I could have sworn there was a panda around here somewhere....

 

The Dujiangyan Panda Base and Center for Disease Control, operated by the Conservation and Research Center for the Giant Pandas (CCRCGP), occupies a semi-natural hillside location near Shiqiao Village, Qingchengshan in Dujiangyan county, near the Taoist holy mountain of Qīngchéngshān and 18 km from central Dujiangyan city.

 

A more visitor-friendly name is 'Dujiangyan Giant Panda Base'; it also seems to be known as 'Dujiangyan Panda Ark'.

 

The 51 ha centre (or is that just the visitor-accessible part?) has a specific focus on panda disease control, prevention and research. As such, the 'nursing home' works with sick or injured wild pandas and elderly or disabled captive pandas.

It also acts as quarantine for pandas leaving or entering China; if you've seen giant pandas anywhere else in the world, they either visited or will visit Dujiangyan Panda Base at some point, as the foreign-born cubs of Chinese-loaned pandas (i.e. all of them!) contractually must be returned to China and the breeding programme.

 

This doesn't mean that all the residents are ill or otherwise disabled – I wasn't aware of seeing any in such a condition. Many are entirely healthy, as the CCRCGP's disease-prevention initiative involves separating captive populations, containing any outbreaks to individual bases, and veterinary research also needs to study healthy individuals.

 

The world-famous Chengdu Panda Base (Chengdu Research Base of Giant Panda Breeding, CRBGPB) also has a Field Research Center in Dujiangyan county, seemingly known as Dujiangyan Panda Valley, where pandas are gradually reintroduced to the wild. To avoid misunderstanding: this isn't it.

Milan (Italy)

The ones that follow my photostream know about my 100 Strangers Project already: My goal is to talk to 100 complete strangers, get them to agree both to me taking a photo of them and publishing it here on my flickr site. If possible, I try to get to know them a little bit, too.

 

In the course of that project I've received several declines of people who didn't want their photo taken and / or published on the internet. Some of them reacted brusque, some very friendly. And with some people I had long and private conversations but in the end, they still held on to their refusal – I respect that, of course, and some of them I'd even count to the best experiences that the project has offered me so far.

 

The other day I got a refusal (if that's what you could call it) that kept me thinking. Here's the little story:

 

I spotted an old man with a tie and a hat. He was walking very very slowly, just tiny steps, one after another. Yet he seemed really calm and at peace, enjoying his little walk and the warm spring's sun that was shining. That was really fascinating. His face was very smooth and showed an Asian heritage, he looked Japanese somehow.

 

I remembered the advice I read somewhere not to approach people from behind, so I overtook the man (which was quite easy given his tiny steps), turned around after a distance and slowly walked up to him.

 

When I addressed him first he just frowned and showed a doubtful face. He didn't say anything, though, so I went on explaining what this was all about. My voice was calm and I smiled, but he now began to back off showing a fearful expression, like I was threatening him or just about to hit him.

 

Obviously, the man was frightened and tried to get away. It didn't look like he was understanding what I was telling him, so I said I was sorry and didn't mean to frighten or harass him in any way. I apologised, backed off slowly and left the man be.

 

Of course, this was just a misunderstanding, but I felt sorry and still do. I really hope this was the first and last stranger that I frightened.

 

But, some of you might ask by now, what about that photo here? Well, the girl in the photo is Linda. She was a stranger, too, but she agreed both to the photo and to its use on flickr. I didn't count her in the project for various reasons, but I just love her expression. After all, the guy she's giving that expression could just be me approaching a stranger that says "no, I don't think so, hell, no way"...

 

So, she's my memorial to all the declines I have received and that I'm yet to receive throughout the project.

 

Thank you, Linda!

 

***

 

Find out more about the project at the group page 100 Strangers.

 

For all strangers unfamiliar with flickr: You can easily see yourself and all my other strangers in my 100 Strangers set here.

by churkh ift.tt/1KWgmEG

I removed the description to avoid Flickr from misunderstanding it for an alleged commercial activity.

These are the series of illustrations to newest story – The flight of the swan telling about Dannee’s struggle with keeping peace between her friend and one of her romantic flashbacks in the past.

Even while Skyrim being at state of fragile peace Dannee learns that not all fights are tied with something epic as she tries to out some order and peace between two of her closest friends who had big misunderstanding along with nasty quarrel. In attempt to make her friend Serana see things from her perspective Dannee dwells in her own past as well as helping Serana deal with terrible but unseen wounds of her darkest memories…

The first part – www.nexusmods.com/skyrim/images/433485/?

The second part of the story – www.nexusmods.com/skyrim/images/433486/?

  

“I never expected to become a character out of my own PhD dissertation on forced migration,” observes Iryna Brunova-Kalisetska. But after speaking out against Russian annexation of Crimea, her home region, she had to flee in order to avoid arrest. For more than 15 years, as a professor and a psychologist, she trained people on how to avoid conflict and solve misunderstandings. Now, the place where she taught peace has become an epicenter of violence. From her new base in Kyiv, Iryna directs a center supporting education for the prevention of conflict. “In my country,” she says, “people don’t usually share their stories of suffering.” But she believes that talking—and listening—to each other is the path to reconciliation.

John McDouall Stuart, an explorer and leader of men: he was Commander of The South Australian Great Northern Expedition 1861–62.

Stuart migrated to South Australia in 1839: suffering ill health he returned to England where he died in June 1866.

 

McDOUALL STUART STATUE UNVEILING CEREMONY. SURVIVORS OF STUART'S EXPEDITION ABSENT

All tramcar and other traffic in the vicinity of the statue was temporarily held up, so that the guests of the society and the public generally might witness the proceedings in comfort. Immediately at the base of the statue which stands in a niche of Victoria square at the intersection of King William and Flinders Street, a platform was erected for the accommodation of those who were to take a prominent part in the ceremony. King William road was spanned by a string of flags and further colour was imparted to the scene by the gorgeous kilts of the Scottish Company, who paraded under Capt Smeaton and Lieuts Sutherland and Clark. The soldiers surrounded the barrier, within which the holders of invitation cards were admitted.

Every window of the Government offices in the vicinity framed a head or a camera, and there was a good attendance of the public, whom the Piper's Band, under Pipe-Mjr McLennan, entertained at intervals.

 

Altogether, from a spectacular point of view, the ceremony was a fitting one, but in other respects there were distinct draw-backs. The seat of honour, covered by a Union Jack, was empty. In other words, the survivors of Stuart's party were conspicuous by their absence. No member of the Government attended, while no members of the South Australian Branch of the Royal Geographical Society were present in a representative capacity.

 

Among those on the platform were members of the council of the Caledonian Society and the statue committee, members of the Adelaide Corporation, including the Mayor: Sir Charles Todd, who directed the construction of the overland telegraph line: Sir Edwin Smith, Mr John Darling sen (Past Chief), Mr John Darling jun MP (Leader of the Opposition), the Hon J H Howe MLC (Past Chief), Mr G Fowler Stewart (Past Chief), and Mr H T Morris (a pioneer of 1836), Mr A J McLachlan (Chairman of the statue committee).

 

The matter of a statue was taken up in 1896 and money was raised. For years nothing was done.

In May, 1901, the Caledonian Society were approached, and ultimately decided to take the matter in hand, provided the subscriptions already collected were handed over, and the society given an absolutely free hand in the management of the movement. This was done, and late in July 1901, the society formally took over the funds.

The society got together a sum of £800 altogether, exclusive of the amount received from the old committee. The consummation of the work was then well within their view.

 

A design submitted by William Maxwell of Adelaide was chosen. Funds were given by the state government and members of the public.

William Maxwell died in 1903, so his design was executed over six months by several men, led by James White of Sydney.

Messrs Davies & Rutt, architects, superintended the erection of the pedestal.

Mr Walter C Torode was contractor for the whole work of erection.

 

Despite some dissension and misunderstandings within the Adelaide community Stuart’s statue was finally unveiled by Mr A L McLachan (Chairman of the Statue Committee.

 

None of the four surviving members of Stuart’s final expedition attended the ceremony. They had written to the Caledonian Society protesting against the selection of Maxwell’s design, arguing that it bore no resemblance to the man, that it represented Stuart ‘from a mere artistic point’. They wrote: ‘for the public and posterity we would like Stuart to appear as the typical bushman he undoubtedly was’.

 

John McDouall Stuart 1815–1866, explorer, was born 7 September at Dysart, Fife, Scotland, fifth son of William Stuart an army captain and his wife Mary, nee McDouall.

Educated at the Scottish Naval and Military Academy, Edinburgh, in 1838 he decided to migrate to South Australia. He arrived in the ‘Indus’ in January 1839 and joined a surveying party. Having had a taste of the outback, in 1844 he accepted Charles Sturt’s offer to join a party exploring the centre of the continent: he became familiar with the topography of the centre.

 

In 1846–58 Stuart practised as a surveyor, had an estate agency and spent time at Port Lincoln. With financial help from William Finke, Stuart set out 14 May 1858 with an assistant, an Aboriginal tracker and provisions for four weeks to explore beyond Lake Torrens and Lake Gairdner and to look for grazing land. He travelled to Coober Pedy before turning south and then west.

The Aboriginal left them 3 August and with supplies and water almost exhausted and the horses lame they struggled into T M Gibson’s outstation at Streaky Bay on 22 August. After ten days rest Stuart returned to Adelaide to an enthusiastic welcome. He had covered 40,000 sq miles (104,600 km²) of possible sheep country at minimal cost.

Stuart gave his diary and maps to the South Australian government and was granted a lease of 1000 sq miles (2590 km²) of the new country.

 

In 1859 Finke and James Chambers financed another expedition. Stuart, with four others, travelled 500 miles blazing a trail with sufficient water for a permanent route north. November fourth saw him (third expedition) surveying new runs.

In the Davenport Range he found signs of gold, and after unsuccessful prospecting his men rebelled and the party returned to Chambers Creek where all but William Kekwick were paid off.

2 March 1860 Stuart set off again with two men and thirteen horses. Most of their provisions were spoiled by floods. When the party reached the freshwater creek that Stuart named after Finke 4 April, they were suffering from scurvy and he had lost the sight of his right eye. They followed the Finke to the mountains Stuart name after Governor MacDonnell and headed north again, naming Anna’s Reservoir after Chambers’ youngest daughter. 22 april he camped where he calculated the centre of the continent to be He named Central Mount Sturt (later Stuart) and planted a flag. In May they travelled north to Tennant’s Creek. Proceeding to Kekwick Ponds Stuart tried to penetrate the nearby scrub but on 26 June was forced back. Two months later the party staggered into Chambers Creek.

On his return to Adelaide Stuart was feted at a public banquet and at Government House.

 

At the end of 1860 the South Australian Government voted £2500 to equip a large expedition to be led by Stuart. On 1 January 1861 he left Chambers Creek with eleven men and reached Attack Creek late in April: with two others he found a way through the scrub that had defeated him before, to Sturt’s Plain. After failing to pass the plains, with their provisions low Stuart gave in and returned to Adelaide 23 September. He received the 1861 gold medal of the Royal Geographic Society from the governor.

 

Stuart was still convinced he could cross the continent. Shopkeepers gave him supplies for a fresh party, Chambers provided the horses and saddlery, government gave him £200 and instructed him to take a botanist, Frederick George Waterhouse .

 

They left Adelaide at the end of October 1861 but Stuart was delayed for five weeks by an accident: he joined the party at Moolooloo Station were one of the men left after a quarrel.

 

The party reached the centre on 12 March 1862, Attack Creek on the 28th and Sturt’s Plain on 15 April where they were blocked and turned to the scrub. They arrived Daly Waters, named after the new governor, 28 May and made camp for two weeks. On 24 July they forced their way through a thick belt of scrub and came upon the Indian Ocean.

 

Many of the horses were so weak they had to be abandoned on the way back. Ill with scurvy and nearly blind, Stuart had to be carried on a stretcher slung between two horses, recovering sufficiently to ride by the time they reached Mount Margaret on 26 November.

 

At Burra, on 16 December 1862, from the Kooringa Post and Telegraph Station Stuart sent the following telegram to Hon Commissioner of Crown Lands “Through you I beg to inform His Excellency the Governor-in-Chief and the Government that I have accomplished the object of expedition. Party behind all well. I will be in by the evening train tomorrow.”

And so ended The South Australian Great Northern Expedition 1861–62.

 

References:-

Deidre Morris. Australian Dictionary of Biography, National Centre of Biography, Australian National University: Australian Dictionary of Biography, Volume 6, (Melbourne University Press), 1976.

Burra, South Australia. John McDouall Stuart Society commemoration plaque on Kooringa Post & Telegraph office wall.

Register (Adelaide) Monday 6 June 1904.

Jude Elton and Mandy Paul History Trust of South Australia

   

Constant kindness can accomplish much. As the sun makes ice melt, kindness causes misunderstanding, mistrust, and hostility to evaporate.

Albert Schweitzer

  

The Dujiangyan Panda Base and Center for Disease Control, operated by the Conservation and Research Center for the Giant Pandas (CCRCGP), occupies a semi-natural hillside location near Shiqiao Village, Qingchengshan in Dujiangyan county, near the Taoist holy mountain of Qīngchéngshān and 18 km from central Dujiangyan city.

 

A more visitor-friendly name is 'Dujiangyan Giant Panda Base'; it also seems to be known as 'Dujiangyan Panda Ark'.

 

The 51 ha centre (or is that just the visitor-accessible part?) has a specific focus on panda disease control, prevention and research. As such, the 'nursing home' works with sick or injured wild pandas and elderly or disabled captive pandas.

This doesn't mean that all the residents are ill or otherwise disabled – I wasn't aware of seeing any in such a condition. Many are entirely healthy, as the CCRCGP's disease-prevention initiative involves separating captive populations, containing any outbreaks to individual bases, and veterinary research also needs to study healthy individuals.

 

It also acts as quarantine for pandas leaving or entering China; if you've seen giant pandas anywhere else in the world, they either visited or will visit Dujiangyan Panda Base at some point, as the foreign-born cubs of Chinese-loaned pandas (i.e. all of them!) contractually must be returned to China and the breeding programme.

That may explain the grid on this manhole cover, suggesting latitude/longitude lines on a globe.

 

The world-famous Chengdu Panda Base (Chengdu Research Base of Giant Panda Breeding, CRBGPB) also has a Field Research Center in Dujiangyan county, seemingly known as Dujiangyan Panda Valley, where pandas are gradually reintroduced to the wild. To avoid misunderstanding: this isn't it.

Not everybody works on the weekend. The good doctor Ewa should have known better, but what the heck, she's busy. She thought Saturday was the day for the letter J as well, so she chose "Job" as her theme for "We're Here!". Alas, eventhough I am on call this weekend and at the hospital, I was still stumped.

 

I do not carry a camera to work. There is just to much potential for misunderstanding and the accusation of privacy violations. My camera stays at home or the studio. But I did not want to miss out on evaxebra's day, so I used an Olympus GIF-XQ 140 to capture the four images I am holding underneath the lights of the studio. The gastroscope images were easy. The real trick was to hold the print just right so it would place a catchlight into my eyes from the overhead strobe.

 

We're Here!: Work

   

View Large and on Black

 

Strobist: AB1600 with gridded 60X30 softbox overhead. Triggered by Cybersync.

Copyright.

 

View from album.

  

Enlarge:

1. Simply click the diagonal arrows.

2. Further enlarge: Then press F11 on a PC, or Fullscreen. Allow re-focus.

  

Te Mania house, Conway Flat, Kaikoura, New Zealand.

Built 1937.

 

The Wilding family farm-house Te Mania, rural Conway Flats near the river mouth, south of Kaikoura, is a notable example of early modern New Zealand architecture. Influenced by Le Corbusier, and the Bauhaus. Architect Richard D. Harman of Christchurch. Built in 1937 of reinforced concrete in-situ. Clean lines, startling for the times, but practical and lasting; depending on advance and recess in balanced proportions. The plan was considered in advance for the time too, with spatial flow. The house has come to fit well with down-to-earth farming and became centre for its famous Angus beef stud. [300 hectare farm]. See also its likeness to other early modern examples by New Zealand architects, such as Connell's 1930 High and Over at Amersham, north of London: www.flickr.com/photos/peteshep/8177531255/in/album-721576... and John Anderson's Auckland Wharatane of 1928: www.flickr.com/photos/peteshep/7776625390/in/photolist-KV...

Architecturally, despite magazine stories, no "Deco" about it -- a misunderstanding of Modern.

It relies on its size, simple lines, frank concrete, and spatial rectilinear expression. It was softened by Virginia creeper as above; then green creeper was balanced with the Virginia.

  

[Conway Flat is a rural locality south of the Conway River mouth, 5+km south-east of Hundalee; Parnassus, Hurunui District.]

  

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

 

HISTORY

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

 

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

 

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

 

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

 

KATHAKALI PLAYS

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

 

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

 

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

 

MUSIC

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

 

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

 

PERFORMANCE

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

 

ACTING

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

 

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

 

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

 

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

 

NOTABLE TRAINING CENTRES & MASTERS

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

 

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

 

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

 

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

 

KATHAKALI STYLES

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

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

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

 

OTHER FORMS OD DANCE & OFFSHOOTS

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

 

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

 

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

 

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

 

NOTED KATHAKALI VILLAGES & BELTS

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

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

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

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

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

 

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

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

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

 

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

 

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

 

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

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

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

 

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

 

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

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

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

 

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

 

THANDEDATTAM: RAVANA IN BALI VADHAM

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

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

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

 

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

 

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

 

AN ATTAM BASED ON A SLOKA

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

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

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

 

A CONVERSATION BASED ON A SLOKA

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

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

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

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

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

 

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

 

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

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

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

 

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

Bhumau Talcharana Naghamshu Gaurgaura:

 

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

 

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

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

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

 

SCENE 1

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

 

SCENE 2

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

 

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

 

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

 

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

 

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

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

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

 

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

 

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

 

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

 

WIKIPEDIA

Large

 

One of those shots where I wished the tripod was setup. I knew if I waited to set it up, the clouds would move. So I slammed myself up against a telephone pole and hoped for the best. After I squeezed this shot off, I did in fact setup the tripod, but the clouds had cleared and the moon glared at me with an overly bright stare.

 

A random quote I thought would be appropriate:

The Earth is a very small stage in a vast cosmic arena. Think of the rivers of blood spilled by all those generals and emperors so that, in glory and triumph, they could become the momentary masters of a fraction of a dot. Think of the endless cruelties visited by the inhabitants of one corner of this pixel on the scarcely distinguishable inhabitants of some other corner, how frequent their misunderstandings, how eager they are to kill one another, how fervent their hatreds. -Carl Sagan, astronomer and writer (1934-1996)

 

Hey Jean-Paul! I am shy for your behavior!

Ssst... my friend, I don't want to sell my Cartier.

"Give me some money to eat please? "

 

You can follow my works on 500px to: 500px.com/joramhuyben

 

or

 

You can go to my website: www.joramhuyben.be

The study below was derived from facts uncovered while doing research for the following Doctorial dissertation:

Light to the shadows of their mind:

Criminal tatics and strategies

Criminology Department Dept.

Chatwick University

 

**************************** Story ***************************

 

Mae, had been having quite a rewarding chat with a charmingly attired young lady, all of seventeen, whom Mae had caught scurrying unsupervised amongst the Mansions’ other guests, when she suddenly felt a shocking vibe.

 

At the same time the seventeen year old turned her head away, her long hair swirling to behind her back, as she gazed at a sobbing lady treaded past her. The forlorn figure woefully alighting on a small stone bench located along a back wall. Mae, for a second blinded as the diamond in the girls swaying pearl earring caught the light of a chandelier, turned her head to watch also.

 

Making a call in judgment, Mae then finished her conversation with the fidgety young thing, letting her go on to rejoin the party. As she watched the silken and lace clad youth swirled away, a curiously pained expression crossed Mae’s face. She had almost convinced the pretty young thing to….

 

Oh well ,Mae said to herself, Trust in instinct. She then turned, focusing her attention to the limp, sobbing form now seated on the bench.

 

Oozing with compassion, Mae walked over to the weeping young lady. Sitting on the bench next to her Mae placed a comforting arm around her and drew her close. She handed the girl her silky laced handkerchief, to dry her eyes with,” Here my dear, you don’t want to stain that pretty gown!” Mae said, while lovingly pulling back the sobbing girls wave of corn silk coloured hair. The young lady took it, gratefully accepting this unknown woman’s sympathy. Taking the handkerchief with a gloved hand she buried her eyes into it ,rings and a bracelet twinkling merrily , mutely ignorant of their mistress’s wretchedness. Mae meet the girls sad gaze with her kind gypsy like eyes, gaining the poor young things’ confidence. Slowly Mae calmed her down enough to begin extracting the girl’s source of woe between racking sobs.

 

It seemed that the ladies fiancé had been dancing too close with a female friend of hers, and she was afraid he was going to call off the wedding after he snapped at her for bringing the matter to his attention. Mae patted the girl matronly on the back, telling her to go to the powder room to freshen up while she had a word with him on her account. The girl cheered up a little, really she said, hugging Mae that would be wonderful, and she obediently swept off without any question, so strong was Mae’s persuasiveness.

 

Ten minutes later Mae joined the girl in the powder room, telling her that it had all been a misunderstanding, and he wanted to meet with her in private to patch things up. As Mae spoke she helped straighten the girls luxuriously long satin gown, you want to look good for him she explained, watching a smile enchantingly brighten up her pretty face.

 

Collecting the girls wrap, Mae accompanied her out the back door leading into an ancient garden. Along one side an alley edged the street that separated the garden from the surrounding, rundown neighborhoods. The alley passed an old greenhouse, and it was there that Mae pointed out to the girl, “your fiancé awaits”, and without hesitation, the young lady allowed Mae to start to escort her there.

 

It was then that Mae saw the cop across the street by a vacant lot heading their way, although he had yet to spot the pair of ladies. Mae turned towards the young lady and explained that the policeman over there was a friend of hers and she wanted a word with him, besides, she winked, you don’t need my company inside there with him, she nodded towards the greenhouse, the girl smiled fetchingly, pressed Mae’s hand in thanks, and headed off, her gown swishing, stiletto heels clicking, along the cobblestone path. For a moment, Mae stared as the young lady, the flowing satin gown whispering along her petite figure as she went to the greenhouse to meet with her lover, and entirely different sort of stare, and then crossed the street to intercept the copper.

 

Mae walked past the copper tossing his way the sorta glance that she knew would pique his natural distrust, making him follow to see what mischief was going on!

 

*********

As Mae happily led the harness bull away from the garden she marveled over her good fortune, wondering over how things had worked to her benefit:

 

How such a lavish affair had been planned on that side of town in an old mansion, turned club.

 

How easily she had been able to slip through the tight security and crash the upscale party.

 

How lucky she had been to spy the young lady deep in misery before anyone else.

 

How easy it had been to convince the guilt ridden fiancé on what steps to take to win back his ladies hand, starting with waiting an hour in the upstairs gentlemen’s smoke lounge.

 

How pretty the young lady had looked when seductively she headed down the path to the greenhouse, the luxuriously sleek gown fluidly flowing, while opulent jewels flickered fire with each step.

 

How noisy those stiletto heels of the young lady were on the path, giving a loud notice of her approach as she went to the green house.

 

How quickly the look of lust upon the girls face would change to horror when she entered the greenhouse and encounter, not her fiancé, but Mae’s two masked partners lying in wait to rob anyone unlucky enough to cross their path.

 

How wicked the smiles would be of Mae’s confederates as one held the slippery, squirming figure of the young lady, while the other groped her body, picking it clean of anything of value.

  

Mae looked back and smiled smugly at the copper hot on her heels. Someone is going to be in trouble for leaving his post she thought. Just a couple more blocks should give them enough time in the greenhouse, and then Mae would easily give this flatfoot the slip. Mae’s mind went deliciously back to what should now be happening to the luckless lady in the long glossy gown, and how much Mae’s cut of the take would amount to. It was too bad she would miss the boys at work; Mae did so enjoy watching a good mugging.

 

********************

 

It had been the boys who had first spotted the ladies in colorfully long shiny gowns. Those gowns fluidly rustling along shapely figures crossing the street leading to ornate front doors of the old Hampton East club Mansion. But it had been their “sparklers” the glittering jewelry the ladies all seemed to be temptingly showing off, that had made their mouths wolfishly drool.

 

But, what they had seen when stealing peeks through slits in a velvet curtained window, had made them run to find Mae. They then breathlessly babbled on about the halfcocked, half-baked scheme they had dreamed up. “Even the young’uns had jools” they had excitedly told Mae. She figured that most of it was probably paste, who wears anything of value on the eastside she thought to herself. But just a glimmer of a possibility began to take seed, as she maternally continued to listen to the excited pair.

 

Mae decided to humor the pair of excitable petty thieves, she owed them some favors anyway, and Mae hated leaving a debt unpaid. Besides, business had been slow lately; it seemed that no one well to do these days need their fortune read. So, for no rhythm or reason other than to see what all the chatter had been about, Mae crashed the upscale event. She slipped inside through the large matching oak doors, without even a second glance from the old man wearing a loose uniform “guarding” the entrance.

 

Mae was amazed, even she could not have predicted the amazing displays of wealth, so tantalizingly close, and yet seemingly so far out of reach. Even the dangling “jools” worn with careless abandon by the “Young’uns” appeared to be the real McCoy! Although she had thought they were talking about girls a little younger than the solely 16 through 20 year olds she observed among the multitude of guests.

 

Mae was also surprised that she had been able to get this far, and so was now just beginning to think of ways to profit from the situation. One idea was also the simplest, find a tipsy lady shimmering in jewels and offer to read her fortune, targeting selected jewel adorned areas to do her readings and hope opportunity knocks. Another thought was to just wait by an exit and hope an inquisitive type wanders out, then follow and force them to the shed. If it was one of the “youn’uns” Mae could than renter and convince her wealthy mother to go and collect her daughter that Mae had seen going into the shed with a , gasp, boy! This last one was not as far-fetched as it sounded, given the antics that a lot of the guests were performing under Mae’s watchful eyes…

 

All in all, Mae was glad she had positioned the boys to wait in the old greenhouse, promising it would be worth their while. Mainly Mae had wanted to keep them out of mischief, too avoid having them upset her apple cart, and it appeared to have been a canny move on her part.

 

Still with no real purpose yet, she had started to shadow a fetchingly gowned young lady of about seventeen who was timidly weaving in and out amongst the groups of happily chatting guests. What Mae mostly desired was a closer scrutiny of the prettily dressed young girls savory pearls and delectable rings, so enticingly slippery upon the sweat glistened figure. Suddenly Mae had an epiphany, realizing exactly what to say to the pretty little miss to satisfy those desires, and more. Eagerly, she caught up to the darting little darling, and literally grabbed the young things attention.

 

The young miss, nervously looked around, as she played with her necklace, holding it with slender ringed fingers, as she innocently listened to the captivating dark haired stranger. Overly pretty teenage girls were so naïve and easy to manipulate, Mae thought, as she began to weave her story around the young thing that had fallen into the gypsies grasp.

 

The plan that had developed Mae’s in mind concerning the girl, was in her opinion, brilliant : for girls like this always travelled about in packs. And it was a good bet that if she ventured out into the night she would not be alone. Mae began to envision two or three similarly attired young ladies walking in the moonlit garden. Shimmering as they approached the garden shed, like so many high heeled, well jeweled Gretel’s heading to the witches’ tempting cottage. And Mae had the perfect fairy tale to tell this pretty girl, one that would spin around her like sticky strands of web that Mae would use to pull her away out into the night.

 

Mae started by charismatically complimented the teenager on her fine dress of silk and lace , she pleasantly straitening it for a “better look”, greedy emotions rising as she looked over the young ladies jewels. As she did this performance, Mae subtly started guiding the unquestioningly obedient girl towards a rear exit. But the girl innocently let out a squeal and pulled Mae over to the “cute little stone bench” one of several that lines a back, potted palm lined , wall . Mae helped the squirming young thing to a seat. As Mae started then to work on the girl, she scanned the area to see if anyone was watching. Seeing no signs of intervention, Mae asked for and obediently received, in turn, each of the girl’s excitedly sweaty palms.

 

Deeper and deeper the seventeen year old fell under Mae’s spell, listening enraptured as Mae began to “read” the girls fortune using her quivering palms. Mae, never letting the girls eyes fall away from her almost hypnotic gaze, began to delicately tug at the pretty rings encircling the slender fingers of the palms as she gently caressed them.

  

As the girl was told her fortune, the pretty young miss was totally caught under the enchantment of Mae’s eyes and sing-song way of speaking. Mae could see that she had captured the girl’s imagination as she wove her fortune telling into a romantic saga that would hopefully peak with the girl sneaking out to the cold shed where the hoodlums were waiting. Then, with delight, Mae saw a special gleam in the girl’s eyes that she knew all too well. A look she had seen before in previous clients, one that told her they were no longer completely aware of what was going on around them. The look that usually had her try to make a little extra profit from the situation!

 

She now did so by ever so slightly tighten her grip on the palm she held. Than with baited breath Mae began to work the girl’s jeweled rings over the knuckles of her warm slender fingers, her practiced eye watching the girls face for any sign that she was catching on to what was happening. Mae thought to herself, this is just coming together perfectly. Mae smiled broadly as she had a habit of doing when one of her wicked schemes was coming to fruitation. The girl smiled impishly in response, totally misinterpreting what that smile stood for. Never in her wildest dreams would she have guessed what this nice lady: with the deep black eyes from which she could not pull away from, who was so pleasantly stroking her palms while telling her fortune so enjoyably, was smiling about! Nor did she have the slightest of inklings that her Grandmother’s pretty rings were starting to vanish!

  

And that’s when It happened!

  

The girl’s deep concentration was broken as she saw a woeful figure heading to a nearby stone bench. Mae felt vibes coursing electrically through her body, her adrenalin mounting! Watching the sobbing newcomer, curled up on the bench, her long shiny gown splayed out over her knees, pooling around her feet. Her hands cupped her face, hiding it beneath waves of long corn silk coloured hair.

 

Mae’s eyes darted back to the young girl who was now innocently looking at Mae, with pretty questioning violet coloured eyes. Mae quickly weighed the consequences. Keep her bird in hand, or let it fly away and take a chance on enveloping the newcomer under her spell. Once again she envisioned a gaggle of Gretel’s in the garden, but then, with a sobering realization, a couple of Hansel’s horned in on the group. That would never do the Gypsy reasoned. Mae made her decision.

 

“Off you go my pretty miss; I see a friend is looking me.” Mae told her dismissingly. The girl looked around, still confused, but she gave Mae a chirping “okay” Mae, a warm smile spreading across her face, lifted up the girls long pearl necklace, fingering it as the girl’s violet eyes traveled to watch it. “C'est la vie, my pretty one “Not today, anyway she finished, sighing to herself, the girl only looked confused. Mae let the necklace go, watching the pearls fall back onto the girls lace covered chest. Without thinking more of it, she scampered off out of sight, her long gown flowing out.

 

Mae’s eyes changed from sparkly to pained, then to dead serious as she scanned the area around the miserable wretch in the corner. Then, a putting a smile across her face, she turned her focus totally on solacing and prizing the unhappy soul.

 

As Mae had sat next to the rich girl, her long fingers soothingly stroked the young lady into submission Mae faked an interest in consoling her and pretending to be concerned about the wretches sob story. She had actually been looking her over, appraising the shimmering jewels that had adorned the weeping young lady. The necklace and earrings dripped with small, but real flashy diamonds. The same size as the ones glistening on the thin tiara that held up the rich girl’s luxuriantly long hair. While she sniffled into Mae’s conveniently produced hankie, the young lady’s gem encrusted rings, wide diamond bracelet, and the fine jeweled brooch that held up the front of the slick satin gown were also closely examined.

 

Mae looked at the girl now walking next to her, innocently unaware of the fact that she had been led out here for one reason only, oblivious to the fact that she now presented nothing more than to the seemingly sweet lady walking next to her than the value of the jewels she wore. Mae smiled to herself, knowing that in the greenhouse her two muggers would miss nothing, the young girls jewels, her mink stole, fat silken purse, even the gown would all fetch a sweet price when sold.

 

While contemplating all this Mae had stayed ahead of the nosey cop and now had reached her destination. She quickly turned down a foggy alley she knew all too well. Just before she disappeared from view she gave the unfortunate girl one last thought.

 

Contemplating on whether her luck would change and she would be found first by her errant fiancé once he finished with his cigars and brandy, , or if her bad luck would hold she would be found by someone like that scoundrel Renauld, who specialized in kidnapping and white slavery among other nefarious activities?

  

Renauld to whom Mae owed a huge favor! Mae figured that some foreign sheik would bid high to add a petite fair skinned blond to his harem back in his country. Mae smiled smugly, licking her lips, It had shaped up to be ,indeed, a very good evening.

 

Coming soon

 

What fate had in mind

Please list as a favorite and comment if interested in the final act

******************************************************

 

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

DISCLAIMER

All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

 

The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

 

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

 

********************************************************************************

 

All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

 

The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

  

***************************

 

"We're just sunset sitting while I’m painting you a vision"

 

(This is a bit personal and a Flickr update since it has been YEARS FLICKR! THANK YOU for everything that I am)

In less than a month, I will be 24 years old. That means I have been playing with a camera since I was 10 years old. That means I have been pursuing/enjoying the visual arts as they are since I can remember. It is a strange thought to think about but there are other thoughts that are even scarier to think about right now.

 

I graduated in 2012, now five but soon six years ago. Things have changed so drastically from what you use to look at on here. No more super sentimental, emotional, naiveness (for the most part). I was wrong for so many reasons. I was affected by who and what was around me (as well as what I saw growing up and seeing, realizing) I thought speaking to God, Mother Earth, the stars, whatever it took, would help me mentally. Writing scripture did it for the mean time, but it obviously didn't follow me. The devil did. Had me thinking and doing things "the real" Lauren wouldn't have wanted to do or thought of. Made me really depressed.

 

Now, no more open walls. I was too personal and refused to listen to my parents. Thinking "I was venting, this is my journal, this is my spiritual thoughts". I was wrong. This was me speaking to the world because I didn't know who I was speaking to. Typing it out was my only way to justify my feelings. Flickr helped that.

 

There is no lying I was very distraught from my mind. Mental illness is beyond real (and definitely can happen at a young age, you know). People need to stop with the jokes and the misunderstandings of it. IT IS REAL and okay. It is something I hate but also love. Without my issues as well as many people, we would have no creativity without it, maybe. Without my anxiety, there would be no ideas. Though they have handicapped me in many ways and scare the heck out of me, this is what makes me, me and you, you!

 

Now that I am focusing on what is going on in today's world, I am so worried. Politics and religion is ruining relationships and good potential. Love is love. Good spirit exist (from personal experience I do know this). But now, bad spirit and actions are happening all over. It isn't just the United States. WAKE UP. Things all around the world are happening and it is much more than what we are going through.

 

My dad has been going through rounds of cancer. From Colon to Liver, it never seems he has had a break. That is a huge issue and reason for my personal (waking up) experience. I am lucky he is here.

 

Being aware and cautious is one thing I have learned from all of this. Our perception on things happening around the world is all wrong (unless that is if you are studying it in current events).

 

My last thought is really the reason why I wrote this:

Now that I am not a senior in high school, five years or more ago, I realized this:

 

Women must stop bringing each other down. Lately I've been around people who proclaim to be of good faith, whatever they believe, and their actions are the complete opposite of it. I can't believe our minds are so insecure today, probably due to social media, that we feel that it's "okay" to talk down about others. I feel like I am not a senior in high school, but an early freshman. I had beyond the worst insecurity issues. Body dysmorphia, disorders, and I have always been open about that. I believe that as women, we should be powering one another (especially this time in life). I don't notice things on people's "body"--I don't look at people to point out their flaws. In all seriousness, looks have nothing to do with a person and I felt I needed to write this to hopefully remind anyone of this. We should all love each other the best as possible (something I am serious about working on)

 

SORRY rant over. Do what you love!

(Thanks Flickr, always appreciative of you)

Now that I am older, I am still figuring my mind out. Still realizing my flaws and trying to work on them all.

 

I would like to say I staked out this place for 3 days and finally getting this shot when the birds came for a dip and drink.

 

EDIT: Sorry for the misunderstanding caused, I was merely joking. I just shot this bird(with my camera of course) when I was walking in the enclosure. There're birds everywhere, its a Bird Park after all : )

 

Unfortunately I can't :P LOL

 

Shot at the Jurong Bird Park, where you can save thousands(and your knees!) on huge costly telelenses

watercolour&pen in a sketchbook

 

First of all I was not sure with the name of this huge bushes spread all over the shore. My first thought was 'rhododendron', so I wrote on this page at the beginning (you can see a place for bigger word in the middle, around 'Oleander's letters). This misunderstanding happened to me without any reason or maybe becouse there were mountains around, haha... ;) Later I found it's surely well-known Oleander, so now I happily know this plant :) A lot of discoveries for the girl from the North! ;)

I think there has been a misunderstanding... ;-D

“There must be some kind of way out of here,”

Said the joker to the thief.

 

Notice how Dylan starts the song by throwing us into the middle of a conversation, and begins with an urgent statement. We don't know where the “here” is from which the speaker wants to escape, but we know he wants out. The sense of drama is immediate. We find out that the two people speaking are “the joker” and “the thief.” These are archetypal characters that have existed in one form or another for thousands of years. By identifying them in this way, Dylan invokes a sense of timelessness. Because these figures are broad archetypes, there is already a suggestion that this might be a parable of some sort, a story whose essence remains the same over many different times, places and characters. The joker, or jester, can be seen in general to represent the artist: someone whose role is to amuse other members of the established order, but also to provoke them, to suggest alternate ways of looking at reality. And, of course, the joker and the thief are both outsiders of a sort, united in their separation from more ordered segments of society.

 

“There's too much confusion,

I can't get no relief.

Businessmen, they drink my wine,

Plowmen dig my earth.

None of them along the line

Know what any of it is worth.”

 

The rest of the verse tells us why the joker wants to escape: there is too much confusion. But what is confused? Others are benefiting from his labors, and working for him to help produce the results. But neither understands the worth of their efforts. So the confusion is about values: what is valuable and what is not.

 

“No reason to get excited,”

The thief he kindly spoke.

“There are many here among us

Who feel that life is but a joke.

But you and I, we've been through that,

And this is not our fate.

So let us not talk falsely now,

The hour is getting late.”

 

The second verse begins with the thief speaking “kindly” to the joker. This adverb lets us know that he is sympathetic and that he, perhaps, understands the worth of the joker and his efforts. The thief goes on to say that while there are those who think that life is “but a joke,” the thief and the joker know better, having lived through that. So while others may still be confused, these two are not. Since they understand the value of life, it is important for them to be truthful with one another. Then the last line of the verse brings us back from exposition to a sense of drama and movement, and impending action: “the hour is getting late.”

 

All along the watchtower,

Princes kept the view,

While all the women came and went —

Barefoot servants too.

Outside in the cold distance,

A wildcat did growl.

Two riders were approaching, and

The wind began to howl.

 

The beginning of this final verse suddenly shifts the scene, without at first giving us any sense of how this new setting connects to the first one. In contrast to the first two verses, which were full of conversation, this verse unfolds almost cinematically, full of visual imagery. This new scene is populated with princes, women, and barefoot servants, establishing a time and place in the past, although again using enduring, archetypal figures. These figures guarding their castle seem to represent established society, and the existing power structure. But what are they guarding against?

 

A wildcat growls from a distance, suggesting the savage, untamed power of nature lurking just beyond the well-ordered lights of the castle. Then we see the two riders approaching. Suddenly, in only four words, the first two verses are connected with the last. With a sort of cinematic establishing shot, but used at the end of the story rather than the beginning, we see the thief and the joker approaching the castle. We already know that they want to establish a different set of values, one based on the worth of human life. Their approach towards the guarded castle suggests an impending confrontation. And then the last line of the song strengthens this suggestion with imagery of a furious storm starting to build.

 

Note how this last verse has made physical the relationships suggested in the previous lines. The thief, joker and wildcat are all placed outside the castle, which is occupied by princes and servants. So we now have, in a very concrete sense, independent outsiders and a rigid power hierarchy.

* Summarizes his own life to date. Given his earlier efforts to make pointed fun of almost everything around him, and his near-fatal motorcycle crash that marked a turning point in his career, it is hard not to see the joker as Dylan himself. He has now learned that life is not a joke, and distinguishes between artists and outsiders who understand the seriousness of life, versus the businessmen and fans who treat his art as simply a marketable commodity.

* Identifies the primary issue of our time as one of values. Modern thinkers such as Ken Wilber, with his image of our contemporary “flatland,” in which everything is seen as neutral, and devoid of value, are brought to mind. In earlier songs Dylan talked tirelessly of modern figures misunderstanding the significance of issues such as war, freedom and poverty. Here Dylan stands back from these specific issues and reduces the confrontation to its essential element: human values against the established order.

* Propels his theme with a powerful dramatic structure. From a traditional dramatic viewpoint, almost nothing happens in this song: two riders talk to each other while approaching a castle. We've hardly got a decent first act, let alone a whole play. Yet by repeatedly hinting at the intensity of a coming confrontation, and by identifying the two opposing forces, Dylan keeps us on the edges of our seats, wondering what will happen next. The effect at the end is comparable to the conclusion of William Butler Yeats' famous poem, “The Second Coming”: “And what rough beast, its hour come round at last, slouches towards Bethlehem to be born?” In both cases, there is a perceptible chill creeping up the spine, as the poet leaves his reader to contemplate the inevitability and intensity of the coming confrontation, and its consequences

~

~

 

GLENDORA GARNETTE: "Sister, WHY are we wearing our 'Mad Men' dresses?? Pretty sure this is the TOY STORY photo shoot !! ??"

  

SOPHIA SAPPHIRE:

"WHA-? TOY STORY ???!!!!! But the sign-in sheet said 'MR. HAMM', so of course I was expecting Jon ... "

 

GLENDORA GARNETTE:

"um ... maybe we better read the FINE PRINT next time ... "

 

~

~

BLYTHE-A-DAY

AUGUST 2016

DAY 7: "TOY STORY"

 

~

~

Glendora Garnette: Sally Salamander (that pirate one)

 

Sophia Sapphire: (Curly Blue Babe)

 

Totally stock girls with pure neemo bodies ~

 

MR. HAMM ... as Himself ;)

 

~

~

   

I just received a head for commission that had been wiped inadequately. You can see sealant residue all over the face including some black paint flakes that got stuck in the residue.

 

I will be putting this photo up as an example on my commission page to avoid misunderstandings in the future. For this commission I will clean it without charge since I had not clarified what is not clean enough.

 

The reason I need a thoroughly clean head before I paint is because any residue will show up under my work as patchiness. I hope I don't seem too picky. Generally it takes a lot of time and scrubbing to thoroughly clean a head. It's very hard to get the paint out of tiny crevices. Hah.....It's why all faceup artists charge for it....I also hate doing it but I know I clean the head to my satisfaction at least.

Today the most significant misunderstanding of the Christian liturgy is that it is sacred. Let me clarify. The problem is that “sacred” has been opposed to “secular,” and the two are presumed to describe two separate— but occasionally related— orbits. The problem is not simply that this separation leaves the church’s liturgy begging for relevance to the “real world.” The problem is rather that the supposedly “secular” world invents its own liturgies, with pretensions every bit as “sacred” as those of the Christian liturgy, and these liturgies can come to rival the church’s liturgy for our bodies and our minds. . . . I want to explore in particular some of the liturgies of the American nation-state. I will suggest first that such liturgies are not properly called “secular,” and second, that the Christian liturgy is not properly cordoned off into the realm of the “sacred.”

-William T. Cavanaugh, Migrations of the Holy (Grand Rapids, MI: Eerdmans, 2011), 115.

   

wanna bet? it's a mosquito net

weeping willow (Salix babylonica) or Babylon willow is a species of willow native to dry areas of northern China, but cultivated for millennia elsewhere in Asia, being traded along the Silk Road to southwest Asia and Europe, This one is in Rotterdam covered with snow.

 

The epithet babylonica in the scientific name as well as Babylon willow, derive from a misunderstanding by Linnaeus that this willow was the tree described in the Bible in the opening of Psalm 137

 

Made with Sony A99m2, Minolta AF 20mm f/2.8 and

NIK SilverEfex

 

Una incomprensione, un litigio... e poi a letto...

come Cane e Gatto...

_________________________________

 

A misunderstanding, a quarrel ... and then to bed ...

like cat and dog ...

SO IM NOT GONNA LIE I HAD A REALLY HARD TIME WITH THIS MY EDITOR WAS ACTING CRAZY AS USUAL I GUESS IT JUST DOESNT LIKE KRYSTAL.

 

STORYLINE: KRYSTAL GOES TO MEET KY WHEN SHE FINDS HIM UNDER THE DOCKS MAKING OUT WITH HER TWIN SISTER CANDACE SO SHE DROPS HER STUFF RUNNING OFF AND YELLS BACK AT HIM THEY ARE OVER! THOUGH KY DIDNT KNOW HE WAS KISSING CANDACE SO I GUESS U CUD SAY IT WAS A SAD MISUNDERSTANDING :(

 

-PLEASE VIEW IN LIGHT BOX FOR BETTER DETAIL OF HER EYE MAKE UP :)

-IN THE PICTURE U CAN SEE HOW KRYSTAL IS SEEING THINGS RIGHT NOW ITS LIKE DARKNESS IS TAKING OVER HER LIFE HOPE U LIKE :)

 

I DID THIS SHOOT LIKE A THOUSAND TIMES SO I REALLY HOPE TO MAKE IT TO THE NEXT ROUND

Seen in Orbetello, Italy - could cause misunderstandings!

I was trying to get a friend of this fella to land on a tree with some nice red blossoms. I think there was a misunderstanding. It land on the toe of my boot. You get what you pay for.

"Living is easy with eyes closed, misunderstanding is all you see.."

 

Strawberry fields forever - Beatles

www.youtube.com/watch?v=8A4r2RU1u3g

Have a great weekend dear friends!

.............................................................................................................................

EXPLORED (Thanks)

32/365 days

(version française ici)

  

I tell you something

and you don't respond to it

you're speaking abbout something else

 

So I tell it again

and again you don't respond to it

you keep going

on your own train of thoughts

So I say it in a different way

and still

you don't respond to it

 

you talk as if

what I said didn't exist

 

as if the very subject about which I spoke

was invisible

 

Can I

just stop and say

"Stop. Look at this. This that is there. Look at it. Look at it carefully. Do you see it ?"

 

Would this have an effect ?

 

Can everyone see everything ?

And is it the right method

to stop and make them see ?

Can we even make them see something ?

 

Or

are there things

that some people

will never see ?

Things that will always remain invisible

to their core being ?

 

And what can we do

then ?

Admit it

and change the subject

and keep this one for ourselves

?

 

And realize

that they may be

others

such things

that I don't see

myself.

 

Obviously.

 

What would you tell me ?

Is there even anything you could tell me ?

therainbowfashionista.blogspot.com/2013/06/gotta-catch-em...

 

Skin: cStar Limited - Carla 1 - Amber

Hair: Alice Project - Steph II - Black/Yellow

Horns: .::Kre-ations::. - {.*Chibi Oni*.} Horns

Cupcake: I made it ask me for it

Eyes: .::Kre-ations::. - Eclypse eyes - Uranus

Necklace: Cute Poison - Gamer Necklace (Available in Endless Summer Hunt)

Shirt: [IMP TAIL] - Catch'em All Female Mesh Tee

Skirt: .::Kre-ations::. - Pika Microskirt (Group Gift)

Shoes: N-core - COQUETTE - Black

Pose: Apple Spice - Blogger 001

 

Special Thanks to Kaylith for pulling this out of her ass last minute and taking the pics for me. And apologies to Skyler for the misunderstanding that lead to us being mad at each other about this post.

Once Sir Joseph of Baeth learnt of Lenfald's separation, he feared that Djorn and Roger were in danger on their way to Garheim. This fear was realized when he received a note stating that the traveling duo had in fact been captured at the Lenfald-Loreos border and were being held for ransom at the old Garhim embassy; roughly ten miles north along the western coast. At this same time Joseph had received an order to go fishing in Lenfald in order to spy on the province. Figuring this was a perfect time to do so, he proceeded to hire a crew, pack his wares and fishing rods, and load up the Rogue Spur for the rescue of Roger and Djorn.....

 

Several weeks had passed since their departure from Dalmunatha. It took time for Joseph to sail far enough south in order to steer clear of the Magic Isles and plot a very careful course through the Sea of Despair to reach the safer coasts of the Western side of Roawia. Upon arrival to the cliffs that held the old Garhim embassy, its banners changed to the colors of Lenfald, Joseph told his crew to prepare to be boarded with weapons at the ready- if they had previously kicked the Garhims out of the embassy, who knows what they would do to them as Loreesis.

 

Surprisingly enough however, Sir Joseph and his crew were met with open arms as they docked to the old embassy with dock hands helping to immediately unload the sea-wary contents of their journey. Djorn and Roger were waiting along the lookout just above the docks holding on to two beautiful women each with giant grins on their faces. Standing next to them was a Lenfel knight with a light grey beard and swept back hair, wearing black lapels, noting him as a higher lord. He yelled out, "What ho Sir Joseph! How thee fare on this fine day?! Did thy winds give you quick course to mighty Lenfald?!"

 

Not sure if this was a ruse or sincere question Joseph knew to keep his tongue witty and his sword close for this encounter. He called back to the lord,

"Greetings noble Lenfel! The winds were sure in helping us get 'ere at the best pace it could!" He began to walk up the stairs to talk to the noble more clearly, "I dont think we have had the pleasure of acquaintance, I am Sir Joseph of Baeth, merchant and knight of Loreos. I was requested to come rescue my two colleagues here, who seem to have both made themselves rather comfortable. I feel I have brought more than enough gold and treasure to negotiate with for their immediate release. Exactly who do I have the pleasure of doing business with my lord?"

 

At this, the "captured" duo had begun laughing while the noble wrapped an arm around the confused Joseph and gave out a hearty laugh too. Gathering himself, the high lord finally spoke to Joseph, "Nay Sir Joseph! Yer friends aren't our prisoners! Why they have been great fun in our little castle! That note was written just to scare ye to get yer booty out here sooner! Twas a big misunderstanding that has happened since the separation of Lenfald from the nations of Roawia. Thou first think we kicked out the Garhims from their embassy, tis a false accusation- all the occupants left when Garheim was in most dire trouble with the Queen's soldiers. We took up residence because we didnt want them damn filthy Dragon soldiers to find and take root in this abandoned outpost.."

 

He turned and gestured to Roger and Djorn, "And the capturing of these two twas a complete accident, I had not yet returned from the council meeting so when word of our separation began to incorrectly spread- the local militias deemed it best to start building a wall and patrolling the Lorseesi-Lenfel border which is where your companions were taken. Our most sincere apologies for this mistake, we do not request any form of ransom and if you'd like you can set up a booth in the courtyard and sell thy wares! Stay awhile and let thy crew rest from your long journey! Im sure many 'ere would love to buy some gems and trinkets! AH I almost forgot the pleasantries, I am Lord Jon of House Dragmar.'

 

Surprised at this revelation and indeed tired from his journey here, Joseph was still suspicious of this Lord Jon and those Lenfels around him. He decided it would be best to accept the invitation and let the crew rest for a few days so he could dig a bit deeper into the mystery that Lenfald had become... He accepted the high lord's apology and invitation to set up shop and rest for a couple days. He finished by giving a sly grin and asking a single question, "So Lord Jon, I have heard that Lenfald's western shores are home to some of the best fishing the realm has ever seen! I just so happen to have my fishing rods with me, would you be up for a spot of fishing tomorrow?"

 

The old Lenfel replied, "Well of course we have the world's best fishing! I will take you up on that offer Sir Joseph! Tomorrow at mid morning we shall fish!"

 

.......

 

It was summertime in Roawia and like the other nations, Lenfald's denizens were enjoying this time of peace. This gave the old embassy a very festive feel. Merchants were selling their wares, people were milling about and talking, children were laughing; jesters juggled and told jokes, the men were having fun practicing their archery and sword skills. Roger had met a cute baker so while he managed Joseph's booth, he allowed her to sell bread to hungry customers. Djorn was off of his shift so he resumed courting the fair ladies he had previously been seen with.

 

The Garhims had set up a rather good system of agriculture here so many were tending and harvesting the varieties of produce and food that was growing around the castle though the guard presence was quite large for such a small outpost...Joseph noticed this.

 

Just a few meters down from the dock that held the Rogue Spur was a wooden outlook that jutted out over the cliffs, a perfect spot for fishing. It was here that Lord Jon and Sir Joseph had cast out their lines and began to wait for something to bite.

 

"Ahhh... a lovely day ain't it Lord Jon?" Asked Joseph. Slipping the objective of spying to Roger and Djorn late in the night, he knew that the information the three could collect would be valuable to his Areani allies. Joseph had also given the Lord some of his strongest Loreesi ale at breakfast to loosen him up before their little fishing excursion.

 

"Yes, tis a great day after all Sir Joseph! Nothing quite like men of stature relishing in the simple enjoyments of the commoners."

 

Looking away, Joseph rolled his eyes and nodded. "Aye milord, tis always a surreal experience. Tell thee, what dost thou think of Lenfald's separation from the Roawia?"

 

"Not much to be honest with ya lad. Everyone be a little tenser with being afraid of how the other nations will react, but we will all get along in the end Im sure. I will tell ya what Joseph, I dont give much trust to them Loreesi or Garhim diplomats and politicians. Tis the tried and true men of Roawia, those who work its land and seas that I trust the most. Men like you lad... I will tell you this though my new friend, something you'd like to hear but cannot tell anyone..."

 

He leaned in close to Joseph, so close Joseph could smell the Loreesi ale on the high lord's breath.

 

"I heard something remarkable has happened that gives reason for the sudden movements of Lenfald's ships-- the reason why there wasn't a vessel stationed here upon your arrival. There are trusted rumors that us Lenfel's have discovered something." He pointed out to the sea, "Something out there...-"

 

His sentence was cut off by Joseph being startled by the sudden jerking of his fishing line. "AHA! I believe I caught me a fish!" He yelled as he pulled up a medium sized fish.

 

Broke from his drunken trance, Lord Jon exclaimed, "Oi! That is a fine lookin fish me boy! Let us cook it up and get more of that fancy ale of yours!"

 

__________________________

 

First off, sorry for the rather long story! But it is needed for the continuation of Sir Joseph of Baeth's story which will probably be shorter in upcoming installments.

 

(Also, apologies for the kind of crappy pics- my actual camera isnt working and my light box didnt fit this size MOC so a lot of photoshop was used in the first pic so sorry about that.)

 

Secondly, Wow! This was a big entry to both the Loreos Local Challenge LCXXII and the second Journeyman task of the Merchants guild!

 

This was originally apart of a display last year for a local Lego event here in the Northern Colorado area but I never got around to posting it as life got in the way and I wasn't sure how to incorporate this into my character's story at the time. The base had been sitting around while the original castle was taken down to build something for my next Merchants Guild task.

 

It was really my first attempt at building an actual castle for once and since it was intended for a display- I wanted an open area for easy viewing while keeping the castle modular so that is why it doesnt really have a keep or anything. But after my quick redux I think it turned out quite well!

 

If you've made it this far thanks so much for viewing! It's good to be actively building again and there is still quite a bit in store! :)

8-17 60009 "Osprey" - Perth New Yard Turntable

 

60009 was named "Osprey" during a troubled political time, when "Union of South Africa" was deemed inappropriate.

In this view the locomotive has just arrived in the yard and is about to manoeuvre onto the turntable. Sadly, through a misunderstanding, the turntable was scrapped and cut up.

Smashing head to wall for misunderstanding about the meaning of the first topic. (thought it was directly related to this project!) Am so ashamed!

 

skyejuice.blogspot.com/2013/03/30-days-of-list-i-am-liste...

German postcard by VEB Progress Film-Vertrieb, Berlin, no. 234, 1956. Photo: Manfred Klawikowski.

 

Lore Frisch (1925-1962) was a German film actress of the 1950s and early 1960s. She starred starred in the popular DEFA films Der Ochse von Kulm (1955), Zar und Zimmermann (1956), and Meine Frau macht Musik (1958). When her married lover abandoned her, she committed suicide.

 

Lore Frisch was born in 1925 in Schwindegg, Bavaria, as Eleonora Frisch, daughter of a painter from Bad Reichenhall. She took ballet lessons during her school days. During the Second World War, she worked as a nurse, and when stationed in Ost Friesland, she joined the Wanderfrühne Ostfriesische Kammerspiele Leer. Lore Frisch initially worked there as a prompter, tailor, and stage painter. Later she also took on theater roles. In 1948 she had appearances in Ingolstadt and at Munich theaters. She received acting lessons from Martin Hellberg and worked temporarily as a broadcaster, stenographer, and nurse. In the early 1950s, Lore Frisch appeared in three Heimat films, shot in Bavaria. Martin Hellberg, who had moved to the GDR in 1949, brought her to DEFA in 1954, where she had a prolific career. At the DEFA dubbing studios, Frisch also met European stars such as Giovanna Ralli and Marina Vlady. In the film comedy Der Ochse von Kulm (Martin Hellberg, 1955), she played the wife of a Bavarian farmer who rebels against the American occupying powers. In 1956, she made her most successful film Zar und Zimmermann (Hans Müller, 1956), which also ran in the BRD. Zar und Zimmermann deals with a period piece musical comedy about czar Peter I (Bert Fortell), who incognito as Peter Michailow, works in the Dutch Republic in the little town of Saardam [a pun on the real village of Zaandam where the real Peter I stayed], learning to build ships. He trades places with a fellow Russian carpenter, Peter Iwanow (Günther Haack), to escape foreign ambassadors and the pushy, greedy mayor Van Bett (Willy Kleinau). While the French ambassador has recognised the czar, the English ambassador and the mayor think Iwanow is the czar, creating all kinds of misunderstandings. Meanwhile, both Peters are in love with Marie (Frisch), who cannot decide which one she'll go for, and even Marie is fooled by the fake czar.

 

In 1958 Lore Frisch had great success as the leading actress in the revue film Meine Frau macht Musik (Hans Heinrich, 1958). In this film, she played a housewife who steadfastly goes her way as a singer. She also embodied combative, self-confident women, especially as a women's rights activist in Nur eine Frau (Carl Balhaus, 1958). In contrast, in the satire Das Kleid (Konrad Petzold, 1961), an adaptation of the fairy tale The Emperor's New Clothes, she was an opportunistic Minister of Clothing. Due to the obvious parallels to everyday life in the GDR, the film only premiered in 1991. Lore Frisch, who had been living in West-Berlin, moved to the GDR in 1959, hoping to get more big parts at DEFA, but she only got smaller ones. She occasionally also appeared at theatres. When her lover, the actor Alexander Hegarth, who was married, went back to his wife in Western Germany, Frisch was so devastated that she committed suicide and died in Potsdam in 1962.

 

Sources: Synchron-Forum (German), Wikipedia (German), and IMDb.

 

And, please check out our blog European Film Star Postcards.

Businessman in a black folded his hands in front of him and thinking, meditating You can download this clip as a MOV file without watermark here: api.videoblocks.com/video/businessman-in-a-black-folded-h...

# The photo has been selected and published at "Photo Critique" section of Better Photography Magazine (November, 2007 edition)

 

 

“Sweet, crazy conversations full of half sentences, daydreams and misunderstandings more thrilling than understanding could ever be.”

 

Olivia age 6 and Jasmine age 3 x

Toby showing off his best Fearsome Face. Look at all those Big Boy teeth!

 

119 Pictures in 2019 - #31. "Demonic"

 

Come on - they're soft, fluffy Golden Retrievers - there's only so much I can do.

 

In this case, some serious slider pushing plus some Photoshop magic - the Glowing Edges filter overlaid over the original (see comments)

 

Daily Dog Challenge 2627. "Motion"

 

Our Daily Challenge - January 16, 2019: "Communication"

 

You might say that Toby is flashing his teeth to communicate anger or aggression, but you would be misunderstanding him completely.

 

His otherwise gentle expression (soft eyes/limp ears) his relaxed body, and the fact that Henry is also very relaxed with soft eyes and limp ears, shows these two are communicating "we're just playing".

 

Stop on by Henry and Toby's blog: bzdogs.com - The Secret Life of the Suburban Dog

(Lk 24:30-32) And it came to pass, as he sat at meat with them, he took bread, and blessed it, and broke, and gave to them. And their eyes were opened, and they knew him; and he vanished out of their sight. And they said one to another, Did not our heart burn within us, while he talked with us by the way, and while he opened to us the scriptures?

 

14. The Disciples Gave Jesus the Broiled Fish to Eat

 

(Lk 24:36-43) And as they thus spoke, Jesus himself stoodWord of Almighty God in the middle of them, and said to them, Peace be to you. But they were terrified and affrighted, and supposed that they had seen a spirit. And he said to them, Why are you troubled? and why do thoughts arise in your hearts? Behold my hands and my feet, that it is I myself: handle me, and see; for a spirit has not flesh and bones, as you see me have. And when he had thus spoken, he showed them his hands and his feet. And while they yet believed not for joy, and wondered, he said to them, Have you here any meat? And they gave him a piece of a broiled fish, and of an honeycomb. And he took it, and did eat before them.

 

Let us now look at the above passages of scripture. The first passage is the account about the Lord Jesus eating the bread and opening the scriptures after His resurrection. The second is the account about the Lord Jesus eating the broiled fish. What help can these two passages bring to your knowing God’s disposition? You may imagine: What picture do these descriptions give you that the Lord Jesus ate the bread and the broiled fish? You may imagine: If the Lord Jesus stands before you and eats bread, what kind of feeling will you have? Or if the Lord Jesus eats at the same table with you, eating fish and bread with you, what kind of feeling will you have then? If you feel very close to the Lord and feel that the Lord is very amiable with man, this feeling is right. This is precisely the result the Lord Jesus wanted to achieve by eating bread and fish before all the men after His resurrection. If the Lord Jesus only talked with men after His resurrection and they could not feel His bones and His flesh but felt He was an unreachable soul, what kind of feeling would they have? Wouldn’t they be disappointed? When they were disappointed, wouldn’t they feel abandoned? Wouldn’t they feel that there was a distance between them and the Lord Jesus Christ? What negative effects would this distance have on the relationship between man and God? Man would definitely feel afraid and not dare to come close to Him. Man would take the attitude of staying at a respectful distance from Him, and thereafter man’s intimate relationship with the Lord Jesus Christ would be cut off and be restored to the relationship between man and the God in heaven before the Age of Grace. The spiritual body that man could not touch or feel would cause man’s feeling of being close to God to disappear, and would also cause the zero-distance intimate relationship the Lord Jesus Christ established with man when in the flesh to exist no longer. Man’s feeling toward the spiritual body was only dreading, shunning, and staring without words, not daring to approach and not daring to communicate and talk with, not to speak of following, trusting, and looking up to. God hated to see that man had this kind of feeling toward Him, and He did not want to see that man shunned Him and stayed away from Him, but He only wanted man to know about Him, come close to Him, and be His dear one. If your dear ones and your children do not know you and dare not come close to you but always shun you when seeing you, and anything you do for them cannot be understood by them, what kind of feeling will you have? Won’t you feel your heart ache? Won’t you be heart-broken? Such is God’s feeling when man shuns Him. So, after His resurrection the Lord Jesus still appeared to men in the image with bones and flesh and ate and drank with men. God regards man as His dear one, and God also wants man to regard Him as the dearest. Only thus can God truly gain man and can man truly love and worship God. Can you understand now My intention of why I extract these two passages of scripture that the Lord Jesus ate the bread and opened the scriptures to men after His resurrection and that the disciples gave the Lord Jesus the broiled fish to eat?

 

The series of things the Lord Jesus did and the words He said after His resurrection could be said to embody His thoughtful kind intention. He was full of God’s deep affection and profound kindness toward man, full of God’s treasure and meticulous care for the intimate relationship He established with man when in the flesh, and even more full of God’s yearning and expectation for the life of eating and living with His followers when in the flesh. So God did not want man to feel there was a distance between God and man or want man to become distant from God, much less want man to feel that after the Lord Jesus’ resurrection He was no longer the Lord close to man and He was no longer with man, because He had returned to the spiritual realm and returned to the Father whom man could never see or reach. He did not want man to feel that He became different from man in position. When God saw that man wanted to follow Him but stayed at a respectful distance from Him, God’s heart was aching, because it meant that man’s heart was far away from Him, and meant that He could hardly gain man’s heart. So, if He appeared to man in the spiritual body that man could not see or touch, it would again cause a distance between man and God, and at the same time it would make man mistake that the resurrected Christ became great, no longer of the same kind with man, and could not eat at the same table with man again, and that man could never come close to God as man was sinful and filthy. In order to remove these misunderstandings of man, the Lord Jesus did the series of things He often did when in the flesh. Just as the scripture records, “he took bread, and blessed it, and broke, and gave to them,” and He opened the scriptures to them as before. All that the Lord Jesus did made everyone who saw Him feel that the Lord did not change and He was the same Lord Jesus, and that although He was crucified and went through death, yet He was resurrected, He did not leave man, He came back among men, and nothing of His changed. The Son of man standing before men was the same Lord Jesus, and they felt that His conduct and speech were so familiar, He was still full of lovingkindness, grace, and forbearance, and He was the same Lord Jesus who loved man as Himself, and the same Lord Jesus who could forgive man “seventy times seven.” He ate with men and talked with men about the scriptures as before, and more importantly He had blood and flesh as before, being touchable and visible to men. Such a Son of man made men feel close to Him, made men feel assured, and made men have the delight of regaining after losing. At the same time men assuredly and confidently began to rely on and look to this Son of man who could forgive their sins, began to pray in the name of the Lord Jesus without any hesitation, praying to receive grace and blessing from Him, receive peace and joy from Him, and receive care and keeping from Him, and began to heal the sick and drive out demons in the name of the Lord Jesus.

 

While the Lord Jesus worked in the flesh, most of His followers could not be completely certain about His identity and His words. When He went to the cross, His followers’ attitude toward Him was watching; from the time He was crucified to the time He was brought into the tomb, men’s attitude toward Him was disappointed, and during this, men in their heart already began to doubt and deny the words the Lord Jesus said when in the flesh; when the Lord Jesus came out of the tomb and appeared to the men one after another, most of those who saw Him with their own eyes or heard the news of His resurrection gradually changed from negating to half-believing. Not until the Lord Jesus asked Thomas to put his hand into His side and He broke the bread and ate it and ate the broiled fish before all the men after His resurrection, did men truly accept the fact that the Lord Jesus was the incarnate Christ. It can be said that the spiritual body with bones and flesh standing before men at that time made everyone feel as if awakening from a dream: This Son of man standing before their eyes is the One who exists from everlasting, He is with form and image and with bones and flesh, He has been eating and living with men for long…. At that time, His existence made men feel it so real and so wonderful, feel so pleased and happy, and also filled with deep feelings. And His reappearing made men truly see His humbleness and feel His being close to men and His being concerned about and reluctant to part from men. The short reunion made men who saw the Lord Jesus feel as if a generation had passed. Their heart was comforted which felt lost, perplexed, confused, uneasy, and worried, was full of yearning, and was numb. Men no longer doubted and was no longer disappointed, because they felt that they had hopes and reliance, and that the Son of man standing before them was their permanent rear guard and eternal strong tower and refuge.

 

Although the Lord Jesus resurrected, His heart and His work did not leave man. He told man by His appearing that in whatever way He existed, He would accompany man anytime and anywhere, walking with man and being with man, and supply and shepherd man anytime and anywhere, and He would be visible and touchable to man anytime and anywhere, making man no longer feel helpless. The Lord Jesus also wanted man to know that living in this world man was not isolated, man had God’s concern and God’s presence, God was man’s permanent support, God was the dear one of every man who followed Him, with Him as the support man would no longer be alone and no longer be helpless, and those who accepted Him as the sin offering would no longer be bound by sin. These works the Lord Jesus did after His resurrection were very small things in man’s eyes, but in My eyes every one of them was so meaningful and so valuable, and was so important and weighty.

 

Although when the Lord Jesus did the work in the flesh, it was full of hardships and sufferings, He, by appearing in the spiritual body with bones and flesh, completely and perfectly accomplished the work of redeeming mankind through being incarnated that time. He began His ministry in the way of incarnation, and ended His ministry by appearing to men in the incarnate image; He brought the Age of Grace and started the Age of Grace in the identity of Christ, carried out the work of the Age of Grace in the identity of Christ, and strengthened and guided all His followers in the Age of Grace in the identity of Christ. God’s work really can be said to be well begun and well ended, step by step and in a planned way, full of God’s wisdom, God’s almightiness, and God’s wonderful deeds, and full of God’s love and mercy. Of course, the main thread which ran through all God’s works was God’s care for man, and was God’s concern for man which He could hardly give up. In these verses, what manifested in every thing the Lord Jesus did after His resurrection were God’s unchanging expectation and concern for mankind and God’s meticulous care and affection for mankind. These have remained the same up to now. Have you seen them? When you see these, doesn’t your heart unconsciously become close to God? If you were born in that age and the Lord Jesus appeared to you after His resurrection, who was with form and image and was visible to you, and sitting before you He ate bread and fish and opened the scriptures to you and chatted with you, what kind of feeling would you have then? Wouldn’t you feel very happy? Wouldn’t you feel guilty? Wouldn’t your former misunderstanding and shunning and resistance and doubt toward God all disappear? Wouldn’t your relationship with God become somewhat normal?

 

Through My interpreting these few verses in the Bible, have you found any flaw in God’s disposition? Have you found the slightest mixture in God’s love? Have you seen any craftiness or evil in God’s almightiness and wisdom? Definitely not! Can you say with certainty now that God is holy? Can you say with certainty that God’s pleasure, anger, sorrow, and joy are all manifestations of God’s substance and God’s disposition? I hope that what you understand after reading these words will bring help and benefit to your pursuing to be transformed in your disposition and pursuing to fear God. I also hope that the results these words achieve in you will increase with every passing day, so that in the course of your pursuit you will become closer and closer to God and become closer and closer to the standard required by God, and will no longer dislike pursuing the truth and no longer feel it is a troublesome thing and an unnecessary thing to pursue the truth and pursue the transformation of your disposition, but because of the expression of God’s real disposition and the holy substance of God, you will be encouraged to long for light, long for justice, have the will to pursue the truth and pursue to satisfy God’s heart’s desire, and become a man gained by God and become a real man.

 

Today we have talked about some things God did when incarnated the first time in the Age of Grace. From them we have seen the disposition God expressed and manifested when in the flesh and seen what God has and is in various aspects. What God has and is in these various aspects seem very human, but actually none of the expressions and the manifestations in substance is separated from the disposition of God Himself. Every way and every aspect in which God incarnate expresses God’s disposition in His humanity are inseparable from the substance of God Himself. So, God’s coming to mankind in the way of incarnation is very important, the work He does in the flesh is also very important, and the disposition He expresses and the will He expresses are much more important to everyone who lives in the flesh and everyone who lives in corruption. Can you understand this? After you have understood God’s disposition and what God has and is, have you made any conclusion about how to treat God? About this question, finally I want to give you three admonitions: First, do not test God. No matter how much you understand about God and how much you know about God’s disposition, never test God. Second, do not contend with God for position. No matter what position God gives you, what work God lets you undertake, what duty God uplifts you to perform, and how much you have spent and consecrated for God, never contend with God for position. Third, do not compete against God. No matter whether you can understand or obey what God does on you, what God arranges for you, or what comes upon you from God, never compete against God. If you can do these three things, you will be rather safe, and you will not easily provoke God. That’s all for today.

 

July 23, 2014

 

A Selected Passage from “God’s Work, God’s Disposition, and God Himself (III)”

in A Continuation of The Word Appears in the Flesh

 

FacebookGoogle+TwitterTumblrRedditLinkedInPinterest分享

Iona is a small island in the Inner Hebrides, off the Ross of Mull on the western coast of Scotland. It is mainly known for Iona Abbey, though there are other buildings on the island. Iona Abbey was a centre of Gaelic monasticism for three centuries and is today known for its relative tranquility and natural environment. It is a tourist destination and a place for spiritual retreats. Its modern Scottish Gaelic name means "Iona of (Saint) Columba" (formerly anglicised as "Icolmkill").

 

In 2019, the island's estimated population was 120. Residents engage in farming, using traditional methods. Other occupations include crofting and tourism-related work; some craftsmen make goods for sale locally, such as pottery, tapestries, jewellery and knitted goods. In March 1980, the Hugh Fraser Foundation donated much of the main island (and its off-lying islands) to the current owner, the National Trust for Scotland. The abbey and some church buildings are owned by the Iona Cathedral Trust.

 

One publication, describing the religious significance of the island, says that the island is "known as the birthplace of Celtic Christianity in Scotland,” and notes that “St Columba came here in the year 563 to establish the Abbey, which still stands".

 

Because the Hebrides have been successively occupied by speakers of several languages since the Iron Age, many of its islands’ names have more than one possible meaning. Nonetheless, few, if any, have accumulated as many different names over the centuries as the island now known in English as "Iona".

 

The place-name scholar William J. Watson has shown that the earliest recorded names of the island meant something like "yew-place". The element Ivo-, denoting "yew", occurs in inscriptions in the ogham alphabet (Iva-cattos, Iva-geni) and in Gaulish names (Ivo-rix, Ivo-magus); it may also be the basis of early Gaelic names like Eógan (ogham: Ivo-genos). The island's name may also be related to the name of a mythological figure, Fer hÍ mac Eogabail, the foster-son of Manannán, whose forename meaning "man of the yew".

 

Coates (2006) disputes the "yew" interpretation due to a lack of archeological evidence for yew on the island. Coates instead compares the Punic term ’y ("island, isolated place").

 

Mac an Tàilleir (2003) has analyzed the more recent Gaelic names of Ì, Ì Chaluim Chille and Eilean Idhe. He notes that the name Ì was "generally lengthened to avoid confusion" to Ì Chaluim Chille, which means "Calum's Iona" or "island of Calum's monastery". (“Calum”’s Latinized form is "Columba".) This confusion would have arisen because ì, the original name of the island, would have been confused with the now-obsolete Gaelic noun ì, meaning "island", which was derived from the Old Norse word for island (ey). Eilean Idhe means "the isle of Iona", also known as Ì nam ban bòidheach ("the isle of beautiful women"). The modern English name comes from yet another variant, Ioua, which arose either from Adomnán's 7th-century attempt to make the Gaelic name fit Latin grammar, or spontaneously, as a derivative of Ivova ("yew place"). The change in the island's name from Ioua' to Iona, which is attested from c.1274, resulted from a transcription error due to the similarity of "n" and "u" in Insular Minuscule script.

 

Despite the continuity of forms in Gaelic from the pre-Norse to the post-Norse era, Haswell-Smith (2004) speculates that the island’s name may be connected with the Norse word Hiōe, meaning "island of the den of the brown bear". The medieval English-language version of the name was "Icolmkill" (and variants thereof).

 

Murray (1966) claims that the "ancient" Gaelic name was Innis nan Druinich ("the isle of Druidic hermits"), but there is no evidence for the "ancient" use of such a name before the nineteenth century, when it appears in the New Statistical Account and it may arise from a misunderstanding of the name Cladh nan Druineach, which means 'burial ground of the embroideresses or artificers' – a cemetery on the east shore of the island. He also repeats a Gaelic story (which he admits is apocryphal) that as Columba's coracle first drew close to the island one of his companions cried out "Chì mi i" meaning "I see her" and that Columba's response was "Henceforth we shall call her Ì".

 

The geology of Iona is quite complex given the island's size and quite distinct from that of nearby Mull. About half of the island's bedrock is Scourian gneiss assigned to the Lewisian complex and dating from the Archaean eon making it some of the oldest rock in Britain and indeed Europe. Closely associated with these gneisses are mylonite and meta-anorthosite and melagabbro. Along the eastern coast facing Mull are steeply dipping Neoproterozoic age metaconglomerates, metasandstones, metamudstones and hornfelsed metasiltstones ascribed to the Iona Group, described traditionally as Torridonian. In the southwest and on parts of the west coast are pelites and semipelites of Archaean to Proterozoic age. There are small outcrops of Silurian age pink granite on southeastern beaches, similar to those of the Ross of Mull pluton cross the sound to the east. Numerous geological faults cross the island, many in a E-W or NW-SE alignment. Devonian aged microdiorite dykes are found in places and some of these are themselves cut by Palaeocene age camptonite and monchiquite dykes ascribed to the 'Iona-Ross of Mull dyke swarm’. More recent sedimentary deposits of Quaternary age include both present day beach deposits and raised marine deposits around Iona as well as some restricted areas of blown sand.

 

Iona lies about 2 kilometres (1 mile) from the coast of Mull. It is about 2 km (1 mi) wide and 6 km (4 mi) long with a resident population of 125. Like other places swept by ocean breezes, there are few trees; most of them are near the parish church.

 

Iona's highest point is Dùn Ì, 101 m (331 ft), an Iron Age hill fort dating from 100 BC – AD 200. Iona's geographical features include the Bay at the Back of the Ocean and Càrn Cùl ri Éirinn (the Hill/Cairn of [turning the] Back to Ireland), said to be adjacent to the beach where St. Columba first landed.

 

The main settlement, located at St. Ronan's Bay on the eastern side of the island, is called Baile Mòr and is also known locally as "The Village". The primary school, post office, the island's two hotels, the Bishop's House and the ruins of the Nunnery are here. The Abbey and MacLeod Centre are a short walk to the north. Port Bàn (white port) beach on the west side of the island is home to the Iona Beach Party.

 

There are numerous offshore islets and skerries: Eilean Annraidh (island of storm) and Eilean Chalbha (calf island) to the north, Rèidh Eilean and Stac MhicMhurchaidh to the west and Eilean Mùsimul (mouse holm island) and Soa Island to the south are amongst the largest. The steamer Cathcart Park carrying a cargo of salt from Runcorn to Wick ran aground on Soa on 15 April 1912, the crew of 11 escaping in two boats.

 

On a map of 1874, the following territorial subdivision is indicated (from north to south):

Ceann Tsear (East Head)

Sliabh Meanach (Middle Mountain)

Machar (Low-lying Grassy Plain)

Sliginach (Shelly Area)

Sliabh Siar (Rear Mountain)

Staonaig (Sloping Ground)

 

In the early Historic Period Iona lay within the Gaelic kingdom of Dál Riata, in the region controlled by the Cenél Loairn (i.e. Lorn, as it was then). The island was the site of a highly important monastery (see Iona Abbey) during the Early Middle Ages. The monastery was founded in 563 by the monk Columba, also known as Colm Cille, who sailed here from Ireland to live the monastic life. Much later legends (a thousand years later, and without any good evidence) said that he had been exiled from his native Ireland as a result of his involvement in the Battle of Cul Dreimhne. Columba and twelve companions went into exile on Iona and founded a monastery there. The monastery was hugely successful, and may have played a role in the conversion to Christianity of the Picts and Gaels of present-day Scotland in the late 6th century, and was certainly central to the conversion of the Anglo-Saxon kingdom of Northumbria in 635. Many satellite institutions were founded, and Iona became the centre of one of the most important monastic systems in Great Britain and Ireland.

 

Iona became a renowned centre of learning, and its scriptorium produced highly important documents, probably including the original texts of the Iona Chronicle, thought to be the source for the early Irish annals. The monastery is often associated with the distinctive practices and traditions known as Celtic Christianity. In particular, Iona was a major supporter of the "Celtic" system for calculating the date of Easter at the time of the Easter controversy, which pitted supporters of the Celtic system against those favoring the "Roman" system used elsewhere in Western Christianity. The controversy weakened Iona's ties to Northumbria, which adopted the Roman system at the Synod of Whitby in 664, and to Pictland, which followed suit in the early 8th century. Iona itself did not adopt the Roman system until 715, according to the Anglo-Saxon historian Bede. Iona's prominence was further diminished over the next centuries as a result of Viking raids and the rise of other powerful monasteries in the system, such as the Abbey of Kells.

 

The Book of Kells may have been produced or begun on Iona towards the end of the 8th century. Around this time the island's exemplary high crosses were sculpted; these may be the first such crosses to contain the ring around the intersection that became characteristic of the "Celtic cross". The series of Viking raids on Iona began in 794 and, after its treasures had been plundered many times, Columba's relics were removed and divided two ways between Scotland and Ireland in 849 as the monastery was abandoned.

 

As the Norse domination of the west coast of Scotland advanced, Iona became part of the Kingdom of the Isles. The Norse Rex plurimarum insularum Amlaíb Cuarán died in 980 or 981 whilst in "religious retirement" on Iona. Nonetheless, the island was sacked twice by his successors, on Christmas night 986 and again in 987. Although Iona was never again important to Ireland, it rose to prominence once more in Scotland following the establishment of the Kingdom of Scotland in the later 9th century; the ruling dynasty of Scotland traced its origin to Iona, and the island thus became an important spiritual centre for the new kingdom, with many of its early kings buried there. However, a campaign by Magnus Barelegs led to the formal acknowledgement of Norwegian control of Argyll, in 1098.

 

Somerled, the brother-in-law of Norway's governor of the region (the King of the Isles), launched a revolt, and made the kingdom independent. A convent for Augustinian nuns was established in about 1208, with Bethóc, Somerled's daughter, as first prioress. The present buildings are of the Benedictine abbey, Iona Abbey, from about 1203, dissolved at the Reformation.

 

On Somerled's death, nominal Norwegian overlordship of the Kingdom was re-established, but de facto control was split between Somerled's sons, and his brother-in-law.

 

Following the 1266 Treaty of Perth the Hebrides were transferred from Norwegian to Scottish overlordship. At the end of the century, King John Balliol was challenged for the throne by Robert the Bruce. By this point, Somerled's descendants had split into three groups, the MacRory, MacDougalls, and MacDonalds. The MacDougalls backed Balliol, so when he was defeated by de Bruys, the latter exiled the MacDougalls and transferred their island territories to the MacDonalds; by marrying the heir of the MacRorys, the heir of the MacDonalds re-unified most of Somerled's realm, creating the Lordship of the Isles, under nominal Scottish authority. Iona, which had been a MacDougall territory (together with the rest of Lorn), was given to the Campbells, where it remained for half a century.

 

In 1354, though in exile and without control of his ancestral lands, John, the MacDougall heir, quitclaimed any rights he had over Mull and Iona to the Lord of the Isles (though this had no meaningful effect at the time). When Robert's son, David II, became king, he spent some time in English captivity; following his release, in 1357, he restored MacDougall authority over Lorn. The 1354 quitclaim, which seems to have been an attempt to ensure peace in just such an eventuality, took automatic effect, splitting Mull and Iona from Lorn, and making it subject to the Lordship of the Isles. Iona remained part of the Lordship of the Isles for the next century and a half.

 

Following the 1491 Raid on Ross, the Lordship of the Isles was dismantled, and Scotland gained full control of Iona for the second time. The monastery and nunnery continued to be active until the Reformation, when buildings were demolished and all but three of the 360 carved crosses destroyed. The Augustine nunnery now only survives as a number of 13th century ruins, including a church and cloister. By the 1760s little more of the nunnery remained standing than at present, though it is the most complete remnant of a medieval nunnery in Scotland.

 

After a visit in 1773, the English writer Samuel Johnson remarked:

 

The island, which was once the metropolis of learning and piety, now has no school for education, nor temple for worship.

He estimated the population of the village at 70 families or perhaps 350 inhabitants.

 

In the 19th century green-streaked marble was commercially mined in the south-east of Iona; the quarry and machinery survive, see 'Marble Quarry remains' below.

 

Abbey and other ecclesiastical properties and the marble quarry, or to enjoy the nine beaches that are within walking distance of the main area.

 

Iona Abbey, now an ecumenical church, is of particular historical and religious interest to pilgrims and visitors alike. It is the most elaborate and best-preserved ecclesiastical building surviving from the Middle Ages in the Western Isles of Scotland. Though modest in scale in comparison to medieval abbeys elsewhere in Western Europe, it has a wealth of fine architectural detail, and monuments of many periods. The 8th Duke of Argyll presented the sacred buildings and sites of the island to the Iona Cathedral trust in 1899. Historic Environment Scotland also recommends visiting the Augustinian nunnery, "the most complete nunnery complex to survive in Scotland". It was founded at the same time as the Abbey; many ruins from the 14th century are visible. The nunnery declined after the Scottish Reformation but was still used as a burial place for women.

 

In front of the Abbey stands the 9th-century St Martin's Cross, one of the best-preserved Celtic crosses in the British Isles, and a replica of the 8th-century St John's Cross (original fragments in the Abbey museum).

 

The ancient burial ground, called the Rèilig Odhrain (Eng: Oran's "burial place" or "cemetery"), contains the 12th-century chapel of St Odhrán (said to be Columba's uncle), restored at the same time as the Abbey itself. It contains a number of medieval grave monuments. The abbey graveyard is said to contain the graves of many early Scottish Kings, as well as Norse kings from Ireland and Norway. Iona became the burial site for the kings of Dál Riata and their successors. Notable burials there include:

 

Cináed mac Ailpín, king of the Picts (also known today as "Kenneth I of Scotland")

Domnall mac Causantín, alternatively "king of the Picts" or "king of Scotland" ("Donald II")

Máel Coluim mac Domnaill, king of Scotland ("Malcolm I")

Donnchad mac Crínáin, king of Scotland ("Duncan I")

Mac Bethad mac Findlaích, king of Scotland ("Macbeth")

Domnall mac Donnchada, king of Scotland ("Donald III")

John Smith, Labour Party Leader

 

In 1549 an inventory of 48 Scottish, 8 Norwegian and 4 Irish kings was recorded. None of these graves are now identifiable (their inscriptions were reported to have worn away at the end of the 17th century). Saint Baithin and Saint Failbhe may also be buried on the island. The Abbey graveyard is also the final resting place of John Smith, the former Labour Party leader, who loved Iona. His grave is marked with an epitaph quoting Alexander Pope: "An honest man's the noblest work of God".

 

Limited archaeological investigations commissioned by the National Trust for Scotland found some evidence for ancient burials in 2013. The excavations, conducted in the area of Martyrs Bay, revealed burials from the 6th–8th centuries, probably jumbled up and reburied in the 13–15th centuries.

 

Other early Christian and medieval monuments have been removed for preservation to the cloister arcade of the Abbey, and the Abbey museum (in the medieval infirmary). The ancient buildings of Iona Abbey are now cared for by Historic Environment Scotland (there is an entrance charge to visit them).

 

The remains of a marble quarrying enterprise are present in a small bay on the south-east shore of Iona. The quarry is the source of 'Iona Marble', a translucent green and white stone, much used in brooches and other jewellery. The stone has been known of for centuries and was credited with healing and other powers. While the quarry had been used in a small way, it was not until around the end of the 18th century when it was opened up on a more industrial scale by the Duke of Argyle. The difficulties of extracting the hard stone and transporting it meant that the scheme was short lived. Another attempt was started in 1907, this time more successful with considerable quantities of stone extracted and indeed exported. The First World War impacted the quarry, with little quarrying after 1914 and the operation finally closed in 1919. A painting showing the quarry in operation, The Marble Quarry, Iona (1909) by David Young Cameron, is in the collection of Cartwright Hall art gallery in Bradford. The site has been designated as a Scheduled Ancient Monument.

 

The island, other than the land owned by the Iona Cathedral Trust, was purchased from the Duke of Argyll by Hugh Fraser in 1979 and donated to the National Trust for Scotland. In 2001 Iona's population was 125 and by the time of the 2011 census this had grown to 177 usual residents. During the same period Scottish island populations as a whole grew by 4% to 103,702. The estimated permanent population in 2020 was 120.

 

The island's tourism bureau estimated that roughly 130,000 visitors arrived each year. Many tourists come to visit the Abbey and other ecclesiastical properties and the marble quarry, or to enjoy the nine beaches that are within walking distance of the main area.

 

Not to be confused with the local island community, Iona (Abbey) Community is based within Iona Abbey.

 

In 1938 George MacLeod founded the Iona Community, an ecumenical Christian community of men and women from different walks of life and different traditions in the Christian church committed to seeking new ways of living the Gospel of Jesus in today's world. This community is a leading force in the present Celtic Christian revival.

 

The Iona Community runs three residential centres on the Isle of Iona and on Mull, where one can live together in community with people of every background from all over the world. Weeks at the centres often follow a programme related to the concerns of the Iona Community.

 

The 8 tonne Fallen Christ sculpture by Ronald Rae was permanently situated outside the MacLeod Centre in February 2008.

 

Visitors can reach Iona by the 10-minute ferry trip across the Sound of Iona from Fionnphort on Mull. The most common route from the mainland is via Oban in Argyll and Bute, where regular ferries connect to Craignure on Mull, from where the scenic road runs 37 miles (60 kilometres) to Fionnphort. Tourist coaches and local bus services meet the ferries.

 

Car ownership is lightly regulated, with no requirement for a MOT Certificate or payment of Road Tax for cars kept permanently on the island, but vehicular access is restricted to permanent residents and there are few cars. Visitors are not allowed to bring vehicles onto the island although "blue badge holders with restricted mobility ... may apply for a permit under certain exemptions". Visitors will find the village, the shops, the post office, the cafe, the hotels and the abbey are all within walking distance. Bike hire is available at the pier, and on Mull. Taxi service is also available.

 

Conde Nast Traveller recommends the island for its "peaceful atmosphere ... a popular place for spiritual retreats" but also recommends the "sandy beaches, cliffs, rocks, fields and bogs ... "wildflowers and birds such as the rare corncrake and puffins" as well as the "abundance of sea life".

 

The Iona Council advises visitors that they can find a campsite (at Cnoc Oran), a hostel (at Lagandorain), family run bed and breakfasts, and two hotels on the island in addition to several self-catering houses. The agency also mentions that distances are short, with the Abbey a mere 10 minutes’ walk from the pier. Tourists can rent bikes or use the local taxi.

 

The island of Iona has played an important role in Scottish landscape painting, especially during the Twentieth Century. As travel to north and west Scotland became easier from the mid C18 on, artists' visits to the island steadily increased. The Abbey remains in particular became frequently recorded during this early period. Many of the artists are listed and illustrated in the valuable book, Iona Portrayed – The Island through Artists' Eyes 1760–1960, which lists over 170 artists known to have painted on the island.

 

The C20 however saw the greatest period of influence on landscape painting, in particular through the many paintings of the island produced by F C B Cadell and S J Peploe, two of the ‘Scottish Colourists’. As with many artists, both professional and amateur, they were attracted by the unique quality of light, the white sandy beaches, the aquamarine colours of the sea and the landscape of rich greens and rocky outcrops. While Cadell and Peploe are perhaps best known, many major Scottish painters of the C20 worked on Iona and visited many times – for example George Houston, D Y Cameron, James Shearer, John Duncan and John Maclauchlan Milne, among many.

 

Samuel Johnson wrote "That man is little to be envied whose patriotism would not gain force upon the plains of Marathon, or whose piety would not grow warmer amid the ruins of Iona."

 

In Jules Verne's novel The Green Ray, the heroes visit Iona in chapters 13 to 16. The inspiration is romantic, the ruins of the island are conducive to daydreaming. The young heroine, Helena Campbell, argues that Scotland in general and Iona in particular are the scene of the appearance of goblins and other familiar demons.

 

In Jean Raspail's novel The Fisherman's Ring (1995), his cardinal is one of the last to support the antipope Benedict XIII and his successors.

 

In the novel The Carved Stone (by Guillaume Prévost), the young Samuel Faulkner is projected in time as he searches for his father and lands on Iona in the year 800, then threatened by the Vikings.

 

"Peace of Iona" is a song written by Mike Scott that appears on the studio album Universal Hall and on the live recording Karma to Burn by The Waterboys. Iona is the setting for the song "Oran" on the 1997 Steve McDonald album Stone of Destiny.

 

Kenneth C. Steven published an anthology of poetry entitled Iona: Poems in 2000 inspired by his association with the island and the surrounding area.

 

Iona is featured prominently in the first episode ("By the Skin of Our Teeth") of the celebrated arts series Civilisation: A Personal View by Kenneth Clark (1969).

 

Iona is the setting of Jeanne M. Dams' Dorothy Martin mystery Holy Terror of the Hebrides (1998).

 

The Academy Award–nominated Irish animated film The Secret of Kells is about the creation of the Book of Kells. One of the characters, Brother Aidan, is a master illuminator from Iona Abbey who had helped to illustrate the Book, but had to escape the island with it during a Viking invasion.

 

Frances Macdonald the contemporary Scottish artist based in Crinian, Argyll, regularly paints landscapes on Iona.

 

Neil Gaiman's poem "In Relig Odhrain", published in Trigger Warning: Short Fictions and Disturbances (2015), retells the story of Oran's death, and the creation of the chapel on Iona. This poem was made into a short stop-motion animated film, released in 2019.

 

Iona's local golf course was featured on Season 7's Adventure's in Golf by documentary filmmaker, Erik Anders Lang.

Following the granting of Castle Sween to Angus Óg of Islay, the MacDonalds appointed the MacNeils to be the hereditary constables of Castle Sween. (This is another common cause of misunderstandings about the castle's history, that has resulted in members of the (modern) Clan MacNeil claiming it as a "MacNeil castle"! It wasn't, they just worked here!)

 

Actually, it's not quite as simple as that! There was rather more to the Constable's job than oiling the drawbridge chain and ensuring the garderobes flushed properly! When Hector Torquil MacNeil, 1st of Taynish (just across Loch Sween from here), died in about 1450, he left control of the castle to his daughter, Erca. She subsequently married Alexander MacMillan and the couple embarked, in the latter half of the 15th century, on the last major addition to Castle Sween, the large keep which projects from the north-east corner of the castle, known as MacMillan's Tower. They also appear to have built a large east range occupying much of the eastern half of the present courtyard.

 

It is said that a meeting took place here between John, Lord of the Isles and the Earl of Douglas in 1483. The former received 'right great gifts' of clothes, wine, silk, English cloth and silver, and offered the Earl of Douglas in return a present of mantles. While that may be true, it is somewhat at variance with the fact that the Lords of the Isles were stripped of their lands and properties by King James III of Scotland in the 1470s, and in 1481 the Crown appointed the Campbells to be keepers of Castle Sween.