindu monastic institutions across India, attributes the origin of Char Dham to the seer. The four monasteries lie across the four corners of India and their attendant temples are Badrinath Temple at Badrinath in the North, Jagannath Temple at Puri in the East, Dwarakadheesh Temple at Dwarka in the West and Ramanathaswamy Temple at Rameswaram in the South. Though ideologically the temples are divided between the sects of Hinduism, namely Saivism and Vaishnavism, the Char Dham pilgrimage is an all Hindu affair. There are four abodes in Himalayas called Chota Char Dham (Chota meaning small): Badrinath, Kedarnath, Gangotri and Yamunotri - all of these lie at the foot hills of Himalayas The name Chota was added during the mid of 20th century to differentiate the original Char Dhams. The journey across the four cardinal points in India is considered sacred by Hindus who aspire to visit these temples once in their lifetime. Traditionally the trip starts at the eastern end from Puri, proceeding in clockwise direction in a manner typically followed for circumambulation in Hindu temples.

 

STRUCTURE

The huge temple complex covers an area of over 37,000 m2, and is surrounded by a high fortified wall. This 6.1 m high wall is known as Meghanada Pacheri. Another wall known as kurma bedha surrounds the main temple. It contains at least 120 temples and shrines. With its sculptural richness and fluidity of the Oriya style of temple architecture, it is one of the most magnificent monuments of India. The temple has four distinct sectional structures, namely -

 

- Deula, Vimana or Garba griha (Sanctum sanctorum) where the triad deities are lodged on the ratnavedi (Throne of Pearls). In Rekha Deula style;

- Mukhashala (Frontal porch);

- Nata mandir/Natamandapa, which is also known as the Jagamohan (Audience Hall/Dancing Hall), and

- Bhoga Mandapa (Offerings Hall).

 

The main temple is a curvilinear temple and crowning the top is the 'srichakra' (an eight spoked wheel) of Vishnu. Also known as the "Nilachakra", it is made out of Ashtadhatu and is considered sacrosanct. Among the existing temples in Orissa, the temple of Shri Jagannath is the highest. The temple tower was built on a raised platform of stone and, rising to 65 m above the inner sanctum where the deities reside, dominates the surrounding landscape. The pyramidal roofs of the surrounding temples and adjoining halls, or mandapas, rise in steps toward the tower like a ridge of mountain peaks.

 

NILA CHAKRA

The Nila Chakra (Blue Discus) is the discus mounted on the top shikhar of the Jagannath Temple. As per custom, everyday a different flag is waved on the Nila Chakra. The flag hoisted on the Nila Cakra is called the Patita Pavana (Purifier of the Fallen) and is equivalent to the image of the deities placed in the sanctum sanctorum .

 

The Nila Chakra is a disc with eight Navagunjaras carved on the outer circumference, with all facing towards the flagpost above. It is made of alloy of eight metals (Asta-dhatu) and is 3.5 Metres high with a circumference of about 11 metres. During the year 2010, the Nila Chakra was repaired and restored by the Archaeological Survey of India.

 

The Nila Chakra is distinct from the Sudarshana chakra which has been placed with the deities in the inner sanctorum.

 

Nila Chakra is the most revered iconic symbol in the Jagannath cult. The Nila Chakra is the only physical object whose markings are used as sacrament and considered sacred in Jagannath worship. It symbolizes protection by Shri Jagannath.

 

THE SINGHADWARA

The Singahdwara, which in Sanskrit means The Lion Gate, is one of the four gates to the temple and forms the Main entrance. The Singhadwara is so named because two huge statues of crouching lions exist on either side of the entrance. The gate faces east opening on to the Bada Danda or the Grand Road. The Baisi Pahacha or the flight of twenty two steps leads into the temple complex. An idol of Jagannath known as Patitapavana, which in Sanskrit, means the "Saviour of the downtrodden and the fallen" is painted on the right side of the entrance. In ancient times when untouchables were not allowed inside the temple, they could pray to Patita Pavana. The statues of the two guards to the temple Jaya and Vijaya stand on either side of the doorway. Just before the commencement of the Rath Yatra the idols of Jagannath, Balabhadra and Subhadra are taken out of the temple through this gate. On their return from the Gundicha Temple they have to ceremonially placate Goddess Mahalakshmi, whose statue is carved atop the door, for neglecting to take her with them on the Yatra. Only then the Goddess allows them permission to enter the temple. A magnificent sixteen-sided monolithic pillar known as the Arun stambha stands in front of the main gate. This pillar has an idol of Arun, the charioteer of the Sun God Surya, on its top. One significant thing about Arun stambha is that prior it was located in the Konark Sun temple, later, the Maratha guru Brahmachari Gosain brought this pillar from Konark. The Puri Jagannath Temple was also saved by Maratha emperor Shivaji from being plundered at his times from the Mughals.

 

OTHER ENTRANCES

Apart from the Singhadwara, which is the main entrance to the temple, there are three other entrances facing north, south and west. They are named after the sculptures of animals guarding them. The other entrances are the Hathidwara or the Elephant Gate, the Vyaghradwara or the Tiger Gate and the Ashwadwara or the Horse Gate.

 

MINOR TEMPLES

There are numerous smaller temples and shrines within the Temple complex where active worship is regularly conducted. The Vimala Temple (Bimala Temple) is considered one of the most important of the Shaktipeeths marks the spot where the goddess Sati's feet fell. It is located near Rohini Kund in the temple complex. Until food offered to Jagannath is offered to Goddess Vimala it is not considered Mahaprasad.

 

The temple of Mahalakshmi has an important role in rituals of the main temple. It is said that preparation of naivedya as offering for Jagannath is supervised by Mahalakshmi. The Kanchi Ganesh Temple is dedicated to Uchchhishta Ganapati. Tradition says the King of Kanchipuram (Kanchi) in ancient times gifted the idol, when Gajapati Purushottama Deva married Padmavati, the kanchi princess. There are other shrines namely Muktimandap, Surya, Saraswati, Bhuvaneshwari, Narasimha, Rama, Hanuman and Eshaneshwara.

 

THE MANDAPAS

There are many Mandapas or Pillared halls on raised platforms within the temple complex meant for religious congregations. The most prominent is the Mukti Mandapa the congregation hall of the holy seat of selected learned brahmins. Here important decisions regarding conduct of daily worship and festivals are taken. The Dola Mandapa is noteworthy for a beautifully carved stone Torana or arch which is used for constructing a swing for the annual Dol Yatra festival. During the festival the idol of Dologobinda is placed on the swing. The Snana Bedi is a rectangular stone platform where idols of Jagannath, Balabhadra and Subhadra are placed for ceremonial bathing during the annual Snana Yatra

 

DAILY FOOD OFFERINGS

Daily offerings are made to the Lord six times a day. These include:

 

- The offering to the Lord in the morning that forms his breakfast and is called Gopala Vallabha Bhoga. Breakfast consists of seven items i.e. Khua, Lahuni, Sweetened coconut grating, Coconut water, and popcorn sweetened with sugar known as Khai, Curd and Ripe bananas.

- The Sakala Dhupa forms his next offering at about 10 AM. This generally consists of 13 items including the Enduri cake & Mantha puli.

- Bada Sankhudi Bhoga forms the next repast & the offering consists of Pakhala with curd and Kanji payas. The offerings are made in the Bhog Mandapa, about 200 feet from the Ratnabedi. This is called Chatra Bhog and was introduced by Adi Shankaracharya in the 8th century to help pilgrims share the temple food.

- The Madhyanha dhupa forms the next offering at the noon.

- The next offering to the Lord is made in the evening at around 8 PM it is Sandhya Dhupa.

- The last offering to the Lord is called the Bada Simhara Bhoga.

 

The Mahaprasad of Lord Jagannath are distributed amongst the devotees near the Ratnavedi inside the frame of Phokaria, which is being drawn by the Puja pandas using Muruj, except for the Gopal Ballav Bhog and Bhog Mandap Bhoga which are distributed in the Anabsar Pindi & Bhoga Mandap respectively.

 

ROSAGHARA

The temple's kitchen is considered as the largest kitchen in the world. Tradition maintains that all food cooked in the temple kitchens are supervised by the Goddess Mahalakshmi, the empress of Srimandir herself. It is said that if the food prepared has any fault in it, a shadow dog appears near the temple kitchen. The temple cooks, or Mahasuaras, take this as a sign of displeasure of Mahalakshmi with the food, which is, then, promptly buried and a new batch cooked. All food is cooked following rules as prescribed by Hindu religious texts, the food cooked is pure vegetarian without using onions and garlic. Cooking is done only in earthen pots with water drawn from two special wells near the kitchen called Ganga and Yamuna. There are a total of 56 varieties of naivedhyas offered to the deities, near Ratnabedi as well as in Bhoga Mandap on five particular Muhurta. The most awaited Prasad is Kotho Bhoga or Abadha, offered at mid-day at around 1 pm, depending upon temple rituals. The food after being offered to Jagannath is distributed in reasonable portions as Mahaprasad, which is considered to be divine by the devotees in the Ananda Bazar (an open market, located to the North-east of the Singhadwara inside the Temple complex).

 

FESTIVALS

There are elaborate daily worship services. There are many festivals each year attended by millions of people. The most important festival is the Rath Yatra or the Chariot festival in June. This spectacular festival includes a procession of three huge chariots bearing the idols of Jagannath, Balabhadra and Subhadra through the Bada Danda meaning the Grand Avenue of Puri till their final destination the Gundicha Temple. Early European observers told tales of devotees being crushed under the wheels of these chariots, whether by accident or even as a form of meritorious suicide akin to suttee. These reports gave rise to the loan word juggernaut suggesting an immense, unstoppable, threatening entity or process operated by fanatics. Many festivals like Dol Yatra in spring and Jhulan Yatra in monsoon are celebrated by temple every year.Pavitrotsava and Damanaka utsava are celebrated as per panchanga or panjika.There are special ceremonies in the month of Kartika and Pausha.

 

The annual shodasha dinatmaka or 16 day puja beginning 8 days prior to Mahalaya of Ashwin month for goddess Vimala and ending on Vijayadashami, is of great importance, in which both the utsava murty of lord Madanmohan and Vimala take part.

 

- Pana Sankranti: Also known or Vishuva Sankranti and Mesha Sankranti: Special rituals are performed at the temple.

 

RATH YATRA AT PURI

The Jagannath triad are usually worshiped in the sanctum of the temple at Puri, but once during the month of Asadha (Rainy Season of Orissa, usually falling in month of June or July), they are brought out onto the Bada Danda (main street of Puri) and travel (3 km) to the Shri Gundicha Temple, in huge chariots (ratha), allowing the public to have darśana (Holy view). This festival is known as Rath Yatra, meaning the journey (yatra) of the chariots (ratha). The Rathas are huge wheeled wooden structures, which are built anew every year and are pulled by the devotees. The chariot for Jagannath is approximately 45 feet high and 35 feet square and takes about 2 months to construct. The artists and painters of Puri decorate the cars and paint flower petals and other designs on the wheels, the wood-carved charioteer and horses, and the inverted lotuses on the wall behind the throne. The huge chariots of Jagannath pulled during Rath Yatra is the etymological origin of the English word Juggernaut. The Ratha-Yatra is also termed as the Shri Gundicha yatra.

 

The most significant ritual associated with the Ratha-Yatra is the chhera pahara." During the festival, the Gajapati King wears the outfit of a sweeper and sweeps all around the deities and chariots in the Chera Pahara (sweeping with water) ritual. The Gajapati King cleanses the road before the chariots with a gold-handled broom and sprinkles sandalwood water and powder with utmost devotion. As per the custom, although the Gajapati King has been considered the most exalted person in the Kalingan kingdom, he still renders the menial service to Jagannath. This ritual signified that under the lordship of Jagannath, there is no distinction between the powerful sovereign Gajapati King and the most humble devotee.

 

Chera pahara is held on two days, on the first day of the Ratha Yatra, when the deities are taken to garden house at Mausi Maa Temple and again on the last day of the festival, when the deities are ceremoniously brought back to the Shri Mandir.

 

As per another ritual, when the deities are taken out from the Shri Mandir to the Chariots in Pahandi vijay.

 

In the Ratha Yatra, the three deities are taken from the Jagannath Temple in the chariots to the Gundicha Temple, where they stay for nine days. Thereafter, the deities again ride the chariots back to Shri Mandir in bahuda yatra. On the way back, the three chariots halt at the Mausi Maa Temple and the deities are offered Poda Pitha, a kind of baked cake which are generally consumed by the Odisha people only.

 

The observance of the Rath Yatra of Jagannath dates back to the period of the Puranas. Vivid descriptions of this festival are found in Brahma Purana, Padma Purana, and Skanda Purana. Kapila Samhita also refers to Rath Yatra. In Moghul period also, King Ramsingh of Jaipur, Rajasthan has been described as organizing the Rath Yatra in the 18th Century. In Orissa, Kings of Mayurbhanj and Parlakhemundi were organizing the Rath Yatra, though the most grand festival in terms of scale and popularity takes place at Puri.

 

Moreover, Starza notes that the ruling Ganga dynasty instituted the Rath Yatra at the completion of the great temple around 1150 AD. This festival was one of those Hindu festivals that was reported to the Western world very early. Friar Odoric of Pordenone visited India in 1316-1318, some 20 years after Marco Polo had dictated the account of his travels while in a Genoese prison. In his own account of 1321, Odoric reported how the people put the "idols" on chariots, and the King and Queen and all the people drew them from the "church" with song and music.

 

CHANDAN YATRA

In Akshaya Tritiya every year the Chandan Yatra festival marks the commencement of the construction of the Chariots of the Rath Yatra.

 

SNANA PURNIMA

On the Purnima of the month of Jyestha the Gods are ceremonially bathed and decorated every year on the occasion of Snana Yatra.

 

ANAVASARA OR ANASARA

Literally means vacation. Every year, the main idols of Jagannath, Balabhadra, Subhadra & Sudarshan after the holy Snana Yatra on the jyestha purnima, go to a secret altar named Anavasara Ghar where they remain for the next dark fortnight (Krishna paksha). Hence devotees are not allowed to view them. Instead of this devotees go to nearby place Brahmagiri to see their beloved lord in the form of four handed form Alarnath a form of Vishnu. Then people get the first glimpse of lord on the day before Rath Yatra, which is called 'Navayouvana. It is said that the gods fall in fever after taking a huge bath and they are treated by the special servants named, Daitapatis for 15 days. During this period cooked food is not offered to the deities.

 

NAVA KALEBARA

One of the most grandiloquent events associated with the Lord Jagannath, Naba Kalabera takes place when one lunar month of Ashadha is followed by another lunar month of Aashadha. This can take place in 8, 12 or even 18 years. Literally meaning the “New Body” (Nava = New, Kalevar = Body), the festival is witnessed by as millions of people and the budget for this event exceeds $500,000. The event involves installation of new images in the temple and burial of the old ones in the temple premises at Koili Vaikuntha. The idols that are currently being worshipped in the temple premises were installed in the year 1996. Next ceremony will be held on 2015. More than 3 million devotees are expected to visit the temple during the Nabakalevara of 2015 making it one of the most visited festivals in the world.

 

NILADRI BIJE

Celebrated on Asadha Trayodashi. Niladri Bije is the concluding day of Ratha yatra. On this day deities return to the ratna bedi. Lord Jagannath offers Rasgulla to goddess Laxmi to enter in to the temple.

 

GUPTA GUNDICHA

Celebrated for 16 days from Ashwina Krushna dwitiya to Vijayadashami. As per tradition, the idol of Madhaba, along with the idol of Goddess Durga (known as Durgamadhaba), is taken on a tour of the temple premises. The tour within the temple is observed for the first eight days. For the next eight days, the idols are taken outside the temple on a palanquin to the nearby Narayani temple situated in the Dolamandapa lane. After their worship, they are brought back to the temple.

 

THE NAME PURUSHOTTAMA KSHETRA AND ITS SIGNIFICANCE

Lord Jagannath is the Purushottama as per the scripture, Skanda Purana. In order to teach human beings how to lead a life full of virtue, he has taken the form of Saguna Brahman or Darubrahman. He is the best brother to his siblings, Lord Balabhadra and Devi Subhadra. He is the best husband to goddess Shri. The most noteworthy aspect is still in the month of Margashirsha, on three consecutive days during amavasya he does Shraddha to his parents (Kashyapa-Aditi, Dasharatha-Kaushalya, Vasudeva-Devaki, Nanda-Yashoda), along with the king Indradyumna and queen Gundicha. As a master he enjoys every comfort daily and in various festivals. He grants all wishes to his subjects, and those who surrender before him he takes the utmost care of.

 

CULTURE AND TRADITION OF PURI

Puri is one of the fascinating littoral districts of Orissa. The Cultural heritage of Puri with its long recorded history has its beginnings in the third century B.C. The monuments, religious sanctity, and way of life of the people with their rich tradition is the cultural heart of Orissa. Indeed, Puri is considered the cultural capital of Orissa. The culture here flourished with its manifold activities.

 

The District has the happy conglomerate of different religions, sects and faith. In the course of history, Hindu, Buddhist, Jaina, Muslim, Christian, and Sikh are found here in the District.

 

Chaitanya Mahaprabhu, an incarnation of Lord Krishna, appeared 500 years ago, in the mood of a devotee to taste the sublime emotions of ecstasy by chanting the holy name of Krishna. Stalwart scholars of Puri like Sarvabhauma Bhattacharya (a priest & great Sanskrit pandit) and others followed His teachings. Even kings and ministers of His period became His disciples. Especially King Prataparudra became His great admirer and ardent follower. Thus all cultures and religion became one in Puri after his teachings were given to all with no consideration of caste and creed.

 

MANAGEMENT

After independence, the State Government, with a view to getting better administrative system, passed " The Puri Shri Jagannath Temple (Administration) Act, 1952. It contained provisions to prepare the Record of Rights and duties of Sevayats and such other persons connected with the system of worship and management of the temple. Subsequently Shri Jagannath Temple Act, 1955 " was enacted to reorganize the management system of the affair of the temple and its properties.

 

SECURITY

The security at the 12th century Jagannath Temple is increased ahead of Ratha Yatra, the homecoming festival of the deities of Jagannath temple. In the wake of terror alert on 27 June 2012, the security forces were increased to ensure smooth functioning of the crowded Ratha Yatra and Suna Besha.

 

WIKIPEDIA

started out as an USS J F Kennedy Hawkeye, then I played.

St. Lawrence (Nuremberg)

Towers of St. Lorenz Church, view from the west

St. Lawrence is a Gothic church in Nuremberg. The Lorenz church was the parish church of the medieval settlement located south of Pegnitz core of the former free imperial city of Nuremberg and forms the urban counterpart to the older Church of St. Sebald in the northern area . Construction of the three-aisled basilica was in 1250, the late Gothic choir was completed in 1477. Patron of the church is the Holy Lorenz. The heavily damaged in World War II construction was built according to the old model again. Since the Reformation, the Lorenz church is next to the Church of St. Sebald one of the two major Protestant Churches of Nuremberg, both of which belong to the deanery of the Evangelical Lutheran Church in Bavaria. The Lorenz Church Nuremberg city is the seat of the Dean and finds it in the traditionally held launch of the country's newly elected bishop.

Architectural History

Iron scale from the 15th Century on the west facade. The unit is six Nuremberg Shoe (equivalent to 6 × 27.84 cm = 167.04 cm)

The first mention of Lawrence 's Chapel in Nuremberg from the years 1235 and 1258, during an excavation in 1929 found that it was a small three-aisled basilica with the previous Romanesque. Parts of this building from the early 13th Century have been reused in the rising masonry.

The architectural history of the Lorenz church was always inspired by the model and the competition of the more important in the Middle Ages St. Sebald church. Construction of the three-aisled basilica is dated to about 1250 (St. Sebald ca. 1230/40). However, the exact series episode has yet to be determined. The dating of the sculpture of the west facade plays a supporting role, the workshop will also be seen in Nuremberg at the Tomb of Konrad Gross. The three-aisled basilica was completed around 1390th.

As early as 1400 but was extended (again, following the example of St. Sebald) the aisles by as much moved to their outside walls that is now located in the interior of the church buttresses forming small private chapels for the Council sexes. The last major phase of construction of the hall choir to the altar Deocarus fell in the years 1439-77 (The project is backed by inscriptions; hall choir of St. Sebald 1361-79).

The church was heavily damaged by the air raids in World War II and in the final battle for Nuremberg in April 1945 and has been rebuilt from 1949. Mainly the roof and the vault were destroyed. The roof has been completely redesigned, and the roof was built over the nave due to material shortages of steel. It had to be installed along 1.5 km pursuit and new vault keystones.

History

Lorenz Church, view from south

At least the predecessor of St. Lorenz church, mentioned in the first half of the 13th Century, the bambergischen upper parish in Fuerth was assumed, while St. Sebald originally belonged to Poppenreuth. St. Lawrence could never reach the significance of the sister church, the highlight of this development was in 1425 with the canonization of the public for the past two centuries revered local saint Sebald achieved by the Curia of the entire Middle Ages. St. Lawrence, patron of St. Lorenz church, did not offer the same ID space, especially since you did not have his body . This explains also the 15th Century growing devotion to the Holy Deocarus, confessor of Charles the Great, whose relics were kept in the Lorenz Church since 1316. On his 1436/37 donated altar was allowed, proven from the funds of Nuremberg citizens, establish the late-Gothic hall choir to the east of the church.

Not only for the construction of Hall Choir (1439-1477), but for the entire construction financed by wealthy citizens and the City Council is likely. The same is true for some very valuable assets, in some cases it is here a concrete founder of the patricians can be found ( as in the tabernacle, and the English greeting). This was probably also the reason that the art treasures of St. Lawrence were spared during the Reformation period of iconoclasm. St. Lawrence was one of the first churches in Germany, which were Lutheran (1525), but apparently they wanted to Nuremberg in the memory of the ancestors own honor and had therefore made ​​by them donated sculptures.

In the subsequent history of the church, there are well-known personalities: That there was a preacher among others Andreas Osiander who in St. Lawrence worked - his picture hangs in the sacristy Lorenz .

Building design

The west facade is extremely rich articulated for a parish church, which reflects the high standards of the Nuremberg citizenship, which funded the building substantially. The facade is dominated by the two towers, the model can again to be found in St. Sebald and thus indirectly in the Bamberg Cathedral, the towering sharp Gewändeportal (embrasure portal), well-indented rose window with nine feet in diameter, and the finely perforated Maßwerkgiebel (tracery gable), elements in the form are borrowed and claim all the Gothic cathedrals.

The main building has the shape of a three-nave pillar basilica of eight yokes. In the nave pointed arches on clustered piers carry the nave wall, per yoke breaks through a pointed arch window, the clerestory wall. Presented service bundles to wear a ribbed vault, the ribs are pulled down to the level of the clerestory window sills. The peculiarity of the side aisles is much lower in small family bands, caused by the displacement of the outer walls to the outer edge of the buttress.

The late Gothic hall choir, mirror of the architectural fashion of his time, is seamlessly connected to the main ship. It is distinguished above all by its playful vaulting and the magnificent two-story window tracery in handling. On the south side of a two-storey is inserted the sacristy.

Dimensions of the church nave aisle hall choir

Length: 91.20 m Height: 24.20 m Height: 11.50 m Height: 24.20 m

Width: 30,00 m Beam : 10,40 m Width : 5,90 m Width: 28,60 m

The towers are 80.8 m and 81 m high.

Artworks

Nuremberg, St. Lawrence, north side, angle of nave and transept house: entrance hall with Olives

Tabernacle by Adam Kraft

Annunciation (1517/18) by Veit Stoss

Not all the moving pieces on the rich furnishings are originally from St. Lawrence. Many of the cultural heritage came from secular or destroyed monasteries of Nuremberg and the surrounding area.

Particularly noteworthy are two masterpieces of late Gothic sculpture belonging to the original design of the church: The brainchild of Adam Kraft 1493-1496 tabernacle (donated by Hans Imhoff the Elder.), a 18.70 meter high sandstone tabernacle, consisting of a walk-handling stage and a consequent growing up, pointed, but towards the ceiling rolled spire, which is diverse finely broken. The structure is supported by the back of three crouching figures in three different ages whose mean, equipped with stone tool, probably represents the artist himself. Above the actual Sakramentsschränkchens (small sacrament cabinet) various scenes of Christ's Passion are presented. Despite its delicate shape and the severe damage to the Lorenz Church by bombing in the Second World War, the tabernacle was largely spared from destruction by a surrounding wall.

Another brilliant performance of late Gothic art is hung in the choir German greeting (also: Annunciation in the Rosary), which was 1517/18 given by the patrician Anton Tucher at the sculptor Veit Stoss in order. It shows on the big man, colorful framed and gilded largely linden wood figures of Mary and Gabriel at the Annunciation, surrounded by a wreath of gold roses 55 (372 × 320 cm). Perched above the scene of the blessing God the Father, for the minds of the protagonists buzz musical angels, at the bottom there is a snake with bitten into apple in its mouth. Seven medallions show the seven joys of Mary. Due to a crash on the 2nd April 1817 almost completely destroyed the English greeting had to be carefully restored. Belonging to the twelve angels candlesticks on the choir stalls and the central upstream Marie chandelier.

As one of the few dated altarpieces are the Deocarusaltar of 1436/1437 for the history of the Nuremberg painting and Bilderschnitzerei (sculpture) of great importance. From 1316 to the 19th Century housed the Lorenz Church in Deocarusaltar Deocarus relics of saints, the legendary founder and first abbot of the city Herrieden. Predellenflügel (predella wing) on the right shows how Ludwig the Bavarian city of Nuremberg is about the relics of the saint.

In the right aisle is the Rochus-Altar, a foundation of the Nuremberg trade Imhoff family. When the Altarbau (construction of the altar) started, can not be ascertained clearly, probably around 1485, when the plague was raging in Nuremberg and each solution was welcome. In Venice, the dealer Imhoff family knew very well from Peter Imhoff the Elder managed in Venice from 1465 to 1476 the benefice for the altar of St. Sebald in the church of San Bartolomeo at the Rialto Bridge, which was the altar of German merchants, and is the year he was appointed consul of the Germans in fondaco dei Tedeschi. 1499th Francis Imhoff was a member of the Fraternity of Saint Roch in Venice and knew the local customs very well. And also the success of this saint cult. So it made sense for the Imhoff to make Rochus also known at home in Nuremberg. In the plague year 1484 was celebrated on 16 August in the Lorenz Church in Nuremberg the feast of Saint Roch, a little later probably Imhoff began building the altar. The altar Rochus includes not only the image of Rochus but also of Sebastian, the other plague saint, and is one of the most distinctive sign of early dissemination of the cult of Roch from Venice north of the Alps, before the 1500s. In the lower part you can see the coat of arms of the Imhoff and the Holzschuher, another Nuremberg family.

Numerous altars with paintings and carvings, sculptures in wood and stone, stained glass, some wall paintings, bells, epitaphs, dead shields and a choir from the late 15th Century complete the picture. Also mounted on the exterior are numerous sculptures, some are copies.

Bell

Tagmessglocke (a bell to call the churchgoers or monks)

Laurentia (prayer bell)

The bells of St. Lorenz church consists of 16 bells läutbaren (ringable) and thus representIing the second largest peal of a Protestant church in Germany. It consists of the main elfstimmigen (in eleven voices) bells (1-11 ) and the Cymbelgeläut (cymbeline ringing) ( 12-16). The fire bell is restored as a memorial to the two world wars on the west portal. The old silver bell hangs in the east choir and can be rung from there by cable, but it does not belong to the regular ringing bells ringing but only occasionally to Mittagslob (pray of noonday) on Krell altar. All the bells hang in a wooden belfries of wooden yokes. Due to static problems were in the course of a reorganization almost all the bells upper weights placed on the yoke to slow the Läuterhythmus (rhythm of ringing).

 

1 bell Christ Friedrich Wilhelm Schilling 1953 1815 4407 -4 h0 North Tower

2 Tagmessglocke 1552 Hans (III ) Glockengieser 1490 2006 d1 -1 North Tower

3 Laurentia ( prayer bell ) 1409 1608 2600 Hainrich Grunwalt e1 -1 south tower

4 dead memorial bell Friedrich Wilhelm Schilling 1953 1180 1153 fis1 ± 0 South Tower

5 Garausglocke ~ 1400 ( Hermann Kessler ) 1040 ~ 700 g # 1 +2 South Tower

6 Paul Bell 1953 988 668 Friedrich Wilhelm Schilling a1 -1 south tower

7 Luther Bell in 1953 Friedrich Wilhelm Schilling h1 +1 885 480 South Tower - octagon

8 Osianderglocke 1953 Friedrich Wilhelm Schilling 802 377 d2 ± 0 - south tower octagon

9 Lazarus Spengler bell Friedrich Wilhelm Schilling 1953 705 253 -1 South Tower e2 - octagon

10 Youth With Bell 1953 Friedrich Wilhelm Schilling fis2 630 185 -1 South Tower - octagon

11 Silver Bell 1960 Friedrich Wilhelm Schilling 39 389 d3 +6 silver turrets ( Westgebiel )

I Laudate 1954 Friedrich Wilhelm Schilling 505 90 a2 +4 North Tower octagon

Magnificat II 1954 Friedrich Wilhelm Schilling 454 h2 64 +5 North Tower octagon

Bendedictus 1954 Frederick William III Shilling sharp3 +5 410 39 North Tower octagon

Nunc Dimittis in 1954 Frederick William IV Shilling 355 35 e3 +5 North Tower octagon

V Adorate 1954 Friedrich Wilhelm Schilling 325 28 +4 fis3 North Tower octagon

- Old silver bell 2 H. 14 Century ( Hermann Kessler ) 375 d3 +6 ~ 30 east chancel

- Fire bell 1 H. 14 Century ( Hermann Kessler ) 1504 2637 e1 +0.5 parked at the west portal

Läuteordnung

Like other churches, too, St. Lorenz Church has a fixed Läuteordnung (regime of ringing) that lets the bells ring out both on a regular basis as well as on special occasions. At 8 am and in the evening by 21 clock rings the Tagmessglocke, the beep for lunch ringing by 12 clock to Laurentia, which was in 2009 600 years, the Garausläuten (burn out ringing) done with the Garausglocke depending on the sunset 16 to 20 clock. Fridays by 15 clock reminds the great bell at the crucifixion of Jesus Christ on Good Friday. Our Father in all worship the Paul Bell is rung. Saturday is by 14 clock of Sunday, heralded by the ringing of the bells 8, 7 , 6, 4 and 2 ( d2 h1 -a1 -d1 - f k1 ), which does not change over the church year. Depending on the form of worship, church festival degrees and years vary the number and/or the musical compositions (motives ) of the bells.

de.wikipedia.org/wiki/St._Lorenz_(N%C3%BCrnberg)

Meenakshi Amman Temple (also called: Meenakshi Sundareswarar Temple, Tiru-aalavaai and Meenakshi Amman Kovil) is a historic Hindu temple located on the southern bank of the Vaigai River in the temple city of Madurai, Tamil Nadu, India. It is dedicated to Parvati, known as Meenakshi, and her consort, Shiva, here named Sundareswarar. The temple forms the heart and lifeline of the 2,500 year old city of Madurai and is a significant symbol for the Tamil people, mentioned since antiquity in Tamil literature though the present structure was built between 1623 and 1655 CE. It houses 14 gopurams (gateway towers), ranging from 45–50m in height. The tallest is the southern tower, 51.9 metres high, and two golden sculptured vimanas, the shrines over the garbhagrihas (sanctums) of the main deities. The temple attracts 15,000 visitors a day, around 25,000 on Fridays, and receives an annual revenue of sixty million INR. There are an estimated 33,000 sculptures in the temple. It was on the list of top 30 nominees for the "New Seven Wonders of the World". The annual 10-day Meenakshi Tirukalyanam festival, celebrated during April and May, attracts 1 million visitors.

 

LEGEND

Meenakshi (IAST Mīnākṣī Tamil மீனாட்சி) is an avatar of the Hindu goddess Parvati - the consort of Shiva, one of the few Hindu female deities to have a major temple devoted to her. The name "Mīnachchi" means fish-eyed and is derived from the words "mīna" meaning fish and "akṣi" meaning eyes. The lady goddess Meenakshi is the principal deity of the temple, not Sundareswarar, unlike most Shiva temples in South India where Shiva is the principal deity. According to Hindu legend, in order to answer the prayers of the second Pandya king Malayadwaja Pandya and his wife Kanchanamalai, Parvati appeared out of the holy fire of the Putra Kameshti Yagna (sacrifice for childhood) performed by the king. According to another legend, the goddess herself gave notice to Kanchanamalai in one of her previous births that Kanchanamalai would have the privilege of mothering the goddess. The girl who came out of the holy fire had three breasts. A voice from the heavens told the king not to worry about the abnormality and added that the third breast would vanish as soon as the girl met her future husband. The happy king named the girl "Tadaatagai" and as the heir to the throne, Tadaatagai was trained carefully in all the 64 sastras, the fields of science.

 

As the time came for Tadaatagai's coronation, she had to wage war in three worlds encompassing eight directions. After conquering Brahma's Abode, Sathyaloka, Vishnu's Abode, Vaikunta, and Devas' abode Amaravati, she advanced to Shiva's Abode Kailasha. She very easily defeated the bhoota ganas (IAST: Bhūtagana, meaning Shiva's army) and Nandi, the celestial bull of Shiva, and headed to attack and conquer Shiva. The moment she looked at Shiva, she was unable to fight and bowed her head down due to shyness, and the third breast vanished immediately. Tadaatagai realized that Shiva was her destined husband. She also realized that she was the incarnation of Parvati. Both Shiva and Tadaatagai returned to Madurai and the king arranged the coronation ceremony of his daughter, followed by her marriage with Shiva.

 

The marriage was to be the biggest event on earth, with the whole earth gathering near Madurai. Vishnu, the brother of Meenakshi, prepared to travel from his holy abode at Vaikuntam to preside over the marriage. Due to a divine play, he was tricked by the Deva, Indra and was delayed on the way. After the marriage, the pair ruled over Madurai for a long time and then assumed divine forms as Sundareswarar and Meenakshi, the presiding deities of the temple. Following the tradition, every evening, before closing the temple, a ritual procession lead by drummers and a brass ensemble carries the image of Sundareswarar to Meenakshi's bedroom to consummate the union, to be taken back the next morning in dawn. The marriage is celebrated annually as Chithirai Thiruvizha in Madurai. During the period of Nayakar rule in Madurai, the ruler Thirumalai Nayakar linked the festival Azhakar Thiruvizha and the Meenakshi wedding ceremony.

 

HISTORY

The Meenatchi temple is believed to have been founded by Indra (king of Deva celestial deities) while he was on a pilgrimage to atone for his misdeeds. He felt his burden lifting as he neared the swayambu lingam (self formed lingam, a representation of Shiva used for worship in temples) of Madurai. He ascribed this miracle to the lingam and constructed the temple to enshrine it. Indra worshipped Shiva, who caused golden lotuses to appear in the nearby pool. Tamil literature speaks of the temple over the last two millennia. Thirugnanasambandar, the famous Hindu saint of Saiva philosophy, mentioned this temple as early as the 7th century, and described the deity as Aalavai Iraivan. The temple is believed to have been sacked by the infamous Muslim invader Malik Kafur in 1310 and all the ancient elements were destroyed. The initiative to rebuild the structure was taken by first Nayak king of Madurai, Viswanatha Nayak (1559–1600) under the supervision of Ariyanatha Mudaliar, the prime minister of the Nayak Dynasty and the founder of the Poligar System. The original design by Vishwanatha Nayak in 1560 was substantially expanded to the current structure during the reign of Thirumalai Nayak (1623–55). He took considerable interest in erecting many complexes inside the temple. His major contributions are the Vasantha Mandapam for celebrating vasanthorsavam (spring festival) and Kilikoondu Mandapam (corridor of parrots). The corridors of the temple tank and Meenatchi Nayakar Mandapam were built by Rani Mangammal.

 

Rous Peter (1786–1828), the Collector of Madurai in 1812, got nickname 'Peter Pandian’ as he respected and treated people of all faiths equally. He donated a set of golden stirrups studded with diamonds and red stones to the temple.Goddess Meenatchi is believed to have saved Rous Peter from a fatal incident. He also wished that after his death, his body be buried in a position that would enable his eyes to face the temple.

 

THE TEMPLE

ARCHITECTURE

The temple is the geographic and ritual center of the ancient city of Madurai and one of the largest temple complexes in Tamil Nadu. The temple complex is divided into a number of concentric quadrangular enclosures contained by high masonry walls. It is one of the few temples in Tamil Nadu to have four entrances facing four directions. Vishwantha Nayaka allegedly redesigned the city of Madurai in accordance with the principles laid down by Shilpa Shastras (Sanskrit: śilpa śāstra, also anglicized as silpa sastra meaning rules of architecture) relevant to urban planning. The city was laid out in the shape of square with a series of concentric streets culminating from the temple. These squares continue to retain their traditional names, Aadi, Chittirai, Avani-moola and Masi streets, corresponding to Tamil month names. Ancient Tamil classics mention that the temple was the center of the city and the streets happened to be radiating out like lotus and its petals. The temple prakarams (outer precincts of a temple) and streets accommodate an elobrate festival calendar in which dramatic processions circumabulate the shrines at varying distances from the centre. The vehicles used in processions are progressively more massive the further they travel from the centre. The complex is in around 180,000 m2.

 

GOPURAMS

The temple is surrounded by gopurams (gateway tower), - There are ten gopuram the tallest of which, the famous southern tower, rises to over 52 m and was built in 1559. The oldest gopuram is the eastern one, built by Maravarman Sundara Pandyan during 1216-1238 Each gopuram is a multi-storeyed structure, covered with thousands of stone figures of animals, gods and demons painted in bright hues. The outer gopuram presents steeply pyramidal tower encrusted with plaster figures, while the inner gopuram serves as the entrance to the inner enclosure of Sundareswarar shrine.

 

SHRINES

The central shrine of Meenakshi Amman temple and her consort Sundareswarar are surrounded by three enclosures and each of these are protected by four minor towers at the four points of the compass, the outer tower growing larger and reaching higher to the corresponding inner one. The Meenakshi shrine has the emerald-hued black stone image of Meenakshi. The Sundareswarar shrine lies at the centre of the complex, suggesting that the ritual dominance of the goddess developed later. Both the Meenakshi and Sundareswarar shrines have gold plated Vimanam (tower over sanctum). The golden top can be seen from a great distance in the west through the apertures of two successive towers. The area covered by the shrine of Sundareswarar is exactly one fourth of the area of the temple and that of Meenakshi is one fourth that of Sundareswarar.

 

The tall sculpture of Ganesh carved of single stone located outside the Sundareswarar shrine in the path from Meenashi shrine is called the Mukuruny Vinayakar. A large measure of rice measuring 3 kurini (a measure) is shaped into a big ball of sacrifice and hence the Ganesh is called Mukkurni Vinayagar (three kurinis). This deity is believed to be found during a 17th-century excavation process to dig the Mariamman temple tank.

 

TEMPLE TANK & SURROUNDING PORTICO

The sacred temple tank Porthamarai Kulam ("Pond with the golden lotus"), is 50 m by 37 m in size. According to legend, Shiva promised a stork that no fish or other marine life would grow here and thus no marine animals are found in the lake. In the Tamil legends, the lake is supposed to judge the worth of a new piece of literature. Authors place their works here and the poorly written works are supposed to sink and the scholastic ones are supposed to float, Tirukkural by Tiruvalluvar was one such work.

 

Only a fraction of 17th and 18th century paintings of Nayak period survives and one such portion is found in the small portico on the western side of the tank. It depicts the marriage of Sundareswarar and Meenkashi attended by Vijayaranga Chokkanatha and Rani Mangammal. The painting is executed on a vivid red background, with delicate black linework and large areas of white, green and ochre. The celestial couple is seated inside an architectural frame with a flowering tree in the background.

 

HALLS

The corridor surrounding the sanctum the Meenakshi is called kilikoondu Mandapam ("bird cage corridor"). The space was once used to keep green parrots that were trained to utter the name of Meenakshi. There are two large cages full of squawking green parrots.

 

The Kambatadi Mandapam ("Hall of temple tree") with its seated Nandi (sacred bull) has various manifestations of Shiva carved and also contains the famous "Marriage of Meenakshi" sculpture. Sculptures of Shiva and Kali trying to out-dance one another are pelted with balls of ghee by devotees. A golden flagstaff with 32 sections symbolizes the human backbone and is surrounded by various gods, including Durga and Siddar.

 

The Puthu Mandapam ("new hall") constructed by Tirumala Nayak contains large number of sculptures. It is situated opposite to the east gopuram.

 

The Ashta Shakthi Mandapam ("Hall of eight goddess") is the first hall in the entrance of Meenakshi shrine tower near to East Tower. Ashta indicates eight and Shakthi refers to goddess - the hall has statues of eight goddesses. The gopurams (towers) can be viewed from this hall. The passage was named for eight forms of goddess Sakthi carved on its pillars. Other sculptures and paintings depict the Tiruvilayadal (holy games of Shiva). The sculptures of heroes of Mahabharata, the Pancha pandavas can be seen in the Pancha Pandava Mandapam (Hall of Pandavas).

 

The Viravasantharaya Mandapam is a large hall with huge corridors. To the south of this hall is the kalyana mandapam, to the south of the pillared hall, is where the marriage of Shiva and Parvati is celebrated every year during the Chithirai Festival in mid-April. The golden images of Meenakshi and Sundareswarar are carried into the 16th century oonjal mandapam (swing corridor) and placed on the swing every Friday at 5:30 p.m. The shrine has a 3-storied gopuram guarded by two stern dwarapalakas (guardians) and supported by golden, rectangular columns that bear lotus markings. Along the perimeter of the chamber, granite panels of the divine couple are present. The hall is situated in the western bank of the temple tank.

 

The Mudali Pillai Mandapam or Iruttu Mandapam (Dark hall) is a wide and long hall built by Muthu Pillai during 1613. On the pillars of the halls, there are fine sculptures depicting the story of Shiva taking the form of Bikshadanar to teach the sages a lesson.

 

The Mangayarkarasi mandapam is a newly built hall situated opposite to the marriage halls and bears the name of saindy queen, Mangayarkarasi who contributed to Saivism and Tamil language. To the south of Mangayarkarasi mandapam lies the Servaikarar Mandapam, a hall built by Marudu brothers in 1795. The Nagara mandapam (Hall of beating drums) lies opposite to Sundareswarar shrine was built by Achaya Rayar, the minister of Rani Mangammal in 1635. The Kolu Mandapam is a hall for displaying dolls during the Navarathri festival celebrated during September–October. This hall is situated in the second corridor of the Meenakshi shrine at the western side.

 

HALL OF THOUSAND PILLARS

The Meenakshi Nayakkar Mandapam ("Hall of 1000 pillars") has two rows of pillars carved with images of yali (mythological beast with body of lion and head of an elephant), commonly used as the symbol of Nayak power. It is situated to the north of Sundareswarar flag staff hall. The Thousand Pillar Hall contains 985 (instead of 1000) carved pillars. The hall was built by Ariyanatha Mudaliar in 1569 and blends engineering skill and artistic vision. Ariyanatha Mudaliar was prime minister and general of Viswanatha Nayak, the first Nayaka of Madurai (1559–1600). He was also the founder of Poligar System, the quasi-feudal organization of the country dividing it into multiple palayams or small provinces in which each palayam was ruled by a palayakkarar or a petty chief. At the entrance of the hall is the statue of Ariyanatha Mudaliar seated on a horse-back, flanking one side of the entrance to the temple. The statue is periodically garlanded by worshippers. Each pillar in the hall is a carved monument of the Dravidian sculpture. The more prominent among the carved figures are those of Rati (wife of Kama), Karthikeya, Ganesha, Shiva as a wandering mendicant and endless number of yalis (mythical figures of lions). There is a Temple Art Museum in the hall where icons, photographs, drawings, and other exhibits of the 1200 years old history of the temple are displayed. Just outside this hall, towards the west, are the Musical Pillars. Each pillar, when struck, produces a different musical note.

 

RELIGIOUS SIGNIFANCE OF THE TEMPLE

A distinct feature of Meenakshi in terms of iconography is the presence of parrot in her right hand. The parrot is generally associated with the Vaishnava azhwar saint Andal. "Pancha Sabhai" refers to the five royal courts of Nataraja (dancing form of Shiva) where he performed cosmic dance. The Tamil word velli means silver and ambalam means stage or altar. This massive Nataraja sculpture is enclosed in a huge silver altar and hence called "Velli Ambalam" (silver abode). This is a special figure of Natarja which usually differs from Chola bronzes; in the Chola images, Nataraja is shown dancing with his left leg raised, but this sculpture has the right leg raised. According to the Tiruvilayaadal Puranam (Shiva's sacred games), this is on the request of Rajasekara Pandya, who was a sincere devotee of Shiva. He requested the deity to change his position, as he felt that keeping the same foot raised would put enormous strain and got a graceful acquiescence from the divine master.

 

RITUALS

WORSHIP

There are close to 50 priests in the temple who perform the puja (rituals) during festivals and on a daily basis. Like other Shiva temples of Tamil Nadu, the priests belong to Shivaite to the Adishaivas, a Brahmin sub-caste. The priests live in a closed area north of the temple. The temple has a six time pooja calendar everyday, each comprising four rituals namely abhisheka (sacred bath), alangaram (decoration), neivethanam (food offerings) and deepa aradanai (waving of lamps) for both Meenakshi and Sundareswarar. The puja (worship) ceremonies are held amidst music with nadhaswaram (pipe instrument) and tavil (percussion instrument), religious instructions in the Vedas by priests and prostration by worshippers in front of the temple mast. The common practise is to worship Meenakshi before Sundareswarar. Margazhi (December–January) ritual is prominent one for winning a perfect, god-like husband - it is Meenakshi's ennai kappu festival. Aligned with the cardinal points, the street plans forms a giant mandala (group) whose sacred properties are believed to be activated during the mass clockwise circumambulation of the central temple.

 

FESTIVALS

The most important festival associated with the temple is the "Meenakshi Thirukalyanam" (the divine marriage of Meenakshi) that is celebrated in April every year. The wedding of the divine couple is regarded as a classic instance of south Indian female-dominated marriage, an arrangement referred as "Madurai marriage". The male dominated marriage is called "Chidambaram marriage", referring to Shiva's uncontested dominance, ritual and mythic, at the famous Shiva temple of Chidhambaram. The marriage brings together rural and urban people, deities and mortals, Saivas (those who worship Shiva) and Vaishnavas (those who worship Vishnu) in order to celebrate Meenakshi as the royal monarch. During the one month period, there are a number of events including the "Ther Thiruvizhah" (chariot festival) and "Theppa Thiruvizhah" (float festival). Major Hindu festivals like Navrathri and Shivrathri are celebrated in the temple. Like most Shakti temples in Tamil Nadu, the Fridays during the Tamil months of Aadi (July–August) and Thai (January–February) are celebrated in the temple by thousands of devotees. "Avani Moola Utsavam" is a 10-day festival mainly devoted to Sundareswarar describes his various Thiruvilayadal meaning Shiva's sacred games.

 

LITERARY MENTION

Down the centuries, the temple has been a centre of education of Tamil culture, literature, art, music and dance. All three assemblies of Tamil language, the Tamil Sangam (about the 3rd century BCE to the 3rd century CE), were held at Madurai. Tamil poets of different epochs participated in these assemblies and their composition is called Sangam literature. During the third Tamil sangam, the comparative merit of the poets was decided by letting the works float in the lotus tank of the temple. It was believed that a divine force would cause the work of superior merit to float on the surface while the inferior literary work would sink. Tevaram, the 7th-8th century Tamil canonoical work on Shiva, are works by the three prominent Nayanars (Saivites) namely Appar, Sundarar and Thirugnanasambandar. The temple has been glorified by the hymns of Tevaram by all the three poets. Different hymns of Sambandar on the temple mention the queen of Pandya Nadu, his desire to defeat Jains in debate, the miracles performed by him curing the king's fever, the Jains' provocation of Sambandar by burning his house and challenging him to debate, and Sambandar's eventual victory over them. A poem from the Third Tirumurai by Sambandar is as under –

 

"Lady who has eyes that are comparable to the startled eyes of the deer!

the great chief queen of the Vaḻuti! listen to what I say. Do not feel distressed that I am such a young boy from whose mouth milk is flowing. when the god in Tiruvālavāy stands by my side as help, I can not be easily defeated by the low people who inflict many sufferings on others and who live in hills beginning with great Āṉaimalai."

 

There are few poets in Tamil history who sang about goddess Parvati. The notable among them is Kumaraguruparar, a 17th-century Tamil poet, who composed Meenakshi Pillaitamil on Meenakshi of this temple. King Tirumalai Nayak's patronage of Kumaraguruparar has an important place in the history of pillaitamil (a genre of Tamil literature). Kumaraguruparar visited a lot of temples and when he visited this temple, he composed Meenakshi pillaitamil on Meenakshi. Legend has it that goddess appeared in the dreams of Nayak directing him to arrange the recital of Kumaraguruparar before a learned assembly. The king made elobrate arrangements for the event. Meenakshi impersonated herself in the form of a small girl and enjoyed the recital. As Kumaraguruparar was explaining the 61st verse, the goddess appreciated by garlanding the poet with a string of pearls and disappeared.

 

WIKIPEDIA

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

 

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

 

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

 

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

 

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

 

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

 

ETYMOLOGY

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

 

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

 

SACRET TEXTS - SHRUTI & SMRITI

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

 

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

 

SHRUTI

 

VAISHNAVA CANON

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

 

VEDAS

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

RIGVEDA

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

 

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

 

An alternate translation is provided by Wilson according to Sayana:

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

THREE STEPS

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

 

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

 

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

 

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

 

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

 

BRAHMANAS

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

SMRITI

 

VISHNU SMRITI

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

 

BHAGAVATA PURANA

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

 

VISHNU PURANA

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

 

aiśvaryasya samagrasya vīryasya yaśasaḥ śriyaḥ

jñāna-vairāgyayoś caiva ṣannāḥ bhaga itīṇganā

 

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

 

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

bhagavac-chabda-vācyāni vinā heyair guṇādibhiḥ

 

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

 

SANGAM LITERATURE

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

 

Paripadal by kaduvan iLaveyinanAr:

 

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

 

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

 

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

 

āyiram viritteḻu talaiyuṭai aruntiṟaṟ

 

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

 

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

 

THEOLOGICAL ATTRIBUTES

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

 

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

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

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

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

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

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

 

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

 

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

 

FIVE FORMS

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

 

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

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

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

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

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

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

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

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

 

RELATIONS WITH OTHER DEITIES

 

SHIVA

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

 

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

 

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

 

LAKSHMI

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

 

SARASWATI & GANGA

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

 

GARUDA

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

 

ICONOGRAPHY

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

 

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

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

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

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

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

He rests on Ananta, the immortal and infinite snake.

 

Vishnu is always to be depicted holding four attributes:

 

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

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

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

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

 

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

 

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

 

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

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

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

 

AVATARS

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

 

The most commonly believed incarnations of Vishnu are:

 

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

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

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

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

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

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

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

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

Buddha, the ninth avatar of Vishnu.

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

 

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

 

BEYOND HINDUISM

 

SIKHISM

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

 

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

 

BUDDHISM

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

 

OTHERS

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

 

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

 

THOUSAND NAMES OF VISHNU

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

 

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

 

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

 

Vasudeva

Sankarshana

Pradyumna

Anirudha

Keshava

Narayana

Madhava

Govinda

Vishnu

Madhusudana

Trivikrama

Vamana

Sridhara

Hrishikesha

Padmanabha

Damodara

Purushottama

Achyuta

Narasimha

Janardana

Hari

Krishna

Adhokshaja

 

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

 

WIKIPEDIA

1976 - Walter J. Diethelm

Magdeburg, Germany

form and color

Forming footings at the Harvard Street Bridge.

 

Rapid strata formation in soft sand (field evidence).

Photo of strata formation in soft sand on a beach, created by tidal action of the sea.

Formed in a single, high tidal event. Stunning evidence which displays multiple strata/layers.

 

Why this is so important ....

It has long been assumed, ever since the 17th century, that layers/strata observed in sedimentary rocks were built up gradually, layer upon layer, over many years. It certainly seemed logical at the time, from just looking at rocks, that lower layers would always be older than the layers above them, i.e. that lower layers were always laid down first followed, in time, by successive layers on top.

This was assumed to be true and became known as the superposition principle.

It was also assumed that a layer comprising a different material from a previous layer, represented a change in environmental conditions/factors.

These changes in composition of layers or strata were considered to represent different, geological eras on a global scale, spanning millions of years. This formed the basis for the Geologic Column, which is used to date rocks and also fossils. The evolutionary, 'fossil record' was based on the vast ages and assumed geological eras of the Geologic Column.

There was also circular reasoning applied with the assumed age of 'index' fossils (based on evolutionary beliefs & preconceptions) used to date strata in the Geologic Column. Dating strata from the assumed age of (index) fossils is known as Biostratigraphy.

We now know that, although these assumptions seemed logical, they are not supported by the evidence.

At the time, the mechanics of stratification were not properly known or studied.

 

An additional factor was that this assumed superposition and uniformitarian model became essential, with the wide acceptance of Darwinism, for the long ages required for progressive microbes-to-human evolution. There was no incentive to question or challenge the superposition, uniformitarian model, because the presumed, fossil 'record' had become dependant on it, and any change in the accepted model would present devastating implications for Darwinism.

This had the unfortunate effect of linking the study of geology so closely to Darwinism, that any study independent of Darwinian considerations was effectively stymied. This link of geology with Darwinian preconceptions is known as biostratigraphy.

 

Some other field evidence, in various situations, can be observed here: www.flickr.com/photos/101536517@N06/sets/72157635944904973/

and also in the links to stunning, experimental evidence, carried out by sedimentologists, given later.

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GEOLOGIC PRINCIPLES (established by Nicholas Steno in the 17th Century):

What Nicolas Steno believed about strata formation is the basis of the principle of Superposition and the principle of Original Horizontality.

dictionary.sensagent.com/Law_of_superposition/en-en/

“Assuming that all rocks and minerals had once been fluid, Nicolas Steno reasoned that rock strata were formed when particles in a fluid such as water fell to the bottom. This process would leave horizontal layers. Thus Steno's principle of original horizontality states that rock layers form in the horizontal position, and any deviations from this horizontal position are due to the rocks being disturbed later.”)

BEDDING PLANES.

'Bedding plane' describes the surface in between each stratum which are formed during sediment deposition.

science.jrank.org/pages/6533/Strata.html

“Strata form during sediment deposition, that is, the laying down of sediment. Meanwhile, if a change in current speed or sediment grain size occurs or perhaps the sediment supply is cut off, a bedding plane forms. Bedding planes are surfaces that separate one stratum from another. Bedding planes can also form when the upper part of a sediment layer is eroded away before the next episode of deposition. Strata separated by a bedding plane may have different grain sizes, grain compositions, or colours. Sometimes these other traits are better indicators of stratification as bedding planes may be very subtle.”

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Several catastrophic events, flash floods, volcanic eruptions etc. have forced Darwinian, influenced geologists to admit to rapid stratification in some instances. However they claim it is a rare phenomenon, which they have known about for many years, and which does nothing to invalidate the Geologic Column, the fossil record, evolutionary timescale, or any of the old assumptions regarding strata formation, sedimentation and the superposition principle. They fail to face up to the fact that rapid stratification is not an extraordinary phenonemon, but rather the prevailing and normal mechanism of sedimentary deposition whenever and wherever there is moving, sediment-laden water. The experimental evidence demonstrates the mechanism and a mass of field evidence in normal (non-catastrophic) conditions shows it is a normal everyday occurrence.

It is clear from the experimental evidence that the usual process of stratification is - that strata are not formed by horizontal layers being laid on top of each other in succession, as was assumed. But by sediment being sorted in the flowing water and laid down diagonally in the direction of flow. See diagram:

www.flickr.com/photos/truth-in-science/39821536092/in/dat...

 

The field evidence (in the image) presented here - of rapid, simultaneous stratification refutes the Superposition Principle and the Principle of Lateral Continuity.

 

We now know, the Superposition Principle only applies on a rare occasion where sedimentary deposits are laid down in still water.

Superposition is required for the long evolutionary timescale, but the evidence shows it is not the general rule, as was once believed. Most sediment is laid down in moving water, where particle segregation is the general rule, resulting in the simultaneous deposition of strata/layers as shown in the photo.

 

See many other examples of rapid stratification (with geological features): www.flickr.com/photos/101536517@N06/sets/72157635944904973/

 

Rapid, simultaneous formation of layers/strata, through particle segregation in moving water, is so easily created it has even been described by sedimentologists (working on flume experiments) as a law ...

"Upon filling the tank with water and pouring in sediments, we immediately saw what was to become the rule: The sediments sorted themselves out in very clear layers. This became so common that by the end of two weeks, we jokingly referred to Andrew's law as "It's difficult not to make layers," and Clark's law as "It's easy to make layers." Later on, I proposed the "law" that liquefaction destroys layers, as much to my surprise as that was." Ian Juby, www.ianjuby.org/sedimentation/

 

The example in the photo is the result of normal, everyday tidal action formed in a single incident. Where the water current or movement is more turbulent, violent, or catastrophic, great depths (many metres) of stratified sediment can be laid down in a short time. Certainly not the many millions of years assumed by evolutionists.

 

The composition of strata formed in any deposition event. is related to whatever materials are in the sediment mix, not to any particular timescale. Whatever is in the mix will be automatically sorted into strata/layers. It could be sand, or other material added from mud slides, erosion of chalk deposits, coastal erosion, volcanic ash etc. Any organic material (potential fossils), alive or dead, engulfed by, or swept into, a turbulent sediment mix, will also be sorted and buried within the rapidly, forming layers.

 

See many other examples of rapid stratification with geological features: www.flickr.com/photos/101536517@N06/sets/72157635944904973/

 

Stratified, soft sand deposit. demonstrates the rapid, stratification principle.

Important, field evidence which supports the work of the eminent, sedimentologist Dr Guy Berthault MIAS - Member of the International Association of Sedimentologists.

(Dr Berthault's experiments (www.sedimentology.fr/)

And also the experimental work of Dr M.E. Clark (Professor Emeritus, U of Illinois @ Urbana), Andrew Rodenbeck and Dr. Henry Voss, (www.ianjuby.org/sedimentation/)

 

Location: Yaverland, Isle of Wight. Photographed: 14/03/2019

This field evidence demonstrates that multiple strata in sedimentary deposits do not need millions of years to form and can be formed rapidly. This natural example confirms the principle demonstrated by the sedimentation experiments carried out by Dr Guy Berthault and other sedimentologists. It calls into question the standard, multi-million year dating of sedimentary rocks, and the dating of fossils by depth of burial or position in the strata.

Mulltiple strata/layers are evident in this example.

 

Dr Berthault's experiments (www.sedimentology.fr/) and other experiments (www.ianjuby.org/sedimentation/) and field studies of floods and volcanic action show that, rather than being formed by gradual, slow deposition of sucessive layers superimposed upon previous layers, with the strata or layers representing a particular timescale, particle segregation in moving water or airborne particles can form strata or layers very quickly, frequently, in a single event.

youtu.be/wFST2C32hMQ

youtu.be/SE8NtWvNBKI

And, most importantly, lower strata are not older than upper strata, they are the same age, having been created in the same sedimentary episode.

Such field studies confirm experiments which have shown that there is no longer any reason to conclude that strata/layers in sedimentary rocks relate to different geological eras and/or a multi-million year timescale. www.youtube.com/watch?v=5PVnBaqqQw8&feature=share&amp.... they also show that the relative position of fossils in rocks is not indicative of an order of evolutionary succession. Obviously, the uniformitarian principle, on which the geologic column is based, can no longer be considered valid. And the multi-million, year dating of sedimentary rocks and fossils needs to be reassessed. Rapid deposition of stratified sediments also explains the enigma of polystrate fossils, i.e. large fossils that intersect several strata. In some cases, tree trunk fossils are found which intersect the strata of sedimentary rock up to forty feet in depth. upload.wikimedia.org/wikipedia/commons/thumb/0/08/Lycopsi... They must have been buried in stratified sediment in a short time (certainly not millions, thousands, or even hundreds of years), or they would have rotted away. youtu.be/vnzHU9VsliQ

 

In fact, the vast majority of fossils are found in good, intact condition, which is testament to their rapid burial. You don't get good fossils from gradual burial, because they would be damaged or destroyed by decay, predation or erosion. The existence of so many fossils in sedimentary rock on a global scale is stunning evidence for the rapid depostion of sedimentary rock as the general rule. It is obvious that all rock containing good intact fossils was formed from sediment laid down in a very short time, not millions, or even thousands of years.

 

See set of photos of other examples of rapid stratification: www.flickr.com/photos/101536517@N06/sets/72157635944904973/

 

Carbon dating of coal should not be possible if it is millions of years old, yet significant amounts of Carbon 14 have been detected in coal and other fossil material, which indicates that it is less than 50,000 years old. www.ldolphin.org/sewell/c14dating.html

 

www.grisda.org/origins/51006.htm

 

Evolutionists confidently cite multi-million year ages for rocks and fossils, but what most people don't realise is that no one actually knows the age of sedimentary rocks or the fossils found within them. So how are evolutionists so sure of the ages they so confidently quote? The astonishing thing is they aren't. Sedimentary rocks cannot be dated by radiometric methods*, and fossils can only be dated to less than 50,000 years with Carbon 14 dating. The method evolutionists use is based entirely on assumptions. Unbelievably, fossils are dated by the assumed age of rocks, and rocks are dated by the assumed age of fossils, that's right ... it is known as circular reasoning.

 

* Regarding the radiometric dating of igneous rocks, which is claimed to be relevant to the dating of sedimentary rocks, in an occasional instance there is an igneous intrusion associated with a sedimentary deposit -

Prof. Aubouin says in his Précis de Géologie: "Each radioactive element disintegrates in a characteristic and constant manner, which depends neither on the physical state (no variation with pressure or temperature or any other external constraint) nor on the chemical state (identical for an oxide or a phosphate)."

"Rocks form when magma crystallizes. Crystallisation depends on pressure and temperature, from which radioactivity is independent. So, there is no relationship between radioactivity and crystallisation.

Consequently, radioactivity doesn't date the formation of rocks. Moreover, daughter elements contained in rocks result mainly from radioactivity in magma where gravity separates the heavier parent element, from the lighter daughter element. Thus radiometric dating has no chronological signification." Dr. Guy Berthault www.sciencevsevolution.org/Berthault.htm

 

Rapid strata formation and rapid erosion at Mount St Helens.

slideplayer.com/slide/5703217/18/images/28/Rapid+Strata+F...

 

Visit the fossil museum:

www.flickr.com/photos/101536517@N06/sets/72157641367196613/

 

Just how good are peer reviews of scientific papers?

www.sciencemag.org/content/342/6154/60.full

www.examiner.com/article/want-to-publish-science-paper-ju...

 

The neo-Darwinian idea that the human genome consists entirely of an accumulation of billions of mutations is, quite obviously, completely bonkers. Nevertheless, it is compulsorily taught in schools and universities as 'science'.

www.flickr.com/photos/truth-in-science/35505679183

 

Dr James Tour - 'The Origin of Life'

youtu.be/B1E4QMn2mxk

  

Re:Form School NYC

The Royal Air Force Comforts Committee (RAF Comforts Committee) was formed by the Air Council in October 1939 to determine the type and quantities of ‘knitted comforts’ required for the RAF as well as arrange for their collection, storage and distribution through their depots. Local knitting parties or groups were organised mainly by the Women’s Institute (WI) and the Women’s Voluntary Service (WVS) according to guidance issued by the Committee. Anyone who could knit was roped into these knitting parties and that included many men too (it was commonplace back then for men to be competent knitters). Groups needed to be registered with the Comforts Committee to ensure they got supplies of free wool and badges/certificates. As the war drew to a close in 1945, knitted comforts were also made for needy children in the liberated countries and distributed by the Red Cross.

 

The main forms of knitted RAF Comforts were mittens, pullovers (preferably with polo necks), woollen helmets (balaclavas) and gum-boot stockings (of oiled wool). Other items such as ordinary socks and gloves were knitted in smaller quantities as required by the RAF and only to supplement regulation uniform issues. The official colour was a grey/blue but by 1941 there was a shortage of wool as it was required in ever increasing quantities and so wool of many shades of blue and sometimes other colours were supplied for the knitted comforts. The RAF had issued a standard book containing instructions for knitting parties with approved patterns.

 

This badge issued by the RAF Comforts Committee was given free to each registered local knitting party but only the first badge (usually the party leader), additional badges required were supplied according to the amount of work done by an individual and at the cost of 1/- (one shilling) each, accompanied by the certificate. All this would have been monitored by the Comforts Committee.

 

Knitted garments and ‘Comforts’ were an important wartime contribution for the men and women of the Defence Forces, whether it was the Royal Navy, RAF, Army or Auxiliary forces. Invariably, these garments were hand-knitted in wool by countless volunteer throughout Britain who helped ensure those at war would be wearing their extra ‘comforts’ and make the endurance that bit more bearable. Regulation clothing issue was generally considered basic and not the most comfortable. Besides, standard issue may not have included sufficient protection against harsh weather conditions and ‘comforts’ were seen as filling that gap.

 

Knitting wool was sourced and purchased by The Board of Trade according to a set specification and colour (blue/grey for the RAF & Royal Navy blue) to be stored at their depots. Since the beginning of the war, the number of knitted items grew to the extent it had become more difficult to source wool in the quantities required and its cost went up. Funds to purchase the wool came mainly from the Penny-a-Week savings schemes and Comforts Fund collections – all voluntary donations in aid of the War Effort. Some figures quoted in the Hansard Parliamentary report (link below) give an indication of the huge quantities of wool required and its increased rate of usage.

 

Figures stated are the total number of finished garments distributed regardless of type:

 

Feb 1 1940 – 31 Jan 1941 – 152,737

Feb 1 1941 – 31 Jan 1942 – 392,191

Feb 1 1942 – Jan 31 1943 – 599,246

 

.

When the Comforts knitting scheme started up at the beginning of the War, it was very much on an ad-hoc basis with individual women and groups knitting garments to supply their own men away at war. The schemes were quickly integrated into the general Home Front organisation and their potential harnesses by the various Comforts Committees to ensure more efficient supply, quality and upkeep of morale. The official line was generally that the ‘individual’s reward was the satisfaction in knowing the men’s appreciation’ to encourage the volunteers to greater effort. Anyone who could knit were encouraged to join a knitting group, officially known as ‘parties, a word used to engender a greater feeling of solidarity. By April 1943, there were between 6,000 and 7,000 knitting ‘parties’ across Britain (see Hansard link below).

  

References:

 

ticketybootupney.blogspot.ie/2012/10/knitting-for-raf.html (Knitting for the RAF, official booklet issued 1940 by the Royal Air Force Comforts Committee costing one shilling each).

 

www.sentimentaljourney.co.uk/tl/comfort.htm (About knitted comforts for the defence forces).

 

hansard.millbanksystems.com/lords/1943/aug/03/merchant-na... (Parliamentry proposal to extent clothing coupon scheme to cover knitted comforts for the Merchant Navy. Aim is to ensure fairer and more efficient distribution of Comforts packs and eliminate possible abuses but the order was withdrawn. Give an insight into how the scheme works.)

 

barbaraknitsagain.blogspot.com/2012/02/knitting-for-army.... (Short article about WW2 knitted comforts and the 1940 booklet Knitting for the Army, Official Guide issued by authority of the Director of Voluntary Organizations during 1940. Notice the image of the ‘Volunteer Worker for the Forces’ badge on the cover.)

  

Enamels: 1 (blue).

Finish: Chrome plated.

Material: Brass.

Fixer: Pin.

Size: 15/16” x 15/16” (24mm x 24mm).

Process: Die-stamped.

Imprint: THOMAS FATTORINI LTD. REGENT ST. BIRMINGHAM.

 

October 2006, Ottawa County, Ohio

..wood form I made from some scape soft-wood to confirm a concept for creation of a camera grip that never passed presentation and ideas because there was newer ideas that did not require optical pin-registrations and vertical/horizontal referencing etcetera

  

comment

Fotos Tomadas desde El campanario

de la Catedral Metropolitana

 

Aunque desde 1642 se colocó el basamento de la torre oriente y en 1672 el primer cuerpo de la misma, se puede decir que las torres se construyeron entre 1787 y 1791. En su construcción participaron los arquitectos Juan Serrano, Juan Lozano y José Damián Ortiz de Castro.

 

Las torres de la Catedral tienen una altura entre 64 y 67 metros. Tienen un remate en forma de campana, que termina con una esfera coronada por una cruz. Las esferas contienen cruces, monedas de la época, relicarios, oraciones y testimonios autorizados por el Cabildo de la Catedral. Además de ornamentación de trofeos, coronas y collares, cada torre tiene 8 esculturas monumentales, las cuales representan a santos protectores de la ciudad: 4 Doctores de la Iglesia occidental y 4 Doctores de la Iglesia española, y fueron realizados por José Zacarías Cora (torre poniente) y Santiago Cristóbal de Sandoval (torre oriente). Las estatuas en la torre poniente representan a Gregorio VII, San Agustin, Leandro de Sevilla, Fulgencio de Cartagena, San Francisco Javier y a Santa Bárbara. Las estatuas en la torre oriente representan a Emilio, Santa Rosa de Lima, Maria (madre de Jesus), San Ambrosio de Milan, Jerónimo de Estridón, San Felipe de Jesús, San Hipólito y San Isidro Labrador.

 

Entre las dos torres cuentan con espacio suficiente para albergar 56 campanas, aunque al día de hoy son treinta las que han sido colocadas, siendo la torre poniente la que tiene mayor número de ellas. Cada campana recibe un nombre y su peso se mide en quintales o en arrobas. La mayor de ellas tiene el nombre de Santa María de Guadalupe, fue fundida por Salvador de la Vega en 1791 y pesa alrededor de trece toneladas. La campana más antigua se fundió en 1578, y se le conoce como Santa María de la Asunción (también conocida como Doña María), con peso aproximado de 7 toneladas. La más nueva es del año 2002 y fue colocada con motivo de la canonización de Juan Diego, bendecida por el papa Juan Pablo II.

 

Dentro de la parte superior de cada torre hay escaleras de madera de forma elipsoidal, de las cuales hay muy pocos ejemplos en el mundo. Estas escaleras helicoidales u ovaladas son poco utilizadas pues el deterioro ocasionado por el tiempo es evidente, por lo cual solo son usadas por los campaneros. Empero, el enorme desgaste de escaleras y zonas del campanario se ha agudizado por la extensiva visita de turistas a un sitio no hecho para ello.

 

Las campanas de Catedral han marcado momentos importantes en la historia del país. En 1692 su repique convocó al pueblo a formar parte del rescate del Parián. En 1821 fueron testigo y parte en la entrada del Ejército Trigarante. El 21 de julio de 1822 repicaron en la coronación de Agustín de Iturbide, realizada en esta misma Catedral y doblaron tanto en su fallecimiento como al colocarse sus restos en la capilla de San Felipe de Jesús. El 14 de septiembre de 1847 convocaron a la defensa de la Ciudad de México ante la invasión estadounidense. El 15 de septiembre de 1910 marcaron el inicio de las festividades del centenario de la Independencia nacional. Han doblado a duelo al entrar por la Puerta Jubilar de Catedral los cadáveres de los arzobispos y cardenales Miguel Darío Miranda Gómez y Ernesto Corripio Ahumada, en 1986 y en el 2008 respectivamente. Han repicado en su totalidad al entrar a la Catedral por vez primera un nuevo arzobispo de México, como en 1995 al llegar Mons. Norberto Rivera Carrera y al entrar pro primera vez como cardenal en marzo de 1998. Tocaron a vuelo el 26 de enero de 1979, en la primera visita de Juan Pablo II a México, y en su quinta y última visita a México, del 30 de julio al 1° de agosto de 2002, con motivo de la canonización de Juan Diego. Repican en su totalidad 5 veces al año: en la fiesta de Corpus, en la noche del 15 de septiembre, en la noche de Navidad, en la misa de Año Nuevo y en la misa de Pascua.

 

Dentro del remate en forma esférica de la torre oriente fue hallada en 2007 una caja del tiempo, colocada cuando fue finalizada dicha estructura. En la cantera del remate se inscribió la fecha "mayo 14 de 1791", y el nombre "Tibursio Cano". Dentro de la caja de plomo, había medallas religiosas, monedas de la época, un relicario, una cruz de palma y diversas imágenes de santos9 .

 

www.facebook.com/catedraleseiglesias

 

© Álbum 0610

By Catedrales e Iglesias

By Cathedrals and Churches

Arquidiócesis Primada de México

www.catedraleseiglesias.com

 

Sitio Oficial de la Arquidiócesis de México

www.arquidiocesismexico.org.mx/

 

Rectoría La Asunción (Catedral Metropolitana)

Adscrito Pbro: Cuauhtémoc Islas Barquera

Rector Pbro: Francisco Javier Becerra Martínez

Adscrito Pbro:Luis Gutiérrez Hoppe

Rector Pbro: Manuel Arellano Rangel

Adscrito Pbro: Felipe Galicia Reyes

Plaza Constitución S/N

Colonia Centro

C.P. 06060

Delegación Cuauhtémoc

Tel: 01 (555) 521-7737

Fax:01 (555) 521-6873

California voter registration offline and online—it’s all just a form.

Wroblewski, Luke. 2008. Web Form Design: Filling In the Blanks. New York: Rosenfeld Media.

www.rosenfeldmedia.com/books/webforms/

One of the world’s most successful and resilient airlines, Cathay Pacific was formed in September 1946 by Roy Farrell and Sydney de Kantzow, former US Army Air Force and Royal Australian Air Force pilots respectively, who had met while flying cargo flights from India to China during World War II. Using a single war surplus Douglas DC-3, the two pilots flew the airline’s first flight themselves, from Sydney to Shanghai via Manila. The name Cathay Pacific came from Farrell and de Kantzow’s hope that one day their airline would fly from China (Cathay) across the Pacific. Their prediction would be proven accurate.

 

By 1948, Cathay Pacific had acquired another DC-3, and Farrell and de Kantzow put the airline up for sale, with both men retaining 20 percent shares. Cathay Pacific’s controlling interest was bought by the Swire Group, a British-Chinese trading company founded in 1861; the Swire Group today still owns the controlling interest in the airline. Using Douglas DC-4s and DC-6s, Cathay Pacific expanded its routes throughout Southeast Asia and Japan, though it was barred from flying to the People’s Republic of China after the Chinese Revolution ended in 1949. It was able to buy out Hong Kong Airlines in 1959, becoming the Hong Kong Crown Colony flag carrier; in 1964 it entered the jet age with the purchase of Convair 880s.

 

Even further expansion continued, with Chinese service reopened by 1974, service to London by 1980, and nonstop service to Vancouver, Canada in 1983—realizing its founders’ dream of transpacific service. By this time, its fleet was mostly Lockheed L-1011 Tristars (the largest non-American operator of the type) and Boeing 747s, the latter of which was truly a challenge to operate from Cathay Pacific’s headquarters of Hong Kong’s Kai Tak International Airport.

 

If anything could stop Cathay Pacific’s growth, it might be the return of Hong Kong to China, scheduled for 1997. This proved to be less trouble than originally thought, and aside from the removal of the British Union Jack from the tail and changing registrations, Cathay Pacific continued operations as before. It changed its livery to a more modern white over gray fuselage color, removing the three green stripes that had been the company’s trademark to a single dark green stripe and a stylized bird, nicknamed the “Brushwing.” It remained the flag carrier for Hong Kong after 1997, using the city’s flag rather than China’s. Cathay Pacific pioneered a transpolar route from Hong Kong to New York in 1998, which at over 8000 miles is one of the longest in operation, and was both the last airline to depart Kai Tak and the first to arrive at Hong Kong’s new airport, Chep Lap Kok.

 

Cathay Pacific today is one of the world’s most successful and safest airlines (its last fatal accident, a terrorist bombing, occurred in 1972), serving over 160 destinations worldwide. It weathered the 1998 Asian currency crisis and post-9/11 downturn, along with labor problems. Besides its own airline operations, Cathay Pacific also operates a cargo division (the world’s largest) and owns subsidiaries Air Hong Kong and Dragonair. It operates a fleet of mostly Airbus A340s and Boeing 777s.

 

VR-HKG served its entire existence with Cathay Pacific from 1979 to 1997, when it was retired and scrapped at Victorville, California in 1999.

 

+++ DISCLAIMER +++

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

  

Some Background:

The Royal Libyan Air Force (سلاح الجو الملكي الليبي , Al Quwwat al Jawwiya al Malakiya al Libiyya) was established in September 1962 by a decision of the minister of defense Abd al-Nabi Yunis. Lt. Col. al-Hadi Salem al-Husomi was assigned to lead the new force. It was originally equipped with a small number of transports and trainers. In May 1967, the Kingdom of Libya reached an agreement with the United States to supply Northrop F-5A and Bs to the Royal Libyan Air Force and more advanced trainers, in the form of six Cessna T-37C trainers.

 

The Cessna T-37 Tweet (designated Model 318 by Cessna) was a small, economical twin-engined jet trainer type which flew for decades as a primary trainer for the United States Air Force (USAF) and in the air forces of several other nations. It was a response to the USAF’s request for proposals for a "Trainer Experimental (TX)" program in 1952, specifying a lightweight, two-seat basic trainer for introducing USAF cadets to jet aircraft. Cessna responded to the TX request with a twin-jet design with side-by-side seating. The USAF liked the Cessna design and the side-by-side seating since it let the student and instructor interact more closely than with tandem seating. In the spring of 1954, the USAF awarded Cessna a contract for three prototypes of the Model 318, and a contract for a single static test aircraft. The Air Force designated the type as XT-37.

 

The XT-37 had a low, straight wing, with the engines buried in the wing roots, a clamshell-type canopy hinged to open vertically to the rear, a control layout similar to that used on board of contemporary operational USAF aircraft, ejection seats, and tricycle landing gear with a wide track of 14 ft (4.3 m). It first flew on 12 October 1954. The wide track and a steerable nosewheel made the aircraft easy to handle on the ground, and the short landing gear avoided the need for access ladders and service stands. The aircraft was designed to be simple to maintain, with more than 100 access panels and doors. An experienced ground crew could change an engine in about half an hour.

The XT-37 was aerodynamically clean, so much so that a speed brake was fitted behind the nosewheel doors to help increase drag for landing and for use in other phases of flight. Since the short landing gear placed the engine air intakes close to the ground, screens pivoted over the intakes from underneath when the landing gear was extended, to prevent foreign object damage.

The XT-37 was fitted with two Continental-Teledyne J69-T-9 turbojet engines, French Turbomeca Marboré engines built under license, with 920 lbf (4.1 kN) thrust each. The engines had thrust attenuators to allow them to remain spooled-up (i.e. rotating at speeds above idle) during landing approach, permitting shorter landings while still allowing the aircraft to easily make another go-around in case something went wrong. Empty weight of the XT-37 was 5,000 lb (2,300 kg).

Tests showed the XT-37 had a maximum speed of 390 mph (630 km/h) at altitude, with a range of 935 mi (1,505 km). The aircraft had a service ceiling of 35,000 feet (10,700 m) but was unpressurized and was therefore limited to an operational ceiling of 25,000 feet (7,600 m) by USAF regulations.

 

The production T-37A was similar to the XT-37 prototypes, except for minor changes to fix problems revealed by the flight-test program. The first T-37A was completed in September 1955 and flew later that year. The T-37A was very noisy, even by the standards of jet aircraft. The intake of air into its small turbojets emitted a high-pitched shriek that led some to describe the trainer as the "Screaming Mimi", the "6,000 pound dog whistle" or "Converter" (= converts fuel and air into noise and smoke). The piercing whistle quickly gave the T-37 its name, the "Tweety Bird", or just "Tweet". The Air Force spent a lot of time and money soundproofing buildings at bases where the T-37 was stationed, and ear protection remains mandatory for all personnel when near an operating aircraft.

 

The USAF ordered 444 T-37As, with the last produced in 1959. In 1957, the US Army evaluated three T-37As for battlefield observation and other combat support roles, but eventually procured the Grumman OV-1 Mohawk instead. However, the Air Force liked the T-37A, but considered it to be underpowered; consequently, they ordered an improved version, the T-37B, with uprated J-69-T-25 engines. The new engines provided about 10% more thrust and were more reliable. Improved avionics were also specified for the new variant. A total of 552 newly built T-37Bs was constructed through 1973, and all surviving T-37As were eventually upgraded to the T-37B standard as well.

 

The T-37A and T-37B had no built-in armament and no stores pylons for external armament. In 1961, Cessna began developing a modest enhancement of the T-37 for use as a weapons trainer. This new variant, the T-37C, was primarily intended for export and could be used for light attack duties if required. The respective changes included stronger wings, with a pylon under each wing outboard of the main landing gear well, and the T-37C could also be fitted with wingtip fuel tanks, each with a capacity of 65 US gal (245 l), that could be dropped in an emergency. A computing gunsight and gun camera were added, too, and the T-37C could also be fitted with a reconnaissance camera mounted inside the fuselage.

The primary armament of the T-37C was the General Electric "multipurpose pod" with a .50 caliber (12.7 mm) machine gun with 200 rounds, two 70 mm (2.75 in) folding-fin rocket pods, and four practice bombs. Other stores, such as folding-fin rocket pods or even IR-guided Sidewinder air-to-air missiles, could be carried, too. However, the changes increased the weight of the T-37C by 1,430 lb (650 kg). As the engines were not upgraded, this reduced top speed to 595 km/h (370 mph), though the optional wingtip tanks increased maximum range to 1,770 km (1,100 mi). A total of 273 T-37Cs were exported until T-37 production stopped in 1975.

 

The F-5s and the T-37s were the first dedicated combat aircraft for the young Libyan Air Force, which only operated six Douglas C-47 transports and three Lockheed T-33A trainers at the time. Fifty-six personnel underwent training at bases in the US, pilots at Williams Air Force Base; a US Survey Team on Expansion came to Libya in August 1968 to supervise the introduction of the new jet aircraft and service them. The first aircraft arrived at Wheelus Air Base, a former US facility about 11 kilometers (6.8 mi) from Tripoli and local training started immediately.

 

Despite this enthusiastic start, the Royal Libyan Air Force and its small stock of aircraft did not last long because the government was overthrown in a coup d’état in 1969. The USA left Libya in 1970 and the air force changed its name to the Libyan Arab Republic Air Force (LARAF), and Wheelus Air Base was subsequently renamed Okba Ben Nafi Air Base, becoming the LARAF’s headquarter.

 

During the following months, Libya distanced itself from the United Kingdom and the United States and the serviceability of the older American aircraft quickly declined, especially the F-5s were affected. Eight F-5 single-seaters and two two-seaters had been delivered until then, as well as four T-37Cs - the rest of the order was cancelled. Educated service personnel for these aircraft was initially loaned from Greece as an emergency measure, but this did not help much, and most were eventually sold to Turkey (the F-5s) and Greece (the T-37Cs). Instead, close ties were developed with France, and, accordingly, an order for 110 Dassault Mirage 5s fighter bombers, twelve Fouga Magisters, ten Aérospatiale Alouette IIIs and nine Aérospatiale SA 321 Super Frelons was signed in December 1969, and in 1971 the LARAF still received eight C-130Hs from the United States. Negotiations for the purchase of Soviet military aircraft only started in 1973, in the light of the experiences of the Yom Kippur War, but relations with France were maintained.

  

General characteristics:

Crew: 2

Length: 29 ft 3 in (8.92 m)

Wingspan: 33 ft 99.3 in (12.581 m)

Height: 9 ft 2 in (2.79 m)

Wing area: 201 sq ft (18.7 m²)

Aspect ratio: 6.2:1

Airfoil: NACA 2418 at root, NACA 2412 at tip

Empty weight: 5,484 lb (2.490 kg)

Max takeoff weight: 8,000 lb (3.632 kg)

 

Powerplant:

2× Continental-Teledyne J69-T-25 turbojets, 1,025 lbf (4.56 kN) thrust each

 

Performance:

Maximum speed: 595 km/h (370 mph)

Cruise speed: 360 mph (580 km/h, 310 kn) at 35,000 ft (11,000 m)

Stall speed: 85 mph (137 km/h, 74 kn)

Range: 932 mi (1,500 km, 810 nmi) with internal fuel

Service ceiling: 38,700 ft (11,800 m)

Rate of climb: 3,370 ft/min (17.1 m/s)

 

Armament:

2 underwing pylons for stores up to 500 lb (227 kg) each

 

The kit and its assembly:

This small but exotic what-if model was inspired by decals for an RLAF F-5A from a Colorado Decals sheet – and I had stumbled upon these rather hapless aircraft that only served for a few months under this flag in a F-5 book. I found the historic time slot interesting and wondered about other aircraft that could have been introduced in 1968 and found that Libya might have needed some more and more modern jet trainers than the three T-33 it had. My first choice was the British Jet Provost, but since Libya procured the equipment from US sources, a Hasegawa A-37 kit from a lot (and without any plan for it yet) came to the rescue.

 

At first I wanted to build the Tweet OOB, but found that the A-37 was a little “too much” for Libya’s needs, so I decided to retrograde it to a T-37C – a light trainer, but still armed. Biggest changes were the omission of the refueling probe, the gun port was faired over, and I left away the optional tip tanks and replaced them with scratched wing tips, made from styrene. A small dorsal antenna fairing “hump” was added, a smaller one that the A-37s feature. Even though they were not necessary to represent the real aircraft I added styrene tube dummies to the exhaust ports - the gaping OOB holes did not convince me.

 

The underwing hardpoints were reduced to just a pair of pylons, and the light armament now consist only of a pair of LAU-7 unguided missile launchers (from the Italeri NATO weapons set). The single-piece canopy was cut into two parts for open display, in the cockpit two gunsights, seat belts and a hydraulic piston for the open canopy were added.

  

Painting and markings:

The RLAF F-5s were the benchmark, and they carried a rather simple/dry livery: the were painted overall in a dull silver lacquer (not NMF), similar to the USAF prototypes, with a black anti-glare panel. Finding a good paint for this look/finish was not easy, though, and I eventually settled for Humbrol 11 (Silver) with a light black ink washing and post-panel-shading with Humbrol’s Matt Aluminum metallizer (27002).

 

The cockpit interior became medium grey while landing gear and air intakes became white. The LAU-7 pods became very light grey.

 

To emphasize the Tweet’s trainer role I pimped the uniform silver livery with dayglo orange markings, procured from an Airfix Jet Provost sheet. National markings were taken from the aforementioned Colorado Decals F-5 sheet, even though its national markings are wrong: they lack green, they were just printed in 2C. To mend this flaw, I just added a thin green decal stripe to the flag on the fin, and the roundels, which are pretty small on the F-5, were completely replaced with bigger alternatives: Albanian air force markings from an Antonov An-2 (Balkan Models sheet), with a small green decal circle added to their center. Simple, but effective, and in combination with the orange stripes the whole aircraft looks quite attractive. The tactical codes were taken from a Myanmar MiG-29 (Caracal Models sheet). Most stencils were taken from the OOB sheet, with some more added from the 1/72 A-37 aftermarket sheet from PrintScale.

 

After a light treatment with graphite around the jet nozzles the model was sealed overall with matt acrylic varnish (Italeri), and this IMHO comes pretty close to the real world RLAF F-5 finish.

  

A small project, even though the tank-less wing tips were quite challenging. However, the Libyan Tweet looks very convincing, and with the high-viz trainer markings the whole package even has a stylish touch. The early Libyan roundels are also quite exotic, since they were only used for a couple of months

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

en.wikipedia.org/wiki/Sumac

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.

 

Artist: JAZ (Franco Fasoli) Argentina

Abandoned rural library. Providence Forge, Va. I really wanted better light from the window with this one but there was a major storm howling outside. Too bad I couldn't catch the lightening through the window. :(

The Levee District formed in 1893 and was one of the most crime-ridden areas of Chicago. Bordellos, gambling halls, peep shows, saloons, pool rooms and cocaine parlors were the norm.

 

The Cullerton Hotel was said to be a den of "white slavery" where women, mostly from overseas, were forced to perform as prostitutes. Secret tunnels, which are there today, run underneath it. Al Capone took over the hotel in the 1920s and ran it before The Levee was formally ended as a red-light district in the 1930s. This building is said to be the last of The Levee District buildings yet standing.

 

Note that this building was recently sold and is being heavily remodeled. This wall with its wonderful ironwork is now gone.

 

Located at 2001 S. State St.

A women’s cooperative is forming in the township of Yoko, Cameroon. It’s called SOCCOMAD and has 42 members, including four men, who joined as allies.

 

Tukuri Marie Chantal, 52 years old, is an active member. “Because of the road project, we decided to start a cooperative and to empower women in our village,” she says.

Guindong Jaqueline, 60, explains further: “We realized that the road was going to bring workers and the population will increase. Through the cooperative we can grow enough food and we will have a ready market to sell to.”

 

A small section of the road near the farm is already paved. Once the road is completed, women farmers will have easier access to bigger markets to sell their produce.

 

“Personally, I decided to join the cooperative to be united with other women. When I have a problem, I now have sisters who can stand by me,” says Seto Satou.

 

“Before, we were producing food only for our families; now we can grow food and sell in the market,” adds Chantal. “Through the cooperative we can also get partners, access to finance, seeds, and we can commercialize our products. But we need access to many markets, where we can sell the cassava. The cassava crop cannot be left in the ground too long, because it rots.”

 

The cooperative is not just about income, it’s also about solidarity. In this impoverished area where social protection barely exists, the cooperative has given women a support system that they never had before.

 

“For me, firstly, [the cooperative] gives me the spirit of solidarity and the sense of belonging to a group,” says Yonah Virginie. “It encourages me to work hard when I see other women working to become independent.”

 

The cooperative members help each other with a range of issues—from helping each other farm their crops if someone is sick, to talking to couples when there’s a family dispute and helping each other save.

 

Their message to other women is unequivocally about solidarity: “United, we are stronger. We can do bigger things when we are together.”

 

Background:

A 200-kilometre road (124 miles) project stretches between the townships of Batschenga, Ntui and Yoko, in central Cameroon. The road crosses farms, forests, water bodies and pastoral areas that sustain the mostly agrarian economy of nearly 40 villages and three towns.

 

The road, a basic infrastructure that many countries take for granted, literally shapes the lives and livelihood of the people living along it. It decides whether a small entrepreneur will get her products transported on time, and at what cost, and whether more people will come to a restaurant that another has invested in. It determines what markets a woman farmer can access and how often a working mother can visit her daughter who is studying in the city. The red dirt road, waiting for asphalt, will determine if food, income, job, healthcare, livelihood will come, when, and to whom.

 

UN Women’s “Gender Road Project”, funded by The Development Bank of Central African States and the Government of Cameroon, is aiming to reach at least 20,000 women by 2020, living in rural communities along this road, to prepare them for a better future and access to bigger markets once the road is built. The project teaches them financial and entrepreneurial skills, improved farming techniques and facilitates their access to public services and land rights.

 

Photo: UN Women/Ryan Brown

 

Read More: www.unwomen.org/en/news/stories/2019/3/feature-story-came...

Legal form limited liability company

Founded in 1876

Seat Vienna

Management families Gürtler and Winkler

Sector Hotels

Websitewww.sacher.com

Seen The Hotel Sacher from Albertina square (another pictures you can see by clicking at the end of page!)

The Hotel Sacher is located in the 1st district of Vienna Inner City behind the Vienna State Opera. Famous specialty of the house is the original Sacher Cake. The hotel is a member of Leading Hotels of the World.

Story

Anna Maria Sacher

On the grounds of the demolished Carinthian Gate Theatre, directly opposite the newly opened Imperial and Royal Court Opera, was built a Maison Meublé. The restaurateur Eduard Sacher acquired the on a Renaissance palace modeled house and opened 1876 the Hotel de l'Opera with restaurant. The son of Franz Sacher, the inventor of the Sacher Cake, however, had already made a name for himself as a restaurateur and renamed the house quickly into Hotel Sacher.

He married in 1880 the 21-year-old Anna Fuchs who henceforth cooperated in the hotel and quickly took over the business, because her husband's health deteriorated. 1892 died Eduard, and Anna Sacher ran now the hotel as a so-called widow operation. The at that time extremely emancipated woman who always could be seen with cigar and her beloved French Bulldogs (in Vienna: "Sacher-Bullys"), ran the operation with strictness, but also with kindness. So she kept already then a company health insurance fund for her employees.

From the outset, the Sacher was one of the best addresses in the city and was in 1871 for the wine and delicatessen trade appointed kuk Purveyor. This privilege was granted after the death of Eduard Sacher his widow Anna once again. Before the visit of the opera one enjoyed the exquisite cuisine, people met in the legendary booths, and even high-ranking representatives from politics used the always discreet house for meetings. The exclusive hotel was already a social institution. But the economically difficult years after the First World War left its mark on the house too.

Shortly before her death in 1930, Anna Sacher withdrew from the leadership. Only after her death came to be known that the hotel was heavily in debt and from the former assets not much was left. 1934, eventually it came to bankruptcy.

The attorney Hans Gürtler, his wife Poldi and the hotelier couple Josef and Anna Siller acquired the now run-down house and renovated it extensively: Everything had been adapted to modern needs, from the heating system as well as the electrics and running hot and cold water in all rooms. From now on the earned money always should flow back into the house. For the first time, the Sacher Cake not only in its own premises was offered for human consumption but also sold on the street.

The house increasingly became again the meeting place for the society. But the annexation of Austria by Nazi Germany in 1938 brought this to an abrupt end. Now Swastika flags waved in front of the hotel. During the Second World War but the house remained largely spared from damage. Immediately after the liberation of Vienna it was occupied by Soviet troops, the first district of Vienna around the hotel but was soon administered by the Allies together and got so for six years in British hands.

1951 the families Siller and Gürtler got back their possessions. Josef Siller had yet died in 1949. Again the hotel had to be renovated extensively. So also new gastronomic localities emerged in Sacher. Hans Gürtler also laid the foundation for the art collection of the 19th century. Died in 1962 Anna Siller and the hotel went entirely into the possession of the Gürtler family. In 1967 the company obtained the National Award and since then the company is allowed to use the federal coat of arms in business transactions. The son of Hans Gürtler, Rolf, in 1970 took over operations but he died shortly thereafter in an accident after which he was succeeded by his son Peter Gürtler. This one also took over in 1989 the Hotel Österreichischer Hof in Salzburg. This one was later renamed into Hotel Sacher Salzburg. Since his death in 1990 his 1983 divorced from him wife Elisabeth Gürtler runs with her daughter Alexandra the family enterprise.

2006 was the building which in its building structure altogether consists of six townhouses under the direction of the architectural firm Frank & Partners thermally completely renovated and the roof extension in which a spa was housed provided with a striking bright aluminum roof.

Offer

The Hotel Sacher at night

As a member of the hotel industry association The Leading Hotels of the World, which ensures quality control in the five-star hotel industry sector, the Hotel Sacher is one of the best addresses in Austria. Since the expansion of 2006, it also meets the criteria of a Leading Spa.

In the house there is the restaurant Anna Sacher, the Red Bar, the Blue Bar, the Confiserie, Cafe Sacher and the Sacher Corner. The café was in 2004 awarded the Golden Coffee Bean by Jacobs.

Also in the building, but not as a part of the hotel, is the former kuk Court purveyor and Chamber supplier Wilhelm Jungmann & Neffe.

Since 1999, the Original Sacher-Torte is produced in its own production site in Vienna Simmering (11th district), from where it is exported to the whole world. After a decades-long dispute with the imperial confectioner Demel, only the dessert made by Sacher may decorate itself with the title "Original". The Sachertorte is imitated by many coffee houses, bakeries and confectioneries.

Known guests

Main entrance of the hotel in the evening

The house in Philarmoniker street welcomed numerous prominent guests. Anna Sacher had a photo gallery of her guests in her boudoir. The signatures she embroidered herself all on a tablecloth. Right in the middle of all them, the one of Emperor Franz Joseph.

Crowned heads, statesmen, diplomats and politicians lodged in Sacher: Edward VIII, Wallis Simpson, Elizabeth II, Prince Philip, Prince Rainier, Princesse Grace, John F. Kennedy, Kofi Annan and many others...

Due to its close proximity to the Opera House, of course also many artists were among the guests: Herbert von Karajan, Leonard Bernstein, Leo Slezak, Plácido Domingo, José Carreras and Rudolf Nureyev. Music critic Marcel Prawy lived until his death in 2003 even as a permanent guest at the Sacher.

Graham Greene got here the idea for the screenplay of the film The Third Man. A British officer told him about the underground passages of Vienna, whereupon Greene immediately in the bar wrote down the first ideas.

The role in the Sissi films Romy Schneider owed her similarity with the bust of the Empress, who stands in the hotel and was noticed by director Ernst Marischka. During filming, she lived with her mother Magda Schneider in Sacher.

To an unusual press conference invited in April 1969 John Lennon and Yoko Ono to the Sacher. They held one of their legendary "Bagism" actions in their hotel room before representatives of the press (including André Heller, who reported for the Ö3 Musicbox) in order to voice their ideas of world peace.

Traditionally, all the suites are named after operas and composers (eg La Traviata, Carmen, Idomeneo, The Magic Flute, Madame Butterfly, Nabucco, Rigoletto, Leonard Bernstein etc.). The new suites on the top floor of the house bear the names of contemporary operas, such as Lulu and Billy Budd.

Hotel Sacher in film and on stage

The Hotel Sacher has been immortalized in numerous films and stage plays.

Hotel Sacher, 1939

In German-speaking countries, the hotel became also by the television series Hi - Hotel Sacher ... Portier! with Fritz Eckhardt popular.

 

Rechtsform GmbH

Gründung 1876

Sitz Wien

Leitung Familien Gürtler und Winkler

Branche Hotels

Websitewww.sacher.com

Das Hotel Sacher vom Albertinaplatz aus gesehen

Das Hotel Sacher befindet sich im 1. Wiener Gemeindebezirk Innere Stadt hinter der Wiener Staatsoper. Bekannte Spezialität des Hauses ist die Original Sachertorte. Das Hotel ist Mitglied der Leading Hotels of the World.

Geschichte

Anna Maria Sacher

Auf dem Grundstück des abgerissenen Kärntnertortheaters, direkt gegenüber der neu eröffneten k.u.k. Hofoper, wurde eine Maison meublé errichtet. Der Gastronom Eduard Sacher erwarb das einem Renaissance-Palast nachempfundene Haus und eröffnete 1876 das Hotel de l'Opera mit Restaurant. Der Sohn von Franz Sacher, dem Erfinder der Sachertorte, hatte sich aber bereits als Gastronom selbst einen Namen gemacht und benannte das Haus schnell in Hotel Sacher um.

Er heiratete 1880 die 21-jährige Anna Fuchs, die fortan im Hotel mitarbeitete und schnell die Geschäfte übernahm, da sich der Gesundheitszustand ihres Mannes verschlechterte. 1892 starb Eduard, und Anna Sacher führte nun das Hotel als sogenannten Witwenbetrieb. Die nach damaligen Verhältnissen äußerst emanzipierte Frau, die stets mit Zigarre und ihren geliebten Französischen Bulldoggen (in Wien: „Sacher-Bullys“) anzutreffen war, führte den Betrieb mit Strenge, aber auch mit Güte. So unterhielt sie bereits damals eine Betriebskrankenkasse für ihre Angestellten.

Von Anfang an zählte das Sacher zu den besten Adressen in der Stadt und wurde 1871 für den Wein- und Delikatessenhandel zum k.u.k. Hoflieferant ernannt. Dieses Privileg wurde nach dem Tod von Eduard Sacher seiner Witwe Anna noch einmal verliehen. Vor der Oper genoss man die exquisite Küche, man traf sich in den legendären Séparées, und auch hochrangige Vertreter aus der Politik nutzten das stets diskrete Haus für Besprechungen. Das exklusive Hotel war bereits eine gesellschaftliche Institution. Doch gingen auch die wirtschaftlich schwierigen Jahre nach dem Ersten Weltkrieg nicht spurlos an dem Haus vorüber.

Kurz vor ihrem Tod im Jahr 1930 zog sich Anna Sacher aus der Führung zurück. Erst nach ihrem Tod wurde bekannt, dass das Hotel hoch verschuldet war und von dem einstigen Vermögen nicht viel übrig war. 1934 kam es schließlich zum Konkurs.

Der Anwalt Hans Gürtler, seine Frau Poldi und das Hotelierehepaar Josef und Anna Siller erwarben das mittlerweile heruntergekommene Haus und sanierten es umfangreich: Von der Heizungsanlage über die Elektrik und fließendem Kalt- und Warmwasser in allen Zimmern wurde alles den modernen Bedürfnissen angepasst. Von nun an sollte das verdiente Geld stets zurück in das Haus fließen. Erstmals wurde auch die Sachertorte nicht nur in den eigenen Räumen zum Verzehr angeboten, sondern auch an der Straße verkauft.

Das Haus wurde zunehmend wieder zum Treffpunkt für die Gesellschaft. Doch der Anschluss Österreichs an Hitler-Deutschland 1938 setzte dem ein jähes Ende. Hakenkreuzfahnen wehten nun vor dem Hotel. Während des Zweiten Weltkriegs blieb das Haus aber weitgehend von Beschädigungen verschont. Direkt nach der Befreiung Wiens war es von sowjetischen Soldaten besetzt, der Wiener erste Bezirk um das Hotel wurde aber bald von den Alliierten gemeinsam verwaltet und geriet so sechs Jahre lang in britische Hände.

1951 erhielten die Familien Siller und Gürtler ihren Besitz zurück. Josef Siller war bereits 1949 gestorben. Wiederum musste das Hotel umfangreich saniert werden. So entstanden auch neue gastronomische Lokalitäten im Sacher. Hans Gürtler legte auch den Grundstock für die Kunstsammlung des 19. Jahrhunderts. 1962 starb Anna Siller, und das Hotel ging gänzlich in den Besitz der Familie Gürtler über. Im Jahr 1967 erhielt das Unternehmen die Staatliche Auszeichnung und darf seither das Bundeswappen im Geschäftsverkehr verwenden. Der Sohn Rolf Gürtler übernahm 1970 die Geschäfte, kam aber kurz darauf bei einem Unfall ums Leben, worauf ihm sein Sohn Peter Gürtler nachfolgte. Dieser übernahm 1989 auch das Hotel Österreichischer Hof in Salzburg. Dieses wurde später in Hotel Sacher Salzburg umbenannt. Seit seinem Tod 1990 führt seine von ihm 1983 geschiedene Frau Elisabeth Gürtler-Mauthner mit ihrer Tochter Alexandra das Familienunternehmen.

2006 wurde das Gebäude, das sich in seiner Bausubstanz aus insgesamt sechs Stadthäusern zusammensetzt, unter der Leitung des Architekturbüros Frank & Partner thermisch generalsaniert, und der Dachausbau, in dem ein Spa-Bereich untergebracht wurde, mit einem auffallenden hellen Aluminiumdach versehen.

Angebot

Das Hotel Sacher bei Nacht

Als Mitglied des Hotellerieverbands The Leading Hotels of the World, das eine Qualitätskontrolle im Fünfsternehotellerie-Sektor sicherstellt, gehört das Hotel Sacher zu den besten Adressen Österreichs. Seit dem Ausbau 2006 erfüllt es auch die Kriterien eines Leading Spa.

Im Haus befinden sich das Restaurant Anna Sacher, die Rote Bar, die Blaue Bar, die Confiserie, das Café Sacher und das Sacher Eck. Das Café wurde 2004 mit der Goldenen Kaffeebohne von Jacobs ausgezeichnet.

Ebenfalls im Gebäude, aber nicht als ein Teil des Hotels, befindet sich der ehemalige k.u.k. Hof- und Kammerlieferant Wilhelm Jungmann & Neffe.

Seit 1999 wird die Original Sacher-Torte in einer eigenen Produktionsstelle in Wien Simmering hergestellt, von wo sie auch in die ganze Welt exportiert wird. Nach einem jahrzehntelangen Rechtsstreit mit der k.u.k Zuckerbäckerei Demel darf sich nur das Dessert aus dem Hause Sacher mit dem Prädikat „Original“ schmücken. Die Sachertorte wird von vielen Kaffeehäusern, Bäckereien und Konditoreien imitiert.

Bekannte Gäste

Haupteingang des Hotels am Abend

Zahlreiche prominente Gäste zählte das Haus in der Philharmonikerstraße. Anna Sacher hatte in ihrem Boudoir eine Fotogalerie ihrer Gäste. Die Unterschriften stickte sie selbst allesamt auf einem Tischtuch nach. Ganz in der Mitte die des Kaisers Franz Joseph.

Gekrönte Häupter, Staatsmänner, Diplomaten und Politiker logierten im Sacher: Edward VIII., Wallis Simpson, Elisabeth II., Prinz Philip, Fürst Rainier, Gracia Patricia, John F. Kennedy, Kofi Annan und viele mehr.

Durch die unmittelbare Nähe des Opernhauses gehörten natürlich auch viele Künstler zu den Gästen: Herbert von Karajan, Leonard Bernstein, Leo Slezak, Plácido Domingo, José Carreras und Rudolf Nurejew. Der Musikkritiker Marcel Prawy wohnte bis zu seinem Tod 2003 sogar als Dauergast im Sacher.

Graham Greene erhielt hier die Idee zum Drehbuch des Films Der dritte Mann. Ein britischer Offizier erzählte ihm von den unterirdischen Gängen Wiens, worauf Greene sofort in der Bar die ersten Ideen aufschrieb.

Ihre Rolle in den Sissi-Filmen verdankte Romy Schneider ihrer Ähnlichkeit mit der Büste der Kaiserin, die im Hotel steht und dem Regisseur Ernst Marischka aufgefallen war. Während der Dreharbeiten wohnte sie mit ihrer Mutter Magda Schneider im Sacher.

Zu einer ungewöhnlichen Pressekonferenz luden im April 1969 John Lennon und Yoko Ono ins Sacher. Sie hielten eine ihrer legendären „Bagism“-Aktionen in ihrem Hotelzimmer vor Pressevertretern (darunter André Heller, der für die Ö3-Musicbox berichtete) ab, um ihre Vorstellungen des Weltfriedens kundzutun.

Traditionsgemäß sind alle Suiten des Hauses nach Opern und Komponisten benannt (z.B. La Traviata, Carmen, Idomeneo, Die Zauberflöte, Madame Butterfly, Nabucco, Rigoletto, Leonard Bernstein etc.). Die neuen Suiten im Dachgeschoss des Hauses tragen die Namen von zeitgenössischen Opern, beispielsweise Lulu und Billy Budd benannt.

Hotel Sacher im Film und auf der Bühne

Das Hotel Sacher ist in zahlreichen Filmen und Bühnenstücken verewigt worden.

Hotel Sacher, 1939

Im deutschsprachigen Raum wurde das Hotel auch durch die Fernsehserie Hallo – Hotel Sacher … Portier! mit Fritz Eckhardt populär.

de.wikipedia.org/wiki/Hotel_Sacher

Kingfisher looking to defy authority. All these Kingfisher shots today are posted with huge thanks to Martin Webber's invaluable help and patience. (Webbyu61) We were expecting shots around the nest but the young had fledged (see "Hiding"). Martin knew where to find them

A visit to the National Trust property that is Penrhyn Castle

 

Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.

 

The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.

 

Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.

 

It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.

 

Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.

  

Grade I Listed Building

 

Penrhyn Castle

  

History

 

The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.

 

The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.

 

Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.

 

Exterior

 

Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.

 

East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.

 

West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.

Interior

 

Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.

 

Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.

 

Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).

 

The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.

 

Reasons for Listing

 

Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.

  

Clocks - went up a tower and they had thousands of clocks all over the place!

  

Harrison's Garden

 

An installation of over 5000 clocks creates an imagined landscape in the derelict 'unloved' rooms of the keep.

  

You needed a token to go up here, and only a certain number of people were allowed up here at each time.

Heads Off To Immingham Dock Nordic To Form The 6Z61 17.20 Immingham Dock Nordic To Carlisle Kingmoor Sdg (Drs) The Route And Timings Were

Immingham Dock Nordic 17.20 . 16.38 42E

Humber Road Jn 17.30 . 17.22 8E

Ulceby North Junction 17.37 No Report

Ulceby 17.37 . 17.30 1/4 6E

Ulceby South Junction 17.37 No Report

Brocklesby Jn 17.39 . 17.34 1/4 4E

Barnetby 17.45 1/2 . 17.42 3/4 2E

Wrawby Jn 17.47 . 17.43 3/4 3E

Elsham 17.49 1/2 . 17.47 1/2 1E

Appleby Lc 17.54 1/2 . 17.53 1/2 RT

Scunthorpe F.O.B. Jn 17.56 . 17.56 RT

North Lincoln Jn 17.58 . 17.58 1/4 RT

Scunthorpe Trent Jn 17.58 1/2 . 17.59 RT

Frodingham Jn 17.59 1/2 No Report

Scunthorpe 18.00 . 18.01 1/2 1L

Scunthorpe West Jn 18.00 1/2 . 18.00 1/4 RT

Gunhouse Loop 18.02 1/2 . 18.05 1/2 2L

Althorpe 18.04 . 18.07 3L

Crowle 18.08 1/2 . 18.14 1/2 6L

Thorne South 18.16 . 18.22 3/4 7L

Thorne Jn 18.17 1/2 . 18.24 3/4 7L

Hatfield & Stainforth 18.20 . 18.28 8L

Thorpe Marsh Jn 18.26 . 18.33 3/4 7L

Haywood Jn 18.30 . 18.36 1/2 6L

Norton Level Crossing 18.33 1/2 . 18.42 8L

Knottingley South Jn 18.41 . 18.51 3/4 10L

Knottingley West Jn 18.45 1/2 . 18.53 3/4 8L

Ferrybridge North Jn 18.47 1/2 . 18.54 1/2 7L

Milford Jn 19.01 . 19.01 1/2 RT

Sherburn Jn 19.06 1/2 No Report

Sherburn-in-Elmet 19.07 1/2 . 19.05 1/2 1E

Church Fenton 19.13 1/2 . 19.09 1/4 4E

Ulleskelf 19.19 . 19.12 6E

Colton South Jn 19.26 . 19.15 3/4 10E

Colton Jn 19.28 1/2 . 19.17 1/2 10E

Colton North Jn 19.29 1/2 No Report

York Holgate Jcn 19.36 . 19.25 10E

York [YRK] 19.37 To 19.40 19.26 1/4 . 19.44 3/4 4L

Skelton Jn (York) 19.42 1/2 . 19.47 4L

Skelton Bridge Jn 19.44 1/2 . 19.48 3/4 4L

Tollerton Jn 19.53 . 19.55 3/4 2L

Pilmoor 19.59 . 20.02 1/2 3L

Thirsk 20.06 . 20.09 3/4 3L

Longlands Jn 20.13 . 20.16 3L

Northallerton 20.14 . 20.17 3/4 3L

East Cowton Xovers 20.22 1/2 No Report

Darlington Sth Dn Pass Lp 20.30 To 21.06 20.33 1/4 . 21.07 1L

Darlington South Jn 21.07 . 21.08 1L

Darlington 21.08 . 21.09 3/4 1L

Darlington North Jn 21.08 1/2 . 21.10 3/4 2L

Aycliffe 21.13 1/2 No Report

Bradbury Apco 21.18 No Report

Ferryhill Sth. Jn. 21.21 . 21.23 2L

Tursdale Jn 21.24 . 21.25 1/2 1L

Durham 21.31 1/2 . 21.34 1/4 2L

Durham Sig. Ty357 21.33 1/2 To 21.45 21.35 . 21.52 7L

Chester-le-Street 21.52 . 21.58 1/4 6L

Birtley Jn 21.56 1/2 . 22.03 1/4 6L

Low Fell Jn 22.00 1/2 . 22.07 1/4 6L

Low Fell Royal Mail Tmnl 22.02 . 22.09 7L

Norwood Jn 22.04 . 22.11 1/4 7L

Dunston 22.05 1/2 . 22.12 1/2 6L

Metrocentre 22.12 . 22.14 1/2 2L

Swalwell Jn 22.12 1/2 . 22.15 2L

Blaydon 22.14 1/2 . 22.18 3L

Wylam 22.19 No Report

Prudhoe 22.21 1/2 . 22.25 3L

Stocksfield 22.24 No Report

Riding Mill 22.26 1/2 No Report

Corbridge 22.29 No Report

Hexham 22.32 . 22.37 5L

Fourstones 22.36 No Report

Haydon Bridge 22.39 1/2 No Report

Bardon Mill 22.44 No Report

Haltwhistle 22.49 1/2 . 22.58 8L

Low Row S.B. 23.00 No Report

Brampton (Cumbria) 23.03 1/2 No Report

Brampton Fell S.B. 23.04 1/2 No Report

How Mill 23.07 1/2 No Report

Corby Gates S.B. 23.10 1/2 No Report

Wetheral 23.11 No Report

Petteril Bridge Jn 23.17 . 23.27 1/2 10L

London Rd. Jn. 23.17 1/2 . 23.28 1/2 11L

Carlisle [CAR] 23.20 1/2 To 23.29 1/2 Pass 23.30 3/4 1L

Caldew Jn 23.31 1/2 . 23.33 1/4 1L

Carlisle Kingmoor Sdg (Drs) 23.41 . 23.52 11L

Concrete to look like wood. JM Lifestye's exclusive Woodform™ concrete. Durability of concrete with look of wood

...or Forms of Myth

 

Back to my trip to Queensland for a while.

 

Day two in Brisbane and have three nights stay then back to New Zealand. August 9, 2014 Queensland, Australia.

 

One of the most ambitious (and expensive) makeovers of Brisbane city is the installation of imposing bronze works at the entrance of King George Park. As part of Brisbane City Council's vibrant laneways and small spaces program, these four bronze works of varying geometrical shapes frame a circular area to sit and relax for a bit while enjoying the artwork around you. The bronze sculptures are particularly striking as the sun hits their surface making them look like oversized treasures glued to the concrete.

 

Just up from the 'Forme de Mito' is Jacob's Ladder staircase painted fire engine red striking a happy contrast among the concrete. The stairs command pedestrians to take notice while enticing them to ascend into the parkland above.

 

Forme del Mito, or Forms of Myth. Brisbane City Council purchased the pieces after the finish of World Expo 1988, for which they were brought to Brisbane. Designed by Italian artist Arnaldo Pomodoro in 1983, the Forme Del Mito is derived from the Greek tragedy of Agamemnon. Each figure represents a force and principal character from the tragedy.

 

Arnaldo Pomodoro was born on June 23, 1926, in Morciano, Romagna, Italy. He has world renown as a sculptor having his work exhibited and housed throughout the world. With this work, as viewed from right to left from Brisbane City Hall, each bronze piece represents:

 

Il potere - Power - Agamemnon

L'ambizione - Ambition - Clytemnestra

La macchina - Machine - Aegisthus

La profezia - Prophecy - Cassandra

  

In mythological Greek tragedy, Agamemnon was the King of Mycenea. In representations of the Trojan War, Agamemnon led a campaign to conquer Troy and rescue Helen, who had been abducted by Paris. Before leaving he sacrificed his daughter Iphegenia to obtain favourable winds from the Goddess Artemis. The first of these sculptures in the form of a powerful pyramid represents Agamemnon.

 

I've decided to split this post into two, as there are four pieces and characters represented with this sculpture. Therefore to do it justice, I'll finish the story of Agamemnon tomorrow.

For More Info: ilovebrisbane.blogspot.co.nz/2007/03/forme-del-mito-part-...

 

Webb has pinpointed three galaxies actively forming when our 13.8 billion-years-old universe was in its infancy. The galaxies are surrounded by gas suspected to be almost purely hydrogen and helium, the earliest elements to exist in the cosmos.

 

These galaxies belong to the Era of Reionization, only several hundred million years after the big bang. During this period, gas between stars and galaxies was largely opaque. Stars contributed to heating and ionizing gas, eventually turning the gas transparent one billion years after the big bang.

 

By matching Webb’s data to models of star formation, researchers found that these galaxies are a unique window into future star formation. They primarily have populations of young stars, and the gas around them suggests they haven’t formed most of their stars yet.

 

More on this breakthrough: science.nasa.gov/missions/webb/galaxies-actively-forming-...

 

Galaxy artist concept credit: NASA, ESA, CSA, Joseph Olmsted (STScI)

 

Image Description: This illustration is awash in bright blues, with only areas of the black background of space peeking out near the edges. Just above center is a large white spiral galaxy that is forming within a large cloud of blue gas. Its spiral arms twirl clockwise. Immediately around the galaxy’s edges are larger light blue dots. The gas appears thicker and brighter blue below the galaxy and toward the bottom left in what looks like a loose, extended column. Other wispy blue gas appears all around the galaxy, extending to every edge of the illustration. There are two additional spiral galaxies, though they are about half the size of the one at the center. They appear toward the top left and bottom right, and both are connected to regions of blue gas. Several bright knots dot the brightest blue areas near the center, and toward the top right. The background is clearer and more obviously black along a wider area at the left edge, a sliver along the top right, and in triangles toward the bottom right corner. In the bottom left is “Artist Concept” in white text.

 

This image: This artist concept shows a galaxy forming only a few hundred million years after the big bang, when gas was a mix of transparent and opaque during the Era of Reionization. Data from NASA’s James Webb Space Telescope show that there is a lot of cold, neutral gas in the neighborhood of these early galaxies – and that the gas may be more dense than anticipated.

 

Webb observed these galaxies as part of its Cosmic Evolution Early Release Science (CEERS) Survey a few months after it began taking observations in 2022. CEERS includes both images and data known as spectra from the microshutters aboard its NIRSpec (Near-Infrared Spectrograph). Data from CEERS were released immediately to support discoveries like this as part of Webb’s Early Release Science (ERS) program.

 

We're back at the Monaco Ballroom on Friday December 12th for the final show of 2008!! Make sure you make it to see how the year's feuds end at this season ending super show - GPW: "Christmas Crunch"

 

We promise we wont crunch your credit.... we'll only crunch your Christmas!!

 

GPW Heavyweight Title Match

Bubblegum © vs. Dirk Feelgood

 

Just a few months ago you'd be forgiven for taking a double take at this match. The friendship between the two former friends totally imploded with the desire to become Heavyweight champion. Refusing to accept the demise of his friendship with Dirk Feelgood, Bubblegum spent months in turmoil not wanting to retaliate to the cutting comments and brutal attacks levelled his way by former friend and champion Feelgood. As time went by however, Bubblegum eventually unloaded on Feelgood but this will be the first time the two have ever come face to face in a one on one match. And to make things just a little more interesting... it's for the GPW Heavyweight Title. Can the fairytale championship reign continue for Bubblegum, or can Dirk shatter his dreams and become the first ever 2 time Heavyweight Champ?

 

Tag Team Special, Skeletor vs. Stella

Lethal Dose vs. Voodoo & "Sober" Mike Holmes

 

Alan Alan Alan Tasker's henchmen, Lethal Dose march into battle against former stable member Mike Holmes and the man they hold responsible for Holmes' new found sobriety - Voodoo. Cyanide and Toxic hope to tempt Holmes back over to the stable that two months ago he turned his back on. They want to snap him out of the spell they accuse Voodoo of putting him under. However, Holmes seems very happy with his new outlook on life and he and Voodoo look to send Lethal Dose packing in this tag team special. Lethal Dose have warned they will not be coming to the ring alone though, with them along with their attorney and law - Alan Alan Alan Tasker will be a 12 pack of Stella. Hoping the case of beer will prove to be a bigger demon to Holmes than the tag team itself. To fend off the 12 pack, Holmes and Voodoo will have Vooodoo's trusty skull, Skeletor in their corner. An unpredictable tag team match. Can MIke Holmes stay sober? Will Voodoo's spells work? Or will Lethal Dose deliver a beating big enough to break Voodoo's spell?

 

GPW British Title Match

Jak Dominotrescu vs. "Super" Sam Bailey

 

After pinning the British Champion last month in a tag team match, WKD's "Super" Sam Bailey has earned himself a title shot at GPW: "Christmas Crunch". Bailey, already a former tag team champion looks to add to his growing reputation by capturing his first ever singles gold in GPW. While reigning champion, Romanian Jak Domitrescu along with his cohorts - The Eastern Bloc look to make life as difficult as possible for the energetic live wire. Domitrescu has held onto the title since April this year with help from his fellow countrymen, but are his days numbered as champ? He surely wont be alone in this title outing and will have the Eastern Bloc close by, but can "Super" Sam Bailey overcome the odds to win his first singles gold in GPW?

 

And, the main event for the evening is...

 

GPW Tag Team Title 2/3 Falls Match

MIl-Anfield Connection © vs. Young Offenders

 

The heat just got turned up in this feud. The re-united Young Offenders have the most established tag team in GPW - The Mil-Anfield Connection firmly in their sights and not to mention the tag team trophy. These two teams met in September this year where there was no clear winner decided after the match ended in a draw. There will be NO excuses this time to not find a winner. This, for the first time in our history will be a 2/3 Falls Match for the tag team titles. A winner HAS to be decided, but who will it be? A truley epic encounter is in our midst as Jiggy Walker & "The Model" Danny Hope try to cling onto the championship that has defined them as a team and "Dangerous" Damon Leigh & Joey Hayes, The Young Offenders chase the title that one of the most popular tag teams in Europe have never held. Can the re-united friends overcome the well established unit that is The Mil-Anfield Connection? Or can the well oiled duo of the Mil-Anfield do what they've been doing all year and win again?

 

GPW British Title No.1 Contenders Match

Harry Doogle vs. Juice vs. Dylan Roberts vs. Chris Echo

 

After an eye catchingly good year from rookie Dylan Roberts, he has been included in this battle to earn a shot at the British Title. With a burning desire to win and the fans firmly behind him, Roberts could well mark his arrival onto the main roster by becoming the No.1 Contender and going for gold here. However, his opponents wont give him an easy ride. In a wonderful CC-08 tournament, no one impressed more than WKD's Chris Echo. Echo reached the CC-08 finals with two broken wrists and proved he is ready to take a step up. His previous attempts for British gold have been thwarted by the foreign legion numbers of the Eastern Bloc, is he ready to prove again that he is worthy of being No.1 Contender and finally lift the British title? Juice, the current CC8 champion has been as impressive as ever in singles competition this year, but can he compete in this match with 3 others all vying to be No.1 Contender? Also replacing Jervis Cottonbelly due to injury is Harry Doogle as a last minute entry could one half of the next gen score the upset win? , but with so many possible outcomes who will leave with the plaudits and go on to challenge for the British Title next year?

 

Lumberjack Match

Si Valour vs. Heresy

 

A violent and personal feud that has lasted all year long finally comes to a head in what promises to be a violent Lumberjack Match. Ever since brutalising Valour and cutting off all his hair, Heresy has, in some form or other dodged the challenge of Valour. Heresy claimed not to have lost his bottle or be running scared of the 2007 Break Out Star, yet during their Bull Rope clash at GPW: "V" where the two were tied to one another, Heresy still managed to find a way of escaping and creating distance between him and Valour. This time, in a special Lumberjack Match, no matter where either man go - there will be no escape. All lumberjacks will be at the ready to ensure neither man can escape the others clutches and a clear winner, one way or the other will HAVE to be decided. There will be nowhere to run to and nowhere to hide, no matter where they look. Heresy has been one step ahead of Valour all year, is this where he runs out of excuses, or can the master manipulator manipulate another win?

  

A mediados del año 1933 Don Gabriel Oliván Pueyo tuvo la idea de formar una nueva Cofradía en Zaragoza integrada por empleados de Bancos, Cajas de Ahorros y Compañías de Seguros, que se hiciera cargo del Paso de La Entrada de Jesús en Jerusalén, (propiedad de La Hermandad de La Sangre de Cristo y realizado por A.Palao en 1862-1863), que participaba en la Procesión General del Santo Entierro.

 

En primer lugar, Don Gabriel Oliván se informó del funcionamiento de las Cofradías de Sevilla, no conforme con ello nos consta que Don Gabriel se desplazó personalmente a Sevilla en 1935 pero una vez allí, recibió la noticia de que había sido quemado y destruído el Paso del que se iba a hacer cargo la futura Cofradía.

 

Viernes Santo de 1940.

Posteriormente, ya en Zaragoza, se iniciaron gestiones con la Hermandad de la Sangre de Cristo, con el Canónigo Don Luis Borraz y con las instituciones pertinentes. A partir de ahí, la Muy Ilustre, Antiquísima y Real Hermandad de la Preciosísima Sangre de Nuestro Señor Jesucristo, encargó la creación de un nuevo Paso de la Entrada de Jesús en Jerusalén, que sustituiría al que había sido destruído e invitó a nuestros fundadores a poner dicho nombre a la Cofradía que iban a crear.

 

La primera reunión de que tenemos constancia tuvo lugar el día 7 de agosto de 1938 y el primer Capítulo se celebró el 11 de octubre de ese mismo año. A la celebración de dicho Capítulo, los estatutos ya estaban aprobados por el Arzobispo D. Rigoberto Doménech, el cual designó como Consiliario a D. Eduardo Estella. Se eligió como primer Hermano Mayor a D. Pedro Legaz Jerez.

 

Domingo de Ramos hacia 1950.

Su primera aparición como Cofradía tuvo lugar en la Iglesia de Santa Isabel de la que salieron formando parte de la Procesión del Santo Entierro el Viernes Santo, 7 de Abril de 1939, desfilando sin hábito y sin Paso por estar todavía en construcción.

 

El 17 de marzo de 1940, festividad del Domingo de Ramos, a las cinco de la tarde, 76 hermanos provistos de hábito y medalla participaron en una Ceremonia, en Santa Isabel de Portugal, en la que fueron bendecidos el Guión, el Paso y las medallas. Al término de ésta, salieron en Procesión acompañando por primera vez al nuevo Paso de La Entrada Triunfal de Jesús en Jerusalén, construido por los hermanos Albareda.

 

Primer plano del paso.

En 1941 falleció D. Pedro Legaz y se eligió como nuevo Hermano Mayor a D. Gabriel Oliván.

 

Desde 1941 la salida procesional tuvo lugar por la mañana, tras la bendición de las palmas, desde la misma Iglesia. Excepcionalmente, en el año 1948, se inició la procesión en el Hogar Pignatelli y terminó en Santa Isabel de Portugal. En 1951 es elegido como nuevo Consiliario D. Vicente Tena Mateo.

 

De 1958 a 1963, salimos de La Seo de El Salvador, (realizando algunos años el traslado del Paso a Santiago para, por la tarde, celebrar un Via Crucis por el interior de la Iglesia y luego llevar el Paso hasta Santa Isabel).

 

Integración en el Colegio de los HH. Maristas.

En esta época la Cofradía se pone en contacto con varios colegios de Zaragoza, porque la Banca y los Seguros, actividades de las que procedían básicamente sus miembros, no ofrecían el número suficiente de nuevos cofrades que necesitaba para continuar la línea de progreso que hasta entonces tenía.

 

Como resultado de sus gestiones, en 1964 se produce la integración de la Cofradía en el Colegio HH. Maristas, sito en la calle San Vicente de Paúl, y a partir de entonces se inicia la Procesión del Domingo de Ramos desde el patio del Colegio (Plaza de San Pedro Nolasco). Se crea el cargo de Asesor, que recae en el Hermano Marista Juan Armiño, artífice de la unión de la Cofradía con el Colegio.

 

Durante ese mismo año, 1964, se celebraron las Bodas de Plata (25 años) de la Cofradía y se creó el acto de la Hora Santa que se celebraba el Jueves Santo a las diez de la noche hasta hace unos años, que se adelantó a las seis.

 

Nuestro Paso saliendo de La Seo.

Desde 1969 se permitió el ingreso a las mujeres como hermanas de número, teniendo los mismos derechos y llevando el mismo hábito que los varones.

 

En 1972 tenemos nuevo Consiliario: D. Justo Soro Lapena.

 

A inicios de los años ochenta, los HH. Maristas trasladan su sede a las afueras de la ciudad por lo que se cambia de nuevo el lugar de salida de la Procesión del Domingo de Ramos en favor de La Seo del Salvador; hasta el año 1988 en que se inician las obras de restauración de la Catedral y nuevamente salimos desde San Cayetano.

 

A finales de 1988, concretamente el 19 de noviembre, se acuerda nuestro hermanamiento con la Cofradía del Santísimo Cristo Crucificado de Fuentes de Ebro.

 

En 1989 se celebra el Cincuentenario de la Cofradía con diversos actos: la exposición "50 Domingos de Ramos en Zaragoza" y un concierto conmemorativo entre otros.

 

El 12 de octubre de 1990 se participó por primera vez en la Ofrenda de Flores a la Virgen del Pilar, desfilando con el traje aragonés y portando nuestras palmas y el escudo de la Cofradía bordado en flores. Virgen del Pilar en Domingo de Ramos.

 

Así mismo, al día siguiente, 13 de octubre, participamos en el Rosario de Cristal, acompañando al Colegio Marista con el Farol del Quinto Misterio Gozoso.

 

El 4 de abril de 1992 nuestra Cofradía se hermana con la Cofradía de la Santa Cruz (Maristas de Logroño) y participamos por primera vez en su Procesión del Martes Santo. Ese mismo año, concretamente el 12 de abril, estrenamos la sección a caballo con la participación de la Policía Nacional.

 

El 27 de marzo de 1993, para celebrar el 55 aniversario, se donó un manto a la Virgen del Pilar que luce todos los Domingos de Ramos y que fue confeccionado por las Religiosas Oblatas de Cristo Sacerdote.

 

Con motivo del año Jacobeo, una representación de nuestra Cofradía viajó a Santiago de Compostela los días 29, 30 y 31 de octubre de 1993.

 

Dos años más tarde, concretamente el 5 de diciembre de 1995 el Arzobispo, don Elías Yáñez aprueba los nuevos Estatutos de la Cofradía.

 

El 28 de abril de 1997 se crea un coro integrado por cofrades para acompañar y organizar los actos litúrgicos. Un año más tarde, el 28 de marzo de 1998 se crean e imponen las primeras insignias de oro y plata, para cofrades que lleven cincuenta y veinticinco años como hermanos, respectivamente. Ese mismo año, del 18 al 20 de septiembre se celebran en Zaragoza, con participación de la Cofradía, los actos del XI Encuentro Nacional de Cofradías de Semana Santa.

 

Viaje a Roma.

El 30 de marzo de 1999, noventa y siete hermanos participan en la procesión de la Cofradía de la Santa Cruz, con motivo del Centenario del Colegio San José (Maristas de Logroño).

 

Ese mismo año, el 18 de abril, una representación de nuestra Cofradía viaja a Roma para asistir a la canonización por S.S. el Papa Juan Pablo II del fundador de los Maristas: San Marcelino Champagnat.

 

Los actos culminaron el 30 de mayo con la celebración del Día de la Familia Marista en Lardero (La Rioja) y la primera celebración el día de San Marcelino Champagnat en la Basílica del Pilar el 4 de junio.

 

El día 16 de marzo de 2002, se realizó el hermanamiento de nuestra Cofradía con la Cofradía de la Entrada de Jesús en Jerusalén de Tarazona, posteriormente participamos en la Procesión del Pregón de esta ciudad.

 

Presentación de los nuevos atributos.

El 29 de marzo de 2003, durante el Capítulo General, se procedió a presentar los nuevos atributos que presidirán el Pregón de este año y las procesiones de años venideros, esto es el nuevo guión y el nuevo repostero. El propio autor del nuevo guión, don Melchor Gutiérrez Sanmartín, lo presentó a todos los cofrades asistentes.

 

Fuente: www.cofradialaentrada.com/

marker on paper

First Thursday: 9/3/2015

 

Photos by Jennifer Hughes

 

Alien She

Sep 3, 2015 – Jan 9, 2016

 

Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.

 

Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.

 

Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.

 

Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.

 

Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.

 

Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more

Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.

 

Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.

 

Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh

  

Holding Sway: PNCA Faculty and Alumni Exhibition

Sep 3, 2015 – Oct 18, 2015

 

Opening Reception Thursday, September 3, 2015, 6-8PM

 

With the first Pacific Northwest College of Art Faculty Biennial to be held in our newly renovated historic Federal Building at 511 NW Broadway, now named the Arlene and Harold Schnitzer Center for Art and Design, we sought to do something that would not only highlight the artists, designers, and scholars who make up the faculty at PNCA, but also to showcase the scope of contemporary art, craft, and design created by alumni from PNCA’s Bachelor of Fine Arts and Masters of Fine Arts programs. The result is the first ever PNCA faculty and alumni exhibition titled Holding Sway.

 

The faculty and alumni of PNCA are among the nation’s most rigorous thinkers and practitioners. While as a group they are diverse in their creative endeavors, they are united in their drive for a continual exploration of creative practice. The strength of the creative community formed by the cultural producers of PNCA’s faculty, alumni, and students can be witnessed in the range and depth of work presented in Holding Sway.

 

Accompanying Holding Sway is a companion publication featuring fiction, non-fiction, poetry, and criticism by PNCA faculty and alumni.

This is my finished model of the TARDIS in its original form. Although the ship doesn't have a base in 'The Name Of The Doctor' I felt that it looked unfinished without it. So I added a base and fitted a thicker, more sturdy door

Isaiah, 8, and Leah, 5.

Dicembre 2013: l'Associazione Culturale Vastagamma, di Pordenone, diventa ufficialmente editrice pubblicando “Talking 'bout my generation”, 140 pagine in formato A5. Un libro/fanzine/scrapbook, una raccolta di foto, memorabilia e ricordi della Pordenone anni '80, curata da Giuseppe “Zellaby” Collovati.

 

vastagammabooks.blogspot.it/p/blog-page_29.html

 

L'ALBUM.

è pieno di ragazzini, tutti con divise diverse, se così le possiamo chiamare: scarpe stranissime, per non parlare dei vestiti o dei capelli, ciuffi, basette, frangette, creste… Ma dove siamo? A Milano? A Londra? No, siamo a Pordenone, in via Roma, nel bel mezzo degli anni ’80.

A qualche centinaio di metri un centro vivissimo, dove il sabato pomeriggio spesso è difficile passare. Ma qui, di fronte alla Sala Giochi Perseo, sembra di essere in un mondo parallelo: vi si ritrovano giovani non allineati stilisticamente, musicalmente, culturalmente con il resto della città. Qui c’è un’altra realtà: Mod, Rockabilly, Punk, New Wave, Ska, Beat… sono termini di uso comune che identificano quei ragazzini che passano lì i pomeriggi; identità che a volte vanno difese con la forza, quando si incrocia qualcuno per cui diverso significa bersaglio.

Suonando uno strumento, facendo rombare un motore, ritagliando fotocopie, disegnando fumetti… molti di loro si esprimono, plasmano quel mondo parallelo e si mettono in contatto con altri mondi paralleli in giro per il globo.

Ed ecco che in sala giochi arrivano ragazzi anche da fuori, qualche volta perfino dall’estero, Pordenone è di nuovo sulle mappe.

Per decenni non se n’è più parlato, ma abbiamo aperto la scatola del tempo e quello che ne è uscito è un album di ritagli su una Pordenone dimenticata ma ancora viva.

La raccolta di immagini è durata anni: tramite tam-tam su internet, articoli sui giornali, volantini in città, ma soprattutto grazie a chi ha conservato il proprio archivio negli anni e lo ha voluto mettere a disposizione di tutti.

Centinaia le immagini, non solo fotografiche, inserite nell'album; molte recano il segno del tempo, e confessano un'età e una poca dimestichezza con apparecchi fotografici e camere oscure, ma colgono perfettamente lo spirito di allora: scanzonato, scapestrato, orgoglioso, naif, irriverente, sincero. Le stesse caratteristiche che hanno i commenti, i ricordi di alcuni protagonisti di quel periodo di Pordenone - intervistati da Zellaby – che rilasciano schiette dichiarazioni, aneddoti sulla loro adolescenza e su una città allora in continuo fermento... E si parla di bande giovanili, di abbigliamento, di dischi, di gruppi musicali, di concerti, di corse in Lambretta, di fanzine fotocopiate, di raduni... di come allora si sia creato uno stile, un gusto, di cui oggi si trovano ancora tracce, che forse non tutti riconoscono. L'intero album dà un'impressione, un'idea, un ricordo della Pordenone anni '80.

  

Il curatore.

Giuseppe “Zellaby” Collovati, tra i personaggi della Pordenone di allora - oggi artista pop, grafico e dj con salde radici in quel passato - ha raccolto con passione ed emozione il materiale originale dell’epoca, scansionato ogni singola immagine, registrato i ricordi e concentrato il frutto di questa ricerca durata oltre tre anni nelle 140 pagine del libro.

“Quest’album non è che uno solo dei lati di Pordenone di quell’epoca. Spero che la sua realizzazione possa stimolare altre iniziative simili che documentino alle nuove generazioni, da altri punti di vista, i cambiamenti della nostra comunità”.

  

Associazione Culturale Vastagamma

Nasce nel 2002 come collaborazione tra giovani artisti con l’obiettivo di mettere in relazione ed evidenza i tanti talenti locali delle più diverse discipline artistiche e creare fermenti con proposte innovative.

Lo stile scelto per i numerosi eventi organizzati, scevro da inutili formalismi e attento ai contenuti, ha permesso di abbattere barriere sociali e generazionali dimostrandone l’essenza esclusivamente mentale e preconcetta.

Il progetto Vastagamma non è un semplice progetto artistico ma un esperimento riuscito di divertita aggregazione culturale, dove giovani e meno giovani si avvicinano all’arte, alla cultura, ai costumi e alle tradizioni del territorio, si confrontano e si arricchiscono, lasciando a loro volta un segno del loro passaggio nella storia della propria città.

  

PRESENTAZIONE

Il libro verrà presentato domenica 22 dicembre 2013, dalle ore 15.00 ai PnBox Studios, alla Bastia del Castello di Torre, in via Vittorio Veneto 23 a Pordenone.

Il curatore Giuseppe Collovati, ed alcune delle persone che hanno collaborato alla realizzazione dell'album verranno intervistate da Alberto Parigi di Pordenoneoggi.it, si parlerà di come e perché questo progetto editoriale è stato concepito e di quanto la Pordenone di allora sia ancora presente oggigiorno. A testimonianza di ciò, dopo la presentazione si esibiranno dal vivo i Rock'n'Roll Riot, band Rockabilly capitanata dall'inossidabile Luca “Capitan Urlo” Grizzo (già Plutoz Flight, Grizz & Fizz, Capitan Jive, Zerorchestra...) da quasi trent'anni protagonista della scena musicale pordenonese, anch'egli presente nel libro.