The Yaquina Head Lighthouse is a spectacularly restored example of these magnificent structures. It only takes one trip to the top to be thankful to not be carrying a bucket of fuel oil.

 

One watchman,

Watching in the night.

Grand ships journey,

Guided by his light.

Danger looms near,

As families hold tight;

Waiting for word to hear,

Their loved ones made it through the night.

Thanking the watchman,

Stalwart and true.

Lonely his journey might be,

With the most magnificent view.

Up the stairs he trods,

Grateful for safety at sea;

Gallons of fuel his burden,

Constant is his journey.

Storms bash his tower,

Winds curtail his flame;

Faithfully he moves with power,

Praying the storm shall tame.

With gratitude his light remains,

Another night of harrowed dreams.

From whence he came he thus returns,

Humility his friend, gratitude he earns.

Important: this is a modified version of the original batik!

 

What do we see here?

First of all: this art looks like ordinary painting done with a brush. It is not. It is a totaly different and complicate process. If you don´t know already how to make batik, please read the article below to understand the difference to our thinking about painting. The batik-artist doesn´t draw with colours, he draws with wax and the colouring is done by dipping the whole batik into the desired colour. Then removing the wax in boiling water and starting new for the next colour. And this so many times as the different colours in the finished batik. This takes month o finish. And you have to think opposit: you don´t draw the painting - you draw what will not be the painting!

 

That´s why this thousands of years old technic is declared as a

UNESCO Heritage Of Human Art.

 

You can see in his Batik Paintings elements of islamic art

____________________________________________

 

BATIK

Batik is a technique of wax-resist dyeing applied to the whole cloth. This technique originated from the island of Java, Indonesia. Batik is made either by drawing dots and lines of the resist with a spouted tool called a canting, or by printing the resist with a copper stamp called a cap. The applied wax resists dyes and therefore allows the artisan to colour selectively by soaking the cloth in one colour, removing the wax with boiling water, and repeating if multiple colours are desired.

 

Batik is an ancient art form of Indonesia made with wax resistant dye on fabrics. Indonesian coastal batik (batik pesisir) made in the island of Java has a history of acculturation, a mixture of native and foreign cultures. It is a newer model compared to inland batik, and it uses more colors, though the patterns are a lot less intricate. This is because inland batik used to be made by select experts living in palace areas, while coastal batik can be made by anyone.

 

Batik is very important to Indonesians and many people would wear it to formal or casual events. Batik is commonly used by Indonesians in various rituals, ceremonies, traditions, celebrations, and even in daily uses.

 

On October 2, 2009, UNESCO officially recognized the batik (written batik (batik tulis) and stamped batik (batik cap)) as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia, and encouraged the Indonesian people and the Indonesian government to safeguard, transmit, promote, and develop the craftsmanship of batik. Since then, Indonesia celebrates "the National Batik Day" (in Indonesian: Hari Batik Nasional) annually on October 2. Nowadays, Indonesians would wear batik in honor of this ancient tradition.

 

In the same year, UNESCO also recognized "Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan" as Masterpiece of Oral and Intangible Heritage of Humanity in Register of Good Safeguarding Practices List.

 

Batik is considered a cultural icon in modern Indonesia, where "National Batik Day" (in Indonesian: Hari Batik Nasional) is celebrated annually on October 2. Many Indonesians continue to wear batik on a daily basis for casual and formal occasions.

 

ETYMOLOY

The word batik is Javanese in origin. It comes from the Javanese ambatik that consist of amba means "wide" or "large", and tik or nitik means "dot" or "make a dot". The word bathikan also means "drawing" or "writing" in Javanese. When the word is absorbed to Malay (including both Indonesian and Malaysian standards), the "th-" sound is reduced to a "t-" sound more pronouncable to non-Javanese speakers.

 

The word batik is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled as battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms such as mbatik, mbatek, batik and batek. Batik known as euyeuk in Sundanese, cloth can be processed into a form of batik by a pangeyeuk (batik maker).

 

HISTORY

Batik is an ancient fabric wax-resist dyeing tradition of Java, Indonesia. The art of batik is most highly developed and some of the best batiks in the world still made there. In Java, all the materials for the process are readily available – cotton and beeswax and plants from which different vegetable dyes are made. Indonesian batik predates written records: G. P. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka. On the other hand, the Dutch archaeologist J.L.A. Brandes and the Indonesian archaeologist F.A. Sutjipto believe Indonesian batik is a native tradition, since several regions in Indonesia such as Toraja, Flores, and Halmahera which were not directly influenced by Hinduism, have attested batik making tradition as well.

 

The existence of the oldest Batik activities came from Ponorogo which was still called Wengker before the 7th century, the Kingdom in Central Java learned batik from Ponorogo. Because of this, Ponorogo batik is somewhat similar to batik circulating in Central Java, except that the batik produced by Ponorogo is generally dark black or commonly called batik irengan because it is close to magical elements. so that it was developed by the kingdoms in Central Java and Yogyakarta.

 

Based on the contents of the Sundanese Manuscript, Sundanese people have known about Batik since the 12th century. Based on ancient Sundanese manuscript Sanghyang Siksa Kandang Karesian written 1518 AD, it is recorded that Sundanese having batik which is identical and representative of Sundanese culture in general. Several motif are even noted in the text, based on those data sources the process of Batik Sundanese creation begins step by step.

 

Rouffaer reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that this delicate pattern could be created only by using the canting, an etching tool that holds a small reservoir of hot wax invented in Java around that time. The carving details of clothes worn by East Javanese Prajnaparamita statues from around the 13th century show intricate floral patterns within rounded margins, similar to today's traditional Javanese jlamprang or ceplok batik motif. The motif is thought to represent the lotus, a sacred flower in Hindu-Buddhist beliefs. This evidence suggests that intricate batik fabric patterns applied with the canting existed in 13th-century Java or even earlier. By the last quarter of the 13th century, the batik cloth from Java has been exported to Karimata islands, Siam, even as far as Mosul.

 

In Europe, the technique was described for the first time in the "History of Java", published in London in 1817 by Stamford Raffles, who had been a British governor of Bengkulu, Sumatra. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today the Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands. The Dutch and Chinese colonists were active in developing batik, particularly coastal batik, in the late colonial era. They introduced new patterns as well as the use of the cap (copper block stamps) to mass-produce batiks. Displayed at the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and artists.

  

In the 1920s, Javanese batik makers migrating to Malay Peninsula (present-day Malaysia, South Thailand, and southern tip of Myanmar) introduced the use of wax and copper blocks to its east coast.

 

In Subsaharan Africa, Javanese batik was introduced in the 19th century by Dutch and English traders. The local people there adapted the Javanese batik, making larger motifs with thicker lines and more colours. In the 1970s, batik was introduced to Australia, where aboriginal artists at Erna Bella have developed it as their own craft.

 

In Africa, it was originally practised by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal.[20] This African version, however, uses cassava starch or rice paste, or mud as a resist instead of beeswax.

 

TECHNIQUES

Initially, batik making techniques only used "written batik" (batik tulis) techniques. This batik tulis is known as the original batik from generation to generation from the Indonesian nation's ancestors because the process and workmanship are still very traditional and manual. Then the technique developed with the discovery of the stamped batik (batik cap) technique which made batik work faster. The batik tulis and batik cap techniques are recognized by UNESCO as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia because it still uses waxes in the making process.

 

WRITTEN BATIK (BATIK TULIS)

Written batik or batik tulis (Javanese script: ꦧꦠꦶꦏ꧀ꦠꦸꦭꦶꦱ꧀; Pegon: باتيق توليس) is made by writing wax liquid on the surface of the cloth with a tool called canting. Canting made of copper with a handle made of bamboo or wood. The making of hand-written batik takes approximately 1–3 months depending on the complexity and detail of batik. Because the working techniques are still traditional and manual, making hand-written batik takes longer and is more complicated than other batik techniques. In addition, the fundamental difference between written batik compared to other batik is that there are differences in each pattern, for example, a number of points or curved lines that are not the same because they are made manually by hand. This characteristic of hand-written batik makes hand-written batik more valuable and unique compared to other batiks.Written batik technique is the most complicated, smooth, and longest process to work with, so a piece of original batik tulis cloth is usually sold at a higher price. However, this is the advantage of batik with the written process, which is more exclusive because it is purely handmade. In Indonesia, premium hand-written batik clothes are usually only worn by certain people at special events, in the form of long-sleeved shirts or modern batik dresses. The batik motif in Indonesia has developed depending on its history and place of origin.

 

STAMPED BATIK (BATIK CAP)

Stamped batik or batik cap (Javanese script: ꦧꦠꦶꦏ꧀ꦕꦥ꧀; Pegon: باتيق چڤ) is batik whose manufacturing process uses a stamp tool. This stamp tool is made of copper plates which form a batik motif on one of its surfaces. Stamp tool or canting cap is made by people who are experts in that field. Making batik with cap works the same way as using a stamp, but using waxes, not ink. This experience process is not easy to do. To make one piece of batik cloth, the process of deepening is carried out several times depending on the number of colors desired. Cap is used to replacing the canting function so that it can shorten the manufacturing time. Batik cap is produced from the process of dyeing a tool made of copper which has been shaped in such a way on the cloth. The batik cap motif is considered to have less artistic value because all the motifs are exactly the same. The price of printed batik is cheaper than written batik because it can be made en masse. The distinctive feature of batik cap can be seen from the repeating pattern and/or ornament motif. Historically, this batik cap process was discovered and popularized by the brethren as a solution to the limited capacity of batik production if it was only processed with hand-written techniques (batik tulis). The process of making this type of batik takes approximately 2–3 days. The advantages of batik cap are easier, faster batik processing, and the most striking of which is the more neat and repetitive motifs. While the drawbacks of batik cap include the mainstream design because it usually goes into mass production, in terms of art it looks stiffer and the motifs are not too detailed, and what is certain is the possibility of having the same batik as other people is greater.

 

PAINTED BATIK (BATIK TULIS)

Painted batik, batik painting, or batik lukis (Javanese script: ꦧꦠꦶꦏ꧀ꦭꦸꦏꦶꦱ꧀; Pegon: باتيق لوكيس) is a technique of making batik by painting (with or without a pattern) on a white cloth using a medium or a combined medium like canting, brush, banana stalk, broomsticks, cotton, toothpicks, patchwork, or other media depending on the expression of a painter. Batik painting is the result of the development of batik art. The essence of batik painting is the process of making batik that does not use traditional motifs that are commonly found. The resulting motifs are the creation of the maker, usually producing contemporary (free) motifs or patterns with brighter, more striking colors, and more diverse color variations. The coloring in painted batik tends to be free and plays with many colors that are not often found in written batik (batik tulis). There are also gradation effects and other painting effects. The drawings are made as if painted batik is an ordinary painting poured on cloth using wax as the medium.

 

In principle, painted batik is almost the same way with written batik in the making process. Because of the development of classic written batik, painted batik still contains the same elements as written batik in the aspects of materials, processing, coloring, and highlighting (removing the wax). But there are also many differences due to the influence of modern painting, such as in terms of appearance, especially in motifs and colors. The most important thing in making painted batik is the combination of the batik work and coloring depending on the taste of the batik maker. Painted batik is popular because it has a very affordable price and a very creative manufacturing process. Painted batik can be used as decoration or ready-to-wear clothing (fashion). Painted batik which has human objects, landscapes, still objects, and other objects, are in high demand for display paintings.

 

MAKING PROCESS

The making of Indonesian batik is a labor-intensive process. The following are the stages in the process of making the original batik tulis cloth from the first steps to the last process: nyungging, njaplak, nglowong, ngiseni, nyolet, mopok, nembok, ngelir, nembok, the first nglorod, ngrentesi, nyumri, nyoja, and the second nglorod.

 

Firstly, a cloth is washed, soaked, and beaten with a large mallet. Patterns are drawn with pencil and later redrawn using hot wax, usually made from a mixture of paraffin or beeswax, sometimes mixed with plant resins, which functions as a dye-resist. The wax can be applied with a variety of tools. A pen-like instrument called a canting (Javanese pronunciation: [tʃantiŋ], sometimes spelled with old Dutch orthography tjanting) is the most common. A canting is made from a small copper reservoir with a spout on a wooden handle. The reservoir holds the resist which flows through the spout, creating dots and lines as it moves. For larger patterns, a stiff brush may be used.[38] Alternatively, a copper block stamp called a cap (Javanese pronunciation: [tʃap]; old spelling tjap) is used to cover large areas more efficiently.

 

After the cloth is dry, the resist is removed by boiling or scraping the cloth. The areas treated with resist keep their original colour; when the resist is removed the contrast between the dyed and undyed areas forms the pattern. This process is repeated as many times as the number of colours desired.

 

The most traditional type of batik, called written batik (batik tulis), is drawn using only the canting. The cloth needs to be drawn on both sides and dipped in a dye bath three to four times. The whole process may take up to a year; it yields considerably finer patterns than stamped batik (batik cap).

 

CULTURE

Batik is an ancient cultural element that is widespread in Indonesia. Making batik, in the sense of written batik, is not only a physical activity but has a deep dimension that contains prayer, hope, and lessons. Batik motifs in ancient Javanese society have a symbolic meaning and can be used as a means of communication for ancient Javanese people. The ancient Javanese community realized that through batik motifs the social stratification of society could be identified. Basically, the use of batik should not be arbitrary for both men and women because every element in Javanese clothing, especially batik, is always full of symbols and meanings.

 

Many Indonesian batik patterns are symbolic. Infants are carried in batik slings decorated with symbols designed to bring the child luck, and certain batik designs are reserved for brides and bridegrooms, as well as their families. Batik garments play a central role in certain Javanese rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni ceremony, the mother-to-be is wrapped in seven layers of batik, wishing her good things. Batik is also prominent in the tedak siten ceremony when a child touches the earth for the first time. Specific pattern requirement are often reserved for traditional and ceremonial contexts.

 

TRADITIONAL COSTUME IN THE JAVANESE ROYAL PALACE

Batik is the traditional costume of the royal and aristocratic families in Java for many centuries until now. The use of batik is still sustainable and is a mandatory traditional dress in the rules of the Javanese palaces to this day. Initially, the tradition of making batik was considered a tradition that could only be practiced in the palace and was designated as the clothes of the king, family, and their followers, thus becoming a symbol of Javanese feudalism. Because many of the king's followers lived outside the palace, this batik art was brought by them outside the palace and carried out in their respective places. The batik motifs of each social class are differentiated according to social strata and nobility in the palace. The motifs of the Parang Rusak, semen gedhe, kawung, and udan riris are the batik motifs used by the aristocrats and courtiers in garebeg ceremonies, pasowanan, and welcoming honor guests. During the colonial era, Javanese courts issued decrees that dictated certain patterns to be worn according to a person's rank and class within the society. Sultan Hamengkubuwono VII, who ruled the Yogyakarta Sultanate from 1921 to 1939, reserved several patterns such as the Parang Rusak and Semen Agung for members of the Yogyakartan royalties and restricted commoners from wearing them.

 

TRADITIONAL DANCE COSTUMES

Batik is used for traditional dance performances in Java. Costume is one of the main things in presenting traditional Javanese dance. Kemben is a piece of cloth worn from the chest to the waist. Tapih is used to fasten the jarit of the dancers, it is decorated with a distinctive batik motif, and fastened with a stagen belt. Sampur is used by wrapping them around the dancer's body. This cloth is also known as Kancrik Prade which is usually dominated by yellow or red. Jarit is a subordinate, uses a long batik cloth. Some examples of Javanese dances include Bedhaya, Srimpi, Golek, Beksan, wayang wong, gambyong, and so on.

 

BIRTH CEREMONIES

In Javanese tradition, when a mother-to-be reaches her seventh month of pregnancy, a seven-month event or a mitoni ceremony will be held. One of the things that must be done in the ceremony is that the prospective mother must try on the seven kebayas and seven batik cloths. The batik used has rules and is not just any batik. Each batik cloth has a high philosophical value which is also a strand and hope for the Almighty so that the baby who is born has a good personality.

 

Prospective mothers must alternate wearing 6 batik cloths and 1 striated batik cloth. This batik substitution has a rule, that the last batik to be worn is the one with a simple motif. The motif rulers include:

 

Wahyu tumurun motif – This motif contains the hope that the baby will have a good position.

Cakar motif – This motif is expected to make the child diligent in seeking sustenance.

Udan liris motif – It is hoped that the child will have a tough character.

Kesatrian motif – It is hoped the child has a chivalrous nature.

Sidomukti motif – It is hoped that the child's life will be good and honorable.

Babon angrem motif – Motif depicting a hatchling hen, symbolizes the mother's love for her child.

Lurik lasem motif – The simplest motif. It has a philosophy that human life should be simple. There is also another philosophy, there are two lines in lurik lasem batik, namely the vertical line indicating the relationship between humans and God and the horizontal line indicating the relationship between humans and fellow humans.

 

WEDDING CEREMONIES

Every motif in classical Javanese batik always has its own meaning and philosophy, including for wedding ceremonies. Because each motif attached to Javanese batik has a different story and philosophy. In Javanese wedding ceremony, certain batik designs are reserved for brides and bridegrooms, as well as their families. Such as the truntum motif (flower motif in the shape of the sun) is used for midodareni ceremony (the procession of the night before the wedding ceremony, symbolizing the last night before the child separates from parents). This motif is also used during the panggih ceremony (the procession when the bride and groom meet after being secluded) by the parents of the bride and groom. The truntum motif means a symbol of love that never ends, when used by the parents of the bride and groom, it symbolizes the love of the parents for the child that never ends.

 

Some of the batik motifs that can be used for weddings are the grompol motif (hopefully the bride and groom will get a blessing and a bright future), Sidho asih motif (hopefully that the bride and groom will love each other), Sidho luhur motif (hopefully that the bride will have a noble and praiseworthy character), and ceker ayam motif (hopefully the bride and groom have the spirit of being married and given prosperity).

 

DEATH CEREMONIES (LURUB LAYON)

In Javanese society batik cloth is also used for death ceremonies, namely as a cover for the body or what is known as the lurub layon ceremony. The batik motif that symbolizes grief is the slobok motif. This batik motif symbolizes the hope that spirits will find it easy and smooth on their way to God. The word slobog is taken from the Javanese word lobok, which means loose. This motif is a geometric triangular shape that is usually black and white. The basic color of this batik is often black or brown with a natural dye which is often called soga.

 

In Madurese society, one of the batik motifs used for the cloth covering the corpse from generation to generation is the biren rice tompah motif. This biren leaf motif is filled with spilled rice using natural dyes. The washing also uses natural ingredients, squeezed papaya leaves.

 

FORMAL AND INFORMAL DAILY DRESS

Contemporary practice often allows people to pick any batik patterns according to one's taste and preference from casual to formal situations, and Batik makers often modify, combine, or invent new iterations of well-known patterns. Besides that, now batik has become a daily dress whether it is at work, school, or formal and non-formal events in Indonesia. Many young designers have started their fashion design work by taking batik as their inspiration for making clothes designs. The creativity of these young designers has given birth to various designs of batik clothes that are very elegant and meet the demands of a modern lifestyle.

 

In October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity. As part of the acknowledgment, UNESCO insisted that Indonesia preserve its heritage. The day, 2 October 2009 has been stated by Indonesian government as National Batik Day, as also at the time the map of Indonesian batik diversity by Hokky Situngkir was opened for public for the first time by the Indonesian Ministry of Research and Technology.

 

Study of the geometry of Indonesian batik has shown the applicability of fractal geometry in traditional designs.

 

PATTERNS AND MOTIVS

The popularity of batik in Indonesia has varied. Historically, it was essential for ceremonial costumes and it was worn as part of a kebaya dress, commonly worn every day. The use of batik was already recorded in the 12th century, and the textile has become a strong source of identity for Indonesians crossing religious, racial, and cultural boundaries. It is also believed the motif made the batik famous.

 

KAWUNG

The kawung motif originated in the city of Yogyakarta and comes in a variety of styles. The motif has a geometrically organized pattern of spheres that resembles the kawung fruit (palm fruit). This pattern is thought to also be a representation of a lotus flower with four blooming crown petals, representing purity. The geometrically organized kawung pattern is seen as a representation of authority in Javanese society. Power is symbolized by the dot in the center of the geometrically aligned ovals. This reflects the position of rulers being the center of authority, which may now be understood as a depiction of the relationship between the people and the government. Other kawung symbolisms are connected to wisdom, such as representing the ancient Javanese philosophy of life of sedulur papat lima pancer. As a result, it is intended signify human existence, in the hopes that a person would not forget their roots. The color scheme of the kawung batik pattern, which includes a combination of dark and bright hues represents human traits. As the kawung pattern is frequently regarded as a palm tree's fruit that is thought to be extremely beneficial for people, it is believed that whomever uses this motif would have a positive influence on the environment. Furthermore, the kawung batik motif is seen as a sign of power and justice. Since the Kawung motif is frequently associated with a symbolism of authority and has many philosophical meanings, it was formerly used only by the Javanese royal family. Over time, numerous influences such as colonization have influenced its exclusivity, enabling the kawung motif to be utilized by the general public.

 

PARANG

The word Parang comes from the word coral or rock. The motif depicts a diagonal line descending from high to low and has a slope of 45 degrees. The basic pattern is the letter S. The meaning of the parang motif can be interpreted in two ways. Some speculate this theme is derived from the pattern of the sword worn by knights and kings when fighting. Others say Panembahan Senapati designed the pattern while watching the South Sea waves crash against the beach's rocks, with the ocean waves symbolizing the center of natural energy, or the king. The parang motif's oblique construction is also a sign of strength, greatness, authority, and speed of movement. The parang motif, like the kawung design, is a batik larang as it is exclusively worn by the monarch and his relatives. The size of the parang motif also represents the wearer's position in the royal family's hierarchy.[68] The parang pattern has many variations, each of which has its own meaning and is allocated to a certain member of the royal family based on their rank. Barong, rusak, gendreh, and klithik are some variations of the parang motif. In general, the motif is meant to represent a person's strong will and determination. It also represents a strong relationship and bond, both in terms of efforts to improve oneself, efforts to fight for prosperity, as well as forms of family ties. Since members of the royal family are the only ones who may wear the parang motif, the parang batik is often passed down among generations.

 

MEGA MENDUNG

The mega mendung pattern has become a symbol of the city of its origin, Cirebon, due to its widespread popularity. The entrance of the Chinese traders is credited with the birth of the mega mendung motif. The motif is formed like a cloud, representing nirvana and the transcendental notion of divinity in Chinese culture. In another variant, the inspiration for this motif came from someone having seen a cloud reflected in a puddle of water while the weather was overcast. Mega mendung motifs must have a seven color gradations. The motif's name means "the sky will rain", and the motif's seven color gradations are supposed to represent the seven layers of the sky. The term mendung, which means "cloudy", is used in the pattern's name to represent patience. This means humans should not be quick to anger and should exercise patience even when confronted with emotional events. The cloud's structure should also be consistent, as the direction must be horizontal rather than vertical. The clouds must also be flat, as the cloud's purpose is to shield those beneath it from the scorching sun. As a result, the mega mendung design communicates that leaders must protect their people.

 

TUJUH RUPA

This pattern originates in Pekalongan and is the product of a fusion of Indonesian and Chinese cultures. Ceramic ornaments from China are frequently used in the Tujuh Rupa motif. However, the embellishments on these motifs sometimes include brilliantly colored ornaments of natural elements such as animals and plants. The Tujuh Rupa motifs signifies ancestral ties and to represent gentleness and compassion. The motifs portrayed frequently represent aspects of coastal people's life, such as their ability to adapt to other cultures.

 

TRUNTUM

The Truntum pattern was developed by Kanjeng Ratu Kencana (Queen Sunan Paku Buwana III) in the years 1749-1799 as a symbol of true, unconditional, and eternal love. It embodies a hope that as love becomes stronger, it will become more fruitful. Truntum comes from the word nuntun (guide). According to legend, Kanjeng Ratu Kencana's spouse disregarded her because he was preoccupied with his new concubine. She was inspired to design a batik with a truntum motif shaped like a star after looking up at the clear, star-studded sky. The king subsequently discovered the Queen creating the lovely pattern, and his feelings for her grew stronger with each passing day. Furthermore, the truntum pattern represents loyalty and devotion. The parents of the bride and groom usually use this motif on the wedding day. The hope is that the bride and groom would experience such steadfast love.

 

SOGAN

As the coloring technique of this Soga motif employs natural dyes extracted from the trunk of the soga tree, the batik motif is therefore known as Sogan. Traditional Sogan batik is a kind of batik unique to the Javanese Keraton, specifically Keraton Yogyakarta and Keraton Solo. The traditional Keraton patterns are generally followed by this Sogan motifs.The colors of Sogan Yogya and Solo are what differentiates the two Sogan motif variations from each other. Yogya sogan motifs are predominantly dark brown, black, and white, whereas Solo sogan motifs are often orange-brown and brown. The Sogan motif uses five primary colors to represent the human nature: black, red, yellow, white, and green are the five colors. The color black is used to represent worldliness, while red represents anger, yellow represents desire, and white represents righteousness. Brown, on the other hand, is a hue associated with solemnity and the distinctiveness of the Javanese culture, which places a strong emphasis on the inner self as a means of expression and impression. Furthermore, the color brown can be viewed as a symbol of modesty and humility, signifying a closeness to nature, which in turn implies a connection to the people.

 

LASEM

Lasem batik is a form of coastal batik that developed through a cross-cultural exchange between native Javanese batik that were influenced by the Keraton motif and the incorporation of foreign cultural aspects, particularly Chinese culture. Therefore, the Lasem Batik has a distinct look and is rich in Chinese and Javanese cultural subtleties. The Lasem motif is distinguished by its distinctive red hue, known as getih pitik or 'chicken blood'.[83] This is not to imply it is coloured with chicken blood, but in the past, the dye powder, which was generally imported from Europe, was combined with Lasem water to turn it crimson. Even if it is close to the traditional Lasem hue, the red colour is now a little different. The Lasem motif comes in many variations, but the most common is that of China's famed Hong bird. The origin of the motif started when Admiral Cheng Ho's crew member Bi Nang Un is reported to have moved to Central Java with his wife Na Li Ni, where she learnt to create batik motifs. Na Li Ni is credited as being the first to use dragon designs, hong birds, Chinese money, and the color red in batik. As a result, the Lasem patterns and colors have symbolic connotations linked to Chinese and Javanese philosophy, resulting in the motif carrying a meaning of unity and a representation of Chinese and Javanese acculturation.

 

SIDOMUKTI

The Sidomukti batik motif is a Surakarta, Central Java-based motif. The Sidomulyo motif has been developed into this motif, whereby Paku Buwono IV altered the backdrop of the white Sidomulyo batik motif to the ukel motif, which was eventually dubbed the Sidomukti batik motif. This batik design is a kind of Keraton batik produced using natural soga dyes. On Sidomukti batik cloth, the color of soga or brown is the traditional batik colour. The term Sidomukti comes from the word Sido, which means "to become" or "accepted", and "mukti", which means "noble", "happy", "powerful", "respected", and "prosperous". As a result, the Sidomukti motif represents the desire to achieve inner and external happiness, or for married couples, the hope of a bright and happy future for the bride and groom. The Sidomukti motifs are made up of various ornaments with different meanings and philosophies. A butterfly is the main ornament of this motif. Enlightenment, liberty, and perfection are all associated with this ornamentation. Furthermore, the butterfly represents beauty, great aspirations, and a brighter future. The Singgasana ornament, also known as the throne ornament, is the second ornament. This ornament is meant to important positions, implying that the person who wears it will ascend in rank and status. It is also envisioned that the individual would be recognized and appreciated by a large number of people. The Meru ornament, often known as mountain ornaments, is the third ornament. Meru is defined as a lofty mountain top where the gods live in Javanese Hindu tradition. Because the Meru ornament represents grandeur, magnificence, and firmness, it represents a want for the wearer to be successful. The flower ornament is the last ornament, and it is intended to represent beauty. This ornament represents the hope for something wonderful in life that is sturdy and substantial to hang on to, despite the numerous challenges that may arise.

 

SIDOMULYO

The Sidomulyo batik motif dates back to the Kartasura Mataram period, when Sultan Pakubuwono IV changed the pattern's base with isen-isen ukel. The Sidomulyo pattern is a type of Keraton batik, and originates from Surakarta, Central Java.[90] Sido means "to become" or "accepted" in Javanese, whereas mulyo means "noble”. During the wedding ceremony, a bride and groom generally wear a batik fabric with the Sidomulyo motif in the hope that the family would thrive in the future. Because the Sidomulyo and Sidolmukti batik motifs are essentially the same with the only difference being the minor color variations, the ornamentations and meanings of the two motifs are the same.

 

SEKAR JAGAD

The Sekar Jagad motif has been popular since the 18th century. The name Sekar Jagad is derived from the words kaart, meaning map in Dutch, and Jagad, meaning means world in Javanese, as the pattern resembles a map when viewed from above. As a result, Batik Sekar Jagad is intended to depict the beauty and diversity of the world's various ethnic groups. There are also others who claim that the Sekar Jagad motif is derived from the Javanese words sekar (flower) and jagad (world), as the motif could also symbolize the beauty of the flowers that are spread all over the world. The existence of curving lines matching the shape of islands that are adjacent to each other is one of the features of the Sekar Jagad motif, making it look like a map. This motif is distinct in that it is irregularly patterned, as opposed to other batik motifs that have a repeating pattern. The Sekar Jagad motif itself is also characterized by the presence of isen-isen in the island shaped lines of the motif that contains various motifs such as kawung, truntum, slopes, flora and fauna and others.

 

TERMINOLOGY

Batik is traditionally sold in 2.25-metre lengths used for kain panjang or sarong. It is worn by wrapping it around the hip, or made into a hat known as blangkon. The cloth can be filled continuously with a single pattern or divided into several sections.

 

Certain patterns are only used in certain sections of the cloth. For example, a row of isosceles triangles, forming the pasung motif, as well as diagonal floral motifs called dhlorong, are commonly used for the head. However, pasung and dhlorong are occasionally found in the body. Other motifs such as buketan (flower bouquet) and birds are commonly used in either the head or the body.

 

The head is a rectangular section of the cloth which is worn at the front. The head section can be at the middle of the cloth, or placed at one or both ends. The papan inside of the head can be used to determine whether the cloth is kain panjang or sarong.

The body is the main part of the cloth, and is filled with a wide variety of patterns. The body can be divided into two alternating patterns and colours called pagi-sore ('dawn-dusk'). Brighter patterns are shown during the day, while darker pattern are shown in the evening. The alternating colours give the impression of two batik sets.

Margins are often plain, but floral and lace-like patterns, as well as wavy lines described as a dragon, are common in the area beside seret.

 

TYPES

As each region has its own traditional pattern, batiks are commonly distinguished by the region they originated in, such as batik Solo, batik Yogyakarta, batik Pekalongan, and batik Madura. Batiks from Java can be distinguished by their general pattern and colours into batik pedalaman (inland batik) or batik pesisiran (coastal batik).[9] Batiks which do not fall neatly into one of these two categories are only referred to by their region. A mapping of batik designs from all places in Indonesia depicts the similarities and reflects cultural assimilation within batik designs.

 

JAVANESE BATIK

INLAND BATIK (BATIK PEDALAMAN)

Inland batik, batik pedalaman or batik kraton (Javanese court batik) is the oldest form of batik tradition known in Java. Inland batik has earthy colour[96] such as black, indigo, brown, and sogan (brown-yellow colour made from the tree Peltophorum pterocarpum), sometimes against a white background, with symbolic patterns that are mostly free from outside influence. Certain patterns are worn and preserved by the royal courts, while others are worn on specific occasions. At a Javanese wedding for example, the bride wears specific patterns at each stage of the ceremony. Noted inland batiks are produced in Solo and Jogjakarta, cities traditionally regarded as the centre of Javanese culture. Batik Solo typically has sogan background and is preserved by the Susuhunan and Mangkunegaran Court. Batik Jogja typically has white background and is preserved by the Yogyakarta Sultanate and Pakualaman Court.

 

COASTAL BATIK (BATIK PESISIRAN)

Coastal batik or batik pesisiran is produced in several areas of northern Java and Madura. In contrast to inland batik, coastal batiks have vibrant colours and patterns inspired by a wide range of cultures as a consequence of maritime trading.[96] Recurring motifs include European flower bouquets, Chinese phoenix, and Persian peacocks. Noted coastal batiks are produced in Pekalongan, Cirebon, Lasem, Tuban, and Madura. Pekalongan has the most active batik industry.

 

A notable sub-type of coastal batik called Jawa Hokoka is not attributed to a particular region. During the Japanese occupation of Indonesia in early 1940, the batik industry greatly declined due to material shortages. The workshops funded by the Japanese however were able to produce extremely fine batiks called Jawa Hokokai. Common motifs of Hokokai includes Japanese cherry blossoms, butterflies, and chrysanthemums.

 

Another coastal batik called tiga negeri (batik of three lands) is attributed to three regions: Lasem, Pekalongan, and Solo, where the batik would be dipped in red, blue, and sogan dyes respectively. As of 1980, batik tiga negeri was only produced in one city.

 

BLACKSTYLE BATIK (BATIK IRENGAN)

"Black-style Batik" or "Irengan batik" is batik with an average black background, this is because Ponorogo has always had activities that are close to magical practices, so most irengan batik from Ponorogo is used as a black magic ritual, Dutch people know batik irengan this with gothic batik.

 

SUNDANESE BATIK

There are several types of batik that come from Sundanese land.

 

PARAHYANGAN BATIK

Sundanese or Parahyangan Batik is the term for batik from the Parahyangan region of West Java and Banten. Although Parahyangan batiks can use a wide range of colours, a preference for indigo is seen in some of its variants. Natural indigo dye made from Indigofera is among the oldest known dyes in Java, and its local name tarum has lent its name to the Citarum river and the Tarumanagara kingdom, which suggests that ancient West Java was once a major producer of natural indigo. Noted Parahyangan batik is produced in Ciamis, Garut, and Tasikmalaya. Other traditions include Batik Kuningan influenced by batik Cirebon, batik Banten that developed quite independently, and an older tradition of batik Baduy.

 

BANTENESE BATIK

Bantenese batik employs bright pastel colours and represents a revival of a lost art from the Sultanate of Banten, rediscovered through archaeological work during 2002–2004. Twelve motifs from locations such as Surosowan and several other places have been identified. It is said that tribal people used to wear it.

 

BADUY BATIK

Baduy batik only employs indigo colour in shades ranged from bluish black to deep blue. It is traditionally worn as iket, a type of Sundanese headress similar to Balinese udeng, by Outer Baduy people of Lebak Regency, Banten.

 

MALAY BATIK

Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, coastal batik from northern Java probably influenced Jambi. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan district is known for producing batik Jambi. Batik Jambi, as well as Javanese batik, influenced the Malaysian batik.

 

The batik from Bengkulu, a city on west coast of Sumatra, is called batik besurek, which literary means "batik with letters" as they draw inspiration from Arabic calligraphy.

 

MINANGKABAU BATIK

The Minangkabau people also produce batik called batiak tanah liek (clay batik), which use clay as dye for the fabric. The fabric is immersed in clay for more than one day and later designed with motifs of animal and flora.

 

BALINESE BATIK

Batik making in the island of Bali is relatively new, but a fast-growing industry. Many patterns are inspired by local designs, which are favoured by the local Balinese and domestic tourists. Objects from nature such as frangipani and hibiscus flowers, birds or fishes, and daily activities such as Balinese dancer and ngaben processions or religious and mythological creatures such as barong, kala and winged lion are common. Modern batik artists express themselves freely in a wide range of subjects.

 

Contemporary batik is not limited to traditional or ritual wearing in Bali. Some designers promote Balinese batik as an elegant fabric that can be used to make casual or formal cloth. Using high class batik, like hand made batik tulis, can show social status.

 

POPULARITY

The batik industry of Java flourished from the late 1800s to the early 1900s, but declined during the Japanese occupation of Indonesia. With increasing preference of western clothing, the batik industry further declined following the Indonesian independence. Batik has somewhat revived at the turn of the 21st century, through the efforts of Indonesian fashion designers to innovate batik by incorporating new colors, fabrics, and patterns. Batik has become a fashion item for many Indonesians, and may be seen on shirts, dresses, or scarves for casual wear; it is a preferred replacement for jacket-and-tie at certain receptions. Traditional batik sarongs are still used in many occasions.

 

After the UNESCO recognition for Indonesian batik on 2 October 2009, the Indonesian administration asked Indonesians to wear batik on Fridays, and wearing batik every Friday has been encouraged in government offices and private companies ever since. 2 October is also celebrated as National Batik Day in Indonesia. Batik had helped improve the small business local economy, batik sales in Indonesia had reached Rp 3.9 trillion (US$436.8 million) in 2010, an increase from Rp 2.5 trillion in 2006. The value of batik exports, meanwhile, increased from $14.3 million in 2006 to $22.3 million in 2010.

 

Batik is popular in the neighboring countries of Singapore and Malaysia. It is produced in Malaysia with similar, but not identical, methods to those used in Indonesia. Batik is featured in the national airline uniforms of the three countries, represented by batik prints worn by flight attendants of Singapore Airlines, Garuda Indonesia and Malaysian Airlines. The female uniform of Garuda Indonesia flight attendants is a modern interpretation of the Kartini style kebaya with parang gondosuli motifs.

 

BATIK MUSEUMS

Indonesia as the origin and paradise of batik has several museums that store various types of batik cloth that are hundreds of years old and a collection of equipment for batik that is still well preserved and maintained. Here are some museums in Indonesia that hold various types of batik collections:

 

MUSEUM BATIK KERATON YOGYAKARTA

Museum Batik Keraton Yogyakarta is located inside the Palace of Yogyakarta Sultanate, Yogyakarta. The museum which was inaugurated by Sultan Hamengku Buwono X on 31 October 2005 has thousands of batik collections. Some of batik collections here include kawung, semen, gringsing, nitik, cuwiri, parang, barong, grompol, and other motifs.

 

These batik collections come from different eras, from the era of Sultan Hamengkubuwono VIII to Sultan Hamengkubuwono X. The batik collections come from gifts from sultans, batik entrepreneurs, and batik collectors. Not only batik, visitors can also see equipment for making batik, raw materials for dyes, irons, sculptures, paintings, and batik masks. Unlike other museums in the Yogyakarta Palace complex, the Batik Museum management does not allow visitors to bring in cameras. This is in order to protect the batik from being photographed by irresponsible people, to then imitate the motive. This museum is part of a tour package offered by the Yogyakarta Palace. Open every day from 08.00–13.30 WIB, on Fridays at 08.00–13.00 WIB, and closes at the palace ceremony day.

 

MUSEUM BATIK YOGYAKARTA

Museum Batik Yogyakarta is located at Jalan Dr. Sutomo 13A, Bausasran, Yogyakarta. This museum is managed by the married couple Hadi and Dewi Nugroho. On 12 May 1977, this museum was inaugurated by the Yogyakarta Special Region Regional Office of P&K. This museum occupies an area of 400 m2 and is also used as the owner's residence. In 2000, this museum received an award from MURI for the work 'The Biggest Embroidery', batik measuring 90 x 400 cm2. Then in 2001, this museum received another award from MURI as the initiator of the establishment of the first Embroidery Museum in Indonesia. This museum holds more than 1,200 batik collections consisting of 500 pieces of written batik, 560 stamped batik, 124 canting (batik tools), and 35 pans and coloring materials, including wax. Its excellent collection consists of various batik fabrics from the 18th to early 19th centuries in the form of long cloths and sarongs. Other collections include batik by Van Zuylen and Oey Soe Tjoen, as well as batik made in the 1700s. Yogyakarta Batik Museum also provides batik training for visitors who want to learn to make batik, which results can be taken home. The museum is open every Monday to Saturday at 09.00–15.00.

 

MUSEUM BATIK PEKALONGAN

Museum Batik Pekalongan is located at Jalan Jetayu No.1, Pekalongan, Central Java. This museum has 1.149 batik collections, including batik cloth, hundreds of years old of batik wayang beber, and traditional weaving tools. Museum Batik Pekalongan maintains a large collection of old to modern batik, both those from coastal areas, inland areas, other areas of Java, and batik from various regions in Nusantara such as from Sumatra, Kalimantan, Papua, and batik technique type fabrics from abroad.

 

Not only displaying batik collections, but Museum Batik Pekalongan is also a batik training center and a batik learning center. Students and general visitors can learn to make batik or do research on batik culture. The museum opens every day from 08.00 to 15.00.

Museum Batik Danar Hadi is located on Jalan Slamet Riyadi, Solo City (Surakarta), Central Java. The museum, which was founded in 1967, offers the best quality batik collections from various regions such as the original Javanese Batik Keraton, Javanese Hokokai batik (batik influenced by Japanese culture), coastal batik (Kudus, Lasem, and Pekalongan), Sumatran batik, and various types of batik. This museum has a collection of batik cloth reaching 1000 pieces and has been recognized by MURI (Indonesian Record Museum) as the museum with the largest collection of batik. Visitors can see the process of making batik and can even take part in batik making workshop in person. Museum Batik Danar Hadi is open every day from 09:00 WIB in the morning to 16:30 WIB in the afternoon.

 

MUSEUM BATIK INDONESIA

Museum Batik Indonesia which is located in Taman Mini Indonesia Indah (TMII), Cipayung, Jakarta is divided into six areas, namely the area of introduction, treasures, batik techniques, forms, and types of decoration, development of the batik world and the gallery of fame. Visitors can also enjoy the hundreds of batik motifs available in this place. The museum opens every day at 07.00 AM–10.00 PM.

 

MUSEUM TEKSTIL JAKARTA

Museum Tekstil Jakarta is located on Jalan KS Tubun No. 4, Petamburan, West Jakarta. On June 28, 1976, this building was inaugurated as a textile museum by Mrs. Tien Soeharto (First Lady at that time) witnessed by Mr. Ali Sadikin as the Governor of DKI Jakarta. The initial collections collected at the Textile Museum were obtained from donations from Wastraprema (about 500 collections), then further increased through purchases by the Museum and History Service, as well as donations from the community, both individually and in groups. Until now, the Textile Museum's collection was recorded at 1.914 collections.

 

The batik gallery is designed to showcase a number of ancient batik and batik developments (contemporary) from time to time. The batik gallery itself is the embryo of the National Batik Museum which is managed by the Indonesian Batik Foundation and the Jakarta Textile Museum. The museum opens on Tuesday–Sunday at 09.00–15.00.

Batik outside Indonesia

 

MALAYSIA

The origin of batik production in Malaysia it is known trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century, the northern coastal batik producing areas of Java (Cirebon, Lasem, Tuban, and Madura) has influenced Jambi batik. This Jambi (Sumatran) batik, as well as Javanese batik, has influenced the batik craft in the Malay peninsula.

 

Dr. Fiona Kerlogue of the Horniman museum argued that the Malaysian printed wax textiles, made for about a century, are a different tradition from traditional Indonesian batik. The method of producing Malaysian batik is different, as the patterns are larger and simpler with only occasional use of the canting for intricate patterns. It relies heavily on brush painting to apply colours to fabrics. The colours also tend to be lighter and more vibrant than deep coloured Javanese batik. The most popular motifs are leaves and flowers. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine.

 

INDIA

Indians are known to use resist method of printing designs on cotton fabrics, which can be traced back 2,000 years.[when?][citation needed] Initially, wax and even rice starch were used for printing on fabrics. Until recently batik was made only for dresses and tailored garments, but modern batik is applied in numerous items, such as murals, wall hangings, paintings, household linen, and scarves, with livelier and brighter patterns. Contemporary batik making in India is also done by the Deaf women of Delhi, these women are fluent in Indian Sign Language and also work in other vocational programs.

 

SRI LANKA

Over the past century, batik making in Sri Lanka has become firmly established. The batik industry in Sri Lanka is a small scale industry which can employ individual design talent and mainly deals with foreign customers for profit. It is now the most visible of the island's crafts with galleries and factories, large and small, having sprung up in many tourist areas. Rows of small stalls selling batiks can be found all along Hikkaduwa's Galle Road strip. Mahawewa, on the other hand, is famous for its batik factories.

 

CHINA

Batik is done by the ethnic people in the South-West of China. The Miao, Bouyei and Gejia people use a dye resist method for their traditional costumes. The traditional costumes are made up of decorative fabrics, which they achieve by pattern weaving and wax resist. Almost all the Miao decorate hemp and cotton by applying hot wax then dipping the cloth in an indigo dye. The cloth is then used for skirts, panels on jackets, aprons and baby carriers. Like the Javanese, their traditional patterns also contain symbolism, the patterns include the dragon, phoenix, and flowers.

 

AFRICA

Although modern history would suggest that the batik was introduced to Africa by the Dutch (especially in South Africa), the batik making process has been practiced in Africa long before the arrival of the colonial powers.[citation needed] One of the earlier sightings are to be found in Egypt, where batik-like material used in the embalming of mummies. The most developed resist-dyeing skills are to be found in Nigeria where the Yoruba make adire cloths. Two methods of resist are used: adire eleso which involves tied and stitched designs and adire eleko that uses starch paste. The paste is most often made from cassava starch, rice, and other ingredients boiled together to produce a smooth thick paste. The Yoruba of West Africa use cassava paste as a resist while the Soninke and Wolof people in Senegal uses rice paste. The Bamana people of Mali use mud as a resist. Batik was worn as a symbol of status, ethnic origin, marriage, cultural events, etc.

 

The African wax prints (Dutch wax prints) was introduced during the colonial era, through Dutch's textile industry's effort to imitate the batik making process. The imitation was not successful in Europe, but experienced a strong reception in Africa instead.  Nowadays batik is produced in many parts of Africa and it is worn by many Africans as one of the symbols of culture.

 

Nelson Mandela was a noted wearer of batik during his lifetime. Mandela regularly wore patterned loose-fitting shirt to many business and political meetings during 1994–1999 and after his tenure as President of South Africa, subsequently dubbed as a Madiba shirt based on Mandela's Xhosa clan name. There are many who claim the Madiba shirt's invention. But in fact, according to Yusuf Surtee, a clothing-store owner who supplied Mandela with outfits for decades, said the Madiba design is based on Mandela's request for a shirt similar to Indonesian president Suharto's batik attire.

 

WIKIPEDIA

 

Where are you going? Wait! Don’t you see how beautiful I am?! WHAT? That the true beauty is hidden inside? …

Don’t go away - PLEASE - stay here for a while with me.

I … I will learn a humility …

 

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My author crochet brooch:-)

Please, respect copyright - thank you:-)

 

Service without humility is selfishness and egotism" -- #MahatmaGandhi

 

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"The churches must learn humility as well as teach it.” --George Bernard Shaw

  

Exif: 1600 iso- 23.3mm- f/2.8- 1/25s

 

Fujix30

 

 

sources

 

model

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statues

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The Sunday Evening Post, No.30: The Seminal Ballot

عمل فقير حقير محتاج برحمت خدا

محمد رضا بن استاد حسين بناء اصفهاني 1028

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مسجدشيخ لطف الله مسجد شاهکار دیگری از معماری و کاشیکاری قرن یازدهم هجری است به فرمان شاه عباس اول در مدت هجده سال بناشده‌است. سر در معرق آن تا پایان سال ۱۰۱۱ هجری ساخته وپرداخته شده واتمام ساختمان و تزئینات آن در سال ۱۰۲۸هجری بوده‌است.

کتیبه سر در آن به خط ثلث علیرضا عباسی و مورخ به سال ۱۰۱۲ هجری است، معمار و بنای مسجداستادمحمدرضااصفهانی بوده‌است که نام او در داخل محراب زیبای مسجد در دو لوحه کوچک به این شرح ذکرشده عمل فقیر حقیر محتاج برحمت خدا محمدرضا بن استاد حسین بنا اصفهانی ۱۰۲۸ خطوط و کتیبه‌های داخل مسجد کار علیرضا عباسی خطاط بسیار مشهور زمان شاه عباس و باقر بنّا خوشنویس گمنام آن عصر است که نمونه خط زیبای ثلث او باخط علیرضا عباسی برابری می‌کند.

مسجد شیخ لطف الله از ابنیه تاریخی بسیار مشهور است که تزئینات کاشیکاری آن در داخل از ازاره‌ها به بالا همه از کاشی‌های معرّق پوشیده شده‌است و داخل و خارج گنبد بی مانند آن نیز که از زیباترین گنبد‌های جهان به شمار میرود از کاشی‌های معرّق نفیس پوشیده شده‌است. باستانشناسان خارجی درمورد عظمت معماری این مسجد گفته‌اند به سختی میتوان این بنا را محصول دست بشر دانست شیخ لطف الله از علمای بزرگ شیعه از مردم میس و از اهالی جبل عامل یعنی لبنان امروزی بوده‌است که به دعوت شاه عباس اول در اصفهان اقامت گزید و به منظور تجلیل از او این مسجد برای تدریس و نمازگزاری وی اختصاص داده شد و نام مسجد مزبور به شیخ لطف الله از همین جهت است.

 

دکتر لطف الله هنرفر. شهر تاریخی اصفهان. چاپ چهارم، انتشارات گلها، ۱۳۷۶

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Sheikh Lotf Allah Mosque (Masjed-e Sheikh Lotf-o-llah in Persian or مسجد شيخ لطف الّله ) is one of the architectural masterpieces of Safavid Iranian architecture, standing on the eastern side of Naghsh-i Jahan Square, Isfahan, Iran.

It was built in 1615 by the orders of Shah Abbas I of the Safavid dynasty.

The architect (Mimar) of the edifice was Muhammad Reza ibn Ustad Hosein Banna Isfahani. He finished construction of the mosque in 1618.

 

Mimaran-i Iran by Zohreh Bozorg-nia. 2004.

BEST VIEWED LARGE

 

Practice radical humility when it comes to your accomplishments, & give credit everywhere except to your ego.............Dr. Dyer

 

Decided to go out for a bit to do this shot which have wanted to do for a while......but living in southeastexas we have mosquitos bigger than chickens and my legs couldnt loose any more blood. I did get to snap a few before getting run off......I am feeling a bit better but taking the brace of 50% of time was ruff and was in more pain than after the surgery since neck muscles are so weak.

 

Thes are the twin bridges that go across the Neches river the original bridge is called the rainbow bridge and one of the highest in the south. The newer bridge on left is much wider and glad they left the old on there they dont make them like it anymore......lol.....This pic pretty much sooc with exception of cropping. and minor brush ups......hope yall have a wonderful week and thanks for all the vistis, notes and kind words

acrylic on paper, A3.

Hand printed photograph from 35mm film. The female face lowered in dignified humility is a very powerful gesture, an archetypical symbol throughout art history.

The first rule of conversation: Listen. - Larry King

 

More Larry King Quotes and Sayings

 

Picture Quotes on Humility

 

Popular attractions in Ko Samui for your first visit

 

Original photo credit: Aixklusiv

"For Abelard, the death of Christ on the Cross did not, strictly speaking, redeem man: it only offered him an example of supreme humility, charity, and self-sacrifice. Bernard asserts, against Abelard, that Christ became man precisely in order to redeem mankind from sin, deliver man from the power of the devil, and to become, instead of fallen Adam, the new head of a redeemed and sanctified human race. Jesus, says Saint Bernard, not only taught us justice but gave us justice. He not only showed us His love by dying for us on the Cross, but by the effects of His death He really and objectively causes His charity to exist and act in our hearts. In, doing so, He actually destroys sin in our souls and communicates to us a new life which is totally supernatural and divine. The effect of our redemption is therefore a complete and literal regeneration of those souls to whom its fruits are applied. Without this dogmatic basis the whole mystical theology of Saint Bernard would be incomprehensible. The purpose of all his mystical and ascetic teaching is to show us how to co-operate with the action of divine grace so that our redemption and regeneration may not remain a dead letter but may actually influence all our conduct and find expression in every part of our lives"

 

– Thomas Merton on St Bernard of Clairvaux whose feast is today.

My sermon for today's feast can be read here.

 

This cross hangs over the Altar in the Dartmouth College Catholic Center chapel.

Humility is often assumed from an outside perspective. They like your smaller pride in what you've got, when you've got less than most. Maybe you'd brag, but you've got no reason. Why should someone say you have it better, when it's you who goes without? There's no romance in being broke; nothing glamorous about having next to nothing. It's only cute, like pugs are while suffocating for reasons intrinsic to their breeding. It's only charming, like a weather-worn house in a picture or painting – somewhere you don't have to call home. A lot of people are impressed by poverty nostalgia, last century's struggles polished to a mirror shine. But they don't see the true reflection, too busy saying: "They don't build 'em like they used to" while your roof comes caving in. Folks who want your vote, complimenting your lack of education and income, when they were born to plenty of both. The honesty I'm after is this in particular – love for the ugly beauty; gratitude for not going back there. Not an ounce of pity for you, and no self-pity for me.

 

December 10, 2022

Annapolis County, Nova Scotia

 

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...when Our Lord Jesus Christ and Mother Mary were poor workers here on Earth...and did the Work of God to help the needy...that poor workers were glorified for their oneness with the humility and love of Heaven...

"So if there is any encouragement in Christ, any incentive of love, any participation in the Spirit, any affection and sympathy, complete my joy by being of the same mind, having the same love, being in full accord and of one mind. Do nothing from selfishness or conceit, but in humility count others better than yourselves. Let each of you look not only to his own interests, but also to the interests of others."

– Philippians 2:1-4, which is today's 1st reading at Mass (31st week).

 

This carved panel is from the altar of St Charles Borromeo in Lancaster Cathedral. It shows the saintly Archbishop of Milan in prayer; the rope around his neck was worn as a sign of his penitence and his self-abasement in imitation of the Lord Crucified. St Charles' motto was 'Humilitas', humility.

Door Of Humility Into The Church Of The Nativity In Bethlehem The Door of Humility is the main entrance into the Church of the Nativity and is only a little over four feet in height. Other churches have large grand entrances, but this was kept small to prevent people from driving their horses or carts […]

  

explore1stage.wpengine.com/church-nativity-bethlehem-israel/

"We are cups, constantly and quietly being filled. The trick is, knowing how to tip ourselves over and let the beautiful stuff out."

— Ray Bradbury

 

Seen in Lewes, Delaware. I loved the way these flowers were tipped over and spilling out onto the sidewalk. At church this past Sunday, we talked about humility. Of considering others before ourselves. Of being willing to go low. These flowers remind me of the beauty of humble hearts.

How few there are who have courage enough to own their Faults, or resolution enough to mend them! - Benjamin Franklin

 

More Benjamin Franklin Quotes and Sayings

 

Picture Quotes on Humility

 

Popular attractions in Chiang Mai for your first visit

 

Original photo credit: Nika Akin

I trust you like this illuminating quote on humility by Steven Tyler. Also, you can find a list of super smart premium resources for happiness and awesomeness here: goo.gl/Pj88bL

Metaphysical certainty is not God, though it contains something of Him. This is why Sufis accompany even their certainties with this formula: ''And God is more wise".

 

A cult of the intelligence and mental passion take man further from truth. Intelligence withdraws as soon as man puts his trust in it alone. Mental passion pursuing intellectual intuition is like the wind which blows out the light of a candle.

 

Monomania of the spirit, with the unconsious pretension, the prejudice, the insatiability and the haste which are its concomitants, is incompatible with sanctity.

 

Sanctity introduces in the flux of thoughts an element of humility and of charity, and so of calm and of generosity. This element, far from being hurtful to the spiritual impetus or the sometimes violent force of truth, delivers the spirit from the vexations of passions and thus guarantees both the integrity of thought and the purity of inspiration.

 

According to the Sufis mental passion must be ranked as one of the "associations" with Satan, like other forms of"idolatry" of the passions. It could not directly have God for its object, for, were God its direct object, it would lose its specifically negative characteristics.

 

Man must beware of two things: first of replacing God, in practice if not in theory, by the functions and products of the intellect, or of considering Him only in connection with this faculty; and, secondly, of putting the "mechanical" factors of spirituality in the place of the human values - the virtues - or only considering virtues in relation to their "technical" utility and not in relation to their beauty.

 

Intelligence has only one nature, that of being luminous. But it has diverse functions and different modes of working and these appear as so many particular intelligences. Intelligence with a "logical", "mathematical" or- one might say - "abstract" quality is not enough for attaining all aspects of the real.

 

It would be impossible to insist too often on the importance of the "visual" or "aesthetic" function of the intellective faculty.

 

Everything is in reality like a play of alternations between what is determined in advance - starting from principles - and what is incalculable and in some way unforeseeable, of which we have to get to know by concrete identification and not by abstract "discernment".

 

In speculations about formal elements it would be a handicap

to lack this aesthetic function of intellect. A religion is revealed, not only by its doctrine, but also by its general form, and this has its own characteristic beauty, which is reflected in its every aspect from its "mythology" to its art.

 

Sacred art expresses Reality in relation to a particular spiritual vision. And aesthetic intelligence sees the manifestations of the Spirit even as the eye sees flowers or playthings.

 

Thus, for example, in order to understand Buddhism profoundly, if one is not a Buddhist born, it is not enough to study its doctrine; it is also necessary to penetrate into the language of Buddhist beauty as it appears in the sacramental image of the Buddha or in such features as the "sermon on the flower".

 

The aesthetic function of the intelligence - if you may call it

that for lack of a better term - enters not only into the form of every spiritual manifestation but also into the process of its manifestation.

 

Truth must be enunciated, not only in conformity with certain proportions, but also according to a certain rhythm. One cannot speak of sacred things 'just anyhow", nor can one speak of them without limitations.

 

Every manifestation has laws and these intelligence must observe in manifesting itself, or otherwise truth will suffer.

Intellect is not something cerebral, nor is it specifically human

or angelic. All beings "possess" it. If gold is not lead, that is because it "knows" the Divine better. Its "knowledge" is in its very form, and this amounts to saying that it does not belong to it itself, for matter could not know. None the less one can say that the rose differs from the water-lily by its intellectual particularity, by its "way of knowing" and so by its mode of intelligence.

 

Beings possess intelligence in their form to the extent that they are "peripheric" or "passive" and in their essence to the extent that they are "central", "active" and "conscious".

 

A noble animal or a lovely flower is "intellectually" superior to a base man.

 

God reveals himself to the plant in the form of the light of the

sun. The plant irresistibly turns itself towards the light; it could not be atheistical or impious.

 

The infallible "instinct" of animals is a lesser "intellect", and man's intellect may be called a higher "instinct". Between instinct and intellect there stands in some sense the reason, which owes its troubles to the fact that it constitutes a sort of "luciferian" duplication of the Divine Intelligence - the only intelligence there is.

 

Knowledge of facts depends on contingencies which could not enter into principial knowledge. The level of facts is, in certain respects, inverse in relation to that of principles in the sense that it includes modes and imponderables that are the extreme opposite of the wholly mathematical rigour of universal laws. At least this is so in appearance, for it goes without saying that universal principles are not contradicted.

 

Even beneath the veil of the inexhaustible diversity of what is possible their immutability can always be discerned, provided that the intelligence is in the requisite condition for being able to discern it.

 

If the intellect is, so to speak, sovereign and infallible on its own ground, it cannot exercise its discernment on the level of facts otherwise than conditionally. Moreover God may intervene on the level of facts with particular things willed by Himself that are at times unpredictable, and of such things principial knowledge could only take account a posteriori.

 

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Frithjof Schuon

 

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Quoted in: The Essential Frithjof Schuon (edited by Seyyed Hossein Nasr)

  

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'The Madonna of humility' refers to images in which the Virgin Mary is sitting on the ground, or on a low cushion, usually holding the Child Jesus on her lap. This hand-painted Japanese postcard shows the Virgin Mary wearing a kimono decorated with kikyou or Chinese bellflowers, which symbolise unchanging love.

In Gatchina, the former residence of the Russian emperors in the vicinity of St. Petersburg, on the shore of the "Black Lake", stands a small palace which bears the name "Priory Palace". Although it was originally intended to serve for only twenty years, it is already in its third century of existence. The Priory Palace is so exceptional that it surely ought to be in the "Guinness Book of Records". Everything about this building is unusual: its name, its architectural appearance, the materials and techniques of its construction, as well as the legends which are bound up with it.

 

Constructed for a prior of the Maltese Order, the palace never actually became a priory, although it was presented to the Order of St. John of Jerusalem by a decree of Paul I dated 23 August 1799. In the 19th century, the Priory was occupied first by the Court choristers, then by the master of the royal hunt; in Soviet times it became a place for outings, a "house of rest", a Pioneers' house, then a museum of local history. Then the palace was closed, being by now in a state of such disrepair that it seemed about to collapse into the Black Lake. At that time the palace bore a new name - people called it the "Crumbling Castle".

 

A romantic page of Russian history is bound up with the knights of the Order of St. John of Jerusalem, Rhodes and Malta. The year 1999 was the 900th anniversary of the founding of the order, which today numbers about 12,000 members, as well as the 200th year since the election of Tsar Paul I as the order's Grand Master.

 

It is in Jerusalem, the "city of cities", that the tomb of Our Lord is located. Thousands of Christian pilgrims made their way to the Holy Land to visit it. In the pilgrims' refuge attached to the church of St. John the Baptist, not far from Jerusalem, monks tended the pilgrims and received donations from them as a mark of their gratitude. The emblem of the order is a white eight-pointed cross, symbolising the eight virtues - faith, charity, truth, justice, innocence, humility, sincerity and patience. The monks were bound by their rules not only to provide help for the injured, but also to defend Christianity against the followers of Islam. Thus the order became an order of warrior-monks, who were known as "Knights of St. John" or "Knights Hospitallers". But the crusades undertaken by the order ended in failure and they were forced to flee to the island of Rhodes, which was their home for two centuries. In the year 1522 the forces of the Turkish sultan Suleiman the Magnificent attempted to capture Rhodes. After a six-month siege the Grand Master of the order, Philippe de l'Isle-Adam, surrendered the island. Full of admiration for the knights' courage, Suleiman allowed them to leave the island by ship.

 

A new place of refuge for the knights was found in 1530, when Charles V, king of Spain and Sicily, gave the island of Malta to the order in return for a symbolic annual payment of one hunting falcon. During the years of its residence in Malta the order of St. John developed into a very powerful and wealthy community; its knights combined a high degree of monasticism with a code of knightly honour. In the north-east of the island they built a fortress which, during the 400 years of its history, no-one has ever succeeded in taking by storm. The name of its builder - Grand Master Jean de La Vallette - has been immortalised in the name of Malta's capital, Valletta.

 

The French Revolution drove the knights from Malta and deprived the order of its wealth; its estates were confiscated for the benefit of the people. On 6 June 1798 Napoleon Bonaparte, on the way to Egypt, raided Malta. The order allowed the general's forces to enter the harbour, and the invulnerable fortress of Valletta fell without a shot being fired. By Napoleon's decree, all the silver from the churches built by the Hospitallers was melted down. The Grand Master von Gompesch was exiled, and the knights were compelled to leave the island within 72 hours.

 

Relations between the Russian state and the Maltese order were first established in 1698, when Peter I's ambassador Boris Petrovich Sheremetev was received with honour in Valletta by the head of the order Grand Master Raymond de Pereylos, and, though he was not a Catholic, became the first Russian knight of this Catholic order. During the reign of Catherine II an alliance was formed between Russia and Malta against Turkey. In the Turkish war several officers of the order fought on Russia's side. One of these was Count Yuliy Pompeevich Litta, who received a golden sword "for valour" and the third degree of the Order of St. George. And it was Litta who brought the insignia of the order to Russia for Paul I, with the request that he should take the order under his patronage. On the 29th November 1798 the solemn ceremony took place by which the Russian emperor assumed the title of Grand Master. From Malta certain holy relics were brought to Gatchina - a piece of Christ's cross, the icon of the Mother of God from Philerma, the right hand of John the Baptist.

 

Paul I was a great admirer of the order. From childhood he had read and re-read the Abbot Vertot's "History of the Order of St. John of Jerusalem". He was shaken by the fate of Malta and came to the aid of the order. An agreement was signed by which the Polish priorate became the Great Russian priorate. Two priorates were established - a Polish, Catholic priorate and a Russian, Orthodox priorate. The Maltese knights came to Russia, where they were granted lands and high office. The residence of the order was transferred to St. Petersburg. Paul judged that this powerful knightly order would be of assistance in the struggle against the revolutionary ideas which were then spreading in Europe. An institute of honorary commanders was established, admission to which was not dependent on proof of noble origin. The cross of the order was awarded for services to the state, either military or civil.

 

Paul gave to the knights of the Russian priorate the church of St. John the Baptist on St. Petersburg's Stone Island, and the Vorontsov Palace (now the Suvorov Military Academy). Next to the Vorontsov Palace the architect Giovanni Quarenghi built a Maltese chapel, and in Gatchina the architect N. A. Lvov created the Priory Palace for the French emigre Prince Conde, a former prior of the order. (A "prior" is one of the main officials of the order, and "priory" is the designation of a prior's residence.) Before succeeding to the throne, during his travels in Europe Paul had visited the country residence of Prince Conde at Chantilly. He recalled that in Paris Louis XVI had received him as a friend, but that in Chantilly Prince Conde had received him as a king. Mindful of the prince's hospitality, Paul wanted to construct a palace for him in his beloved Gatchina. But Conde never came to Gatchina, and the palace was used by the Maltese knights for meetings of the order under the presidency of their Grand Master, and as a "spare" palace.

 

cult.gatchina.ru/priorat/eindex.htm

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So, let's get one thing straight from the outset.

  

I LOVE CARRION CROW.

  

There, I've said it. Words I use to describe these amazing birds would include stunning, beautiful, bold, magnificent, intelligent and fantastic.

  

Right now I have a resident pair of Carrion crows who have decided that my garden is theirs, and are playing a game of cat and mouse with a pair of cheeky Magpies (Pica pica) for dominance and food rights. The male crow actually flies in and 'wings' the magpies to make them leave, an incredible sight to witness. It's an honour and a privilege to be able to win their trust and they have given me so much pleasure this year being able to get within a few feet of them, to photograph and feed them, and they have reinforced my already deep admiration for a bird that is brimming with beauty, intelligence, confidence and also surrounded by myths, legend and prejudice.

  

So let's begin with a look back over history.

  

LEGEND AND MYTHOLOGY

  

Crows appear in the Bible where Noah uses one to search for dry land and to check on the recession of the flood. Crows supposedly saved the prophet, Elijah, from famine and are an Inuit deity. Legend has it that England and its monarchy will end when there are no more crows in the Tower of London. And some believe that the crows went to the Tower attracted by the regular corpses following executions with written accounts of their presence at the executions of Anne Boleyn and Jane Gray.

  

In Welsh mythology, unfortunately Crows are seen as symbolic of evilness and black magic thanks to many references to witches transforming into crows or ravens and escaping. Indian legend tells of Kakabhusandi, a crow who sits on the branches of a wish-fulfilling tree called Kalpataru and a crow in Ramayana where Lord Rama blessed the crow with the power to foresee future events and communicate with the souls.

  

In Native American first nation legend the crow is sometimes considered to be something of a trickster, though they are also viewed positively by some tribes as messengers between this world and the next where they carry messages from the living to those deceased, and even carry healing medicines between both worlds. There is a belief that crows can foresee the future. The Klamath tribe in Oregon believe that when we die, we fly up to heaven as a crow. The Crow can also signify wisdom to some tribes who believe crows had the power to talk and were therefore considered to be one of the wisest of birds. Tribes with Crow Clans include the Chippewa (whose Crow Clan and its totem are called Aandeg), the Hopi (whose Crow Clan is called Angwusngyam or Ungwish-wungwa), the Menominee, the Caddo, the Tlingit, and the Pueblo tribes of New Mexico.

  

The crow features in the Ghost dance, popularized by Jerome Crow Dog, a Brulé Lakota sub-chief and warrior born at Horse Stealing Creek in Montana Territory in 1833, the crow symbolizing wisdom and the past, when the crow had became a guide and acted as a pathfinder during hunting. Ghost dancers wore crow and eagle feathers in their clothes and hair, and the fact that the Crow could talk placed it as one of the sages of the animal kingdom.

  

Historically the Vikings are the group who made so many references to the crow, and Ragnar Lodbrok used this species in his banner as well as appearances in many flags and coats of arms. Also, it had some kind of association with Odin, one of their main deities. Norse legend tells us that Odin is accompanied by two crows. Hugin, who symbolizes thought, and Munin, who represents a memory. These two crows informed the Lord of the Nordic gods of everything that went on in their kingdoms.

  

In Scandinavian legends, crows are a representative of the Goddess of Death, known as Valkyrie (from old Norse 'Valkyrja'), one of the group of maidens who served the Norse deity Odin, visiting battlefields and sending him the souls of the slain worthy of a place in Valhalla. Odin ( also called Wodan, Woden, or Wotan), preferred that heroes be killed in battle and that the most valiant of souls be taken to Valhöll, the hall of slain warriors. It is the crow that provides the Valkyries with important information on who should go. In Hindu ceremonies that are associated to ancestors, the crow has an important place in Vedic rituals. They are seen as messengers of death in Indian culture too.

  

In Germanic legend, Crows are seen as psychonomes, meaning the act of guiding spirits to their final destination, and that the feathers of a crow could cure a victim who had been cursed. And yet, a lone black crow could symbolize impending death, whilst a group symbolizes a lucky omen! Vikings also saw good omens in the crow and would leave offerings of meat as a token.

  

The crow also has sacred and prophetic meaning within the Celtic civilization, where it stood for flesh ripped off due to combat and Morrighan, the warrior goddess, often appears in Celtic mythology as a raven or crow, or else is found to be in the company of the birds. Crow is sacred to Lugdnum, the Celtic god of creation who gave his name to the city of Lug

  

In Greek mythology Apollo is supposedly responsible for the black feathers of the crow. Turning them forever black from their pristine white plumage as a punishment after they failed to watch Coronis, lover of Apollo, battles a Native Indian legend where the once rainbow coloured crows became forever black after shedding their colourful plumage over the other animals of the world.

  

In China the Crow is represented in art as a three legged bird on a solar disk, being a creature that helps the sun in its journey. In Japan there are myths of Crow Tengu who were priests who became vain, and turned into this spirit to serve as messengers until they learn the lesson of humility as well as a great Crow who takes part in Shinto creation stories.

  

In animal spirit guides there are general perceptions of what sightings of numbers of crows actually mean:

  

1 Crow Meaning: To carry a message from your near one who died recently.

 

2 Crows Meaning: Two crows sitting near your home signifies some good news is on your way.

 

3 Crows Meaning: An upcoming wedding in your family.

 

4 Crows Meaning: Symbolizes wealth and prosperity.

 

5 Crows Meaning: Diseases or pain.

 

6 Crows Meaning: A theft in your house!

 

7 Crows Meaning: Denotes travel or moving from your house.

 

8 Crows Meaning: Sorrowful events

  

Crows are generally seen as the symbolism when alive for doom bringing, misfortune and bad omens, and yet a dead crow symbolises potentially bringing good news and positive change to those who see it. This wonderful bird certainly gets a mixed bag of contradictory mythology and legend over the centuries and in modern days is often seen as a bit of a nuisance, attacking and killing the babies of other birds such as Starlings, Pigeons and House Sparrows as well as plucking the eyes out of lambs in the field, being loud and noisy and violently attacking poor victims in a 'crow court'....

  

There is even a classic horror film called 'THE CROW' released in 1994 by Miramax Films, directed by Alex Proyas and starring Brandon Lee in his final film appearance as Eric Draven, who is revived by a Crow tapping on his gravestone a year after he and his fiancée are murdered in Detroit by a street gang. The crow becomes his guide as he sets out to avenge the murders. The only son of martial arts expert Bruce Lee, Brandon lee suffered fatal injuries on the set of the film when the crew failed to remove the primer from a cartridge that hit Lee in the abdomen with the same force as a normal bullet. Lee died that day, March 31st 1993 aged 28.

  

The symbolism of the Crow resurrecting the dead star and accompanying him on his quest for revenge was powerful, and in some part based on the history of the carrion crow itself and the original film grossed more than $94 Million dollars with three subsequent sequels following.

  

TAKING A CLOSER LOOK

  

So let's move away from legend, mythology and stories passed down from our parents and grandparents and look at these amazing birds in isolation.

  

Carrion crow are passerines in the family Corvidae a group of Oscine passerine birds including Crows, Ravens, Rooks, Jackdaws, Jays, Magpies, Treepies, Choughs and Nutcrackers. Technically they are classed as Corvids, and the largest of passerine birds. Carrion crows are medium to large in size with rictal bristles and a single moult per year (most passerines moult twice). Carrion crow was one of the many species originally described by Swedish naturalist Carl Linnaeus (Carl Von Linne after his ennoblement) in his 1758 and 1759 editions of 'SYSTEMA NATURAE', and it still bears its original name of Corvus corone, derived from the Latin of Corvus, meaning Raven and the Greek κορώνη (korōnē), meaning crow.

  

Carrion crow are of the Animalia kingdom Phylum: Chordata Class: Aves Order: Passeriformes Family: Corvidae Genus: Corvus and Species: Corvus corone

  

Corvus corone can reach 45-47cm in length with a 93-104cm wingspan and weigh between 370-650g. They are protected under The Wildlife and Countryside Act 1981 in the United Kingdom with a Green UK conservation status which means they are of least concern with more than 1,000,000 territories. Breeding occurs in April with fledging of the chicks taking around twenty nine days following an incubation period of around twenty days with 3 to 4 eggs being the average norm. They are abundant in the UK apart from Northwest Scotland and Ireland where the Hooded crow (Corvus cornix) was considered the same species until 2002. They have a lifespan of around four years, whilst Crow species can live to the age of Twenty years old, and the oldest known American crow in the wild was almost Thirty years old. The oldest documented captive crow died at age Fifty nine. They are smaller and have a shorter lifespan than the Raven, which again is used as a symbol in history to live life to the full and not waste a moment!

  

They are often mistaken for the Rook (Corvus frugilegus), a similar bird, though in the UK, the Rook is actually technically smaller than the Carrion crow averaging 44-46cm in length, 81-99cm wingspan and weighing up to 340g. Rooks have white beaks compared to the black beaks of Carrion crow. There are documented cases in the UK of singular and grouped Rooks attacking and killing Carrion crows in their territory. Rooks nest in colonies unlike Carrion crows. Carrion crows have only a few natural enemies including powerful raptors such as the northern goshawk, the peregrine falcon, the Eurasian eagle-owl and the golden eagle which will all readily hunt them.

  

Regarded as one of the most intelligent birds, indeed creatures on the planet, studies suggest that Corvids cognitive abilities can rival that of primates such as chimpanzees and gorillas and even provide clues to understanding human intelligence. A corvid's pallium is packed with more neurons than a great ape's. Corvids have demonstrated the ability to use a combination of mental tools such as imagination, and anticipation of future events. They can craft tools from twigs and branches to hook grubs from deep recesses, they can solve puzzles and intricate methods of gaining access to food set by humans., and have even bent pieces of wire into hooks to obtain food. They have been proven to have a higher cognitive ability level than seven year old humans.

  

Pet crows develope a unique call for their owners, in effect actually naming them. They also know to sunbathe for a dose of vitamin D. In groups they warn of danger and communicate vocally. They store a cache of food for later if in abundance and are clever enough to move it if they feel it has been discovered. They leave markers for their cache. They have even learned to place walnuts under car tyres at traffic lights as a means of cracking them!

  

Crows regularly gather around a dead fellow corvid, almost like a funeral, and it is thought they somehow learn from each death. They can even remember human faces for decades.Crows group together to attack larger predators and even steal their food, and they have different dialects in different areas, with the ability to mimic the dialect of the alpha males when they enter their territory!

  

They have a twenty year life span, the oldest on record reaching the age of Fifty nine. Crows can leave gifts for those who feed them such as buttons or bright shiny objects as a thank you, and they even kiss and make up after an argument, having mated for life.

  

In mythology they are associated with good and bad luck, being the bringers of omens and even witchcraft and are generally reviled for their attacks on baby birds and small mammals. They have an attack method of to stunning smaller birds before consuming them, tearing violently at smaller, less aggressive birds, which is simply down to the fact that they are so highly intelligent, and also the top of the food chain. Their diet includes over a thousand different items: Dead animals (as their name suggests), invertebrates, grain, as well as stealing eggs and chicks from other birds' nests, worms, insects, fruit, seeds, kitchen scraps. They are highly adaptable when food sources grow scarce. I absolutely love them, they are magnificent, bold, beautiful and incredibly interesting to watch and though at times it is hard to witness attacks made by them, I cannot help but adore them for so many other and more important reasons.

  

Corvus Corone.... magnificently misunderstood by some!

  

Paul Williams June 4th 2021

  

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Photograph taken at an altitude of Ninety eight metres at 11:03am on a beautiful morning on Saturday 29th May 2021, off Hythe Avenue and Chessington Avenue in Bexleyheath, Kent.

  

Here we see a large adult Carrion crow (Corvus corone) patrolling a garden in his territory , and standing in front of a red Azalea, a passerine bird of the family Corvidae and the genus Raven (Higher classification: Corvus), which is native to western Europe and eastern Asia.

  

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Nikon D850 Focal length 450mm Shutter speed: 1/500s Aperture f/7.1 iso250 Tripod mounted with Gimbal head. Image area FX (36 x 24) NEF RAW L (4128 x 2752). JPeg basic (14 bit uncompressed) AF-C Priority Selection: Release. Nikon Back button focusing enabled. AF-S Priority selection: Focus. 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual exposure mode Metering mode: Matrix metering White balance on: Auto1 (4660k) Colour space: RGB Picture control: Neutral (Sharpening +2)

  

Sigma 60-600mm f/4.5-6.3DG OS HSM SPORTS. Lee SW150 MKI filter holder with MK2 light shield and custom made velcro fitting for the Sigma lens. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch.Hoodman HEYENRG round eyepiece oversized eyecup.Manfrotto MT057C3-G Carbon fiber Geared tripod 3 sections. Neewer Carbon Fiber Gimble tripod head 10088736 with Arca Swiss standard quick release plate. Neewer 9996 Arca Swiss release plate P860 x2.Jessops Tripod bag. Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.

    

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LATITUDE: N 51d 28m 28.08s

LONGITUDE: E 0d 8m 10.47s

ALTITUDE: 59.0m

  

RAW (TIFF) FILE: 130.00MB NEF FILE: 92.1MB

PROCESSED (JPeg) FILE: 35.90MB

    

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PROCESSING POWER:

  

Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00

  

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.

   

Seems we've forgotten humility.

 

also for Macro Monday "Humility" - HMM!

Coachwork by Vanden Plas

Chassis n° LM1342

Registration n° F8689

 

Les Grandes Marques du Monde au Grand Palais

Bonhams

Estimated : € 650.000 - 850.000

Sold for € 701.500

 

Parijs - Paris

Frankrijk - France

February 2018

 

- One of 513 Speed Models built

- Rare original aluminium body

- Full matching numbers

- Exceptionally original

- Well documented history

- Restored by Graham Moss

- Pebble Beach 2015 Class Award

 

With characteristic humility 'W O' was constantly amazed by the enthusiasm of later generations for the products of Bentley Motors Limited, and it is testimony to the soundness of his engineering design skills that so many of his products have survived. From the humblest of beginnings in a mews garage off Baker Street, London in 1919 the Bentley rapidly achieved fame as an exciting fast touring car, well able to compete with the best of European and American sports cars in the tough world of motor sport in the 1920s. Bentley's domination at Le Mans in 1924, 1927, 1928, 1929 and 1930 is legendary, and one can only admire the Herculean efforts of such giants as Woolf Barnato, Jack Dunfee, Tim Birkin and Sammy Davis, consistently wrestling the British Racing Green sports cars to victory.

 

W O Bentley proudly unveiled the new 3-litre car bearing his name on Stand 126 at the 1919 Olympia Motor Exhibition, the prototype engine having fired up for the first time just a few weeks earlier. Bentley's four-cylinder 'fixed head' engine incorporated a single overhead camshaft, four-valves per cylinder and a bore/stroke of 80x149mm. Twin ML magnetos provided the ignition and power was transmitted via a four-speed gearbox with right-hand change. The pressed-steel chassis started off with a wheelbase of 9' 9½" (the 'short standard') then adopted dimensions of 10' 10" ('standard long') in 1923, the shorter frame being reserved for the TT Replica and subsequent Speed Model. Rear wheel brakes only were employed up to 1924 when four-wheel Perrot-type brakes were introduced.

 

In only mildly developed form, this was the model that was to become a legend in motor racing history and which, with its leather-strapped bonnet, classical radiator design and British Racing Green livery, has become the archetypal Vintage sports car.

 

Early success in the 1922 Isle of Man Tourist Trophy, when Bentleys finished second, fourth, and fifth to take the Team Prize, led to the introduction of the TT Replica (later known as the Speed Model) on the existing 9' 9½" wheelbase, short standard chassis. Identified by the Red Label on its radiator, the Speed Model differed by having twin SU 'sloper' carburettors, a higher compression ratio, different camshaft and the close-ratio A-type gearbox, the latter being standard equipment prior to 1927 when the C-type 'box was adopted. These engine changes increased maximum power from the standard 70 to 80bhp and raised top speed to an impressive 90mph. Other enhancements included the larger (11-gallon) fuel tank and (usually) André Hartford shock absorbers. Bentley made 1,613 3-Litre models, the majority of which was bodied by Vanden Plas with either open tourer or saloon coachwork, 513 of which were to Speed Model specification.

 

Vanden Plas had been founded in Belgium in the 19th Century, gaining a British offshoot when Warwick Wright obtained the UK rights to the name in 1913. After an uncertain start and numerous changes of ownership, the British firm went on to forge its not inconsiderable reputation by a most fortuitous alliance with Bentley, bodying some 700-or-so of the latter's chassis during the 1920s, including the Le Mans team cars.

 

A 1927-specification Speed Model on the 9' 9½" wheelbase chassis, 'LM1342' is a late example and thus represents the best and most sought-after 3-Litre variant, having the 'big sump' engine with its stronger crankshaft, two-bolt direct-metal con-rods, and Duralumin rockers in separate boxes. Numbered 'LM1348SS', the engine is original to the chassis and would have been built with the Speed Model's high-compression pistons, BM1800 camshaft, and drilled valve caps. When new, these 'SS' engines were said to produce around 86bhp.

 

'LM1342' was bodied by Vanden Plas with its standard open four-seater sports coachwork (body number '1306', still fitted). This particular body is unusual in being panelled in aluminium (most were fabric-covered), and has an unusually low windscreen (around 1" shorter than normal) giving it more pleasing proportions. The car was ordered new by Gilbert & Sons Ltd of Pelham Street, Lincoln, and given a Lincolnshire registration, 'FE 8689', which it carries to this day. Subsequent owners listed in the Service Record are A C Scott (1928), A Staveley Hill (1929), Major G E L Pardington (1930), and J Shakespeare (1936). The Service Record is continuous through to December 1936, with only minor works carried out (no replacement of major components or accident repairs).

 

Correspondence on file indicates that by 1945 the Bentley was owned by a Captain M E Webbe, while an old-style continuation logbook lists two subsequent owners: Thomas Walker (from June 1946) and Frank Wood, who purchased the Bentley in January 1967 from a local farmer who wanted to buy a new Ford. There is a charming photograph in the file depicting Mr Wood's two daughters sitting in the car. After Frank Wood's passing, the family offered the Bentley for sale at a UK auction in March 2012 where it was purchased by the present owner.

 

The Bentley was then despatched to renowned marque specialist Graham Moss for total restoration with no expense spared. Examination revealed the 3-Litre to be exceptionally original - unlike so many of its ilk - retaining the original Supersports engine, A-type gearbox, front axle, steering box, differential casing, the correct number, 'LM1342', being found stamped on all of these components. Graham went to extraordinary lengths to maintain authenticity, even going so far as to reproduce the lead seals for the steering box, magneto turret, and crankcase; these were routinely fitted by Bentley Motors and removing them would void the guarantee.

 

As the car had been re-upholstered, the owner researched the original colour scheme and leatherwork, enabling the original manufacturer – Connolly – to reproduce the correct material. Many more such instances of this admirably fastidious approach are detailed in the vendor's wonderful illustrated book documenting the history and restoration of 'LM1342'. The car also comes with a copy of Bentley authority Dr Clare Hay's typically thorough - and very favourable - illustrated report on its specification, originality, and 'as purchased' condition, concluding: 'Overall this is a very original chassis with few minor changes from new, with all its original numbered parts and with its original Vanden Plas sports four-seater body'. Perusal of both is highly recommended.

 

In addition, the car comes with an original owner's instruction manual, a selection of accessory manuals, and a full set of genuine 3-Litre tools. There is also a letter from the first owner, and even a (replica) list of 'Don'ts', which would be hung on the starter switch to help new Bentley owners care for their cars correctly!

 

The extensive restoration works, carried out over a period of three years, are detailed by Graham's bills totalling some £475,000, while a further £25,000 was spent on obtaining correct parts such as the lights, correct magnetos, etc. Since completion, 'FE 8689' has covered around 2,000 miles and is fully sorted, having recently been serviced by Graham Moss.

 

Nobody seeing this magnificent Bentley today would question that the cost of its restoration was money well spent. Indeed, if proof were needed, in 2015 'LM1342' received a richly deserved 2nd-in-class award at the prestigious Pebble Beach Concours d'Élégance. There can be no better way to enjoy the many celebrations planned for Bentley's 100th anniversary in 2019.

Two Kinds of Wisdom

 

Who is wise and understanding among you? Let them show it by their good life, by deeds done in the humility that comes from wisdom. But if you harbor bitter envy and selfish ambition in your hearts, do not boast about it or deny the truth. Such “wisdom” does not come down from heaven but is earthly, unspiritual, demonic. For where you have envy and selfish ambition, there you find disorder and every evil practice.

 

But the wisdom that comes from heaven is first of all pure; then peace-loving, considerate, submissive, full of mercy and good fruit, impartial and sincere. Peacemakers who sow in peace reap a harvest of righteousness.

 

[James 3:13-18 NIV]

 

5 THINGS YOU SHOULD KNOW:

 

1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)

 

2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)

 

3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)

 

4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)

 

5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)

 

Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!

Madonna of humility

c. 1470

Ferrara, ITALY

Painted wood (Italian poplar)

 

Located at the National Gallery of Victoria, Australia

 

artsearch.nga.gov.au/Detail.cfm?IRN=89667&PICTAUS=True

"Preserve in the midst of your people, we ask, O Lord, the spirit with which you filled the Bishop Saint Charles Borromeo, that your Church may be constantly renewed and, by conforming herself to the likeness of Christ, may show his face to the world. Who lives and reigns with you in the unity of the Holy Spirit, one God, for ever and ever. Amen."

 

Painting of St Charles in humility dedicating himself to Our Lady. It is in the chapel assigned to the Anglo-Bavarian Langue in St John's Co-Cathedral in Valletta, Malta.

Arno Breker (1900-1991)

"Demut" [detail] - 1943

Devotees entering Golden Temple do total surrender, which is called "Matha Tekna". Humility is one of the virtues of Sikhism.

 

"Tan Man Dhan Sab Saunp Gur Ko,

Hukam Maniey Paiey" - Sri Guru Granth Sahib Page 918

 

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台南神學院 1876 - 上帝就在身邊 / 世人無知天地奧妙 - 上帝眼下只能謙遜

Tainan Theological College And Seminary 1876 - The God in side / The common people are ignorant the world is mysterious - In God's eyes you can only humility

Universidad teológica y seminario de Tainan 1876 - Dios en lado / El pueblo es ignorante el mundo es misterioso - En los ojos de Dios sólo puede humildad

台南神学院の1876 - 神は身辺 / 世間の人の無知な天地のいわくにあります - 神は今謙虚なことしかできません

Tainan-theologische Hochschule und Priesterseminar 1876 - der Gott in der Seite / Die gewöhnlichen Leute sind die Welt sind geheimnisvoll unwissend - In Gottes Augen können Sie nur Demut

Université théologique et séminaire 1876 de Tainan - Dieu dans le côté / Les gens du commun sont ignorants le monde sont mystérieux - Aux yeux de Dieu vous ne pouvez humilité

 

Tainan Taiwan / Tainan Taiwán / 台灣台南

  

管樂小集 2014/03/08 Confucian temple Tainan performances

{ Take it from me / 私を信じなさい。 }

 

{View large size on fluidr / 觀看大圖}

 

奇異恩典 / James Last Orchestra

{ Amazing Grace / 奇異な恩恵 }

 

{My Blog / 管樂小集精彩演出-觸動你的心}

{My Blog / Great Music The splendid performance touches your heart}

{My Blog / 管楽小集すばらしい公演-はあなたの心を心を打ちます}

{Mi blog / La gran música el funcionamiento espléndido toca su corazón}

{Mein Blog / Große Musik die herrliche Leistung berührt Ihr Herz}

{Mon blog / La grande musique l'exécution splendide touche votre coeur}

 

家住安南鹽溪邊

The family lives in nearby the Annan salt river

 

隔壁就是聽雨軒

The next door listens to the rain porch

 

一旦落日照大員

The sunset Shineing to the Taiwan at once

 

左岸青龍飛九天

The left bank white dragon flying in the sky

Everyone has the ability to make this World a better place with their Humility and Kindness.

10/31/2011

 

From my solitary ceremony. P had the awesome idea of doing the same Tarot exercise the three of us did last Samhain at the lake house, so these were my choices.

 

Card #1 is a card that represents you, and I chose The High Priestess as this is my one-year Wiccaversary and because my coven of Bridgemaios has also dubbed me a such, much to my honor and humility. :D

 

Card #2 represents the last year, and I chose the Four of Cups because the last year has been stagnant and unfulfilling.

 

Card #3 represents what we want out of the next year, and you know what? I went balls-to-the-wall and chose The World. I don't remember what I chose last year, but I do have the distinct memory of thinking, "This is a modest request and I feel good about that." Well, F that - this year, I want it all. Everything. I'm asking the universe for everything. BAM! Let's see how that works out.

The way we live will inevitably be a reflection of the way we think.

-Jhon Ortberg

“If a little flower could speak, it seems to me that it would tell us quite simply all that God has done for it, without hiding any of its gifts. It would not, under the pretext of humility, say that it was not pretty, or that it had not a sweet scent, that the sun had withered its petals,or the storm bruised its stem, if it knew that such were not the case.”

 

― Thérèse de Lisieux, Story of a Soul: The Autobiography of St. Therese of Lisieux