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Scotts Bluff National Monument in western Nebraska includes an important 19th-century landmark on the Oregon Trail and Mormon Trail. The National Monument contains multiple bluffs (steep hills) located on the south side of the North Platte River; it is named for one prominent bluff called Scotts Bluff, which rises over 800 feet (240 m) above the plains at its highest point. The monument is composed of five rock formations named Crown Rock, Dome Rock, Eagle Rock, Saddle Rock, and Sentinel Rock.
Scotts Bluff County and the city of Scottsbluff, Nebraska, were named after the landmark.
The collection of bluffs was first charted by non-native people in 1812 by the Astorian Expedition of fur traders traveling along the river. The expedition party noted the bluffs as the first large rock formations along the river where the Great Plains started giving way to the foothills of the Rocky Mountains. Their findings were not widely communicated because of the War of 1812. In 1823 explorers rediscovered the route to the Rocky Mountains, and fur traders in the region relied on the bluffs as a landmark. European Americans named the most prominent bluff after Hiram Scott, a fur trader who died in 1828 near the bluff.
Fur traders, missionaries, and military expeditions began regular trips past Scotts Bluff during the 1830s. Beginning in 1841, multitudes of settlers passed by Scotts Bluff on their way west on the Emigrant Trail to Oregon, and later California and Utah. Wagon trains used the bluff as a major landmark for navigation. The trail passed through Mitchell Pass, a gap in the bluffs flanked by two large cliffs. Although the route through Mitchell Pass was tortuous and hazardous, many emigrants preferred this route to following the North Platte river bottom on the north side of the bluff. Passage through Mitchell Pass became a significant milestone for many wagon trains on their way westward.
The town of Gering, Nebraska, was founded near the base of the bluff in 1887, and the city of Scottsbluff was founded across the North Platte River from the bluff in 1900. Separated (or joined) by the river, the two cities have since grown together and now form the 6th-largest urban area in Nebraska.
Once permanent settlements had been established nearby, residents and travelers went to the bluff as a destination because of its breathtaking views of the flat land stretching to the east, the hills and mountains to the west, and the river valley in between.
en.wikipedia.org/wiki/Scotts_Bluff_National_Monument
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Washington Park is a public urban park in Portland, Oregon, USA. It includes a zoo, forestry museum, arboretum, children's museum, rose garden, Japanese garden, amphitheatre, memorials, archery range, tennis courts, soccer field, picnic areas, playgrounds, public art and many acres of wild forest with miles of trails. Washington Park covers more than 410 acres (166 hectares) on mostly steep, wooded hillsides which range in elevation from 200 feet (61 m) at 24th & W Burnside to 870 feet (265 m) at SW Fairview Blvd. It comprises 159.7 acres (64.63 hectares) of city park land that has been officially designated as "Washington Park" by the City of Portland,[1] as well as the adjacent 64 acre Oregon Zoo and the 187 acre Hoyt Arboretum, which together make up the area described as "Washington Park" on signs and maps.[2]
Contents
1 History
2 Notable features
2.1 Statues and fountains
3 Public access
4 See also
5 References
6 External links
History
Garden near north entrance
A blossoming tree at night in Washington park.
The City of Portland purchased the original 40.78 acres (16.5 hectares) in 1871 from Amos King for $32,624, a controversially high price for the time.[3][4] The area, designated "City Park", was wilderness with few roads. Thick brush, trees and roaming cougar discouraged access. In the mid-1880s, Charles M. Meyers was hired as park keeper. A former seaman without landscape training, he transformed the park by drawing on memories of his native Germany and European parks. By 1900, there were roads, trails, landscaped areas with lawns, manicured hedges, flower gardens, and a zoo. Cable cars were added in 1890 and operated until the 1930s.
In 1903, John Charles Olmsted of Olmsted Brothers, a nationally known landscape architecture firm, recommended several changes to the park including the present name, location of the entrance, separate roads and pedestrian paths, and replacement of formal gardens with native species. The name was officially changed from City Park to Washington Park in 1909.[5]
When the county poor farm closed in 1922, the 160 acres (64.75 hectares) were added to Washington Park.
Portland's zoo was founded in Washington Park in 1887 near where the reservoirs are presently located. It moved in 1925 to what is now the Japanese Garden, and moved again in 1959 to its present location at the park's southern edge. The only surviving structure from the old zoo is the elephant barn, now converted into a picnic shelter and decorated with tile mosaic of various animals and a life-size brick relief sculpture of an elephant and calf.
The City of Portland plans to demolish the existing number 3 and 4 outdoor reservoirs, then replace them with underground reservoirs covered by reflecting pools, due to their age and a federal mandate to cover all reservoirs.[6] The $67 million project has attracted opposition from historical preservationists and residents concerned about construction impacts.[7]
This is a photograph from the Forest Marathon festival 2013 which was held in the beautiful Coillte forest of Portumna in Co. Galway, Ireland on Saturday 15th June 2013. The event includes a 10k, a full marathon, a half marathon and two ultra-running events - a 50k and 100k race. The races started at 08:00 with the 100KM, the 50KM at 10:00, and subsequent races at two hour intervals onwards. All events started and finished within the forest with the exception of the half marathon and marathon which started outside of the forest. All events see participants complete 5KM loops of the forest which start and end at the car-park/amenity end of the forest. There is an official Refreshment/Handling Zones at this point on the loop.
The event was organised by international coach Sebastien Locteau from SportsIreland.ie and his fantastic team of volunteers from Galway and beyond. Congratulations to Seb on organising a very professionally run event and an event which is growing bigger and more prestigious with each passing year. There was an incredible atmosphere amongst the runners, the spectators, and the organisers. Hats off to everyone involved.
The marathon, 50KM, and 100KM events are sanctioned by Athletics Ireland and AIMS (the Association of International Marathons and Distance Races). The event has also achieved IAU (International Association of Ultrarunners) Bronze Label status for 2013.
Electronic timing was provided by RedTagTiming: www.redtagtiming.com/
Energy Bars, Gels, Drinks etc were provided by Fuel4Sport: www.fuel4sport.ie/
This is a set of photographs taken at various points on the 5KM loop in the Forest and contains photographs of competitors from all of the events except the 10KM race.
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If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Overall Race Summary
Participants: Approximately 600 people took part across all of the events which were staged: 10km, half marathon, marathon, 50km, and 100KM.
Weather: The weather was unfortunately not what a summer's day in June should be like - there was rain, some breeze, but mild temperatures.
Course: This is a fast flat course depending on your event. The course is left handed around the Forest and roughly looks like a figure of 8 in terms of routing.
Location Map: Start/finish area on Google StreetView [goo.gl/maps/WWTgD] are inside the parklands and trails
Refreshments: There are no specific refreshments but the race organizers provide very adequate supplies for all participants.
Some Useful Links
Official Race Event Website: www.forestmarathon.com/
The Boards.ie Athletics Forum Thread for the 2013 Event: www.boards.ie/vbulletin/showthread.php?t=2056874371
A GPS Garmin Trace of the Course Profile (from the 50KM event) connect.garmin.com/activity/189495781
Our Flickr Photographs from the 2012 Events: www.flickr.com/photos/peterm7/sets/72157630146344494/
Our Flickr Photographs from the 2011 Events: www.flickr.com/photos/peterm7/sets/72157626865466587/
Title Sponsors Sports Ireland Website: sites.google.com/a/sportsireland.ie/welcome-sports-irelan...
A VIDEO of the Course: www.youtube.com/watch?feature=player_embedded&v=2FLxE...
Google StreetView of the Entrance to Portuma Forest: goo.gl/maps/MX62O
Wikipedia: Read about Portumna and Portumna Forest Park: en.wikipedia.org/wiki/Portumna#Portumna_Forest_Park
Coilte Ourdoors Website: www.coillteoutdoors.ie/?id=53&rec_site=115
Portumna Forest on EveryTrails: www.everytrail.com/guide/portumna-forest-park-woodland-tr...
More about the IAU Bronze Label: www.iau-ultramarathon.org/index.asp?menucode=h07&tmp=...
How can I get a full resolution copy of these photographs?
All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available offline, free, at no cost, at full image resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
If you would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets
Second XI match - Pagham chasing Henfield's total of 195 had reached 110 for 6 - but were eventually dismissed for 148.
After the snowmobile safari, we visited a husky farm - the pups we almost irresistible, such gorgeous eyes. Some have one brown, one blue
The accessories include shoes, an Alice band (not shown in the pictures, sorry), cream colored tights, and a cream colored briefs. The shoes will not fit V2 Sybarites- I really need to find a V3 soon ;)
1964 Nalley's CFL Football Coins - Complete Set (100 coins) - Features 18 Hall of Famers and includes coins of Joe Kapp and Bud Grant.
In 1964, for the second consecutive year, the Canadian Football League contracted to have plastic player coins inserted in Nalley's Potato and Snacks at a rate of one coin per product. This time, only the five Western Conference teams were included -- British Columbia Lions (numbers 1-20) in orange, Calgary Stampeders (numbers 21-40) in red, Edmonton Eskimos (numbers 41-60) in yellow, Saskatchewan Roughriders (numbers 61-80) in green, and Winnipeg Blue Bombers (81-100) in blue.
On the front of the coin is the number, name, coloured player head and shoulder illustration and team icon.
This 100-coin set is very similar to the set from the previous year except that there are no real distribution scarcities. The backs of the coins are plastic, but not see-through. No specific information about the player, as in the previous year, is included. The coins were sponsored by Nalley's Potato Chips and packaged one per box of chips. The set numbering is in team order. The coins measure approximately 1 3/8" in diameter. Shields to hold the coins were also issued.
Some of these coins were issued with blank backs.
Link to checklist - www.oldbaseball.com/MegaChecklists/ChecklistSetPrint.php?...
From this morning's Petit Depart as Ken Scott started out on his 'round Britain walk. He will be raising money for Parkinson's and the RNLI. Wife Carolyn and son Gavin kept him company for the first stretch across the Adur Ferry Bridge. Good luck, Ken.
Pickering Castle is situated on the southern edge of the North York Moors on a limestone bluff which formerly overlooked the meeting point of two of the main highways through the north of England: the east-west route along the Vale of Pickering and the north-south route through Newton Dale to Malton. The monument consists of a single area which includes the site of the 11th century motte and bailey castle and the 13th century shell keep castle. The former was built by William the Conqueror either during or shortly after the 'harrying of the north' in 1069-70. It consisted of an earth motte crowned by a timber palisade, flanked on the north-west side by a crescent-shaped inner bailey and, on the south-east side, by a contemporary or slightly later outer bailey. The inner bailey measured c.120m by c.35m and was bounded to the north by a steep natural slope surmounted by a palisade and to the south by deep 15m wide ditches linked to the ditch encircling the motte. The outer bailey, which measured c.185m by c.25m, was protected on the north side by these same ditches and, on the south side, by a 5-8m high palisaded bank with an outer ditch. To the immediate east of the outer bailey ditch a further earthwork bank may have provided additional defence on this side; alternatively it may be part of a medieval defence system associated with the adjacent settlement. The motte is c.20m high and has a base diameter of c.60m. It is not yet clear whether this is the original 11th century motte or a later medieval reconstruction. In the latter case, the earlier motte will have been preserved inside the later while, in addition, the buried remains of a wide range of domestic and service buildings will survive within the open areas of the baileys.
The reconstruction of the castle in stone largely took place between 1180 and 1236. There were three main phases to the work at this time, the earliest involving the late 12th century replacement of the palisade round the inner bailey with a curtain wall and also the probable construction of the first shell keep on the motte. In its present form the shell keep dates to the early 13th century but the foundations of the earlier wall will survive underneath. The remains of the early curtain wall still stand round the inner bailey, surviving best where the curtain was incorporated into later buildings. The earliest buildings so far identified are the early or mid- 12th century Old Hall, a free-standing residence whose surviving foundations show it to have been half-timbered, and the Coleman Tower, constructed at the same time as the inner curtain and an integral part of it. The Coleman Tower guarded the entry across the inner bailey ditch and was also a prison; hence its earlier name, the King's Prison. It was square in plan and had its entrance on the first floor, the level underneath being where the prisoners were kept. On the east side are the remains of a small building and also a stairway leading onto an adjacent wall. This wall, built across the motte ditch in the late 12th century, replaced an earlier palisade and provided access to the summit of the motte. A similar and contemporary length survives on the opposite side of the motte, crossing the ditch and joining the curtain alongside the later Rosamund's Tower. The keep consisted of a rubble wall enclosing a roughly circular area 20m wide. A wall walk would have lined the inside of the wall above a series of garrison buildings. The foundations of some of these buildings survive but it is not certain whether they date to the 13th or the 14th century. In some cases they will have replaced earlier timber structures whose buried remains will also survive. Also of uncertain date are the foundations of a number of buildings in the inner bailey, including a service range to the south-west and a group of buildings referred to as the Constable's Place in the accounts of the years 1441-43. The latter were half-timbered and some sections predate the inner curtain though others were clearly added later. A survey of 1537 lists a number of distinct structures, including the Constable's hall, a kitchen, buttery and pantry, and quarters for staff and servants. At the southern end of the group were a number of storage buildings, one of which is believed to have been the wool house. Two additional service buildings lay adjacent to the Old Hall and are thought, originally, to have been contemporary with it. To the south of these is the chantry-chapel which dates from c.1227 and is still complete though in a much altered state.
To the west of this is the early 14th century New Hall, initially built as a residence for Countess Alice, wife of Earl Thomas of Lancaster. This was later used as a courthouse which gave rise to it being named King's Hall or Motte (moot) Hall in later surveys. It was a penticed or lean-to building of two storeys which utilised the inner curtain for its outer wall. The inner walls were timber-framed and, as much of the surviving stonework is late 12th or early 13th century, it clearly replaced an earlier building. The upper chamber or solar of the 14th century hall was an elaborate plastered room with a decorated fireplace. The last major programme of building dates to 1324-26 when Edward II ordered extensive works to be carried out which included replacing the whole of the timber palisade round the outer bailey with a stone wall. This outer curtain included three projecting towers, a gatehouse with a drawbridge over the outer ditch and a postern gate which led from the north-east arm of the inner bailey ditch, underneath Rosamund's Tower and out onto the rampart. A second gate and drawbridge, built at this time alongside the Coleman Tower, had fallen out of use by the 16th century and can now no longer be seen. The three projecting towers, named from north-east to south-west, Rosamund's Tower, Diate Hill Tower and Mill Tower, are all square in plan and all would have led out onto the wall-walk along the inside of the curtain though, in the case of the Mill Tower, the curtain to either side has not survived sufficiently well to demonstrate this. The ground-floor entrance to the Mill Tower consisted of two doors linked by a short passage, in which the first door opened inwards and the second outwards indicating that the tower was built as a prison, a role it took over from the Coleman Tower. North of the Mill Tower, the outer curtain crossed the inner bailey ditch which can also be seen outside the castle walls on the west and north sides. This section of the ditch was part of the original 11th century defences and was quarried out of the rock on which the castle was built.
A levelled area alongside the inner edge indicates that quarrying of the rock-face continued after the ditch was cut. The quarried stone would have gone towards the construction of at least some of the castle buildings. Aside from its strategic and administrative roles, Pickering Castle had two other functions: to guard and manage the large forest which lay adjacent and to provide a court and place of detention for those found guilty of offences against it, such as poaching, unauthorised clearance and the theft of timber. The forest was an extremely important economic resource during the Middle Ages and its particular importance at Pickering can be seen in the great use made of wood in the castle buildings and also, most significantly, its continuous use in the defences down to the 14th century. Also important to the castle economy during the 14th century was the sale of wool, and it also had responsibility for managing the royal stud created by Edward II in c.1322. Possibly the stables known to have been located against the outer curtain at this time, between the gatehouse and Diate Hill tower, were connected with this. According to the Domesday Book, in 1086 the manor of Pickering was held by the king, that is, William the Conqueror. The castle established at this time as part of the subjugation of the rebellious North remained in royal hands until 1267 when it was conferred with the title Earl of Lancaster on Edmund Crouchback, younger son of Henry III. Edmund's son Thomas succeeded to both title and estates in 1296 but was executed for treason by Edward II in 1322, whereupon his estates reverted to the king. Following the unsuccessful Scottish campaign of the same year, and the ensuing retaliatory attacks on the north of England by Robert the Bruce, Edward ordered the building works noted above, clearly intending to keep Pickering a royal castle. However, in 1326 his son Edward III confirmed Henry, the younger brother of Thomas, Earl of Lancaster, in his brother's titles and estates, and, in 1351, the castle became part of the Duchy of Lancaster when that title was created. Upon the elevation of the House of Lancaster to the throne in 1399, and in 1413, the succession of Henry V, the Duchy reverted to the Crown and Pickering became a royal castle once again. It has been in State care since 1926. A number of features within the protected area are excluded from the scheduling. These include the ticket office/sales point and its paved base and steps, all English Heritage fixtures and fittings such as bins, bridges, safety grilles, signs, railings and interpretation boards, the surfaces of all modern steps and paths inside and outside the castle walls, lighting and the modern walls and fences round the outside edge of the protected area but the ground beneath all these features is included.
Hindu deities are the gods and goddesses in Hinduism. The terms and epithets found in Indian culture, that are translated as deity, varies with the text and diverse traditions within Hinduism, and include Deva, Devi, Ishvara, Bhagavan and Bhagavathi.[1][2][note 1]
The deities of Hinduism have evolved from Vedic era (2nd millennium BCE) through medieval era (1st millennium CE), regionally within India and in southeast Asia, and across Hinduism's diverse traditions.[3][4] The Hindu deity concept varies from a personal god as in Yoga school of Hindu philosophy,[5][6] to 33 Vedic deities,[7] to hundreds of Puranic deities, to millions of deities in Tantra traditions of Hinduism.[8] Illustrations of major deities include Vishnu, Sri (Lakshmi), Shiva, Parvati (Durga), Brahma and Saraswati. These deities have distinct and complex personalities, yet often viewed as aspects of the same Ultimate Reality called Brahman.[9][note 2] From ancient times, the idea of equivalence has been cherished in Hinduism, in its texts and in early 1st millennium sculpture with concepts such as Harihara (half Shiva, half Vishnu),[10] Ardhanarishvara (half Shiva, half Parvati) or Vaikuntha Kamalaja (half Vishnu, half Lakshmi),[11] with mythologies and temples that feature them together, declaring they are the same.[12][13][14] Major deities have inspired their own Hindu traditions, such as Vaishnavism, Shaivism and Shaktism, but with shared mythology, ritual grammar, theosophy, axiology and polycentrism.[15][16][17] Some Hindu traditions such as Smartism from mid 1st millennium CE, have included multiple major deities as henotheistic manifestations of Saguna Brahman, and as a means to realizing Nirguna Brahman.[18][19][20]
Hindu deities are represented with various icons and anicons, in paintings and sculptures, called Murtis and Pratimas.[21][22][23] Some Hindu traditions, such as ancient Charvakas rejected all deities and concept of god or goddess,[24][25][26] while 19th-century British colonial era movements such as the Arya Samaj and Brahmo Samaj rejected deities and adopted monotheistic concepts similar to Abrahamic religions.[27][28] Hindu deities have been adopted in other religions such as Jainism,[29] and in regions outside India such as predominantly Buddhist Thailand and Japan where they continue to be revered in regional temples or arts.[30][31][32]
In ancient and medieval era texts of Hinduism, the human body is described as a temple,[33][34] and deities are described to be parts residing within it,[35][36] while the Brahman (Absolute Reality, God)[18][37] is described to be the same, or of similar nature, as the Atman (self, soul), which Hindus believe is eternal and within every living being.[38][39][40] Deities in Hinduism are as diverse as its traditions, and a Hindu can choose to be polytheistic, pantheistic, monotheistic, monistic, agnostic, atheistic or humanist.[41][42][43]
Deities in Hinduism are referred to as Deva (masculine) and Devi (feminine).[44][45][46] The root of these terms mean "heavenly, divine, anything of excellence".[47] According to Douglas Harper, the etymological roots of Deva mean "a shining one," from *div- "to shine," and it is a cognate with Greek dios "divine" and Zeus, and Latin deus (Old Latin deivos).[48]
In the earliest Vedic literature, all supernatural beings are called Asuras.[49][50] By the late Vedic period (~500 BCE), benevolent supernatural beings are referred to as Deva-Asuras. In post-Vedic texts, such as the Puranas and the Itihasas of Hinduism, the Devas represent the good, and the Asuras the bad.[3][4] In some medieval Indian literature, Devas are also referred to as Suras and contrasted with their equally powerful, but malevolent half-brothers referred to as the Asuras.[51]
Hindu deities are part of Indian mythology, both Devas and Devis feature in one of many cosmological theories in Hinduism.[52][53]
Characteristics of Vedic era deities[edit]
In Vedic literature, Devas and Devis represent the forces of nature and some represent moral values (such as the Adityas, Varuna, and Mitra), each symbolizing the epitome of a specialized knowledge, creative energy, exalted and magical powers (Siddhis).[54][55]
The most referred to Devas in the Rig Veda are Indra, Agni (fire) and Soma, with "fire deity" called the friend of all humanity, it and Soma being the two celebrated in a yajna fire ritual that marks major Hindu ceremonies. Savitr, Vishnu, Rudra (later given the exclusive epithet of Shiva), and Prajapati (later Brahma) are gods and hence Devas.[30]
The Vedas describes a number of significant Devis such as Ushas (dawn), Prithvi (earth), Aditi (cosmic moral order), Saraswati (river, knowledge), Vāc (sound), Nirṛti (destruction), Ratri (night), Aranyani (forest), and bounty goddesses such as Dinsana, Raka, Puramdhi, Parendi, Bharati, Mahi among others are mentioned in the Rigveda.[58] Sri, also called Lakshmi, appears in late Vedic texts dated to be pre-Buddhist, but verses dedicated to her do not suggest that her characteristics were fully developed in the Vedic era.[59] All gods and goddesses are distinguished in the Vedic times, but in the post-Vedic texts (~500 BCE to 200 CE), and particularly in the early medieval era literature, they are ultimately seen as aspects or manifestations of one Brahman, the Supreme power.[59][60]
Ananda Coomaraswamy states that Devas and Asuras in the Vedic lore are similar to Angels-Theoi-Gods and Titans of Greek mythology, both are powerful but have different orientations and inclinations, the Devas representing the powers of Light and the Asuras representing the powers of Darkness in Hindu mythology.[61][62] According to Coomaraswamy's interpretation of Devas and Asuras, both these natures exist in each human being, the tyrant and the angel is within each being, the best and the worst within each person struggles before choices and one's own nature, and the Hindu formulation of Devas and Asuras is an eternal dance between these within each person.[63][64]
The Devas and Asuras, Angels and Titans, powers of Light and powers of Darkness in Rigveda, although distinct and opposite in operation, are in essence consubstantial, their distinction being a matter not of essence but of orientation, revolution or transformation. In this case, the Titan is potentially an Angel, the Angel still by nature a Titan; the Darkness in actu is Light, the Light in potentia Darkness; whence the designations Asura and Deva may be applied to one and the same Person according to the mode of operation, as in Rigveda 1.163.3, "Trita art thou (Agni) by interior operation".
— Ananda Coomaraswamy, Journal of the American Oriental Society[65]
Characteristics of medieval era deities[edit]
In the Puranas and the Itihasas with the embedded Bhagavad Gita, the Devas represent the good, and the Asuras the bad.[3][4] According to the Bhagavad Gita (16.6-16.7), all beings in the universe have both the divine qualities (daivi sampad) and the demonic qualities (asuri sampad) within each.[4][66] The sixteenth chapter of the Bhagavad Gita states that pure god-like saints are rare and pure demon-like evil are rare among human beings, and the bulk of humanity is multi-charactered with a few or many faults.[4] According to Jeaneane Fowler, the Gita states that desires, aversions, greed, needs, emotions in various forms "are facets of ordinary lives", and it is only when they turn to lust, hate, cravings, arrogance, conceit, anger, harshness, hypocrisy, violence, cruelty and such negativity- and destruction-inclined that natural human inclinations metamorphose into something demonic (Asura).[4][66]
The Epics and medieval era texts, particularly the Puranas, developed extensive and richly varying mythologies associated with Hindu deities, including their genealogies.[67][68][69] Several of the Purana texts are named after major Hindu deities such as Vishnu, Shiva and Devi.[67] Other texts and commentators such as Adi Shankara explain that Hindu deities live or rule over the cosmic body as well in the temple of human body.[33][70] They remark that the Sun deity is the giver of vision, the Vayu deity the nose, the Prajapati the sexual organs, the Lokapalas (directions) are the ears, moon deity the mind, Mitra deity is the inward breath, Varuna deity is the outward breath, Indra deity the arms, Brhaspati the speech, Vishnu whose stride is great is the feet, and Maya is the smile.[70]
Symbolism[edit]
Edelmann states that gods and anti-gods of Hinduism are symbolism for spiritual concepts. For example, god Indra (a Deva) and the antigod Virocana (an Asura) question a sage for insights into the knowledge of the self.[71] Virocana leaves with the first given answer, believing now he can use the knowledge as a weapon. In contrast, Indra keeps pressing the sage, churning the ideas, and learning about means to inner happiness and power. Edelmann suggests that the Deva-Asura dichotomies in Hindu mythology may be seen as "narrative depictions of tendencies within our selves".[71] Hindu deities in Vedic era, states Mahoney, are those artists with "powerfully inward transformative, effective and creative mental powers".[72]
In Hindu mythology, everyone starts as an Asura, born of the same father. "Asuras who remain Asura" share the character of powerful beings craving for more power, more wealth, ego, anger, unprincipled nature, force and violence.[73][74] The "Asuras who become Devas" in contrast are driven by an inner voice, seek understanding and meaning, prefer moderation, principled behavior, aligned with Ṛta and Dharma, knowledge and harmony.[73][74][75]
The god (Deva) and antigod (Asura), states Edelmann, are also symbolically the contradictory forces that motivate each individual and people, and thus Deva-Asura dichotomy is a spiritual concept rather than mere genealogical category or species of being.[76] In the Bhāgavata Purana, saints and gods are born in families of Asuras, such as Mahabali and Prahlada, conveying the symbolism that motivations, beliefs and actions rather than one's birth and family circumstances define whether one is Deva-like or Asura-like.[76]
Another Hindu term that is sometimes translated as deity is Ishvara, or alternatively various deities are described, state Sorajjakool et al., as "the personifications of various aspects of one and the same Ishvara".[77] The term Ishvara has a wide range of meanings that depend on the era and the school of Hinduism.[78][79][80] In ancient texts of Indian philosophy, Ishvara means supreme soul, Brahman (Highest Reality), ruler, king or husband depending on the context.[78] In medieval era texts, Ishvara means God, Supreme Being, personal god, or special Self depending on the school of Hinduism.[2][80][81]
Among the six systems of Hindu philosophy, Samkhya and Mimamsa do not consider the concept of Ishvara, i.e., a supreme being, relevant. Yoga, Vaisheshika, Vedanta and Nyaya schools of Hinduism discuss Ishvara, but assign different meanings.
Early Nyaya school scholars considered the hypothesis of a deity as a creator God with the power to grant blessings, boons and fruits; but these early Nyaya scholars then rejected this hypothesis, and were non-theistic or atheists.[25][82] Later scholars of Nyaya school reconsidered this question and offered counter arguments for what is Ishvara and various arguments to prove the existence of omniscient, omnipresent, omnipotent deity (God).[83]
Vaisheshika school of Hinduism, as founded by Kanada in 1st millennium BC, neither required nor relied on creator deity.[84][85] Later Vaisheshika school adopted the concept of Ishvara, states Klaus Klostermaier, but as an eternal God who co-exists in the universe with eternal substances and atoms, but He "winds up the clock, and lets it run its course".[84]
Ancient Mimamsa scholars of Hinduism questioned what is Ishvara (deity, God)?[86] They considered deity concept unnecessary for a consistent philosophy and moksha (soteriology).[86][87]
In Samkhya school of Hindu philosophy, Isvara is neither a creator-God, nor a savior-God.[88] This is called one of the several major atheistic schools of Hinduism by some scholars.[89][90][91] Others, such as Jacobsen, state that Samkhya is more accurately described as non-theistic.[92] Deity is considered an irrelevant concept, neither defined nor denied, in Samkhya school of Hindu philosophy.[93]
In Yoga school of Hinduism, it is any "personal deity" (Ishta Deva or Ishta Devata)[94] or "spiritual inspiration", but not a creator God.[81][89] Whicher explains that while Patanjali's terse verses in the Yogasutras can be interpreted both as theistic or non-theistic, Patanjali's concept of Isvara in Yoga philosophy functions as a "transformative catalyst or guide for aiding the yogin on the path to spiritual emancipation".[95]
The Advaita Vedanta school of Hinduism asserted that there is no dualistic existence of deity (or deities).[96][97] There is no otherness nor distinction between Jiva and Ishvara.[98][99] God (Ishvara, Brahman) is identical with the Atman (soul) within each human being in Advaita Vedanta school,[100] and there is a monistic Universal Absolute Oneness that connects everyone and everything, states this school of Hinduism.[39][99][101] This school, states Anantanand Rambachan, has "perhaps exerted the most widespread influence".[102]
The Dvaita sub-school of Vedanta Hinduism, founded in medieval era, Ishvara is defined as a creator God that is distinct from Jiva (individual souls in living beings).[40] In this school, God creates individual souls, but the individual soul never was and never will become one with God; the best it can do is to experience bliss by getting infinitely close to God.[20]
Number of deities[edit]
Yāska, the earliest known language scholar of India (~ 500 BCE), notes Wilkins, mentions that there are three deities (Devas) according to the Vedas, "Agni (fire), whose place is on the earth; Vayu (wind), whose place is the air; and Surya (sun), whose place is in the sky".[107] This principle of three worlds (or zones), and its multiples is found thereafter in many ancient texts. The Samhitas, which are the oldest layer of text in Vedas enumerate 33 devas,[note 3] either 11 each for the three worlds, or as 12 Adityas, 11 Rudras, 8 Vasus and 2 Ashvins in the Brahmanas layer of Vedic texts.[7][47]
The Rigveda states in hymn 1.139.11,
ये देवासो दिव्येकादश स्थ पृथिव्यामध्येकादश स्थ ।
अप्सुक्षितो महिनैकादश स्थ ते देवासो यज्ञमिमं जुषध्वम् ॥११॥[111]
O ye eleven gods whose home is heaven, O ye eleven who make earth your dwelling,
Ye who with might, eleven, live in waters, accept this sacrifice, O gods, with pleasure.
– Translated by Ralph T. H. Griffith[112]
Gods who are eleven in heaven; who are eleven on earth;
and who are eleven dwelling with glory in mid-air; may ye be pleased with this our sacrifice.
– Translated by HH Wilson[113]
— Rigveda 1.139.11
Millions, one or one-ness?[edit]
Thirty-three divinities are mentioned in other ancient texts, such as the Yajurveda,[114] however, there is no fixed "number of deities" in Hinduism any more than a standard representation of "deity".[115] There is, however, a popular perception stating that there are 330 million (or "33 crore") deities in Hinduism.[116] Most, by far, are goddesses, state Foulston and Abbott, suggesting "how important and popular goddesses are" in Hindu culture.[115] No one has a list of the 330 million goddesses and gods, but all deities, state scholars, are typically viewed in Hinduism as "emanations or manifestation of genderless principle called Brahman, representing the many facets of Ultimate Reality".[115][116][117]
This concept of Brahman is not the same as the monotheistic separate God found in Abrahamic religions, where God is considered, states Brodd, as "creator of the world, above and independent of human existence", while in Hinduism "God, the universe, human beings and all else is essentially one thing" and everything is connected oneness, the same god is in every human being as Atman, the eternal Self.[117][118]
Hinduism has an ancient and extensive iconography tradition, particularly in the form of Murti (Sanskrit: मूर्ति, IAST: Mūrti), or Vigraha or Pratima.[22] A Murti is itself not the god in Hinduism, but it is an image of god and represents emotional and religious value.[124] A literal translation of Murti as idol is incorrect, states Jeaneane Fowler, when idol is understood as superstitious end in itself.[124] Just like the photograph of a person is not the real person, a Murti is an image in Hinduism but not the real thing, but in both cases the image reminds of something of emotional and real value to the viewer.[124] When a person worships a Murti, it is assumed to be a manifestation of the essence or spirit of the deity, the worshipper's spiritual ideas and needs are meditated through it, yet the idea of ultimate reality or Brahman is not confined in it.[124]
A Murti of a Hindu deity is typically made by carving stone, wood working, metal casting or through pottery. Medieval era texts describing their proper proportions, positions and gestures include the Puranas, Agamas and Samhitas particularly the Shilpa Shastras.[21] The expressions in a Murti vary in diverse Hindu traditions, ranging from Ugra symbolism to express destruction, fear and violence (Durga, Kali), as well as Saumya symbolism to express joy, knowledge and harmony (Saraswati, Lakshmi). Saumya images are most common in Hindu temples.[125] Other Murti forms found in Hinduism include the Linga.[126]
A Murti is an embodiment of the divine, the Ultimate Reality or Brahman to some Hindus.[21] In religious context, they are found in Hindu temples or homes, where they may be treated as a beloved guest and serve as a participant of Puja rituals in Hinduism.[127] A murti is installed by priests, in Hindu temples, through the Prana Pratishtha ceremony,[128] whereby state Harold Coward and David Goa, the "divine vital energy of the cosmos is infused into the sculpture" and then the divine is welcomed as one would welcome a friend.[129] In other occasions, it serves as the center of attention in annual festive processions and these are called Utsava Murti.[130]
In Hinduism, deities and their icons may be hosted in a Hindu temple, within a home or as an amulet. The worship performed by Hindus is known by a number of regional names, such as Puja.[134] This practice in front of a murti may be elaborate in large temples, or be a simple song or mantra muttered in home, or offering made to sunrise or river or symbolic anicon of a deity.[135][136][137] Archaeological evidence of deity worship in Hindu temples trace Puja rituals to Gupta Empire era (~4th century CE).[138][139] In Hindu temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.[140][141]
The Puja practice is structured as an act of welcoming, hosting, honoring the deity of one's choice as one's honored guest,[142] and remembering the spiritual and emotional significance the deity represents the devotee.[124][134] Jan Gonda, as well as Diana L. Eck, states that a typical Puja involves one or more of 16 steps (Shodasha Upachara) traceable to ancient times: the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, praise (hymns) with Dhupa or Aarti along with food (Naivedhya) is offered to the deity, after an expression of love and respect the host takes leave, and with affection expresses good bye to the deity.[143][144] The worship practice may also involve reflecting on spiritual questions, with image serving as support for such meditation.[145]
Deity worship (Bhakti), visiting temples and Puja rituals are not mandatory and is optional in Hinduism; it is the choice of a Hindu, it may be a routine daily affair for some Hindus, periodic ritual or infrequent for some.[146][147] Worship practices in Hinduism are as diverse as its traditions, and a Hindu can choose to be polytheistic, pantheistic, monotheistic, monistic, agnostic, atheistic or humanist.[41]
Examples[edit]
Main articles: List of Hindu deities and Rigvedic deities
Major deities have inspired a vast genre of literature such as the Puranas and Agama texts as well their own Hindu traditions, but with shared mythology, ritual grammar, theosophy, axiology and polycentrism.[16][17] Vishnu and his avatars are at the foundation of Vaishnavism, Shiva for Shaivism, Devi for Shaktism, and some Hindu traditions such as Smarta traditions who revere multiple major deities (five) as henotheistic manifestations of Brahman (absolute metaphysical Reality).[116][148][149]
While there are diverse deities in Hinduism, states Lawrence, "Exclusivism – which maintains that only one's own deity is real" is rare in Hinduism.[116] Julius Lipner, and other scholars, state that pluralism and "polycentrism" – where other deities are recognized and revered by members of different "denominations", has been the Hindu ethos and way of life.[16][150]
Trimurti and Tridevi[edit]
The concept of Triad (or Trimurti, Trinity) makes a relatively late appearance in Hindu literature, or in the second half of 1st millennium BCE.[151] The idea of triad, playing three roles in the cosmic affairs, is typically associated with Brahma, Vishnu and Shiva (also called Mahesh); however, this is not the only triad in Hindu literature.[152] Other triads include Tridevi, of three goddesses – Lakshmi, Saraswati and Durga in the text Devi Mahatmya, in the Shakta tradition, who further assert that Devi is the Brahman (Ultimate Reality) and it is her energy that empowers Brahma, Vishnu and Shiva.[151] The other triads, formulated as deities in ancient Indian literature, include Sun (creator), Air (sustainer) and Fire (destroyer); Prana (creator), Food (sustainer) and Time (destroyer).[151] These triads, states Jan Gonda, are in some mythologies grouped together without forming a Trinity, and in other times represented as equal, a unity and manifestations of one Brahman.[151] In the Puranas, for example, this idea of threefold "hypostatization" is expressed as follows,
They [Brahma, Vishnu, Shiva] exist through each other, and uphold each other; they are parts of one another; they subsist through one another; they are not for a moment separated; they never abandon one another.
— Vayu Purana, 5.17, Translated by Jan Gonda[151]
The triad appears in Maitrayaniya Upanishad, for the first time in recognized roles known ever since, where they are deployed to present the concept of three Guṇa – the innate nature, tendencies and inner forces found within every being and everything, whose balance transform and keeps changing the individual and the world.[152][153] It is in the medieval Puranic texts, Trimurti concepts appears in various context, from rituals to spiritual concepts.[151] The Bhagavad Gita, in verses 9.18, 10.21-23 and 11.15, asserts that the triad or trinity is manifestation of one Brahman, which Krishna affirms himself to be.[154] However, suggests Bailey, the mythology of triad is "not the influence nor the most important one" in Hindu traditions, rather the ideologies and spiritual concepts develop on their own foundations.[152]
Avatars of Hindu deities[edit]
Hindu mythology has nurtured the concept of Avatar, which represents the descent of a deity on earth.[155][156] This concept is commonly translated as "incarnation",[155] and is an "appearance" or "manifestation".[157][158]
The concept of Avatar is most developed in Vaishnavism tradition, and associated with Vishnu, particularly with Rama and Krishna.[159][160] Vishnu takes numerous avatars in Hindu mythology. He becomes female, during the Samudra manthan, in the form of Mohini, to resolve a conflict between the Devas and Asuras. His male avatars include Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Krishna, Buddha, and Kalki.[160] Various texts, particularly the Bhagavad Gita, discuss the idea of Avatar of Vishnu appearing to restore the cosmic balance whenever the power of evil becomes excessive and causes persistent oppression in the world.[156]
In Shaktism traditions, the concept appears in its legends as the various manifestations of Devi, the Divine Mother principal in Hinduism.[161] The avatars of Devi or Parvati include Durga and Kali, who are particularly revered in eastern states of India, as well as Tantra traditions.[162][163][164] Twenty one avatars of Shiva are also described in Shaivism texts, but unlike Vaishnava traditions, Shaiva traditions have focussed directly on Shiva rather than the Avatar concept.[155]
The back cover includes information on Kennedy's life and his ties to Ireland. At bottom (out of the range of this picture) are details about the songs on the LP. "The Ballad of Jack Kennedy" was composed in honor of President Kennedy's election. The "Death of a Hero" is a poem "written and spoken by Irish housewife model Susan Murray of Liexlip, Co. Kildare" and "is reputed to have been published in every English-speaking country in the world. Mrs. Murray, who had never written anything previously, wrote it on the day of President Kennedy's funeral." Wow. (That's her picture at upper right.)
Starring Harry Carey, Edwina Booth - youtu.be/Kl3jmDxCC1s
Duncan Renaldo, Mutia Omoolu, Olive Golden. Directed by W.S. Van Dyke.
This production was an amazing undertaking in 1931. American filmmaking with sound and location shooting was unheard of and with the country still feeling the effects of the depression also quite a gamble. This is a fascinating tale of a real life adventure with a dose of Hollywood shenanigans thrown in.
The movie tells of the adventures of real-life trader and adventurer Alfred Aloysius "Trader" Horn on safari in Africa. The fictional part includes the discovery of a white blonde jungle queen, the lost daughter of a missionary, played by Miss Booth. The realistic part includes a scene in which Carey as Horn swings on a vine across a river filled with genuine crocodiles, one of which comes very close to taking his leg off.
The following review is by an anonymous writer.......I note a number of misconceptions about this great old flick, or maybe some viewers are missing a few things. Sure, Harry Carey refers to some of the tribes-people herein as savages. But, look, on a daily basis they will kill you, cook you, shrink your head, and eat what's left. If that isn't savage, I'd like to know what is. The tribes-people pictured here aren't the Dead End Kids waiting for a weekly visit from their case worker. Yes, Carey refers to his man Friday as a black so-and-so, but the so-and-so comes off looking highly noble in the script, and Carey pays him due tribute. As for Carey playing the part of a hardened Congo guide, he does a mighty fine job of rendering a realistic character, just as would John Wayne, Charleton Heston, or Clint Eastwood. In the War on Poverty days I could see some misguided soul casting Anthony Perkins in the role, but it seems to me Mr. Carey does a superb job. Another reviewer remarked Carey falls in love with the rescued captive; I disagree. Carey had pledged to protect her and return her to civilization. One person from whom he tries to protect her is the naive, erotically smitten Duncan Renaldo ("Peru"), whose character is the opposite of Trader Horn's. Trader Horn knows what's out there and what to watch for; Peru is a total newbie whose missteps could get everyone killed and cooked, including himself. I think this film's characters, story, and production handily outdo any jungle flick made since then. Kinda scary, too. So scary, in fact, and so real, I wouldn't recommend it for the kiddies. Revisionist historians stay clear; in 1931, this is really what Darkest Africa was like.
Summary:
Deep in the heart of Africa, famous hunter, explorer Aloysius Horn, known as Trader Horn due to his bartering skills, tells Peru, the son of his best friend, that he was the first white man to set eyes on the river on which they are sailing. When their boat approaches a small African village that is bustling with activity, the natives welcome the visitors, and Trader asks to be taken to the chief. Though Trader warns Peru of the savage nature of the natives, Peru is nevertheless shocked when he sees a human skeleton displayed on a public cross. The white men's visit is soon interrupted by the ominous sound of a distant drum beat, known as "ju-ju," which the Africans, as well as Trader, know signals the impending attack of the brutal Masai warriors. Trader explains to Peru that when the Masai and the Kukua tribes get together, "the devil is certainly involved," and suggests that they move on. That night, the men, with their African guide, Renchero, set up camp, but they are awakened by the unexpected arrival of the white missionary woman, Edith Trent. Edith, a friend of Trader, whom Trader calls the bravest woman in all of Africa, informs him that she intends to go above the Opanga Falls and into Isorgi country in order to find her missing daughter Nina, who is believed to be living among the Isorgi. Trader warns Edith of the dangers of traveling during ju-ju and offers to accompany her, but she refuses, claiming that the presence of a male with guns will only startle the warriors into violence. Edith consents, however, to allow Trader and his companions to follow her at a distance, on the condition that he continue her search if something should happen to her. Not long after the expedition begins, Trader and Peru discover Edith's body by the river. They proceed to bury it under rocks and mark it for witch doctors, who will later dig it up and make charms out of it. As they promised Edith, Trader and Peru take up her search for Nina, and on the trail find themselves in the company of giraffes, leopards, ostriches, warthogs, zebras and other creatures. After Trader and Peru finally locate Nina, they soon realize that she is the sadistic white goddess of the village in which she lives, and that she plans to sacrifice her new visitors by tying them to crosses and burning them. At the last minute, though, Nina has a change of heart, orders their release, and plans an escape with them from the bushmen, who have turned on her. The goddess escorts the men across the lake, and they brave the perils in their path, including a lion attack. During the course of their journey, Peru and Nina fall in love, and when they kiss, Trader insists that he separate from them for the remainder of the trip. The sound of the enemy tribe's approach sends them scattering, Peru with Nina, and Trader with Renchero. The next morning, Trader discovers that Renchero has sacrificed his life in order to protect him and mourns the loss of his friend. Meanwhile, Peru and Nina are shown to safety by a tribe of pygmies, and they are eventually reunited with Trader. Peru tells Trader that he is taking Nina back to civilization to educate her, and as they sail off, Trader sees an image of Renchero in the clouds on the horizon.
The following onscreen acknowledgment appears in the film's titles: "M-G-M acknowledges Governors and governmental officials of the Territory of Tanganyika, the Protectorate of Uganda, the Colony of Kenya, the Anglo-Egyptian Sudan, [and] the Belgian Congo, whose courtesy and cooperation made this picture possible...and the director offers his thanks for the courageous and efficient services of the White Hunters, Maj. W. V. D. Dickinson, A. S. Waller, Esq., J. H. Barnes, Esq., [and] H. R. Stanton, Esq., who were chiefly responsible for the expedition's ability to traverse 14,000 miles of African velt and jungle."
According to a FD news item, following its publication, Trader Horn became one of the best-selling books of its time. The film was the first non-documentary film to be shot almost entirely on location in Africa. A Jan 1930 AC article notes that the film was nearly half completed when the studio informed the crew in Africa that Hollywood was sending a sound crew to meet them. They were told that "the world was demanding its pictures all-talking." According to an Apr 1931 Photo article, M-G-M secretly sent a second unit to Tecate, Mexico, away from American laws that secured the ethical treatment of animals, to film scenes of animals fighting with each other, which they were unable to capture on film in Africa. In Mexico, lions were reportedly starved for several days in order to ensure immediate and particularly vicious attacks on hyenas, monkeys and deer.
Modern sources relate the following information about the film: Tim McCoy was originally chosen to play the title role; Thelma Todd was tested for the part of "Nina" and M-G-M production head Irving Thalberg reportedly considered Jeanette MacDonald for the part. During the filming of a scene in which white hunter Major W. V. D. Dickinson and director W. S. Van Dyke doubled for the leading men, a charging rhino nearly killed Dickinson, who incorrectly thought that the director was in distress and jumped into the rhino's path to protect him. During production, Van Dyke and many of his crew contracted malaria and were treated with quinine. Despite the British authorities' insistence that no one travel to the Murchison Falls, a known sleeping-sickness area, the director took his crew there for filming. The production was marred by at least two fatal disasters. In the first instance, a native crew member fell into a river and was eaten by a crocodile; in the other incident, which was captured on film, a native boy was struck by a charging rhino. Misfortunes of lesser consequence on the African location included flash floods, sunstroke, swarming locusts and tsetse-fly and ant attacks. Despite months of sound filming, almost all of the dialogue sequences in the film were re-shot on M-G-M's Culver City backlot after the troupe returned from Africa because of the poor quality of the location footage. As the script called for speaking scenes involving African natives Mutia Omoolu and Riano Tindama, they were brought back to Hollywood for additional shooting. With all the production activity in Culver City, rumors began circulating in Hollywood that the entire production was filmed on the M-G-M lot and that the African expedition did not take place. For this reason, the studio decided to scrap the backlot footage of Marjorie Rambeau, who had replaced Olive Golden as "Edith Trent." Modern sources add the following credits: Red Golden, Asst dir ; Josephine Chippo, Script clerk ; John McClain, Press agent and Miss Gordon, Hairdresser . Although modern sources indicate that the film was originally released with a short introduction in which director Cecil B. DeMille discusses the film's authenticity with author Alfred Aloysius Horn, and that the three-minute introduction was deleted from the negative in 1936, when the picture was re-issued, neither the viewed print nor the cutting continuity contain the introduction. The final production cost was pegged at $3,000,000.
Leading actor Harry Carey was married to actress Olive Golden. According to modern sources, following publicized rumors of an affair between stars Duncan Renaldo and Edwina Booth (formerly Josephine Woodruff) during production, Renaldo's wife, Suzette, filed for divorce and later filed a $50,000 lawsuit against Booth for "alienation of affection." On 17 Jan 1931, Duncan Renaldo was arrested on charges that he entered the United States illegally and was later sentenced to two years in federal prison. After serving less than two years, Renaldo received a pardon from President Franklin Delano Roosevelt in 1936, after which he left the country, re-entered legally and became a U. S. citizen. Booth contracted a rare tropical disease while filming in Africa that affected her nervous system and reportedly forced her to remain confined to a darkened room for the better part of six years.
Trader Horn was nominated for an Academy Award for Best Picture of the 1930-31 season, and director W. S. Van Dyke was awarded the Red Cross Medal by the Japanese government for his outstanding achievement in direction.
TONNER 2016 "EMMA JEAN SIREN SONG" DEJAVU DRESSED DOLL - 16" - T16DVDD01
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"Oh no Aunt Doris, I just couldn’t!” Emma Jean giggled as her Aunt Doris hounded her to go on stage. They were sitting in a speakeasy sipping champagne and watching the other patrons warble.
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It was at that moment that Randolph happened to walk in. Their eyes met and with Emma Jean’s Siren Song, destiny was set in motion.
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People include Lesley-Anne Alexander CBE - CEO of RNIB, Tony Warren - College Principal, Nicky Morgan - Loughborough MP, Geoff Jackman - College Governor, Denise Wain - Craft teacher and 5 learners.
The Trade Facilitation Programme (TFP) currently includes almost 100 Issuing Banks in the EBRD region and more than 800 Confirming Banks worldwide. The event gave EBRD confirming and issuing banks the opportunity to review and discuss industry challenges and opportunities with leading specialists, including International Chamber of Commerce and Chief Economist Office. It also featured 25th anniversary award ceremony which will recognize most active banks in EBRD Countries of Operations.
14:30 – 14:45 Opening and Welcome Speeches
• Alexander Saveliev, Director, Financial Institutions, EBRD
• Rudolf Putz, Head of Trade Facilitation Programme, EBRD
14:50 – 15:30 Panel Discussion: Development of Trade & Trade Finance - SEMED
Moderator: Kamola Makhmudova, Senior Banker, EBRD
• Alexander Plekhanov, Office of the Chief Economist, EBRD
• Hanane El Boury, Banque Centrale Populaire (BCP), the Kingdom of Morocco
• Ahmed Benyahya, BMCE Bank, the Kingdom of Morocco
• Hossam Mustafa Rageh, Commercial International Bank (CIB), the Arab Republic of Egypt
• Anas AlMasri, Bank Al Etihad, the Hashemite Kingdom of Jordan 15:30 –
15:50 – 16:30 Panel Discussion: EBRD’s new Partner Banks
Moderator: Marco Nindl, Principal Banker, EBRD
• Sally Hamdalla, QNB Alahli, the Arab Republic of Egypt
• Malliotis Achilleas, Eurobank Cyprus, Republic of Cyprus
• Vladislav Berezhny, Credit Agricole Bank, Ukraine
• Ahu Heper Dolu, Fibabanka, Republic of Turkey
• Andrew Wood, Norton Rose Fulbright LLP, the United Kingdom
16:35 – 17:15 Panel Discussion: Trade Finance Solutions for Imports of Energy Efficient Machinery & Equipment – Gaps and Constraints
Moderator: Terry McCallion, Director, Energy Efficiency and Climate Change, EBRD
• Sergiy Kostogryz, Raiffeisen Bank Aval, Ukraine
• Gagik Sahakyan, Ameriabank, Armenia
• Maria Mogilnaya, Associate Banker, EBRD
• Holger Kautzky, Commerzbank
• Eugenia Zhiglova, KBC Bank
17:35 – 18:10 TFP Annual Awards Ceremony
Hosted by Nick Tesseyman, Managing Director, Financial Institutions, EBRD
Congratulations from Ambassador Chih-Kung Liu, Head of the Taipei Representative Office in the UK
Intersection pavement artwork is installed at Reade Circle and Evans Street on Monday, June 28, 2021. The artwork is the first of several public art installation projects that make up part of the Emerald Loop in Uptown Greenville.
The Emerald Loop is a project designed to transform Greenville's center city through a multimodal connection of existing and future artistic and cultural gems. Greenville's Emerald Loop Vision Plan includes input from city, county, and community leaders from the public and private sector. Learn more about the Emerald Loop at pittcountyarts.org/community/arts-district
Bennett Tepper's 15-point bad-boss checklist is the gold standard for identifying abusive managers. It includes items such as “is rude to you,“ “blames you to save himself or herself embarrassment“ and “ridicules you“ — and marks them on a five-point scale. Three or more scores of 4 or 5 suggests a boss may have crossed the line.
Graphic reads: Bossing Bad: Bennett Tepper’s 15-point checklist is the gold standard for identifying abusive managers. Where does your boss stand? Rate him or her from 1 (cannot remember) to 5 (very often) on each item. If you end up with three or more scores of 4 or 5, your boss may have crossed the line.
This graphic is available for free for in-classroom use. Please contact us to request permission for any other uses.
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Read more in Knowable Magazine
Bad bosses: Dealing with abusive supervisors
From the boardroom to the basketball court, some managers rely on berating and bullying employees. Researchers have learned one thing: It doesn’t work.
knowablemagazine.org/article/society/2018/bad-bosses-deal...
What will it take to fix work-life balance?
Q&A — Legal scholar Joan Williams: It’s time to toss out the idea that dedicated professionals must always be on the clock or that retail shops will founder if they standardize employee hours, legal scholar Joan Williams says in a Q&A. The data tell a different tale.
knowablemagazine.org/article/society/2018/what-will-it-ta...
Special Report: The Working Life
We examine how science might assist in designing a better working environment, and what the future may hold.
knowablemagazine.org/report/special-report-working-life
Take a deeper dive: Selected scholarly reviews
Annual Review of Organizational Psychology and Organizational Behavior
www.annualreviews.org/doi/10.1146/annurev-orgpsych-041015...
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Knowable Magazine from Annual Reviews is a digital publication that seeks to make scientific knowledge accessible to all. Through compelling articles, beautiful graphics, engaging videos and more, Knowable Magazine explores the real-world impact of research through a journalistic lens. All content is rooted in deep reporting and undergoes a thorough fact-checking before publication.
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Young people involved with Include Youth's Give and Take Scheme in the Southern area got together for a little event celebrating their big achievements on Thursday November 15 2012, at One Eighty on the hill, Armagh.
Our Essential Employability Programme delivering essential and employability skills to young people on our Give & Take Scheme is funded through Big Lottery Fund’s Reaching Out Empowering Young People programme.
For more information about Include Youth's Give and Take Scheme visit: includeyouth.org/index.php?/giveandtake
World's largest sail-assisted motor yacht, this Philippe Starck design yacht includes the world's tallest carbon masts, with the tallest standing at 100 metres above sea level.
S/Y A owns 4 tenders designed by Philippe Starck and built by Lloyd Stevenson Boatbuilders:
Tender n°1 : an aluminium workboat cat (11,70m).
Tender n°2 : a closed limousine tender (10,75m).
Tender n°3 : an open limousine tender(11,95m).
Tender n°4 : a full carbon speed boat (10,69m).
Name: S/Y A
Length: 143m
World's largest yacht number: 9
Shipyard: Nobiskrug
Price: 430 000 000€
St. Helens was established as a river port on the Columbia River in the 1840s. In 1853, the Pacific Mail Steamship Company tried to make the city their only stop on the Columbia River.[7] Portland's merchants boycotted this effort, and the San Francisco steamship Peytona helped break the impasse.[7]
St. Helens was incorporated as a city in 1889.[8]
The Lewis and Clark Expedition passed through and camped in the area that is now St. Helens on the night of November 5, 1805 while on their way to the Pacific Ocean. While here the party encountered Native Americans and Clark observed "low rockey clifts".[9]
Geography
U.S. Route 30 passes through the city.[10]
According to the United States Census Bureau, the city has a total area of 5.51 square miles (14.27 km2), of which, 4.53 square miles (11.73 km2) is land and 0.98 square miles (2.54 km2) is water.[1]
Neighborhoods
Columbia Heights is a formerly separate populated place that is within the city limits of St. Helens.[11][12]
Demographics
Columbia County Court House (1906)
Historical population
Census Pop. %±
1890 220 —
1900 258 17.3%
1910 743 188.0%
1920 2,220 198.8%
1930 3,994 79.9%
1940 4,304 7.8%
1950 4,711 9.5%
1960 5,022 6.6%
1970 6,212 23.7%
1980 7,064 13.7%
1990 7,535 6.7%
2000 10,019 33.0%
2010 12,883 28.6%
Est. 2012 12,910 0.2%
Sources:[4][13][14][15][16][17]
2010 census
As of the census[2] of 2010, there were 12,883 people, 4,847 households, and 3,243 families residing in the city. The population density was 2,843.9 inhabitants per square mile (1,098.0/km2). There were 5,154 housing units at an average density of 1,137.7 per square mile (439.3/km2). The racial makeup of the city was 90.3% White, 0.6% African American, 1.6% Native American, 1.3% Asian, 0.3% Pacific Islander, 1.3% from other races, and 4.5% from two or more races. Hispanic or Latino of any race were 6.1% of the population.
There were 4,847 households of which 38.6% had children under the age of 18 living with them, 46.5% were married couples living together, 14.3% had a female householder with no husband present, 6.1% had a male householder with no wife present, and 33.1% were non-families. 26.1% of all households were made up of individuals and 9.9% had someone living alone who was 65 years of age or older. The average household size was 2.59 and the average family size was 3.11.
The median age in the city was 34 years. 27.6% of residents were under the age of 18; 9% were between the ages of 18 and 24; 29.9% were from 25 to 44; 23.3% were from 45 to 64; and 10.2% were 65 years of age or older. The gender makeup of the city was 49.8% male and 50.2% female.
2000 census
As of the census[4] of 2000, there were 10,019 people, 3,722 households, and 2,579 families residing in the city. The population density was 2,305.6 people per square mile (889.3/km²). There were 4,032 housing units at an average density of 927.8 per square mile (357.9/km²). The racial makeup of the city was 92.74% White, 0.34% African American, 1.68% Native American, 0.63% Asian, 0.15% Pacific Islander, 1.35% from other races, and 3.11% from two or more races. Hispanic or Latino of any race were 4.05% of the population. 21.5% were of German, 10.9% English, 9.5% Irish and 9.3% American ancestry according to Census 2000.
There were 3,722 households out of which 39.3% had children under the age of 18 living with them, 51.5% were married couples living together, 12.6% had a female householder with no husband present, and 30.7% were non-families. 24.2% of all households were made up of individuals and 7.9% had someone living alone who was 65 years of age or older. The average household size was 2.65 and the average family size was 3.12.
City Hall
In the city the population was spread out with 30.2% under the age of 18, 9.0% from 18 to 24, 31.7% from 25 to 44, 19.6% from 45 to 64, and 9.6% who were 65 years of age or older. The median age was 32 years. For every 100 females there were 98.9 males. For every 100 females age 18 and over, there were 96.2 males.
The median income for a household in the city was $40,648, and the median income for a family was $45,548. Males had a median income of $39,375 versus $26,725 for females. The per capita income for the city was $17,237. About 8.7% of families and 11.9% of the population were below the poverty line, including 16.5% of those under age 18 and 4.6% of those age 65 or over.
Tourism
The town is home to sets of many films. These include the Disney Channel television film Halloweentown, and the film adaptation of Stephanie Meyer's novel Twilight.[18]
Zacuto's Universal Baseplate V3, includes 12-inch rods and works with all cameras. Zacuto's Universal Baseplate allows mounting accessories off the front and the back of the rods. Our new version 3 Universal Baseplate is 22% lighter then Version 1 or 2. The baseplate measurements (excluding rods) are 7” x 4” x 1 ½”
The Universal Baseplate works with all cameras, including Panasonic HVX200, DVX100a/b, Canon XL-H1, XL1, XL1s, XL2, GL2, XH-A1 Sony XDCAM EX1, SO-HVR-Z1U, VX1000, VX2000, PD-150, PD-170, JVC GY-HD100U,HD200U, HD250U, Silicon Imaging SI2K, RED ONE and any other cameras of this size. NOTE: Universal Baseplate Camera T-slide Kit is needed for the RED ONE camera and any other camera that requires 2 1/4 20" screws.
It mounts to the camera with a 1/4 20" screw and a locking pin. The Universal Baseplate attaches to the tripod plate with both a 3/8 16" and 1/4 20" screws. It has 4.5" slide capability for balancing on the tripod and 4.5" slide for balancing the camera as well. The Baseplate is universal which means it has up and down as well as side to side adjustments, this is what allows it to align all cameras to various accessory equipment like matte boxes.
The Baseplate comes with 12" support rods that are 15mm in diameter and has a 60mm standard lightweight distance between rod centers. The 12" rods are female threaded on both ends. The Zacuto universal baseplate will work with all 15mm lightweight support matteboxes and follow focus units.
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The illuminated initial includes the White Cobra and Kaa, the big rock python, for the story “The King’s Ankus.”
“The Second Jungle Book” is a sequel to “The Jungle Book” by English author Rudyard Kipling (1865-1936). First published in 1895, it features five stories about Mowgli, the abandoned boy who is raised by wolves, and three unrelated stories. All but one is set in India and all were previously published in magazines in 1894-5. Kipling was born in India, spent the first six years of his childhood there and returned as an adult to work there for about six-and-a-half years. He put into his stories everything he knew about the Indian jungle. His father, John Lockwood Kipling, spent most of his career in British India as Principal of the Mayo School of Arts and curator of the Lahore Museum. He did the illustrations for the book.
From last night's concert given by the Brighton and Hove Russian Choir, held as part of the Steyning Festival. The Steyning Camera Club have been asked to shoot the events, so expect more in the coming months. Whilst Traditional Russian Folk, is not exactly my kind of music, it was harmoniously easy on the ear and choir's leader was full of infectious energy
Includes:
Omega applier clothing
AMD Babybump appliers
Available on MP marketplace.secondlife.com/stores/143383 and inworld store maps.secondlife.com/secondlife/Renoir/199/75/41
Not suitable for classic avatars.
Washington Park is a public urban park in Portland, Oregon, USA. It includes a zoo, forestry museum, arboretum, children's museum, rose garden, Japanese garden, amphitheatre, memorials, archery range, tennis courts, soccer field, picnic areas, playgrounds, public art and many acres of wild forest with miles of trails. Washington Park covers more than 410 acres (166 hectares) on mostly steep, wooded hillsides which range in elevation from 200 feet (61 m) at 24th & W Burnside to 870 feet (265 m) at SW Fairview Blvd. It comprises 159.7 acres (64.63 hectares) of city park land that has been officially designated as "Washington Park" by the City of Portland,[1] as well as the adjacent 64 acre Oregon Zoo and the 187 acre Hoyt Arboretum, which together make up the area described as "Washington Park" on signs and maps.[2]
Contents
1 History
2 Notable features
2.1 Statues and fountains
3 Public access
4 See also
5 References
6 External links
History
Garden near north entrance
A blossoming tree at night in Washington park.
The City of Portland purchased the original 40.78 acres (16.5 hectares) in 1871 from Amos King for $32,624, a controversially high price for the time.[3][4] The area, designated "City Park", was wilderness with few roads. Thick brush, trees and roaming cougar discouraged access. In the mid-1880s, Charles M. Meyers was hired as park keeper. A former seaman without landscape training, he transformed the park by drawing on memories of his native Germany and European parks. By 1900, there were roads, trails, landscaped areas with lawns, manicured hedges, flower gardens, and a zoo. Cable cars were added in 1890 and operated until the 1930s.
In 1903, John Charles Olmsted of Olmsted Brothers, a nationally known landscape architecture firm, recommended several changes to the park including the present name, location of the entrance, separate roads and pedestrian paths, and replacement of formal gardens with native species. The name was officially changed from City Park to Washington Park in 1909.[5]
When the county poor farm closed in 1922, the 160 acres (64.75 hectares) were added to Washington Park.
Portland's zoo was founded in Washington Park in 1887 near where the reservoirs are presently located. It moved in 1925 to what is now the Japanese Garden, and moved again in 1959 to its present location at the park's southern edge. The only surviving structure from the old zoo is the elephant barn, now converted into a picnic shelter and decorated with tile mosaic of various animals and a life-size brick relief sculpture of an elephant and calf.
The City of Portland plans to demolish the existing number 3 and 4 outdoor reservoirs, then replace them with underground reservoirs covered by reflecting pools, due to their age and a federal mandate to cover all reservoirs.[6] The $67 million project has attracted opposition from historical preservationists and residents concerned about construction impacts.[7]
Sexy bikini.
Includes appliers for:
Lolas tango
Mirage
Omega
Cute/Phat
Sking Brazilia
G. Inc Perfect body (uses omega appliers)
Ghetto Booty
Maitreya
VS Fusion
Lena
Belleza
slink physique clothing applier
wowmeh applier
Eve applier hud pulpy and slim
I have an inworld shop. Use the telepad at the landing point.
maps.secondlife.com/secondlife/Static%20Beats/84/236/59
Marketplace store.
marketplace.secondlife.com/p/Sexy-Dreams-Sandara-bikini-b...
My "Driver of the Day" was a totally committed Julian Majzub in his 90 year old Bugatti Type 35B, quite a sight
I was stopped by the harsh light picking out the raised text and textures on this gravestone as I walked through the St Mary de Haura churchyard. The autumnal layer of leaves was a bonus.
Our front entry has become an ongoing project, with our love of photography and wanting to include the people in our lives that have inspired us ... as well a simple reminder as we come home every day to why we do what we do.
We are grateful to have an amazing group of friends, family and neighbours ... we held a portrait party to do just that, photograph the people who inspire us and for those who weren't able to make it to the last party, a perfect excuse to have another.
We love our life in Gastown and are so fortunate to be surrounded by an amazing group of neighbours, creatives and business owners.
Our second year of helping with HELP PORTRAIT DTES helped motivate us to making our party an opportunity to share the gift of a portrait ...
We were fortunate to gather together and make an evening with friends to support an amazing cause. The evening was a great turn out, we had over a 100 people in our home with less than a week's notice, (the power of facebook) ...out of 59 portraits we collected 14 pairs of socks + 23 pairs of gloves + 25 touques + 2 scarves for Help Portrait :: *** to continue our support will will gather again - please help us by spreading the word.
www.youtube.com/watch?v=XJSfJyD2bKM
random collection of gallery frames with the one constant, classic black and white photographs on a white back drop ... to see more of the portraits you can view my partner Evan Haveman's flickr sets:
www.flickr.com/photos/emh/sets/72157625377808966/
www.flickr.com/photos/emh/sets/72157625386850562/
www.flickr.com/photos/emh/sets/72157625480307482/
City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.
The palace complex lies in the heart of Jaipur city, to the northeast of the very centre. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.
Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.
Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.
Employment and Learning Minister, Dr Stephen Farry today helped launch an Include Youth initiative aimed at assisting young people Not in Education, Employment or Training (NEET) entitled ‘Blow Your Socks Off’.
Blow Your Socks Off is part of Include Youth’s Give and Take Scheme which, aims to provide employability and learning opportunities to unemployed young people aged 16-21 throughout Northern Ireland.
Employment and Learning Minister Dr Stephen Farry said: “I commend Include Youth’s Blow Your Socks Off initiative which aims to create public awareness among local businesses that can be seen as role models for young people. It is essential that young people can engage with people who are successful in business and who may be able to offer them support, guidance and employment opportunities.”
The campaign objective is to encourage more employers to provide valuable work experience and mentoring opportunities so that the NEET young people can be inspired to move into further learning or the labour market.
The Minister continued: “My Department and the European Social Fund work closely with the voluntary and community sectors to target those young people who are furthest removed from the labour market and support the ongoing efforts to engage in innovative ways to overcome barriers to employment.”
The 'Blow Your Socks Off' initiative will utilise social media and case studies of successful young people who have benefited from working with employers in a bid to encourage employers to open up their doors and support young people, who are most in need to follow in their footsteps.
The Give and Take Scheme is supported by the Department’s European Social Fund.
Notes to editors:
1. Photographs from the launch are available at: www.flickr.com/photos/niexecutive/sets/72157635584907415/
2. Include Youth is a voluntary organisation that works with disadvantaged and vulnerable children and young people in the areas of youth justice, education, employment and training;
3. All media queries should be directed to the Department for Employment and Learning Communications Branch on 028 9025 7466. Out of office hours please contact the duty press officer via pager number 07699 715 440 and your call will be returned.
4. Follow the Executive online:
In monotheism, God is conceived of as the Supreme Being and principal object of faith.[3] The concept of God as described by most theologians includes the attributes of omniscience (infinite knowledge), omnipotence (unlimited power), omnipresence (present everywhere), divine simplicity, and as having an eternal and necessary existence. Many theologians also describe God as being omnibenevolent (perfectly good), and all loving.
God is most often held to be non-corporeal,[3] and to be without any human biological sex,[4][5] yet the concept of God actively creating the universe (as opposed to passively)[6] has caused many religions to describe God using masculine terminology, using such terms as "Him" or "Father". Furthermore, some religions (such as Judaism) attribute only a purely grammatical "gender" to God.[7]
In theism, God is the creator and sustainer of the universe, while in deism, God is the creator, but not the sustainer, of the universe. In pantheism, God is the universe itself. In atheism, God is not believed to exist, while God is deemed unknown or unknowable within the context of agnosticism. God has also been conceived as being incorporeal (immaterial), a personal being, the source of all moral obligation, and the "greatest conceivable existent".[3] Many notable philosophers have developed arguments for and against the existence of God.[8]
There are many names for God, and different names are attached to different cultural ideas about God's identity and attributes. In the ancient Egyptian era of Atenism, possibly the earliest recorded monotheistic religion, this deity was called Aten,[9] premised on being the one "true" Supreme Being and Creator of the Universe.[10] In the Hebrew Bible and Judaism, "He Who Is", "I Am that I Am", and the tetragrammaton YHWH (Hebrew: יהוה, which means: "I am who I am"; "He Who Exists") are used as names of God, while Yahweh and Jehovah are sometimes used in Christianity as vocalizations of YHWH. In the Christian doctrine of the Trinity, God, consubstantial in three persons, is called the Father, the Son, and the Holy Spirit. In Judaism, it is common to refer to God by the titular names Elohim or Adonai, the latter of which is believed by some scholars to descend from the Egyptian Aten.[11][12][13][14][15] In Islam, the name Allah, "Al-El", or "Al-Elah" ("the God") is used, while Muslims also have a multitude of titular names for God. In Hinduism, Brahman is often considered a monistic deity.[16] Other religions have names for God, for instance, Baha in the Bahá'í Faith,[17] Waheguru in Sikhism,[18] and Ahura Mazda in Zoroastrianism.[19]
The many different conceptions of God, and competing claims as to God's characteristics, aims, and actions, have led to the development of ideas of omnitheism, pandeism,[20][21] or a perennial philosophy, which postulates that there is one underlying theological truth, of which all religions express a partial understanding, and as to which "the devout in the various great world religions are in fact worshipping that one God, but through different, overlapping concepts or mental images of Him."[22]
Contents [hide]
1Etymology and usage
2General conceptions
2.1Oneness
2.2Theism, deism and pantheism
2.3Other concepts
3Non-theistic views
3.1Agnosticism and atheism
3.2Anthropomorphism
4Existence
5Specific attributes
5.1Names
5.2Gender
5.3Relationship with creation
6Depiction
6.1Zoroastrianism
6.2Islam
6.3Judaism
6.4Christianity
7Theological approaches
8Distribution of belief
9See also
9.1In specific religions
10References
11Further reading
12External links
Etymology and usage
The Mesha Stele bears the earliest known reference (840 BCE) to the Israelite God Yahweh.
Main article: God (word)
The earliest written form of the Germanic word God (always, in this usage, capitalized[23]) comes from the 6th-century Christian Codex Argenteus. The English word itself is derived from the Proto-Germanic * ǥuđan. The reconstructed Proto-Indo-European form * ǵhu-tó-m was likely based on the root * ǵhau(ə)-, which meant either "to call" or "to invoke".[24] The Germanic words for God were originally neuter—applying to both genders—but during the process of the Christianization of the Germanic peoples from their indigenous Germanic paganism, the words became a masculine syntactic form.[25]
The word 'Allah' in Arabic calligraphy
In the English language, the capitalized form of God continues to represent a distinction between monotheistic "God" and "gods" in polytheism.[26][27] The English word God and its counterparts in other languages are normally used for any and all conceptions and, in spite of significant differences between religions, the term remains an English translation common to all. The same holds for Hebrew El, but in Judaism, God is also given a proper name, the tetragrammaton YHWH, in origin possibly the name of an Edomite or Midianite deity, Yahweh. In many translations of the Bible, when the word LORD is in all capitals, it signifies that the word represents the tetragrammaton.[28]
Allāh (Arabic: الله) is the Arabic term with no plural used by Muslims and Arabic speaking Christians and Jews meaning "The God" (with a capital G), while "ʾilāh" (Arabic: إله) is the term used for a deity or a god in general.[29][30][31] God may also be given a proper name in monotheistic currents of Hinduism which emphasize the personal nature of God, with early references to his name as Krishna-Vasudeva in Bhagavata or later Vishnu and Hari.[32]
Ahura Mazda is the name for God used in Zoroastrianism. "Mazda", or rather the Avestan stem-form Mazdā-, nominative Mazdå, reflects Proto-Iranian *Mazdāh (female). It is generally taken to be the proper name of the spirit, and like its Sanskrit cognate medhā, means "intelligence" or "wisdom". Both the Avestan and Sanskrit words reflect Proto-Indo-Iranian *mazdhā-, from Proto-Indo-European mn̩sdʰeh1, literally meaning "placing (dʰeh1) one's mind (*mn̩-s)", hence "wise".[33]
Waheguru (Punjabi: vāhigurū) is a term most often used in Sikhism to refer to God. It means "Wonderful Teacher" in the Punjabi language. Vāhi (a Middle Persian borrowing) means "wonderful" and guru (Sanskrit: guru) is a term denoting "teacher". Waheguru is also described by some as an experience of ecstasy which is beyond all descriptions. The most common usage of the word "Waheguru" is in the greeting Sikhs use with each other:
Waheguru Ji Ka Khalsa, Waheguru Ji Ki Fateh
Wonderful Lord's Khalsa, Victory is to the Wonderful Lord.
Baha, the "greatest" name for God in the Baha'i faith, is Arabic for "All-Glorious".
General conceptions
Main article: Conceptions of God
There is no clear consensus on the nature or even the existence of God.[34] The Abrahamic conceptions of God include the monotheistic definition of God in Judaism, the trinitarian view of Christians, and the Islamic concept of God. The dharmic religions differ in their view of the divine: views of God in Hinduism vary by region, sect, and caste, ranging from monotheistic to polytheistic. Divinity was recognized by the historical Buddha, particularly Śakra and Brahma. However, other sentient beings, including gods, can at best only play a supportive role in one's personal path to salvation. Conceptions of God in the latter developments of the Mahayana tradition give a more prominent place to notions of the divine.[citation needed]
Oneness
Main articles: Monotheism and Henotheism
The Trinity is the belief that God is composed of The Father, The Son (embodied metaphysically in the physical realm by Jesus), and The Holy Spirit.
Monotheists hold that there is only one god, and may claim that the one true god is worshiped in different religions under different names. The view that all theists actually worship the same god, whether they know it or not, is especially emphasized in Hinduism[35] and Sikhism.[36] In Christianity, the doctrine of the Trinity describes God as one God in three persons. The Trinity comprises The Father, The Son (embodied metaphysically by Jesus), and The Holy Spirit.[37] Islam's most fundamental concept is tawhid (meaning "oneness" or "uniqueness"). God is described in the Quran as: "Say: He is Allah, the One and Only; Allah, the Eternal, Absolute; He begetteth not, nor is He begotten; And there is none like unto Him."[38][39] Muslims repudiate the Christian doctrine of the Trinity and the divinity of Jesus, comparing it to polytheism. In Islam, God is beyond all comprehension or equal and does not resemble any of his creations in any way. Thus, Muslims are not iconodules, and are not expected to visualize God.[40]
Henotheism is the belief and worship of a single god while accepting the existence or possible existence of other deities.[41]
Theism, deism and pantheism
Main articles: Theism, Deism, and Pantheism
Theism generally holds that God exists realistically, objectively, and independently of human thought; that God created and sustains everything; that God is omnipotent and eternal; and that God is personal and interacting with the universe through, for example, religious experience and the prayers of humans.[42] Theism holds that God is both transcendent and immanent; thus, God is simultaneously infinite and in some way present in the affairs of the world.[43] Not all theists subscribe to all of these propositions, but each usually subscribes to some of them (see, by way of comparison, family resemblance).[42] Catholic theology holds that God is infinitely simple and is not involuntarily subject to time. Most theists hold that God is omnipotent, omniscient, and benevolent, although this belief raises questions about God's responsibility for evil and suffering in the world. Some theists ascribe to God a self-conscious or purposeful limiting of omnipotence, omniscience, or benevolence. Open Theism, by contrast, asserts that, due to the nature of time, God's omniscience does not mean the deity can predict the future. Theism is sometimes used to refer in general to any belief in a god or gods, i.e., monotheism or polytheism.[44][45]
"God blessing the seventh day", a watercolor painting depicting God, by William Blake (1757 – 1827)
Deism holds that God is wholly transcendent: God exists, but does not intervene in the world beyond what was necessary to create it.[43] In this view, God is not anthropomorphic, and neither answers prayers nor produces miracles. Common in Deism is a belief that God has no interest in humanity and may not even be aware of humanity. Pandeism and Panendeism, respectively, combine Deism with the Pantheistic or Panentheistic beliefs.[21][46][47] Pandeism is proposed to explain as to Deism why God would create a universe and then abandon it,[48] and as to Pantheism, the origin and purpose of the universe.[48][49]
Pantheism holds that God is the universe and the universe is God, whereas Panentheism holds that God contains, but is not identical to, the Universe.[50] It is also the view of the Liberal Catholic Church; Theosophy; some views of Hinduism except Vaishnavism, which believes in panentheism; Sikhism; some divisions of Neopaganism and Taoism, along with many varying denominations and individuals within denominations. Kabbalah, Jewish mysticism, paints a pantheistic/panentheistic view of God—which has wide acceptance in Hasidic Judaism, particularly from their founder The Baal Shem Tov—but only as an addition to the Jewish view of a personal god, not in the original pantheistic sense that denies or limits persona to God.[citation needed]
Other concepts
Dystheism, which is related to theodicy, is a form of theism which holds that God is either not wholly good or is fully malevolent as a consequence of the problem of evil. One such example comes from Dostoevsky's The Brothers Karamazov, in which Ivan Karamazov rejects God on the grounds that he allows children to suffer.[51]
In modern times, some more abstract concepts have been developed, such as process theology and open theism. The contemporaneous French philosopher Michel Henry has however proposed a phenomenological approach and definition of God as phenomenological essence of Life.[52]
God has also been conceived as being incorporeal (immaterial), a personal being, the source of all moral obligation, and the "greatest conceivable existent".[3] These attributes were all supported to varying degrees by the early Jewish, Christian and Muslim theologian philosophers, including Maimonides,[53] Augustine of Hippo,[53] and Al-Ghazali,[8] respectively.
Non-theistic views
See also: Evolutionary origin of religions and Evolutionary psychology of religion
Non-theist views about God also vary. Some non-theists avoid the concept of God, whilst accepting that it is significant to many; other non-theists understand God as a symbol of human values and aspirations. The nineteenth-century English atheist Charles Bradlaugh declared that he refused to say "There is no God", because "the word 'God' is to me a sound conveying no clear or distinct affirmation";[54] he said more specifically that he disbelieved in the Christian god. Stephen Jay Gould proposed an approach dividing the world of philosophy into what he called "non-overlapping magisteria" (NOMA). In this view, questions of the supernatural, such as those relating to the existence and nature of God, are non-empirical and are the proper domain of theology. The methods of science should then be used to answer any empirical question about the natural world, and theology should be used to answer questions about ultimate meaning and moral value. In this view, the perceived lack of any empirical footprint from the magisterium of the supernatural onto natural events makes science the sole player in the natural world.[55]
Another view, advanced by Richard Dawkins, is that the existence of God is an empirical question, on the grounds that "a universe with a god would be a completely different kind of universe from one without, and it would be a scientific difference."[56] Carl Sagan argued that the doctrine of a Creator of the Universe was difficult to prove or disprove and that the only conceivable scientific discovery that could disprove the existence of a Creator (not necessarily a God) would be the discovery that the universe is infinitely old.[57]
Stephen Hawking and co-author Leonard Mlodinow state in their book, The Grand Design, that it is reasonable to ask who or what created the universe, but if the answer is God, then the question has merely been deflected to that of who created God. Both authors claim however, that it is possible to answer these questions purely within the realm of science, and without invoking any divine beings.[58] Neuroscientist Michael Nikoletseas has proposed that questions of the existence of God are no different from questions of natural sciences. Following a biological comparative approach, he concludes that it is highly probable that God exists, and, although not visible, it is possible that we know some of his attributes.[59]
Agnosticism and atheism
Agnosticism is the view that, the truth values of certain claims – especially metaphysical and religious claims such as whether God, the divine or the supernatural exist – are unknown and perhaps unknowable.[60][61][62]
Atheism is, in a broad sense, the rejection of belief in the existence of deities, or a God.[63][64] In a narrower sense, atheism is specifically the position that there are no deities.[65]
Anthropomorphism
Main article: Anthropomorphism
Pascal Boyer argues that while there is a wide array of supernatural concepts found around the world, in general, supernatural beings tend to behave much like people. The construction of gods and spirits like persons is one of the best known traits of religion. He cites examples from Greek mythology, which is, in his opinion, more like a modern soap opera than other religious systems.[66] Bertrand du Castel and Timothy Jurgensen demonstrate through formalization that Boyer's explanatory model matches physics' epistemology in positing not directly observable entities as intermediaries.[67] Anthropologist Stewart Guthrie contends that people project human features onto non-human aspects of the world because it makes those aspects more familiar. Sigmund Freud also suggested that god concepts are projections of one's father.[68]
Likewise, Émile Durkheim was one of the earliest to suggest that gods represent an extension of human social life to include supernatural beings. In line with this reasoning, psychologist Matt Rossano contends that when humans began living in larger groups, they may have created gods as a means of enforcing morality. In small groups, morality can be enforced by social forces such as gossip or reputation. However, it is much harder to enforce morality using social forces in much larger groups. Rossano indicates that by including ever-watchful gods and spirits, humans discovered an effective strategy for restraining selfishness and building more cooperative groups.[69]
Existence
Main article: Existence of God
St. Thomas Aquinas summed up five main arguments as proofs for God's existence.
Isaac Newton saw the existence of a Creator necessary in the movement of astronomical objects.
Arguments about the existence of God typically include empirical, deductive, and inductive types. Different views include that: "God does not exist" (strong atheism); "God almost certainly does not exist" (de facto atheism); "no one knows whether God exists" (agnosticism[70]);"God exists, but this cannot be proven or disproven" (de facto theism); and that "God exists and this can be proven" (strong theism).[55]
Countless arguments have been proposed to prove the existence of God.[71] Some of the most notable arguments are the Five Ways of Aquinas, the Argument from Desire proposed by C.S. Lewis, and the Ontological Argument formulated both by St. Anselm and René Descartes.[72]
St. Anselm's approach was to define God as, "that than which nothing greater can be conceived". Famed pantheist philosopher Baruch Spinoza would later carry this idea to its extreme: "By God I understand a being absolutely infinite, i.e., a substance consisting of infinite attributes, of which each one expresses an eternal and infinite essence." For Spinoza, the whole of the natural universe is made of one substance, God, or its equivalent, Nature.[73] His proof for the existence of God was a variation of the Ontological argument.[74]
Scientist Isaac Newton saw God as the masterful creator whose existence could not be denied in the face of the grandeur of all creation.[75] Nevertheless, he rejected polymath Leibniz' thesis that God would necessarily make a perfect world which requires no intervention from the creator. In Query 31 of the Opticks, Newton simultaneously made an argument from design and for the necessity of intervention:
For while comets move in very eccentric orbs in all manner of positions, blind fate could never make all the planets move one and the same way in orbs concentric, some inconsiderable irregularities excepted which may have arisen from the mutual actions of comets and planets on one another, and which will be apt to increase, till this system wants a reformation.[76]
St. Thomas believed that the existence of God is self-evident in itself, but not to us. "Therefore I say that this proposition, "God exists", of itself is self-evident, for the predicate is the same as the subject.... Now because we do not know the essence of God, the proposition is not self-evident to us; but needs to be demonstrated by things that are more known to us, though less known in their nature—namely, by effects."[77] St. Thomas believed that the existence of God can be demonstrated. Briefly in the Summa theologiae and more extensively in the Summa contra Gentiles, he considered in great detail five arguments for the existence of God, widely known as the quinque viae (Five Ways).
For the original text of the five proofs, see quinque viae
Motion: Some things undoubtedly move, though cannot cause their own motion. Since there can be no infinite chain of causes of motion, there must be a First Mover not moved by anything else, and this is what everyone understands by God.
Causation: As in the case of motion, nothing can cause itself, and an infinite chain of causation is impossible, so there must be a First Cause, called God.
Existence of necessary and the unnecessary: Our experience includes things certainly existing but apparently unnecessary. Not everything can be unnecessary, for then once there was nothing and there would still be nothing. Therefore, we are compelled to suppose something that exists necessarily, having this necessity only from itself; in fact itself the cause for other things to exist.
Gradation: If we can notice a gradation in things in the sense that some things are more hot, good, etc., there must be a superlative that is the truest and noblest thing, and so most fully existing. This then, we call God (Note: Thomas does not ascribe actual qualities to God Himself).
Ordered tendencies of nature: A direction of actions to an end is noticed in all bodies following natural laws. Anything without awareness tends to a goal under the guidance of one who is aware. This we call God (Note that even when we guide objects, in Thomas's view, the source of all our knowledge comes from God as well).[78]
Alister McGrath, a formerly atheistic scientist and theologian who has been highly critical of Richard Dawkins' version of atheism
Some theologians, such as the scientist and theologian A.E. McGrath, argue that the existence of God is not a question that can be answered using the scientific method.[79][80] Agnostic Stephen Jay Gould argues that science and religion are not in conflict and do not overlap.[81]
Some findings in the fields of cosmology, evolutionary biology and neuroscience are interpreted by some atheists (including Lawrence M. Krauss and Sam Harris) as evidence that God is an imaginary entity only, with no basis in reality.[82][83][84] These atheists claim that a single, omniscient God who is imagined to have created the universe and is particularly attentive to the lives of humans has been imagined, embellished and promulgated in a trans-generational manner.[85] Richard Dawkins interprets such findings not only as a lack of evidence for the material existence of such a God, but as extensive evidence to the contrary.[55] However, his views are opposed by some theologians and scientists including Alister McGrath, who argues that existence of God is compatible with science.[86]
Neuroscientist Michael Nikoletseas has proposed that questions of the existence of God are no different from questions of natural sciences. Following a biological comparative approach, he concludes that it is highly probable that God exists, and, although not visible, it is possible that we know some of his attributes.[59]
Specific attributes
Different religious traditions assign differing (though often similar) attributes and characteristics to God, including expansive powers and abilities, psychological characteristics, gender characteristics, and preferred nomenclature. The assignment of these attributes often differs according to the conceptions of God in the culture from which they arise. For example, attributes of God in Christianity, attributes of God in Islam, and the Thirteen Attributes of Mercy in Judaism share certain similarities arising from their common roots.
Names
Main article: Names of God
99 names of Allah, in Chinese Sini (script)
The word God is "one of the most complex and difficult in the English language." In the Judeo-Christian tradition, "the Bible has been the principal source of the conceptions of God". That the Bible "includes many different images, concepts, and ways of thinking about" God has resulted in perpetual "disagreements about how God is to be conceived and understood".[87]
Throughout the Hebrew and Christian Bibles there are many names for God. One of them is Elohim. Another one is El Shaddai, meaning "God Almighty".[88] A third notable name is El Elyon, which means "The Most High God".[89]
God is described and referred in the Quran and hadith by certain names or attributes, the most common being Al-Rahman, meaning "Most Compassionate" and Al-Rahim, meaning "Most Merciful" (See Names of God in Islam).[90]
Supreme soul
The Brahma Kumaris use the term "Supreme Soul" to refer to God. They see God as incorporeal and eternal, and regard him as a point of living light like human souls, but without a physical body, as he does not enter the cycle of birth, death and rebirth. God is seen as the perfect and constant embodiment of all virtues, powers and values and that He is the unconditionally loving Father of all souls, irrespective of their religion, gender, or culture.[91]
Vaishnavism, a tradition in Hinduism, has list of titles and names of Krishna.
Gender
Main article: Gender of God
The gender of God may be viewed as either a literal or an allegorical aspect of a deity who, in classical western philosophy, transcends bodily form.[92][93] Polytheistic religions commonly attribute to each of the gods a gender, allowing each to interact with any of the others, and perhaps with humans, sexually. In most monotheistic religions, God has no counterpart with which to relate sexually. Thus, in classical western philosophy the gender of this one-and-only deity is most likely to be an analogical statement of how humans and God address, and relate to, each other. Namely, God is seen as begetter of the world and revelation which corresponds to the active (as opposed to the receptive) role in sexual intercourse.[6]
Biblical sources usually refer to God using male words, except Genesis 1:26-27,[94][95] Psalm 123:2-3, and Luke 15:8-10 (female); Hosea 11:3-4, Deuteronomy 32:18, Isaiah 66:13, Isaiah 49:15, Isaiah 42:14, Psalm 131:2 (a mother); Deuteronomy 32:11-12 (a mother eagle); and Matthew 23:37 and Luke 13:34 (a mother hen).
Relationship with creation
See also: Creator deity, Prayer, and Worship
And Elohim Created Adam by William Blake, c.1795
Prayer plays a significant role among many believers. Muslims believe that the purpose of existence is to worship God.[96][97] He is viewed as a personal God and there are no intermediaries, such as clergy, to contact God. Prayer often also includes supplication and asking forgiveness. God is often believed to be forgiving. For example, a hadith states God would replace a sinless people with one who sinned but still asked repentance.[98] Christian theologian Alister McGrath writes that there are good reasons to suggest that a "personal god" is integral to the Christian outlook, but that one has to understand it is an analogy. "To say that God is like a person is to affirm the divine ability and willingness to relate to others. This does not imply that God is human, or located at a specific point in the universe."[99]
Adherents of different religions generally disagree as to how to best worship God and what is God's plan for mankind, if there is one. There are different approaches to reconciling the contradictory claims of monotheistic religions. One view is taken by exclusivists, who believe they are the chosen people or have exclusive access to absolute truth, generally through revelation or encounter with the Divine, which adherents of other religions do not. Another view is religious pluralism. A pluralist typically believes that his religion is the right one, but does not deny the partial truth of other religions. An example of a pluralist view in Christianity is supersessionism, i.e., the belief that one's religion is the fulfillment of previous religions. A third approach is relativistic inclusivism, where everybody is seen as equally right; an example being universalism: the doctrine that salvation is eventually available for everyone. A fourth approach is syncretism, mixing different elements from different religions. An example of syncretism is the New Age movement.
Jews and Christians believe that humans are created in the likeness of God, and are the center, crown and key to God's creation, stewards for God, supreme over everything else God had made (Gen 1:26); for this reason, humans are in Christianity called the "Children of God".[100]
Depiction
God is defined as incorporeal,[3] and invisible from direct sight, and thus cannot be portrayed in a literal visual image.
The respective principles of religions may or may not permit them to use images (which are entirely symbolic) to represent God in art or in worship .
Zoroastrianism
Ahura Mazda (depiction is on the right, with high crown) presents Ardashir I (left) with the ring of kingship. (Relief at Naqsh-e Rustam, 3rd century CE)
During the early Parthian Empire, Ahura Mazda was visually represented for worship. This practice ended during the beginning of the Sassanid empire. Zoroastrian iconoclasm, which can be traced to the end of the Parthian period and the beginning of the Sassanid, eventually put an end to the use of all images of Ahura Mazda in worship. However, Ahura Mazda continued to be symbolized by a dignified male figure, standing or on horseback which is found in Sassanian investiture.[101]
Islam
Further information: God in Islam
Muslims believe that God (Allah) is beyond all comprehension or equal and does not resemble any of His creations in any way. Thus, Muslims are not iconodules, are not expected to visualize God.[40]
Judaism
At least some Jews do not use any image for God, since God is the unimageable Being who cannot be represented in material forms.[102] In some samples of Jewish Art, however, sometimes God, or at least His Intervention, is indicated by a Hand Of God symbol, which represents the bath Kol (literally "daughter of a voice") or Voice of God;[103] this use of the Hand Of God is carried over to Christian Art.
Christianity
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Early Christians believed that the words of the Gospel of John 1:18: "No man has seen God at any time" and numerous other statements were meant to apply not only to God, but to all attempts at the depiction of God.[104]
Use of the symbolic Hand of God in the Ascension from the Drogo Sacramentary, c. 850
However, later on the Hand of God symbol is found several times in the only ancient synagogue with a large surviving decorative scheme, the Dura Europos Synagogue of the mid-3rd century, and was probably adopted into Early Christian art from Jewish art. It was common in Late Antique art in both East and West, and remained the main way of symbolizing the actions or approval of God the Father in the West until about the end of the Romanesque period. It also represents the bath Kol (literally "daughter of a voice") or voice of God,[103] just like in Jewish Art.
In situations, such as the Baptism of Christ, where a specific representation of God the Father was indicated, the Hand of God was used, with increasing freedom from the Carolingian period until the end of the Romanesque. This motif now, since the discovery of the 3rd century Dura Europos synagogue, seems to have been borrowed from Jewish art, and is found in Christian art almost from its beginnings.
The use of religious images in general continued to increase up to the end of the 7th century, to the point that in 695, upon assuming the throne, Byzantine emperor Justinian II put an image of Christ on the obverse side of his gold coins, resulting in a rift which ended the use of Byzantine coin types in the Islamic world.[105] However, the increase in religious imagery did not include depictions of God the Father. For instance, while the eighty second canon of the Council of Trullo in 692 did not specifically condemn images of The Father, it suggested that icons of Christ were preferred over Old Testament shadows and figures.[106]
The beginning of the 8th century witnessed the suppression and destruction of religious icons as the period of Byzantine iconoclasm (literally image-breaking) started. Emperor Leo III (717–741), suppressed the use of icons by imperial edict of the Byzantine Empire, presumably due to a military loss which he attributed to the undue veneration of icons.[107] The edict (which was issued without consulting the Church) forbade the veneration of religious images but did not apply to other forms of art, including the image of the emperor, or religious symbols such as the cross.[108] Theological arguments against icons then began to appear with iconoclasts arguing that icons could not represent both the divine and the human natures of Jesus at the same time. In this atmosphere, no public depictions of God the Father were even attempted and such depictions only began to appear two centuries later.
The Second Council of Nicaea in 787 effectively ended the first period of Byzantine iconoclasm and restored the honouring of icons and holy images in general.[109] However, this did not immediately translate into large scale depictions of God the Father. Even supporters of the use of icons in the 8th century, such as Saint John of Damascus, drew a distinction between images of God the Father and those of Christ.
In his treatise On the Divine Images John of Damascus wrote: "In former times, God who is without form or body, could never be depicted. But now when God is seen in the flesh conversing with men, I make an image of the God whom I see".[110] The implication here is that insofar as God the Father or the Spirit did not become man, visible and tangible, images and portrait icons can not be depicted. So what was true for the whole Trinity before Christ remains true for the Father and the Spirit but not for the Word. John of Damascus wrote:[111]
"If we attempt to make an image of the invisible God, this would be sinful indeed. It is impossible to portray one who is without body:invisible, uncircumscribed and without form."
Around 790 Charlemagne ordered a set of four books that became known as the Libri Carolini (i.e. "Charles' books") to refute what his court mistakenly understood to be the iconoclast decrees of the Byzantine Second Council of Nicaea regarding sacred images. Although not well known during the Middle Ages, these books describe the key elements of the Catholic theological position on sacred images. To the Western Church, images were just objects made by craftsmen, to be utilized for stimulating the senses of the faithful, and to be respected for the sake of the subject represented, not in themselves. The Council of Constantinople (869) (considered ecumenical by the Western Church, but not the Eastern Church) reaffirmed the decisions of the Second Council of Nicaea and helped stamp out any remaining coals of iconoclasm. Specifically, its third canon required the image of Christ to have veneration equal with that of a Gospel book:[112]
We decree that the sacred image of our Lord Jesus Christ, the liberator and Savior of all people, must be venerated with the same honor as is given the book of the holy Gospels. For as through the language of the words contained in this book all can reach salvation, so, due to the action which these images exercise by their colors, all wise and simple alike, can derive profit from them.
But images of God the Father were not directly addressed in Constantinople in 869. A list of permitted icons was enumerated at this Council, but symbols of God the Father were not among them.[113] However, the general acceptance of icons and holy images began to create an atmosphere in which God the Father could be symbolized.
Prior to the 10th century no attempt was made to use a human to symbolize God the Father in Western art.[104] Yet, Western art eventually required some way to illustrate the presence of the Father, so through successive representations a set of artistic styles for symbolizing the Father using a man gradually emerged around the 10th century AD. A rationale for the use of a human is the belief that God created the soul of Man in the image of His own (thus allowing Human to transcend the other animals).
It appears that when early artists designed to represent God the Father, fear and awe restrained them from a usage of the whole human figure. Typically only a small part would be used as the image, usually the hand, or sometimes the face, but rarely a whole human. In many images, the figure of the Son supplants the Father, so a smaller portion of the person of the Father is depicted.[114]
By the 12th century depictions of God the Father had started to appear in French illuminated manuscripts, which as a less public form could often be more adventurous in their iconography, and in stained glass church windows in England. Initially the head or bust was usually shown in some form of frame of clouds in the top of the picture space, where the Hand of God had formerly appeared; the Baptism of Christ on the famous baptismal font in Liège of Rainer of Huy is an example from 1118 (a Hand of God is used in another scene). Gradually the amount of the human symbol shown can increase to a half-length figure, then a full-length, usually enthroned, as in Giotto's fresco of c. 1305 in Padua.[115] In the 14th century the Naples Bible carried a depiction of God the Father in the Burning bush. By the early 15th century, the Très Riches Heures du Duc de Berry has a considerable number of symbols, including an elderly but tall and elegant full-length figure walking in the Garden of Eden, which show a considerable diversity of apparent ages and dress. The "Gates of Paradise" of the Florence Baptistry by Lorenzo Ghiberti, begun in 1425 use a similar tall full-length symbol for the Father. The Rohan Book of Hours of about 1430 also included depictions of God the Father in half-length human form, which were now becoming standard, and the Hand of God becoming rarer. At the same period other works, like the large Genesis altarpiece by the Hamburg painter Meister Bertram, continued to use the old depiction of Christ as Logos in Genesis scenes. In the 15th century there was a brief fashion for depicting all three persons of the Trinity as similar or identical figures with the usual appearance of Christ.
In an early Venetian school Coronation of the Virgin by Giovanni d'Alemagna and Antonio Vivarini, (c. 1443) The Father is depicted using the symbol consistently used by other artists later, namely a patriarch, with benign, yet powerful countenance and with long white hair and a beard, a depiction largely derived from, and justified by, the near-physical, but still figurative, description of the Ancient of Days.[116]
. ...the Ancient of Days did sit, whose garment was white as snow, and the hair of his head like the pure wool: his throne was like the fiery flame, and his wheels as burning fire. (Daniel 7:9)
Usage of two Hands of God"(relatively unusual) and the Holy Spirit as a dove in Baptism of Christ, by Verrocchio, 1472
In the Annunciation by Benvenuto di Giovanni in 1470, God the Father is portrayed in the red robe and a hat that resembles that of a Cardinal. However, even in the later part of the 15th century, the symbolic representation of the Father and the Holy Spirit as "hands and dove" continued, e.g. in Verrocchio's Baptism of Christ in 1472.[117]
God the Father with His Right Hand Raised in Blessing, with a triangular halo representing the Trinity, Girolamo dai Libri c. 1555
In Renaissance paintings of the adoration of the Trinity, God may be depicted in two ways, either with emphasis on The Father, or the three elements of the Trinity. The most usual depiction of the Trinity in Renaissance art depicts God the Father using an old man, usually with a long beard and patriarchal in appearance, sometimes with a triangular halo (as a reference to the Trinity), or with a papal crown, specially in Northern Renaissance painting. In these depictions The Father may hold a globe or book (to symbolize God's knowledge and as a reference to how knowledge is deemed divine). He is behind and above Christ on the Cross in the Throne of Mercy iconography. A dove, the symbol of the Holy Spirit may hover above. Various people from different classes of society, e.g. kings, popes or martyrs may be present in the picture. In a Trinitarian Pietà, God the Father is often symbolized using a man wearing a papal dress and a papal crown, supporting the dead Christ in his arms. They are depicted as floating in heaven with angels who carry the instruments of the Passion.[118]
Representations of God the Father and the Trinity were attacked both by Protestants and within Catholicism, by the Jansenist and Baianist movements as well as more orthodox theologians. As with other attacks on Catholic imagery, this had the effect both of reducing Church support for the less central depictions, and strengthening it for the core ones. In the Western Church, the pressure to restrain religious imagery resulted in the highly influential decrees of the final session of the Council of Trent in 1563. The Council of Trent decrees confirmed the traditional Catholic doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image.[119]
Artistic depictions of God the Father were uncontroversial in Catholic art thereafter, but less common depictions of the Trinity were condemned. In 1745 Pope Benedict XIV explicitly supported the Throne of Mercy depiction, referring to the "Ancient of Days", but in 1786 it was still necessary for Pope Pius VI to issue a papal bull condemning the decision of an Italian church council to remove all images of the Trinity from churches.[120]
The famous The Creation of Adam by Michelangelo, c.1512
God the Father is symbolized in several Genesis scenes in Michelangelo's Sistine Chapel ceiling, most famously The Creation of Adam (whose image of near touching hands of God and Adam is iconic of humanity, being a reminder that Man is created in the Image and Likeness of God (Gen 1:26)).God the Father is depicted as a powerful figure, floating in the clouds in Titian's Assumption of the Virgin in the Frari of Venice, long admired as a masterpiece of High Renaissance art.[121] The Church of the Gesù in Rome includes a number of 16th century depictions of God the Father. In some of these paintings the Trinity is still alluded to in terms of three angels, but Giovanni Battista Fiammeri also depicted God the Father as a man riding on a cloud, above the scenes.[122]
In both the Last Judgment and the Coronation of the Virgin paintings by Rubens he depicted God the Father using the image that by then had become widely accepted, a bearded patriarchal figure above the fray. In the 17th century, the two Spanish artists Velázquez (whose father-in-law Francisco Pacheco was in charge of the approval of new images for the Inquisition) and Murillo both depicted God the Father using a patriarchal figure with a white beard in a purple robe.
The Ancient of Days (1794) Watercolor etching by William Blake
While representations of God the Father were growing in Italy, Spain, Germany and the Low Countries, there was resistance elsewhere in Europe, even during the 17th century. In 1632 most members of the Star Chamber court in England (except the Archbishop of York) condemned the use of the images of the Trinity in church windows, and some considered them illegal.[123] Later in the 17th century Sir Thomas Browne wrote that he considered the representation of God the Father using an old man "a dangerous act" that might lead to Egyptian symbolism.[124] In 1847, Charles Winston was still critical of such images as a "Romish trend" (a term used to refer to Roman Catholics) that he considered best avoided in England.[125]
In 1667 the 43rd chapter of the Great Moscow Council specifically included a ban on a number of symbolic depictions of God the Father and the Holy Spirit, which then also resulted in a whole range of other icons being placed on the forbidden list,[126][127] mostly affecting Western-style depictions which had been gaining ground in Orthodox icons. The Council also declared that the person of the Trinity who was the "Ancient of Days" was Christ, as Logos, not God the Father. However some icons continued to be produced in Russia, as well as Greece, Romania, and other Orthodox countries.
Theological approaches
Theologians and philosophers have attributed to God such characteristics as omniscience, omnipotence, omnipresence, perfect goodness, divine simplicity, and eternal and necessary existence. God has been described as incorporeal, a personal being, the source of all moral obligation, and the greatest conceivable being existent.[3] These attributes were all claimed to varying degrees by the early Jewish, Christian and Muslim scholars, including Maimonides,[53] St Augustine,[53] and Al-Ghazali.[128]
Many philosophers developed arguments for the existence of God,[8] while attempting to comprehend the precise implications of God's attributes. Reconciling some of those attributes generated important philosophical problems and debates. For example, God's omniscience may seem to imply that God knows how free agents will choose to act. If God does know this, their ostensible free will might be illusory, or foreknowledge does not imply predestination, and if God does not know it, God may not be omniscient.[129]
However, if by its essential nature, free will is not predetermined, then the effect of its will can never be perfectly predicted by anyone, regardless of intelligence and knowledge. Although knowledge of the options presented to that will, combined with perfectly infinite intelligence, could be said to provide God with omniscience if omniscience is defined as knowledge or understanding of all that is.
The last centuries of philosophy have seen vigorous questions regarding the arguments for God's existence raised by such philosophers as Immanuel Kant, David Hume and Antony Flew, although Kant held that the argument from morality was valid. The theist response has been either to contend, as does Alvin Plantinga, that faith is "properly basic", or to take, as does Richard Swinburne, the evidentialist position.[130] Some theists agree that only some of the arguments for God's existence are compelling, but argue that faith is not a product of reason, but requires risk. There would be no risk, they say, if the arguments for God's existence were as solid as the laws of logic, a position summed up by Pascal as "the heart has reasons of which reason does not know."[131] A recent theory using concepts from physics and neurophysiology proposes that God can be conceptualized within the theory of integrative level.[132]
Many religious believers allow for the existence of other, less powerful spiritual beings such as angels, saints, jinn, demons, and devas.[133][134][135][136][137]
Distribution of belief
Symi also transliterated Syme or Simi (Greek: Σύμη) is a Greek island and municipality. It is mountainous and includes the harbor town of Symi and its adjacent upper town Ano Symi, as well as several smaller localities, beaches, and areas of significance in history and mythology. Symi is part of the Rhodes regional unit.
The shipbuilding and sponge industries were substantial on the island and, while at their peak near the end of the 19th century, the population reached 22,500.Symi's main industry is now tourism and the population has declined to 2,500
In Greek mythology, Symi is reputed to be the birthplace of the Charites and to take its name from the nymph Syme (in antiquity the island was known as Aigli and Metapontis), though Pliny the Elder and some later writers claimed that the name was derived from scimmia "a monkey". In Homer's Iliad the island is mentioned as the domain of King Nireus, who fought in the Trojan War on the side of the Greeks. Thucydides writes that during the Peloponnesian War there was a Battle of Syme near the island in January, 411 BC, in which an unspecified number of Spartan ships defeated a squadron of Athenian vessels. Little was known about the island until the 14th century, but archaeological evidence indicates that it was continuously inhabited, and ruins of citadels suggest that it was an important location. It was first part of the Roman Empire and then the Byzantine Empire, until its conquest by the Knights of St. John in 1373.
MONASTERIO DE PANORMITIS
Población, 42 habitantes.
El monasterio de Panormitis es un lugar de primer orden, no sólo en la isla, sino en el Dodecaneso y en toda Grecia, no en vano las excursiones de un día desde Rodas tienen parada aquí, al igual que algunos ferries. El monasterio está dedicado al arcángel Miguel y disfruta de una envidiable ubicación en una bahía muy protegida y rodeada de vegetación.
La fundación del monasterio se debe, según la leyenda, al descubrimiento realizado por una campesina del icono milagroso del arcángel. Lo encontró cavando la tierra y se lo llevó a su casa, situándolo en un lugar preferente. Pero al día siguiente desapareció. La muchacha volvió a hallarlo bajo la tierra, en el mismo lugar. Se lo volvió a llevar e igualmente volvió a desaparecer.
Entonces, en un sueño, el arcángel le comunicó que deseaba permanecer en el lugar donde fue hallado y así dio pie a la primera iglesia. La arqueología parece indicar que aquí hubo una primera iglesia paleocristiana, de la cual se aprovecharon algunos elementos, como las columnas, para levantar la nueva.
La fecha más antigua de la existencia del monasterio se remonta hasta el s. XV. En el s. XVII obtuvo la protección de la República Veneciana y en el s. XIX el sultán le ofreció seguridad y amparo. Sin embargo, durante la revolución por la independencia griega, el monasterio, al igual que toda la isla de Symi, apoyó el movimiento insurgente, lo que le valió la enemistad de los turcos.
En la época del dominio italiano, vivió los momentos más duros, con la represión fascista y la condena a muerte, en 1944, del abad del monasterio y dos personas más por prestar apoyo a los Aliados.
El complejo del monasterio consta de varias estructuras: iglesia, celdas, restaurante, tiendas, etc. La iglesia posee frescos de la famosa escuela de pintura sacra de Symi y un iconostasio muy elaborado, tallado en madera, de gran finura.
El icono del arcángel, el más reverenciado, es de plata y está cubierto por numerosos exvotos de peregrinos que desean su favor o dan las gracias por el mismo. El alto y precioso campanario se levantó a inicios del s. XX y es de estilo barroco, muy sobrecargado, donde destacan las líneas rojizas verticales.
El monasterio cuenta con dos museos: el Eclesiástico, con objetos litúrgicos, iconos, ropajes, etc. Y el museo Folclórico, que muestra objetos de la vida cotidiana en la isla, herramientas, aperos, etc. Entrada única de 2 €. También cuenta con un amplio patio de guijarros, con líneas blancas y negras en zigzag, un refectorio y una biblioteca con manuscritos antiguos.
Los días 8 de noviembre y de Pentecostés, se producen grandes celebraciones en el monasterio, vienen personas del Dodecaneso, del resto de Grecia y del extranjero. A los peregrinos se les ofrece comida y albergue y el lugar se llena.
The Scholarship Centre includes a vibrant event programme: www.benjaminfranklinhouse.org/site/sections/news/events.html
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Victoria Leeds is a shopping district and leisure area in central Leeds, comprising the 1990 Victoria Quarter, an arcaded complex of restored 19th century and contemporary shopping arcades, and the 2016 Victoria Gate development. Notable for its role in the regeneration of Leeds' city centre, and a programme of restoration and reuse which included commissiong the largest work of stained glass work in Europe, designed by artist Brian Clarke, to cover the newly-pedestrianised Queen Victoria Street, the 1990 scheme created a covered retail district of linked arcades. In 2016 ,the Victoria Quarter was merged with the newly built Victoria Gate complex to form the largest premium retail and leisure venue in Northern England. The district includes a casino and major stores such as Harvey Nichols and John Lewis and Partners.
Victoria Quarter
The Grade II* listed Victoria Quarter is a network of interconnected, covered shopping spaces, forming an upmarket shopping district popularly known as 'the Knightsbridge of the North'. Created in a major redevelopment programme through the restoration of the existing Victorian and Edwardian arcades, and the creation of a contemporary arcade through the pedestrianisation and glazing over of the adjacent Queen Victoria Street with what was at the time the largest work of public art in England, and the largest secular stained glass work in the world, designed by artist Brian Clarke. Covering three blocks between Briggate and Vicar Lane, comprising County Arcade, Cross Arcade, Queen Victoria Street and King Edward Street, the Derek Latham & Company redevelopment opened as the Victoria Quarter in September 1990. The project is widely cited as an exemplar of successful and contextual urban regeneration, and in 1991 the full scheme was awarded both the Leeds Award for Architecture (with the stained glass canopy receiving an award individually, in addition) and the Civic Trust Award; in 2013 Victoria Quarter received another Leeds Architecture Award, for its contribution to the city's redevelopment.
Early history
County Arcade and Cross Arcade were built by the Leeds Estate Company, who commissioned theatre architect Frank Matcham to design them as part of the Company's redevelopment of the east side of Briggate and west side of Vicar Lane, which the City Engineer had recommended, to Leeds City Council in 1896, be widened. Matcham's newly-constructed Empire Theatre, around which the arcades were built, was intended to form the focal point of a civic complex modelled on the Galleria in Milan. The “largest and most elaborate, and the latest constructed, of Leeds' 19th century and fin de siècle arcades, with construction begun in 1898 and completed in 1904, they were notable for their glazed barrel roofing decorated with copious amounts of faïence from the local Burmantofts Pottery, a number of mosaics and plentiful use of marble. Matcham's development included the Empire Theatre and all three constructions were in the same style: three storeys decorated in a 'free baroque style' with pink and buff terracotta. In 1961, the Empire Theatre was demolished to make way for another arcade in contemporary style.
Redevelopment
Having become dilapidated, the County and Cross Arcades were restored by Derek Latham & Co in phases between 1989 and 1996, and Queen Victoria Street was glazed over in its entirety with a stained glass canopy by British artist Brian Clarke, bridging the two elevations of Queen Victoria Street on a self-supporting stainless steel and glass, split-level structure that sits between the original, listed buildings by Matcham. In the redevelopment, the 1960s arcade that had replaced the Empire Theatre was demolished and replaced by a branch of Harvey Nichols, which opened in 1996 as the first branch of the luxury store, now operating globally, outside London.
Stained glass
Cited as the largest work of public art in Britain at the time of its installation, the 749-square-metre stained-glass roof, which spans the 125-metre length of Queen Victoria Street, was designed by painter Brian Clarke between 1988 and 1990 as an integral part of the development scheme. Architects Latham and Co. had previously worked with the artist on the restoration of the Cavendish Arcade in Buxton, completed in 1987, which had likewise entailed the restoration and reuse of a complex of historical buildings through the creation of a public shopping space by the integration of a monumental artwork. The canopy at Leeds, made of mouth-blown antik (or 'antique') and opak glass, enamelled, refired, and acid-etched, and assembled using the mosaic technique, was fabricated under Clarke's supervision in Germany, and then installed at Leeds over a period of six months. The arcade's canopy remains the largest work of stained glass in Great Britain and in Europe. Its colour scheme was derived from the artist's study and adaptation of Frank Matcham's own colour palette in his designs for decorative glass.[a] The abstract, gridded canopy is said to reference Leeds' heritage as a centre of the textile industry in its design. The artwork received the Leeds Award for Architecture in 1991.
Victoria Gate
Victoria Gate was built on an undeveloped site adjacent to Leeds Market. The £165 million covered shopping centre opened on 20 October 2016. The centre, fronting onto Eastgate, George Street and Harewood Street, comprises a large multi-storey car park, a John Lewis & Partners store, and a U-shaped covered pedestrian area of shops, restaurants, and cafes. The development incorporates Templar Square, a public space incorporating the listed Templar House.
History
A development known as Eastgate Quarters was announced in 2004, following several cancelled schemes for a site that had been derelict from the 1970s, located to the east of Leeds city centre. The 2004 Eastgate masterplan was developed by Terry Farrell and outline planning permission was obtained in 2007. A number of architects were appointed that year to design buildings in the masterplan, including the Jerde Partnership and Benoy for the Templar Arcade, Thomas Heatherwick for Harewood Quarter, ACME for the John Lewis Store and McAslan for buildings along Eastgate. The scheme was put on hold in late 2008. In 2010 Hammerson announced that work had commenced on a revised masterplan and in March 2011, an outline planning application for Eastgate Quarters developed by ACME was submitted to Leeds City Council. On 13 July 2011, planning permission was granted for the Hammerson scheme to proceed.
Leeds is a city in West Yorkshire, England. It is the largest settlement in Yorkshire and the administrative centre of the City of Leeds Metropolitan Borough, which is the second most populous district in the United Kingdom. It is built around the River Aire and is in the eastern foothills of the Pennines. The city was a small manorial borough in the 13th century and a market town in the 16th century. It expanded by becoming a major production centre, including of carbonated water where it was invented in the 1760s, and trading centre (mainly with wool) for the 17th and 18th centuries.
Leeds developed as a mill town during the Industrial Revolution alongside other surrounding villages and towns in the West Riding of Yorkshire. It was also known for its flax industry, iron foundries, engineering and printing, as well as shopping, with several surviving Victorian era arcades, such as Kirkgate Market. City status was awarded in 1893, and a populous urban centre formed in the following century which absorbed surrounding villages and overtook the population of nearby York.
Leeds economy is the most diverse of all the UK's main employment centres, and has seen the fastest rate of private-sector jobs growth of any UK city and has the highest ratio of private to public sector jobs. Leeds is home to over 109,000 companies generating 5% of England's total economic output of £60.5 billion, and is also ranked as a gamma world city by the Globalization and World Cities Research Network. Leeds is considered the cultural, financial and commercial heart of the West Yorkshire Urban Area. Leeds is the largest legal and financial centre in the UK, with the financial and insurance services industry worth £13 billion to regional economy.
Leeds is also served by four universities, and has the fourth largest student population in the country and the country's fourth largest urban economy. The student population has stimulated growth of the nightlife in the city and there are ample facilities for sporting and cultural activities, including classical and popular music festivals, and a varied collection of museums.
Leeds has multiple motorway links such as the M1, M62 and A1(M). The city's railway station is, alongside Manchester Piccadilly, the busiest of its kind in Northern England. Public transport, rail and road networks in the city and wider region are widespread. It is the county's largest settlement with a population of 536,280, while the larger City of Leeds district has a population of 812,000 (2021 census). The city is part of the fourth-largest built-up area by population in the United Kingdom, West Yorkshire Built-up Area, with a 2011 census population of 1.7 million.
Loidis, from which Leeds, Yorkshire derives its name, was anciently a forested area of the Celtic kingdom of Elmet. The settlement certainly existed at the time of the Norman conquest of England and in 1086 was a thriving manor under the overlordship of Ilbert de Lacy. It gained its first charter from Maurice de Gant in 1207 yet only grew slowly throughout the medieval and Tudor periods. The town had become part of the Duchy of Lancaster and reverted to the crown in the medieval period, so was a Royalist stronghold at the start of the English Civil War.
In the seventeenth and eighteenth centuries Leeds prospered and expanded as a centre of the woollen industry and it continued to expand rapidly in the Industrial Revolution. Following a period of post industrial decline in the mid twentieth century Leeds' prosperity revived with the development of tertiary industrial sectors.
Name
The name "Leeds" is first attested in the form "Loidis": around 731 Bede mentioned it in book II, chapter 14 of his Historia ecclesiastica, in a discussion of an altar surviving from a church erected by Edwin of Northumbria, located in "...regione quae vocatur Loidis" ('the region known as Loidis'). This was evidently a regional name, but it subsequently occurs in the 1086 Domesday Book denoting a settlement, in the later Old English form Ledes. (The 1725 map by John Cossins spells it as Leedes.) The name is not Old English in form, so is presumably an Anglo-Saxonisation of an earlier Celtic name. It is hard to be sure what this name was; Mills's A Dictionary of British Place-Names prefers Celtic *Lādenses 'people living by the strongly flowing river'. This name may be derived from the Brittonic *lāto- meaning "rut, heat" (in animals ready to mate),[3] an element represented in Welsh as llawd, "heat", and possibly cognate to Greek plōtós, "flowing".
It has been surmised that the name denoted either a forest covering most of the kingdom of Elmet, which existed during the fifth century into the early seventh, or an early river-name, presumably that of the River Aire. An inhabitant of Leeds is locally known as a Loiner, possibly derived from Loidis.
Leeds City Council maintains "a photographic archive of Leeds" using the title "Leodis", thought to be an Old English or Celtic form of the name.
Prehistoric to Anglo-Saxon periods
There is no dependable reference to any place that might be associated with Leeds, before Bede's mention in circa 730 AD; and that was to a region rather than a village or town; thus little is known of any Roman, British or Anglo-Saxon predecessors to Leeds.
As well as scattered Bronze Age objects throughout the Leeds area, there were, according to 19th-century records, two Bronze Age barrows on Woodhouse Moor. In the pre-Roman and Roman Iron Age, the vicinity of Leeds was associated with the Brigantes; as well as possible Roman-period earthworks, a paved ford across the River Aire has been discovered, and is supposed to date to Roman times. Brigantian remains have been found in villages and towns in the vicinity of Leeds, and there are Roman remains in nearby settlements, notably at Adel, and at Alwoodley; in the suburb of Headingley a stone coffin was found in 1995 at Beckett's Park which is believed to date from Roman times.
Bede's account indicates activity in the vicinity of Leeds, though not necessarily near the town as it is now known: his unidentified place-name Campodonum might refer to an important place in the area; and one Abbot Thrythwulf had a monastery nearby in Bede's time, though it did not last long into the medieval period. Campodonum is possibly, Elmet capital and Roman fort (anylised as camp+(l)odonum), Cambodunum. Cambodunum is a possible earlier Latin form name of Camelot, likely due to its location and early Brittonic ties.
Evidence for major wealth and status comes from fragments of at least six stone crosses/other monuments, with the ninth- to tenth-century decoration characteristic of Anglo-Scandinavian culture, which were found in the fabric of the 14th-century Leeds Parish Church when it was demolished and replaced in 1838, now site of Leeds Minster. The best preserved, now in the modern church, depicts alongside other images the story of Wayland the Smith.
Leeds's profile was raised by the 2008-09 discovery of the West Yorkshire Hoard, a small, probably tenth- or eleventh-century treasure hoard of items from the early 7th century onwards, in the Leeds area. It seems likely that the Anglo-Saxon settlement consisted largely of an ecclesiastical site, a ford over the River Aire, and Kirkgate. Other evidence for occupation in the Anglo-Saxon period lies in the old Shire Oak at Headingley, which is believed to have lent its name to the wapentake of Skyrack, and in the presence of many places around Leeds which have the termination of their names in ley: such as Bramley, Rodley, Farnley, Armley, Wortley, and Farsley, which is derived from the Anglo-Saxon leah, an open place in the wood.
Norman period
Leeds parish is thought to have developed from a large British estate sub-divided, under Anglo-Saxon occupation, into smaller land holdings. The ancient estate straddled the wapentakes of Morley and Skyrack, encompassing Leeds, Headingley, Allerton, Gipton, Bramley, Armley, Farnley, Beeston and Ristone (Wortley). Leeds parish in Skyrack was the most important of these holdings. Leeds was then further sub divided so that when the first dependable historical record about Leeds (as "Ledes") was written in the Domesday book of 1086, it was recorded as having comprised seven small manors in the days of Edward the Confessor. At the time of the Norman conquest, Leeds was evidently a purely agricultural domain, of about 1,000 acres (4 km2) in extent. It was divided into seven manors, held by as many thanes; they possessed six ploughs; there was a priest, and a church, and a mill: its taxable value was six pounds. When the Domesday records were made, it had slightly increased in value; the seven thanes had been replaced by twenty-seven villeins, four sokemen, and four bordars. The villains were what we should now call day-labourers: the soke or soc men were persons of various degrees, from small owners under a greater lord, to mere husbandmen: the bordars are considered by most specialists in Domesday terminology to have been mere drudges, hewers of wood, drawers of water. The mill, when this survey was made, was worth four shillings. There were 10 acres (40,000 m2) of meadow. The tenant in chief was Ilbert de Lacy to whom William the Conqueror had granted a vast Honour stretching widely across country from Lincolnshire into Lancashire, and whose chief stronghold was at Pontefract Castle, a few miles to the south-east.
That Leeds was owned by one of the chief favourites of William was fortunate; the probability is that the lands of the de Lacy ownership were spared when the harrying of the North took place. While the greater part of the county was absolutely destitute of human life, and all the land northward lay blackened, Leeds in 1086 had a population of at least two hundred people.
There were two significant foci to the settlement; the area around the parish church and the main manorial landholding half a mile to the west of the church. In 1399, according to the Hardynge Chronicle, the captive Richard II was briefly imprisoned at Leeds, before being transported to another de Lacy property at Pontefract, where he was later executed.
The kyng then sent kyng Richard to Ledis,
there to be kepte durely in previtee;
fro thens after to Pykering went he needis,
and to Knaresbro' after led was he
but to pontefrete last where he did dee.
In 1147, Cistercian monks settled at Kirkstall, and there from about 1152 began to build Kirkstall Abbey.
First borough charter
Leeds was subinfeudated – along with much other land in Yorkshire, by the de Lacy family to the Paynel family; Ralph Paynel is mentioned often in the Domesday entries. He was one of the principal tenants-in-chief in Yorkshire. It was from a descendant of the Paynels, sometimes described as Maurice de Gant, that the inhabitants of Leeds received their first charter, in November, 1207. Leeds had the geographical advantages of being on a river crossing and being on the York to Chester route as well as being close to the Wharfedale to Skipton route through the Pennines. The manorial lords were keen to increase their revenues by exploiting these advantages.
The preamble of the charter reads:
"I Maurice Paynall have given and granted and by this charter confirmed to my burgesses of Leeds and their heirs franchise and free burgage and their tofts and with each toft half an acre of land for tillage to hold these of me and my heirs in fief and inheritance freely quit and honourably rendering annually to me and my heirs for each toft and half an acre of land sixteen pence at Pentecost and at Martinmas."
The charter made various provisions for the appointment of a bailiff (prator) to preside over a court of justice, to collect rents and dues, and to fine recalcitrants; others stipulated for aids when the lord needed monetary help, and placed tenants under obligation to grind corn at his mill and bake in his oven Leeds was granted some rights of self-government and it had burgesses who were freemen. Yet the charter granted to the townspeople of Leeds only the lowest conditions needed for urban development. It did not transform the manor into a borough but established a borough within a manor. It was not coextensive with the manor but consisted of only a group of tenements within it. The new town was laid out along the line of a street, later to be called Briggate, which was wide enough to hold a market, with about thirty burgage plots on either side. The south end of the street had a river crossing but the earliest recorded bridge, from which its name is derived (bridge gate), is in 1384. The population was small in 1207 and remained scanty for a long time afterwards. At the time of the Poll Tax of 1379 it appears not to have exceeded three hundred persons at the very outside; it was certainly one of the smallest towns in Yorkshire, such places as Snaith, Ripon, Tickhill, and Selby exceeding it in importance. Even in the thirteenth century, Leeds consisted of several distinct areas of habitation and activity. There was the old settlement around the parish church, the newly founded borough, the manor house and mill to the west and the town fields at Burmantofts (borough men's tofts). By establishing the borough the manorial revenues were increased and Leeds became more prosperous. Tax returns of 1334 and 1377 show that population of the whole parish before the Black Death was about 1,000 people of whom 350 to 400 lived in the central area including the borough. Leeds began to rank with the more prosperous towns to the east.
In 1217 Maurice de Gant lost the Leeds estate by figuring on the wrong side at the battle of Lincoln. His holding passed from him to Ranulf, Earl of Chester, and through him reverted to the de Lacy family; when the de Lacy estates became merged by marriage in the Duchy of Lancaster they passed to the royal family, and, on the accession of Henry IV, were absorbed into the possessions of the Crown.
Late Middle Ages
For four centuries after the Norman invasion, the growth of Leeds was slow. Its site had no particular military advantages: the great strategic position of that part of Yorkshire was at Pontefract, close by. It had, at first, no commercial values—it may have been that its first beginnings in its staple wool trade sprang from the wool growing of the Cistercians at Kirkstall Abbey, on its western borders. The township was concerned with little more than agriculture, and such trade as it knew was confined to those retailings which establish themselves wherever communities spring up—dealings in the necessities of life, which, reduced to a minimum, are merely food and clothing. The town itself was small—it was probably confined within a triangle formed on the lines of the present lower Briggate, Kirkgate, and the River Aire, with the parish church at one angle somewhere about, perhaps on, the site of the modern one. The streets would be narrow, unpaved and unlighted. The houses, in spite of the fact that stone is so plentiful in the district, were of wood, whitewashed, in many cases, thatched. St Mary's Whitkirk is the only medieval church remaining, a 15th-century building replacing an earlier one. All around the town lay the open fields and meadows, cultivated on the principle of strip-farming. And beyond these lay the forest of Elmet.
Tudor period and incorporation
The Tudor period was a time of transition for Leeds, from a relatively mean settlement to a solid cloth-trading town. In 1470, it was obscure enough to be described as being "near to Rothwell", which in the fifteenth century had the rights of a market town. By 1536, when John Leland visited it, he was able to report of it that it was a pretty market town which stood most by clothing and was as large as Bradford, though not so "quik", by which he evidently meant not so enterprising. Nevertheless, much of the old life and conditions still existed. The Crown was now over-lord, and had been so ever since the accession of Henry IV, and the folk still ground their corn at the King's mills and baked their bread at the King's oven. There was as yet no charter of incorporation, and though the people were rapidly approaching to conditions of liberty their lot was still not very appreciably different from that of their forefathers. Up to the end of the sixteenth century Leeds may be looked upon as existing in semi-feudalism.
There is no mention of education in Leeds until 1552, when one William Sheafield, who seems to have been a chantry priest of St. Catherine in Leeds, left property in the town for the establishment of a learned school-master who should teach freely for ever such scholars, youths, and children as should resort to him, with the wise proviso that the Leeds folk themselves should find a suitable building and make up the master's salary to ten pounds a year. Here is the origin of Leeds Grammar School which, first housed in the Calls, and subsequently—through the beneficence of John Harrison—in Lady Lane, had by the end of that century become an institution of vast importance.
As the sixteenth century drew to a close, and while the seventeenth was still young, the towns-folk of Leeds secured in the first instance at their own cost, in the second by a strictly limited Royal favour two important privileges—the right of electing their own vicar and of governing themselves in municipal affairs. In 1583 the town bought the advowson of the parish church from its then possessor, Oliver Darnley, for £130, and henceforth the successive vicars were chosen by a body of trustees—the most notably successful experiment in popular election which has ever been known in the National Church. In 1626, Leeds received its first charter of incorporation from Charles I. The charter, premising that Leeds in the County of York is an ancient and populous town, whose inhabitants are well acquainted with the Art and Mystery of making Woollen Cloths, sets up a governing body of one Alderman, nine Burgesses, and twenty Assistants. But the privilege for some years was a limited one: the Crown reserved to itself the rights of appointment to any of the thirty vacancies which might occur by death: popular election did not come for some time.
English Civil War and political representation
Eighteen years after the granting of the charter of incorporation, Leeds joined with other towns in the neighbourhood in a Memorial to the King wherein he was besought to settle his differences with the rebellious Parliament. Of this no notice was taken, and in the earlier stages of the Civil War the town was garrisoned for the Royal cause under Sir William Savile. But it was a very small Leeds which he occupied for the King in January 1643, having under him 500 horse and 1,500 foot. He made elaborate preparations for the defence of the place, digging a six-foot trench from St. John's Church by Upper Headrow, Boar Lane, and Swinegate to the banks of the river; erecting breastworks at the north end of the bridge, and placing demi-culverins in a position to sweep Briggate. Against him on Monday, January 23, advanced the redoubtable Sir Thomas Fairfax, at the head of a Parliamentary force which appears to have numbered at least 3000 horse and foot. Finding the bridge at Kirkstall broken down, Fairfax crossed the Aire at Apperley Bridge, and came on to Woodhouse Moor, from where he called on Savile to surrender. Savile returned the answer which was doubtless expected, and in the teeth of a heavy snowstorm, Fairfax led his troops forward to the assault. The action began about two o'clock of the afternoon and appears to have developed on all sides of the town. It rapidly went in favour of the assailants, and by four o'clock the Parliamentarian leaders and their troops were in Briggate and Boar Lane, while Savile and others were fleeing for their lives. Fairfax took nearly 500 prisoners and immediately released them on their promising not to take up arms against the Parliament on any further occasion. Though not a very great affair, it settled the question of King or Commons so far as that part of the West Riding was concerned.
The Puritan regime followed on the first successes of the Parliamentarians, and Leeds saw two Puritan ministers placed in the parish church and the new church of St. John. But in 1644 Leeds folk had something else to think: an epidemic, so serious as to rank with the medieval visitations of plague, broke out, and resulted in the death of 1300 inhabitants. The weekly markets were discontinued, and deaths occurred with such startling rapidity that it was impossible to keep pace with them in the parish registers.
In 1646 Charles I. came to Leeds a prisoner. After his surrender to the Scottish generals at Kelham, near Newark, he was led northward to Newcastle; on his return from that city, he spent one night in the house called Red Hall, in Upper Head Row.
It seems curious that up to the middle of the seventeenth century Leeds had never been directly represented in Parliament. Many now quite insignificant places in Yorkshire had sent members to the House of Commons from a very early period--Malton, Beverley, Northallerton had returned members as far back as 1298; Otley had had two members for centuries. But it was not until 1654 that Adam Baynes was returned to sit at Westminster; he was returned again two years later with Francis Allanson as a second member. This representation came to an end at the Restoration in 1660, and Leeds had no more members of Parliament until the Reform Act 1832. But in 1661 it received some concession from the Crown which was perhaps of more importance to it—a new Municipal Charter. There had been some readjustment of the old one in 1642, but Charles II's Charter was of a far-reaching nature. It set up a Mayor, twelve Aldermen, twenty-four Assistants or Councillors, a Town Clerk, and a Recorder; it also provided for local election to vacancies. From the Charter of Charles I and that of his son are derived the well-known arms of the town. The owls are the Savile owls famous throughout the county, where the Saviles have been legion; the mullets figured on the arms of Thomas Danby, first Mayor. The dependent sheep typifies the wool trade.
In 1715 the first history of Leeds was written by Ralph Thoresby, entitled Ducatus Leodiensis; or the Topography of the antient and populous Town and Parish of Leedes.
Leeds was mainly a merchant town, manufacturing woollen cloths and trading with Europe via the Humber estuary and the population grew from 10,000 at the end of the seventeenth century to 30,000 at the end of the eighteenth. As a gauge of the importance of the town, by the 1770s Leeds merchants were responsible for 30% of the country's woollen exports, valued at £1,500,000 when 70 years previously Yorkshire accounted for only 20% of exports.
Woollen cloth trade
During the Middle Ages, Cistercian monks, such as those at Kirkstall, were involved in sheep farming, and weaving was introduced to West Yorkshire during the reign of Edward III. Leland records the organised trading of woollen cloth in a market that took place on a bridge over the Aire, at the foot of Briggate; this trade occurred under tightly regulated conditions, including specific times. The cloth was predominantly manufactured in individual homes, in the villages surrounding Leeds. (Bradford, by contrast, was the centre of the worsted cloth trade.) There was a fulling mill at Leeds by 1400, and cloth dying may also have been an early centralised activity.
By the early 18th century, cloth trading had outstripped the capacity of the bridge, and had moved to trestle tables in up to two rows on each side of Briggate. Ralph Thoresby was involved in the establishment of the first covered cloth market, when with others he secured the permission of the 3rd Viscount Irwin, holder of the Manor of Leeds, to erect the White Cloth Hall. The fact of Wakefield having erected a trading hall in 1710 was almost certainly a driver of change. The new hall opened on 22 May 1711 (It lasted for 65 years before being removed to a new site in The Calls; by the mid-19th century it was taking place in a dedicated trading hall.) Daniel Defoe (c. 1720) mentions that Leeds traders also travelled all over the country, selling cloth on credit terms; and that an export trade existed. In 1758, a coloured or mixed cloth hall was built near Mill Hill – a quadrangular building 66 yards (60 m) by 128 yards (117 m), with capacity for 1800 trading stalls, initially let at three guineas per annum, but later at a premium of £24 per annum. (In the 1890s both the hall and a subsequent hall were demolished to make way for the new General Post Office and the Metropole Hotel.)
In 1831, a strike at Gotts Woollen Mill led to the establishment of the Yorkshire Trades Union. This soon dissolved, but in 1887 the Yeadon and Guiseley Factory Workers' Union was founded, this later becoming part of the National Union of Dyers, Bleachers and Textile Workers.
Industrial Revolution Expansion
The industrial revolution had resulted in the radical growth of Leeds whose population had risen to over 150,000 by 1840. The city's industrial growth was catalysed by the introduction of the Aire & Calder Navigation in 1699, Leeds and Liverpool Canal in 1816 and the railways from 1834 onwards; the first being the Leeds and Selby Railway opened on 22 September 1834. The first Leeds railway station was at Marsh Lane; the Leeds Wellington station was opened in 1848; the Central in 1854, and the New station in 1869. Little by little the town was linked up with Hull, York, Sheffield, Bradford, Dewsbury; with the Durham and Northumberland towns; with Manchester and Liverpool; and with the Midlands and London.
In 1893 Leeds had been granted city status. These industries that developed in the industrial revolution had included making machinery for spinning, machine tools, steam engines and gears as well as other industries based on textiles, chemicals and leather and pottery. Coal was extracted on a large scale and the still functioning Middleton Railway, the first successful commercial steam locomotive railway in the world, transported coal into the centre of Leeds. The track was the first rack railway and the locomotive (Salamanca) was the first to have twin cylinders.
Various areas in Leeds developed different roles in the industrial revolution. The city centre became a major centre of transport and commerce, Hunslet and Holbeck became major engineering centres. Armley, Bramley and Kirkstall became milling centres and areas such as Roundhay became middle class suburbs, the building of the Leeds Tramway allowing them better connections with the rest of the city.
Barnbow
Barnbow in Cross Gates was a large ammunitions factory producing ten thousand shells per week by August 1915. The worst tragedy ever to happen within Leeds (in terms of fatalities) happened at the Barnbow tragedy of 5 December 1916. 35 workers (all women aged 14 or over) were killed in the Barnbow Munitions Factory, which later became the Royal Ordnance Factory Barnbow. The plant employed 16,000 workers, from Leeds, Selby, Wakefield, Tadcaster and Wetherby and had its own railway station to cope with the daily influx of workers. The railway station had an 850-foot (260 m) platform and 38 special trains from surrounding towns and cities. An explosion from Hall 42 killed 35 workers and mutilated many more. Mechanic Mr William Parking was presented with an engraved silver watch for his bravery in saving factory workers during the incident.
Leeds Pals
During the First World War, regiments were made up of men from particular towns, meaning that if one regiment suffered heavy losses, a town or city would suffer heavy losses of its male population. Leeds was one city unfortunate enough to suffer this. By the Second World War, regiments weren't so geographically based. The battalion formed in 1914 and suffered its worse losses in the Battle of the Somme in 1916.
Inter-war
During the period between the two world wars, the Leeds Women Citizens League was active in advocating what women's needs for housing were to the national Women's Housing Sub-Committee. This was a parliamentary committee which was established in 1918 by the Ministry of Reconstruction in order discover what a woman's view on post-war housing would look life. Recommendations for the Leeds branch of the league included 'porcelain sinks with plugs' that children could be washed in, as well as 'an upstairs'.
Second World War
During the Second World War Leeds made a further contribution to the war effort, although it was perhaps less historically notable than that of the first. Although the result of the sinking of the third Royal naval vessel named 'Ark Royal' which was Leeds's adopted ship the people of Leeds raised over £9 million in 1942 for a new ship, surpassing the £5 million target.
Bombing
Leeds escaped the worst of The Blitz, due mainly to its inland location and lack of any significant industrial targets. On the night of the 14 March and early hours of 15 March 1941, Leeds received its worst night of Luftwaffe bombing. Beeston had more bombs dropped on it than any other district of the city, yet escaped with the least damage. Flaxton Terrace was the only street to be damaged during the night-time blackout air raid, with nearly all the other bombs landing on Cross Flatts Park. In his 2005 poem 'Shrapnel' poet Tony Harrison, who was in Beeston on the night of the raid, speculates whether this was an act of heroism by the Luftwaffe pilot, a theory that has been explored ever since the raid. Significant damage was also caused in Holbeck and Headingley, while the Eastern side of the Town Hall was damaged. Bombs were also dropped on the Woodhouse area during nighttime air raids, as the Luftwaffe attempted to destroy an industrial target.
Thorp Arch
ROF Thorp Arch was the main munitions factory in the area at this time. The facility which is now a trading estate and retail park, was situated near Wetherby and like Barnbow featured significant railway facilities. The works suffered minor damage from bombing raids. People from all over West Yorkshire travelled to work at the facility by train from Leeds and Wetherby stations.
Yeadon
The town of Yeadon housed the underground factory that manufactured the parts for Avro Lancaster bombers. The factory was located alongside the current Leeds Bradford Airport.
Rodley
Rodley to the west had two factories, Smiths and Booths, that manufactured cranes and had been converted to make bombs.
Modern history
By the 20th century this social and economic had started to change with the creation of the academic institutions that are known today as the University of Leeds and Leeds Beckett University. This period had also witnessed expansion in medical provision, particularly Leeds General Infirmary and St James's Hospital. Following the Second World War there has been, as in many other cities, a decline in secondary industries that thrived in the 19th century. However this decline was reversed in the growth of new tertiary industries such as finance retail, call centres, offices and media. Today Leeds is known as one of eight core cities that act as a focus of their respective regions and Leeds is generally regarded as the dominant city of the ceremonial county of West Yorkshire.
In monotheism, God is conceived of as the Supreme Being and principal object of faith.[3] The concept of God as described by most theologians includes the attributes of omniscience (infinite knowledge), omnipotence (unlimited power), omnipresence (present everywhere), divine simplicity, and as having an eternal and necessary existence. Many theologians also describe God as being omnibenevolent (perfectly good), and all loving.
God is most often held to be non-corporeal,[3] and to be without any human biological sex,[4][5] yet the concept of God actively creating the universe (as opposed to passively)[6] has caused many religions to describe God using masculine terminology, using such terms as "Him" or "Father". Furthermore, some religions (such as Judaism) attribute only a purely grammatical "gender" to God.[7]
In theism, God is the creator and sustainer of the universe, while in deism, God is the creator, but not the sustainer, of the universe. In pantheism, God is the universe itself. In atheism, God is not believed to exist, while God is deemed unknown or unknowable within the context of agnosticism. God has also been conceived as being incorporeal (immaterial), a personal being, the source of all moral obligation, and the "greatest conceivable existent".[3] Many notable philosophers have developed arguments for and against the existence of God.[8]
There are many names for God, and different names are attached to different cultural ideas about God's identity and attributes. In the ancient Egyptian era of Atenism, possibly the earliest recorded monotheistic religion, this deity was called Aten,[9] premised on being the one "true" Supreme Being and Creator of the Universe.[10] In the Hebrew Bible and Judaism, "He Who Is", "I Am that I Am", and the tetragrammaton YHWH (Hebrew: יהוה, which means: "I am who I am"; "He Who Exists") are used as names of God, while Yahweh and Jehovah are sometimes used in Christianity as vocalizations of YHWH. In the Christian doctrine of the Trinity, God, consubstantial in three persons, is called the Father, the Son, and the Holy Spirit. In Judaism, it is common to refer to God by the titular names Elohim or Adonai, the latter of which is believed by some scholars to descend from the Egyptian Aten.[11][12][13][14][15] In Islam, the name Allah, "Al-El", or "Al-Elah" ("the God") is used, while Muslims also have a multitude of titular names for God. In Hinduism, Brahman is often considered a monistic deity.[16] Other religions have names for God, for instance, Baha in the Bahá'í Faith,[17] Waheguru in Sikhism,[18] and Ahura Mazda in Zoroastrianism.[19]
The many different conceptions of God, and competing claims as to God's characteristics, aims, and actions, have led to the development of ideas of omnitheism, pandeism,[20][21] or a perennial philosophy, which postulates that there is one underlying theological truth, of which all religions express a partial understanding, and as to which "the devout in the various great world religions are in fact worshipping that one God, but through different, overlapping concepts or mental images of Him."[22]
Contents [hide]
1Etymology and usage
2General conceptions
2.1Oneness
2.2Theism, deism and pantheism
2.3Other concepts
3Non-theistic views
3.1Agnosticism and atheism
3.2Anthropomorphism
4Existence
5Specific attributes
5.1Names
5.2Gender
5.3Relationship with creation
6Depiction
6.1Zoroastrianism
6.2Islam
6.3Judaism
6.4Christianity
7Theological approaches
8Distribution of belief
9See also
9.1In specific religions
10References
11Further reading
12External links
Etymology and usage
The Mesha Stele bears the earliest known reference (840 BCE) to the Israelite God Yahweh.
Main article: God (word)
The earliest written form of the Germanic word God (always, in this usage, capitalized[23]) comes from the 6th-century Christian Codex Argenteus. The English word itself is derived from the Proto-Germanic * ǥuđan. The reconstructed Proto-Indo-European form * ǵhu-tó-m was likely based on the root * ǵhau(ə)-, which meant either "to call" or "to invoke".[24] The Germanic words for God were originally neuter—applying to both genders—but during the process of the Christianization of the Germanic peoples from their indigenous Germanic paganism, the words became a masculine syntactic form.[25]
The word 'Allah' in Arabic calligraphy
In the English language, the capitalized form of God continues to represent a distinction between monotheistic "God" and "gods" in polytheism.[26][27] The English word God and its counterparts in other languages are normally used for any and all conceptions and, in spite of significant differences between religions, the term remains an English translation common to all. The same holds for Hebrew El, but in Judaism, God is also given a proper name, the tetragrammaton YHWH, in origin possibly the name of an Edomite or Midianite deity, Yahweh. In many translations of the Bible, when the word LORD is in all capitals, it signifies that the word represents the tetragrammaton.[28]
Allāh (Arabic: الله) is the Arabic term with no plural used by Muslims and Arabic speaking Christians and Jews meaning "The God" (with a capital G), while "ʾilāh" (Arabic: إله) is the term used for a deity or a god in general.[29][30][31] God may also be given a proper name in monotheistic currents of Hinduism which emphasize the personal nature of God, with early references to his name as Krishna-Vasudeva in Bhagavata or later Vishnu and Hari.[32]
Ahura Mazda is the name for God used in Zoroastrianism. "Mazda", or rather the Avestan stem-form Mazdā-, nominative Mazdå, reflects Proto-Iranian *Mazdāh (female). It is generally taken to be the proper name of the spirit, and like its Sanskrit cognate medhā, means "intelligence" or "wisdom". Both the Avestan and Sanskrit words reflect Proto-Indo-Iranian *mazdhā-, from Proto-Indo-European mn̩sdʰeh1, literally meaning "placing (dʰeh1) one's mind (*mn̩-s)", hence "wise".[33]
Waheguru (Punjabi: vāhigurū) is a term most often used in Sikhism to refer to God. It means "Wonderful Teacher" in the Punjabi language. Vāhi (a Middle Persian borrowing) means "wonderful" and guru (Sanskrit: guru) is a term denoting "teacher". Waheguru is also described by some as an experience of ecstasy which is beyond all descriptions. The most common usage of the word "Waheguru" is in the greeting Sikhs use with each other:
Waheguru Ji Ka Khalsa, Waheguru Ji Ki Fateh
Wonderful Lord's Khalsa, Victory is to the Wonderful Lord.
Baha, the "greatest" name for God in the Baha'i faith, is Arabic for "All-Glorious".
General conceptions
Main article: Conceptions of God
There is no clear consensus on the nature or even the existence of God.[34] The Abrahamic conceptions of God include the monotheistic definition of God in Judaism, the trinitarian view of Christians, and the Islamic concept of God. The dharmic religions differ in their view of the divine: views of God in Hinduism vary by region, sect, and caste, ranging from monotheistic to polytheistic. Divinity was recognized by the historical Buddha, particularly Śakra and Brahma. However, other sentient beings, including gods, can at best only play a supportive role in one's personal path to salvation. Conceptions of God in the latter developments of the Mahayana tradition give a more prominent place to notions of the divine.[citation needed]
Oneness
Main articles: Monotheism and Henotheism
The Trinity is the belief that God is composed of The Father, The Son (embodied metaphysically in the physical realm by Jesus), and The Holy Spirit.
Monotheists hold that there is only one god, and may claim that the one true god is worshiped in different religions under different names. The view that all theists actually worship the same god, whether they know it or not, is especially emphasized in Hinduism[35] and Sikhism.[36] In Christianity, the doctrine of the Trinity describes God as one God in three persons. The Trinity comprises The Father, The Son (embodied metaphysically by Jesus), and The Holy Spirit.[37] Islam's most fundamental concept is tawhid (meaning "oneness" or "uniqueness"). God is described in the Quran as: "Say: He is Allah, the One and Only; Allah, the Eternal, Absolute; He begetteth not, nor is He begotten; And there is none like unto Him."[38][39] Muslims repudiate the Christian doctrine of the Trinity and the divinity of Jesus, comparing it to polytheism. In Islam, God is beyond all comprehension or equal and does not resemble any of his creations in any way. Thus, Muslims are not iconodules, and are not expected to visualize God.[40]
Henotheism is the belief and worship of a single god while accepting the existence or possible existence of other deities.[41]
Theism, deism and pantheism
Main articles: Theism, Deism, and Pantheism
Theism generally holds that God exists realistically, objectively, and independently of human thought; that God created and sustains everything; that God is omnipotent and eternal; and that God is personal and interacting with the universe through, for example, religious experience and the prayers of humans.[42] Theism holds that God is both transcendent and immanent; thus, God is simultaneously infinite and in some way present in the affairs of the world.[43] Not all theists subscribe to all of these propositions, but each usually subscribes to some of them (see, by way of comparison, family resemblance).[42] Catholic theology holds that God is infinitely simple and is not involuntarily subject to time. Most theists hold that God is omnipotent, omniscient, and benevolent, although this belief raises questions about God's responsibility for evil and suffering in the world. Some theists ascribe to God a self-conscious or purposeful limiting of omnipotence, omniscience, or benevolence. Open Theism, by contrast, asserts that, due to the nature of time, God's omniscience does not mean the deity can predict the future. Theism is sometimes used to refer in general to any belief in a god or gods, i.e., monotheism or polytheism.[44][45]
"God blessing the seventh day", a watercolor painting depicting God, by William Blake (1757 – 1827)
Deism holds that God is wholly transcendent: God exists, but does not intervene in the world beyond what was necessary to create it.[43] In this view, God is not anthropomorphic, and neither answers prayers nor produces miracles. Common in Deism is a belief that God has no interest in humanity and may not even be aware of humanity. Pandeism and Panendeism, respectively, combine Deism with the Pantheistic or Panentheistic beliefs.[21][46][47] Pandeism is proposed to explain as to Deism why God would create a universe and then abandon it,[48] and as to Pantheism, the origin and purpose of the universe.[48][49]
Pantheism holds that God is the universe and the universe is God, whereas Panentheism holds that God contains, but is not identical to, the Universe.[50] It is also the view of the Liberal Catholic Church; Theosophy; some views of Hinduism except Vaishnavism, which believes in panentheism; Sikhism; some divisions of Neopaganism and Taoism, along with many varying denominations and individuals within denominations. Kabbalah, Jewish mysticism, paints a pantheistic/panentheistic view of God—which has wide acceptance in Hasidic Judaism, particularly from their founder The Baal Shem Tov—but only as an addition to the Jewish view of a personal god, not in the original pantheistic sense that denies or limits persona to God.[citation needed]
Other concepts
Dystheism, which is related to theodicy, is a form of theism which holds that God is either not wholly good or is fully malevolent as a consequence of the problem of evil. One such example comes from Dostoevsky's The Brothers Karamazov, in which Ivan Karamazov rejects God on the grounds that he allows children to suffer.[51]
In modern times, some more abstract concepts have been developed, such as process theology and open theism. The contemporaneous French philosopher Michel Henry has however proposed a phenomenological approach and definition of God as phenomenological essence of Life.[52]
God has also been conceived as being incorporeal (immaterial), a personal being, the source of all moral obligation, and the "greatest conceivable existent".[3] These attributes were all supported to varying degrees by the early Jewish, Christian and Muslim theologian philosophers, including Maimonides,[53] Augustine of Hippo,[53] and Al-Ghazali,[8] respectively.
Non-theistic views
See also: Evolutionary origin of religions and Evolutionary psychology of religion
Non-theist views about God also vary. Some non-theists avoid the concept of God, whilst accepting that it is significant to many; other non-theists understand God as a symbol of human values and aspirations. The nineteenth-century English atheist Charles Bradlaugh declared that he refused to say "There is no God", because "the word 'God' is to me a sound conveying no clear or distinct affirmation";[54] he said more specifically that he disbelieved in the Christian god. Stephen Jay Gould proposed an approach dividing the world of philosophy into what he called "non-overlapping magisteria" (NOMA). In this view, questions of the supernatural, such as those relating to the existence and nature of God, are non-empirical and are the proper domain of theology. The methods of science should then be used to answer any empirical question about the natural world, and theology should be used to answer questions about ultimate meaning and moral value. In this view, the perceived lack of any empirical footprint from the magisterium of the supernatural onto natural events makes science the sole player in the natural world.[55]
Another view, advanced by Richard Dawkins, is that the existence of God is an empirical question, on the grounds that "a universe with a god would be a completely different kind of universe from one without, and it would be a scientific difference."[56] Carl Sagan argued that the doctrine of a Creator of the Universe was difficult to prove or disprove and that the only conceivable scientific discovery that could disprove the existence of a Creator (not necessarily a God) would be the discovery that the universe is infinitely old.[57]
Stephen Hawking and co-author Leonard Mlodinow state in their book, The Grand Design, that it is reasonable to ask who or what created the universe, but if the answer is God, then the question has merely been deflected to that of who created God. Both authors claim however, that it is possible to answer these questions purely within the realm of science, and without invoking any divine beings.[58] Neuroscientist Michael Nikoletseas has proposed that questions of the existence of God are no different from questions of natural sciences. Following a biological comparative approach, he concludes that it is highly probable that God exists, and, although not visible, it is possible that we know some of his attributes.[59]
Agnosticism and atheism
Agnosticism is the view that, the truth values of certain claims – especially metaphysical and religious claims such as whether God, the divine or the supernatural exist – are unknown and perhaps unknowable.[60][61][62]
Atheism is, in a broad sense, the rejection of belief in the existence of deities, or a God.[63][64] In a narrower sense, atheism is specifically the position that there are no deities.[65]
Anthropomorphism
Main article: Anthropomorphism
Pascal Boyer argues that while there is a wide array of supernatural concepts found around the world, in general, supernatural beings tend to behave much like people. The construction of gods and spirits like persons is one of the best known traits of religion. He cites examples from Greek mythology, which is, in his opinion, more like a modern soap opera than other religious systems.[66] Bertrand du Castel and Timothy Jurgensen demonstrate through formalization that Boyer's explanatory model matches physics' epistemology in positing not directly observable entities as intermediaries.[67] Anthropologist Stewart Guthrie contends that people project human features onto non-human aspects of the world because it makes those aspects more familiar. Sigmund Freud also suggested that god concepts are projections of one's father.[68]
Likewise, Émile Durkheim was one of the earliest to suggest that gods represent an extension of human social life to include supernatural beings. In line with this reasoning, psychologist Matt Rossano contends that when humans began living in larger groups, they may have created gods as a means of enforcing morality. In small groups, morality can be enforced by social forces such as gossip or reputation. However, it is much harder to enforce morality using social forces in much larger groups. Rossano indicates that by including ever-watchful gods and spirits, humans discovered an effective strategy for restraining selfishness and building more cooperative groups.[69]
Existence
Main article: Existence of God
St. Thomas Aquinas summed up five main arguments as proofs for God's existence.
Isaac Newton saw the existence of a Creator necessary in the movement of astronomical objects.
Arguments about the existence of God typically include empirical, deductive, and inductive types. Different views include that: "God does not exist" (strong atheism); "God almost certainly does not exist" (de facto atheism); "no one knows whether God exists" (agnosticism[70]);"God exists, but this cannot be proven or disproven" (de facto theism); and that "God exists and this can be proven" (strong theism).[55]
Countless arguments have been proposed to prove the existence of God.[71] Some of the most notable arguments are the Five Ways of Aquinas, the Argument from Desire proposed by C.S. Lewis, and the Ontological Argument formulated both by St. Anselm and René Descartes.[72]
St. Anselm's approach was to define God as, "that than which nothing greater can be conceived". Famed pantheist philosopher Baruch Spinoza would later carry this idea to its extreme: "By God I understand a being absolutely infinite, i.e., a substance consisting of infinite attributes, of which each one expresses an eternal and infinite essence." For Spinoza, the whole of the natural universe is made of one substance, God, or its equivalent, Nature.[73] His proof for the existence of God was a variation of the Ontological argument.[74]
Scientist Isaac Newton saw God as the masterful creator whose existence could not be denied in the face of the grandeur of all creation.[75] Nevertheless, he rejected polymath Leibniz' thesis that God would necessarily make a perfect world which requires no intervention from the creator. In Query 31 of the Opticks, Newton simultaneously made an argument from design and for the necessity of intervention:
For while comets move in very eccentric orbs in all manner of positions, blind fate could never make all the planets move one and the same way in orbs concentric, some inconsiderable irregularities excepted which may have arisen from the mutual actions of comets and planets on one another, and which will be apt to increase, till this system wants a reformation.[76]
St. Thomas believed that the existence of God is self-evident in itself, but not to us. "Therefore I say that this proposition, "God exists", of itself is self-evident, for the predicate is the same as the subject.... Now because we do not know the essence of God, the proposition is not self-evident to us; but needs to be demonstrated by things that are more known to us, though less known in their nature—namely, by effects."[77] St. Thomas believed that the existence of God can be demonstrated. Briefly in the Summa theologiae and more extensively in the Summa contra Gentiles, he considered in great detail five arguments for the existence of God, widely known as the quinque viae (Five Ways).
For the original text of the five proofs, see quinque viae
Motion: Some things undoubtedly move, though cannot cause their own motion. Since there can be no infinite chain of causes of motion, there must be a First Mover not moved by anything else, and this is what everyone understands by God.
Causation: As in the case of motion, nothing can cause itself, and an infinite chain of causation is impossible, so there must be a First Cause, called God.
Existence of necessary and the unnecessary: Our experience includes things certainly existing but apparently unnecessary. Not everything can be unnecessary, for then once there was nothing and there would still be nothing. Therefore, we are compelled to suppose something that exists necessarily, having this necessity only from itself; in fact itself the cause for other things to exist.
Gradation: If we can notice a gradation in things in the sense that some things are more hot, good, etc., there must be a superlative that is the truest and noblest thing, and so most fully existing. This then, we call God (Note: Thomas does not ascribe actual qualities to God Himself).
Ordered tendencies of nature: A direction of actions to an end is noticed in all bodies following natural laws. Anything without awareness tends to a goal under the guidance of one who is aware. This we call God (Note that even when we guide objects, in Thomas's view, the source of all our knowledge comes from God as well).[78]
Alister McGrath, a formerly atheistic scientist and theologian who has been highly critical of Richard Dawkins' version of atheism
Some theologians, such as the scientist and theologian A.E. McGrath, argue that the existence of God is not a question that can be answered using the scientific method.[79][80] Agnostic Stephen Jay Gould argues that science and religion are not in conflict and do not overlap.[81]
Some findings in the fields of cosmology, evolutionary biology and neuroscience are interpreted by some atheists (including Lawrence M. Krauss and Sam Harris) as evidence that God is an imaginary entity only, with no basis in reality.[82][83][84] These atheists claim that a single, omniscient God who is imagined to have created the universe and is particularly attentive to the lives of humans has been imagined, embellished and promulgated in a trans-generational manner.[85] Richard Dawkins interprets such findings not only as a lack of evidence for the material existence of such a God, but as extensive evidence to the contrary.[55] However, his views are opposed by some theologians and scientists including Alister McGrath, who argues that existence of God is compatible with science.[86]
Neuroscientist Michael Nikoletseas has proposed that questions of the existence of God are no different from questions of natural sciences. Following a biological comparative approach, he concludes that it is highly probable that God exists, and, although not visible, it is possible that we know some of his attributes.[59]
Specific attributes
Different religious traditions assign differing (though often similar) attributes and characteristics to God, including expansive powers and abilities, psychological characteristics, gender characteristics, and preferred nomenclature. The assignment of these attributes often differs according to the conceptions of God in the culture from which they arise. For example, attributes of God in Christianity, attributes of God in Islam, and the Thirteen Attributes of Mercy in Judaism share certain similarities arising from their common roots.
Names
Main article: Names of God
99 names of Allah, in Chinese Sini (script)
The word God is "one of the most complex and difficult in the English language." In the Judeo-Christian tradition, "the Bible has been the principal source of the conceptions of God". That the Bible "includes many different images, concepts, and ways of thinking about" God has resulted in perpetual "disagreements about how God is to be conceived and understood".[87]
Throughout the Hebrew and Christian Bibles there are many names for God. One of them is Elohim. Another one is El Shaddai, meaning "God Almighty".[88] A third notable name is El Elyon, which means "The Most High God".[89]
God is described and referred in the Quran and hadith by certain names or attributes, the most common being Al-Rahman, meaning "Most Compassionate" and Al-Rahim, meaning "Most Merciful" (See Names of God in Islam).[90]
Supreme soul
The Brahma Kumaris use the term "Supreme Soul" to refer to God. They see God as incorporeal and eternal, and regard him as a point of living light like human souls, but without a physical body, as he does not enter the cycle of birth, death and rebirth. God is seen as the perfect and constant embodiment of all virtues, powers and values and that He is the unconditionally loving Father of all souls, irrespective of their religion, gender, or culture.[91]
Vaishnavism, a tradition in Hinduism, has list of titles and names of Krishna.
Gender
Main article: Gender of God
The gender of God may be viewed as either a literal or an allegorical aspect of a deity who, in classical western philosophy, transcends bodily form.[92][93] Polytheistic religions commonly attribute to each of the gods a gender, allowing each to interact with any of the others, and perhaps with humans, sexually. In most monotheistic religions, God has no counterpart with which to relate sexually. Thus, in classical western philosophy the gender of this one-and-only deity is most likely to be an analogical statement of how humans and God address, and relate to, each other. Namely, God is seen as begetter of the world and revelation which corresponds to the active (as opposed to the receptive) role in sexual intercourse.[6]
Biblical sources usually refer to God using male words, except Genesis 1:26-27,[94][95] Psalm 123:2-3, and Luke 15:8-10 (female); Hosea 11:3-4, Deuteronomy 32:18, Isaiah 66:13, Isaiah 49:15, Isaiah 42:14, Psalm 131:2 (a mother); Deuteronomy 32:11-12 (a mother eagle); and Matthew 23:37 and Luke 13:34 (a mother hen).
Relationship with creation
See also: Creator deity, Prayer, and Worship
And Elohim Created Adam by William Blake, c.1795
Prayer plays a significant role among many believers. Muslims believe that the purpose of existence is to worship God.[96][97] He is viewed as a personal God and there are no intermediaries, such as clergy, to contact God. Prayer often also includes supplication and asking forgiveness. God is often believed to be forgiving. For example, a hadith states God would replace a sinless people with one who sinned but still asked repentance.[98] Christian theologian Alister McGrath writes that there are good reasons to suggest that a "personal god" is integral to the Christian outlook, but that one has to understand it is an analogy. "To say that God is like a person is to affirm the divine ability and willingness to relate to others. This does not imply that God is human, or located at a specific point in the universe."[99]
Adherents of different religions generally disagree as to how to best worship God and what is God's plan for mankind, if there is one. There are different approaches to reconciling the contradictory claims of monotheistic religions. One view is taken by exclusivists, who believe they are the chosen people or have exclusive access to absolute truth, generally through revelation or encounter with the Divine, which adherents of other religions do not. Another view is religious pluralism. A pluralist typically believes that his religion is the right one, but does not deny the partial truth of other religions. An example of a pluralist view in Christianity is supersessionism, i.e., the belief that one's religion is the fulfillment of previous religions. A third approach is relativistic inclusivism, where everybody is seen as equally right; an example being universalism: the doctrine that salvation is eventually available for everyone. A fourth approach is syncretism, mixing different elements from different religions. An example of syncretism is the New Age movement.
Jews and Christians believe that humans are created in the likeness of God, and are the center, crown and key to God's creation, stewards for God, supreme over everything else God had made (Gen 1:26); for this reason, humans are in Christianity called the "Children of God".[100]
Depiction
God is defined as incorporeal,[3] and invisible from direct sight, and thus cannot be portrayed in a literal visual image.
The respective principles of religions may or may not permit them to use images (which are entirely symbolic) to represent God in art or in worship .
Zoroastrianism
Ahura Mazda (depiction is on the right, with high crown) presents Ardashir I (left) with the ring of kingship. (Relief at Naqsh-e Rustam, 3rd century CE)
During the early Parthian Empire, Ahura Mazda was visually represented for worship. This practice ended during the beginning of the Sassanid empire. Zoroastrian iconoclasm, which can be traced to the end of the Parthian period and the beginning of the Sassanid, eventually put an end to the use of all images of Ahura Mazda in worship. However, Ahura Mazda continued to be symbolized by a dignified male figure, standing or on horseback which is found in Sassanian investiture.[101]
Islam
Further information: God in Islam
Muslims believe that God (Allah) is beyond all comprehension or equal and does not resemble any of His creations in any way. Thus, Muslims are not iconodules, are not expected to visualize God.[40]
Judaism
At least some Jews do not use any image for God, since God is the unimageable Being who cannot be represented in material forms.[102] In some samples of Jewish Art, however, sometimes God, or at least His Intervention, is indicated by a Hand Of God symbol, which represents the bath Kol (literally "daughter of a voice") or Voice of God;[103] this use of the Hand Of God is carried over to Christian Art.
Christianity
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Early Christians believed that the words of the Gospel of John 1:18: "No man has seen God at any time" and numerous other statements were meant to apply not only to God, but to all attempts at the depiction of God.[104]
Use of the symbolic Hand of God in the Ascension from the Drogo Sacramentary, c. 850
However, later on the Hand of God symbol is found several times in the only ancient synagogue with a large surviving decorative scheme, the Dura Europos Synagogue of the mid-3rd century, and was probably adopted into Early Christian art from Jewish art. It was common in Late Antique art in both East and West, and remained the main way of symbolizing the actions or approval of God the Father in the West until about the end of the Romanesque period. It also represents the bath Kol (literally "daughter of a voice") or voice of God,[103] just like in Jewish Art.
In situations, such as the Baptism of Christ, where a specific representation of God the Father was indicated, the Hand of God was used, with increasing freedom from the Carolingian period until the end of the Romanesque. This motif now, since the discovery of the 3rd century Dura Europos synagogue, seems to have been borrowed from Jewish art, and is found in Christian art almost from its beginnings.
The use of religious images in general continued to increase up to the end of the 7th century, to the point that in 695, upon assuming the throne, Byzantine emperor Justinian II put an image of Christ on the obverse side of his gold coins, resulting in a rift which ended the use of Byzantine coin types in the Islamic world.[105] However, the increase in religious imagery did not include depictions of God the Father. For instance, while the eighty second canon of the Council of Trullo in 692 did not specifically condemn images of The Father, it suggested that icons of Christ were preferred over Old Testament shadows and figures.[106]
The beginning of the 8th century witnessed the suppression and destruction of religious icons as the period of Byzantine iconoclasm (literally image-breaking) started. Emperor Leo III (717–741), suppressed the use of icons by imperial edict of the Byzantine Empire, presumably due to a military loss which he attributed to the undue veneration of icons.[107] The edict (which was issued without consulting the Church) forbade the veneration of religious images but did not apply to other forms of art, including the image of the emperor, or religious symbols such as the cross.[108] Theological arguments against icons then began to appear with iconoclasts arguing that icons could not represent both the divine and the human natures of Jesus at the same time. In this atmosphere, no public depictions of God the Father were even attempted and such depictions only began to appear two centuries later.
The Second Council of Nicaea in 787 effectively ended the first period of Byzantine iconoclasm and restored the honouring of icons and holy images in general.[109] However, this did not immediately translate into large scale depictions of God the Father. Even supporters of the use of icons in the 8th century, such as Saint John of Damascus, drew a distinction between images of God the Father and those of Christ.
In his treatise On the Divine Images John of Damascus wrote: "In former times, God who is without form or body, could never be depicted. But now when God is seen in the flesh conversing with men, I make an image of the God whom I see".[110] The implication here is that insofar as God the Father or the Spirit did not become man, visible and tangible, images and portrait icons can not be depicted. So what was true for the whole Trinity before Christ remains true for the Father and the Spirit but not for the Word. John of Damascus wrote:[111]
"If we attempt to make an image of the invisible God, this would be sinful indeed. It is impossible to portray one who is without body:invisible, uncircumscribed and without form."
Around 790 Charlemagne ordered a set of four books that became known as the Libri Carolini (i.e. "Charles' books") to refute what his court mistakenly understood to be the iconoclast decrees of the Byzantine Second Council of Nicaea regarding sacred images. Although not well known during the Middle Ages, these books describe the key elements of the Catholic theological position on sacred images. To the Western Church, images were just objects made by craftsmen, to be utilized for stimulating the senses of the faithful, and to be respected for the sake of the subject represented, not in themselves. The Council of Constantinople (869) (considered ecumenical by the Western Church, but not the Eastern Church) reaffirmed the decisions of the Second Council of Nicaea and helped stamp out any remaining coals of iconoclasm. Specifically, its third canon required the image of Christ to have veneration equal with that of a Gospel book:[112]
We decree that the sacred image of our Lord Jesus Christ, the liberator and Savior of all people, must be venerated with the same honor as is given the book of the holy Gospels. For as through the language of the words contained in this book all can reach salvation, so, due to the action which these images exercise by their colors, all wise and simple alike, can derive profit from them.
But images of God the Father were not directly addressed in Constantinople in 869. A list of permitted icons was enumerated at this Council, but symbols of God the Father were not among them.[113] However, the general acceptance of icons and holy images began to create an atmosphere in which God the Father could be symbolized.
Prior to the 10th century no attempt was made to use a human to symbolize God the Father in Western art.[104] Yet, Western art eventually required some way to illustrate the presence of the Father, so through successive representations a set of artistic styles for symbolizing the Father using a man gradually emerged around the 10th century AD. A rationale for the use of a human is the belief that God created the soul of Man in the image of His own (thus allowing Human to transcend the other animals).
It appears that when early artists designed to represent God the Father, fear and awe restrained them from a usage of the whole human figure. Typically only a small part would be used as the image, usually the hand, or sometimes the face, but rarely a whole human. In many images, the figure of the Son supplants the Father, so a smaller portion of the person of the Father is depicted.[114]
By the 12th century depictions of God the Father had started to appear in French illuminated manuscripts, which as a less public form could often be more adventurous in their iconography, and in stained glass church windows in England. Initially the head or bust was usually shown in some form of frame of clouds in the top of the picture space, where the Hand of God had formerly appeared; the Baptism of Christ on the famous baptismal font in Liège of Rainer of Huy is an example from 1118 (a Hand of God is used in another scene). Gradually the amount of the human symbol shown can increase to a half-length figure, then a full-length, usually enthroned, as in Giotto's fresco of c. 1305 in Padua.[115] In the 14th century the Naples Bible carried a depiction of God the Father in the Burning bush. By the early 15th century, the Très Riches Heures du Duc de Berry has a considerable number of symbols, including an elderly but tall and elegant full-length figure walking in the Garden of Eden, which show a considerable diversity of apparent ages and dress. The "Gates of Paradise" of the Florence Baptistry by Lorenzo Ghiberti, begun in 1425 use a similar tall full-length symbol for the Father. The Rohan Book of Hours of about 1430 also included depictions of God the Father in half-length human form, which were now becoming standard, and the Hand of God becoming rarer. At the same period other works, like the large Genesis altarpiece by the Hamburg painter Meister Bertram, continued to use the old depiction of Christ as Logos in Genesis scenes. In the 15th century there was a brief fashion for depicting all three persons of the Trinity as similar or identical figures with the usual appearance of Christ.
In an early Venetian school Coronation of the Virgin by Giovanni d'Alemagna and Antonio Vivarini, (c. 1443) The Father is depicted using the symbol consistently used by other artists later, namely a patriarch, with benign, yet powerful countenance and with long white hair and a beard, a depiction largely derived from, and justified by, the near-physical, but still figurative, description of the Ancient of Days.[116]
. ...the Ancient of Days did sit, whose garment was white as snow, and the hair of his head like the pure wool: his throne was like the fiery flame, and his wheels as burning fire. (Daniel 7:9)
Usage of two Hands of God"(relatively unusual) and the Holy Spirit as a dove in Baptism of Christ, by Verrocchio, 1472
In the Annunciation by Benvenuto di Giovanni in 1470, God the Father is portrayed in the red robe and a hat that resembles that of a Cardinal. However, even in the later part of the 15th century, the symbolic representation of the Father and the Holy Spirit as "hands and dove" continued, e.g. in Verrocchio's Baptism of Christ in 1472.[117]
God the Father with His Right Hand Raised in Blessing, with a triangular halo representing the Trinity, Girolamo dai Libri c. 1555
In Renaissance paintings of the adoration of the Trinity, God may be depicted in two ways, either with emphasis on The Father, or the three elements of the Trinity. The most usual depiction of the Trinity in Renaissance art depicts God the Father using an old man, usually with a long beard and patriarchal in appearance, sometimes with a triangular halo (as a reference to the Trinity), or with a papal crown, specially in Northern Renaissance painting. In these depictions The Father may hold a globe or book (to symbolize God's knowledge and as a reference to how knowledge is deemed divine). He is behind and above Christ on the Cross in the Throne of Mercy iconography. A dove, the symbol of the Holy Spirit may hover above. Various people from different classes of society, e.g. kings, popes or martyrs may be present in the picture. In a Trinitarian Pietà, God the Father is often symbolized using a man wearing a papal dress and a papal crown, supporting the dead Christ in his arms. They are depicted as floating in heaven with angels who carry the instruments of the Passion.[118]
Representations of God the Father and the Trinity were attacked both by Protestants and within Catholicism, by the Jansenist and Baianist movements as well as more orthodox theologians. As with other attacks on Catholic imagery, this had the effect both of reducing Church support for the less central depictions, and strengthening it for the core ones. In the Western Church, the pressure to restrain religious imagery resulted in the highly influential decrees of the final session of the Council of Trent in 1563. The Council of Trent decrees confirmed the traditional Catholic doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image.[119]
Artistic depictions of God the Father were uncontroversial in Catholic art thereafter, but less common depictions of the Trinity were condemned. In 1745 Pope Benedict XIV explicitly supported the Throne of Mercy depiction, referring to the "Ancient of Days", but in 1786 it was still necessary for Pope Pius VI to issue a papal bull condemning the decision of an Italian church council to remove all images of the Trinity from churches.[120]
The famous The Creation of Adam by Michelangelo, c.1512
God the Father is symbolized in several Genesis scenes in Michelangelo's Sistine Chapel ceiling, most famously The Creation of Adam (whose image of near touching hands of God and Adam is iconic of humanity, being a reminder that Man is created in the Image and Likeness of God (Gen 1:26)).God the Father is depicted as a powerful figure, floating in the clouds in Titian's Assumption of the Virgin in the Frari of Venice, long admired as a masterpiece of High Renaissance art.[121] The Church of the Gesù in Rome includes a number of 16th century depictions of God the Father. In some of these paintings the Trinity is still alluded to in terms of three angels, but Giovanni Battista Fiammeri also depicted God the Father as a man riding on a cloud, above the scenes.[122]
In both the Last Judgment and the Coronation of the Virgin paintings by Rubens he depicted God the Father using the image that by then had become widely accepted, a bearded patriarchal figure above the fray. In the 17th century, the two Spanish artists Velázquez (whose father-in-law Francisco Pacheco was in charge of the approval of new images for the Inquisition) and Murillo both depicted God the Father using a patriarchal figure with a white beard in a purple robe.
The Ancient of Days (1794) Watercolor etching by William Blake
While representations of God the Father were growing in Italy, Spain, Germany and the Low Countries, there was resistance elsewhere in Europe, even during the 17th century. In 1632 most members of the Star Chamber court in England (except the Archbishop of York) condemned the use of the images of the Trinity in church windows, and some considered them illegal.[123] Later in the 17th century Sir Thomas Browne wrote that he considered the representation of God the Father using an old man "a dangerous act" that might lead to Egyptian symbolism.[124] In 1847, Charles Winston was still critical of such images as a "Romish trend" (a term used to refer to Roman Catholics) that he considered best avoided in England.[125]
In 1667 the 43rd chapter of the Great Moscow Council specifically included a ban on a number of symbolic depictions of God the Father and the Holy Spirit, which then also resulted in a whole range of other icons being placed on the forbidden list,[126][127] mostly affecting Western-style depictions which had been gaining ground in Orthodox icons. The Council also declared that the person of the Trinity who was the "Ancient of Days" was Christ, as Logos, not God the Father. However some icons continued to be produced in Russia, as well as Greece, Romania, and other Orthodox countries.
Theological approaches
Theologians and philosophers have attributed to God such characteristics as omniscience, omnipotence, omnipresence, perfect goodness, divine simplicity, and eternal and necessary existence. God has been described as incorporeal, a personal being, the source of all moral obligation, and the greatest conceivable being existent.[3] These attributes were all claimed to varying degrees by the early Jewish, Christian and Muslim scholars, including Maimonides,[53] St Augustine,[53] and Al-Ghazali.[128]
Many philosophers developed arguments for the existence of God,[8] while attempting to comprehend the precise implications of God's attributes. Reconciling some of those attributes generated important philosophical problems and debates. For example, God's omniscience may seem to imply that God knows how free agents will choose to act. If God does know this, their ostensible free will might be illusory, or foreknowledge does not imply predestination, and if God does not know it, God may not be omniscient.[129]
However, if by its essential nature, free will is not predetermined, then the effect of its will can never be perfectly predicted by anyone, regardless of intelligence and knowledge. Although knowledge of the options presented to that will, combined with perfectly infinite intelligence, could be said to provide God with omniscience if omniscience is defined as knowledge or understanding of all that is.
The last centuries of philosophy have seen vigorous questions regarding the arguments for God's existence raised by such philosophers as Immanuel Kant, David Hume and Antony Flew, although Kant held that the argument from morality was valid. The theist response has been either to contend, as does Alvin Plantinga, that faith is "properly basic", or to take, as does Richard Swinburne, the evidentialist position.[130] Some theists agree that only some of the arguments for God's existence are compelling, but argue that faith is not a product of reason, but requires risk. There would be no risk, they say, if the arguments for God's existence were as solid as the laws of logic, a position summed up by Pascal as "the heart has reasons of which reason does not know."[131] A recent theory using concepts from physics and neurophysiology proposes that God can be conceptualized within the theory of integrative level.[132]
Many religious believers allow for the existence of other, less powerful spiritual beings such as angels, saints, jinn, demons, and devas.[133][134][135][136][137]
Young people involved with Include Youth's Give and Take Scheme in the Southern area got together for a little event celebrating their big achievements on Thursday November 15 2012, at One Eighty on the hill, Armagh.
Our Essential Employability Programme delivering essential and employability skills to young people on our Give & Take Scheme is funded through Big Lottery Fund’s Reaching Out Empowering Young People programme.
For more information about Include Youth's Give and Take Scheme visit: includeyouth.org/index.php?/giveandtake
Which festival includes a hot tub, a sauna and loads of underground live bands and has free entrance? Besturingsfest! The first edition in 2013 turned out pretty cold and wet, but this years episode was sunny and packed.
Valencia handles traffic of practically all types of goods from every sector of the economy. The main customers of the Port of Valencia include; the furniture and timber industries, textiles, footwear, agriculture and foodstuffs (grain and fodder, wine and beverages, tinned food, fruit, etc.), fuel products (diesel fuel, petrol, coal, etc.), chemical and motor vehicles (Ford, Fiat, Land Rover, Jaguar, etc.), the construction industry (cement and clinker, ceramic tiles, marble, etc.), machinery, etc. It also has regular passenger traffic to and from the Balearic Islands and Italy. In recent years the Port of Valencia has experienced a continued and solid growth in Mediterranean cruise traffic. Please see www.valenciaport.com/en/community/valencia/the-port/. It is the fifth busiest seaport in Europe and the busiest port in the Mediterranean. Size: 600 ha (6 sq km).
Annual cargo tonnage: 81 million tonnes (2019).
Available berths: 40
Employees: 15,000 people. Please see en.wikipedia.org/wiki/Port_of_Valencia.
This photo was taken on P&O Cruises - MV Britannia - IMO: 9614036, on 09/09/2022, when departing from Valencia. After a day at sea, the next port of call was La Seyne-sur-Mer(Toulon), France, on 11/09/2022. The cruise ship in the distance, and also awaiting departure, is Royal Caribbean International - Vision of the Seas - IMO: 9116876. She was built and completed by Chantiers de l'Atlantique, Saint-Nazaire, France, being laid down on 29/10/1996, launched on 01/09/1997 and completed on 15/04/1998. Her maiden voyage was 02/05/1998. This Vision class cruise ship has a GTW78,340. She has eleven decks with a capacity for 2,050 passengers(double occupancy), 2,514 passengers(maximum) and 765 crew. From 2002, she is registered in Nassau, Bahamas, however from 1998 until then she was registered in Monrovia, Liberia. Valencia was not the easiest of ports to get photos of other ships with it being so spread out.
MV Britannia was completed on 26/02/2015 by Fincantieri, Monfalcone, Italy. She was laid down on 15/05/2013, launched on 14/02/2014 and Christened by the late HRH Queen Elizabeth II, on 10/03/2015 with her maiden voyage on the 14/03/2015. She is from the Royal Class of cruise ships and is British registered in Southampton. She has a GTW of 143,730, has seventeen decks of which fourteen are passenger accessible giving a maximum passenger capacity of 3,647 and 1,398 crew. She is powered by Wärtsilä 12V46F x 2 & Wärtsilä 14V46F x 2 & propulsion electric motors - 2 x VEM Sachsenwerk GMBH and is capable of 21.9 knots and a cruising speed of around 19 knots.
MV Britannia had departed from Ocean Cruise Terminal, Southampton, on 04/09/2022 for a lovely 14-night Mediterranean Cruise; Southampton - A Coruña, Spain - Valencia, Spain - La Seyne-sur-Mer(Toulon), France - Barcelona, Spain - Cadiz, Spain - Southampton. She had latterly departed from A Coruña, on 06/09/2022. © Peter Steel 2022.