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By concentrating all of his thoughts into the tip of his right index finger (and with the help of his magic braces), this boule player keeps the heavy steel ball suspended 3 feet above the ground...
”The marigold, that goes to bed wi' th' sun.
And with him rises weeping.”
(William Shakespeare, The Winter's Tale - Perdita at IV, iv)
I often display pictures shot at the flower market which is located in the chowk of Varanasi (Benaras) but I almost never show its flowers.
The courtyard is mostly over-powered by the fragrance of fresh marigolds.
It is one of the traditional flowers used in garlands, offerings and social functions.
In India, the common Hindi name used for marigold is Gendha and it is Sthulapushpa in Sanskrit.
It symbolizes a trust in the divine and a will to overcome obstacles
The saffron/orange colour signifies renunciation and hence is offered to God as a symbol of surrender.
It is said to be in bloom on the calends of every month, this would be why the Romans named the flower Calendula and one of the names by which it is known in Italy, “fiore d'ogni mese”, countenances this derivation.
However it was not named after the Virgin even if the flower is offered to Mother Mary on the Feast of the Annunciation, in fact its name is a corruption of the Anglo-Saxon merso-meargealla, the Marsh Marigold.
Old English authors called it Golds or Ruddes.
Being an edible flower marigolds were used in cookery and medicine and in the old times they were used to color hair yellow
Magical lore tells that putting marigolds under the matress will induce prophetic dreams.
The herb is also said to have the power to make dreams come true.
The marigold was also believed to be protective and was used in wreathes to keep a home safe.
Similar to St. John's Wort, it was thought that marigold could strip a witch of her will.
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Overcoming substantial light pollution to capture a Supernova in a galaxy 14 million light years away with a Seestar 50mm digital telescope. It's amazing! This type of affordable technology has opened the door to the absolute novice and give experienced astronomers an easy and fast setup to enjoy the night skies and more. This is an unsolicited testimonial, letting the world know, if you have interested in astronomy, it can be easy and affordable for most everyone.
I captured an image of a supernova in a highly light polluted sky where I could barely count 20 stars above my head.
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American Bison, Bos Bison, National Bison Range, Montana
Keywords: Vision, Hoofed Mammals. NW_0506_226
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The descriptions of what happened at the White House Pride Celebration vary, based on how dedicated the reporter is to the LGBTQIA+ agenda, or as Biden calls it, "LTGTL.. uh.. LGayTran.. LTGBT community.. You know - the thing!".
NBC reported that "a trans activist bared their chest for a photo". Other outlets had similar descriptions, making it sound as if some rogue Trans activist crashed the party and spoiled the event by posing for "a topless photo". That's NOT what happened. That "Trans activist" was an invited, vetted and honored guest, and he/they/them didn't 'pose for picture'.
He/she/they bared their store-bought boobs, grabbing them seductively, flaunting them on video in full sight of whoever was there or who might see the video and pictures online. And there were children on the lawn when 'they' put on their little show. In their "apology" they said they were "overcome momentarily by my trans joy" - but the fact that Conservatives were weaponizing the incident was worse and more dangerous (than exposing herself to children). And a new term was born - trans joy.
Which is the White House response to any criticism of transvestitism or any other event that their sexual agenda encounters. They attack anyone who questions drag queens reading or performing at schools or libraries, or biological males competing in girls' sports. A reporter asked Karin Jean-Pierre about the risk of young girls competing with biological males in contact sports due to the biological fact that they are bigger, heavier, and stronger. Jean-Pierre turned the question into an attack on the reporter, pretending it had been some kind of transphobic statement.
As you can see from this picture at a wet t-shirt contest we went to in 1981, I have no problem with nudity, or even flaunting your sexuality. My problem with what happened on the White House Lawn, is that it happened on the White House Lawn. I don't care if you're a man, a woman, or a woman who used to be a man, that was a finger in the face of America.
And that's the issue I have with the whole LGBTQIA+ 'movement'. It's not enough that we tolerate - we are required to celebrate. It's not enough to simply be who they are, those who join the movement and for whom their sexuality is the focus of their existence have a sad need for attention and acceptance. And sadly, I doubt even waggling their breasts on the White House Lawn filled that void in them.
Especially when 'they' were banned from attending any more events at the White House. That had to sting, after being called "the bravest people in America" by Joe Biden. Perhaps Ol' Uncle Joe has forgotten what bravery is, or maybe he was just pandering. Words like bravery and honor mean nothing to him. They're just words on a teleprompter..
This seemed like an abandoned auditorium at Dois Rios beach, in Ilha Grande. It stays next to the famous Ilha Grande prison ruins.
Rangda is the demon queen of the leyaks in Bali, according to traditional Balinese mythology. Terrifying to behold, the child-eating Rangda leads an army of evil witches against the leader of the forces of good — Barong. The battle between Barong and Rangda is featured in a Barong dance which represents the eternal battle between good and evil. Rangda is a term in old Javanese that means "widow".
Rangda is important in Balinese culture, and performances depicting her struggles with Barong or with Airlangga are popular tourist attractions as well as tradition. She is depicted as a mostly nude old woman, with long and unkempt hair, pendulous breasts, and claws. Her face is traditionally a horrifying fanged and goggle-eyed mask, with a long, protruding tongue.
Bali is a Hindu island, and it is suggested that Rangda may also be closely associated with Durga. She has also been identified with the Hindu mother warrior goddess, and Kali, the black mother goddess of destruction, transformation and protection in Hinduism.
While Rangda is seen as fearsome and by many as the personification of evil, she is also nevertheless considered a protective force in certain parts of Bali, much like Kali is seen as a benevolent mother goddess in the Indian states of West Bengal, Assam, Tripura and Kerala. The colors associated with her — white, black and red — are identical with those associated with Kali. Her iconography is similar to that of both Kali and Chamunda, who are closely related.
Rangda was linked to the legend of Calon Arang and also the legend of divorced and exiled Javanese queen Mahendradatta. The name Rangda in old Javanese and Balinese language means "widow".
Rangda is known as a Leyak queen, the incarnation of Calon Arang, the legendary witch that wreaked havoc in ancient Java during the reign of Airlangga in late 10th century. It is said that Calon Arang was a widow, powerful in black magic, who often damaged farmers' crops and caused disease to come. She had a daughter, named Ratna Manggali, who, though beautiful, could not get a husband because people were afraid of her mother. Because of the difficulties faced by her daughter, Calon Arang was angry and she intended to take revenge by kidnapping a young girl. She brought the girl to a temple of Death to be sacrificed to the goddess Durga. The next day, a great flood engulfed the village and many people died. Disease also appeared.
King Airlangga, who had heard of this matter, then asked for his advisor, Empu Bharada, to deal with this problem. Empu Bharada then sent his disciple, Empu Bahula, to be married to Ratna. Both were married with a huge feast that lasted seven days and seven nights, and the situation returned to normal. Calon Arang had a book that contained magic incantations. One day, this book was found by Empu Bahula, who turned it over to Empu Bharada. As soon as Calon Arang knew that the book had been stolen, she became angry and decided to fight Empu Bharada. Without the help of Durga, Calon Arang was defeated. Since she was defeated, the village was safe from the threat of Calon Arang's black magic.
Other interpretations claim that Rangda was actually derived from the historical 11th-century queen Mahendradatta or Gunapriyadharmapatni, a Javanese princess sister of Dharmawangsa of East Javanese Isyana Dynasty of late Medang Kingdom period. She was the queen consort of Balinese king Udayana and Airlangga's own mother. Mahendradatta is known for her devotion to the cult of Durga in Bali.
The story goes that Mahendradatta, the mother of Airlangga, was condemned and exiled by the king, Udayana, for allegedly practising witchcraft and black magic. After she became a widow, hurt and humiliated, she sought revenge upon her ex-husband's court and the whole of his kingdom. She summoned all the evil spirits in the jungle, the leyaks and the demons that caused plague and death in the kingdom. She proceeded to take her revenge by killing off half the kingdom, which by then belonged to her and Dharmodayana's son Airlangga, with plague before being overcome by a holy man.
from : Wikipedia, the free encyclopedia
A cinnamon black bear cub in Yellowsonte National Park contemplates climbing over a log in its path.
18 2nd St NW.
Closed and for sale.
www.southernminn.com/faribault_daily_news/news/village-fa...
Village Family Theater still on the market
By JOSH MCGOVERN josh.mcgovern@apgsomn.com
Oct 3, 2022 Updated Nov 9, 2023
Village Theater owner Steven McDonough is left with open options after an undisclosed Northfield buyer backed out of a potential deal to purchase the theater in downtown Faribault.
McDonough hopes to sell the theater due to personal reasons, but is open to suggestions should he decide to retain ownership and reopen.
The single father of eight purchased the theater in 2013 and reopened it as a family-focused venue in 2014 after renovating it himself. Ticket purchases were capped at $30 per group, allowing large families to attend without emptying their wallets.
“That’s what it was about,” McDonough said. “I wanted to create a place where families could come and enjoy a good, wholesome movie.”
Throughout McDonough’s almost 10 years of ownership, the Village Family Theater was host to more than just films. Play productions were performed on the stage behind the screen. Weddings and graduation parties were held in the spacious back rooms. Even the well-known band Owl City shot scenes for a music video in the theater’s brick halls.
The building itself is bigger than it appears from the outside. While its main feature is the theater, there are open rooms available for large gatherings. In the basement, the floor was originally cut at the cross beams to give the theater its slant.
When describing the theater and its many possibilities, McDonough summed it up in one word: “Potential.”
The historic theater on Second Street NW is no stranger to potential. It was opened in 1896 as an armory. After this it was a funeral home. The murdered victims of the famous Faribault family, the Goffriers, held their funeral in what is now the Village Theater.
The building was remodeled at some point into a theater. The theater closed in the 1970s and had a few other uses before McDonough bought it and returned it to a theater.
McDonough spent significant effort reshaping the theater to fit his vision of a comfortable venue. He refurbished the screening room, installed sound-absorbant curtains, and moved the screen closer to the seats to create room for a stage.
In the 2013 grand opening, McDonough brought back the theater’s original door man to attend a showing of “Mom’s Night Out.”
During events, he sold tickets, concessions and operated the projector all in the same night.
A week before Village Theater was set to have its biggest weekend in McDonough’s ownership, COVID lockdowns closed the theater. The repercussions were difficult to overcome, McDonough said, and has kept the theater closed to this day.
McDonough says despite recent obstacles, the Village Theater remains an important building for Faribault. He says it has imprinted itself in history and the lives of the people who attended events throughout the years.
Hiked to the top of the Appalachian Mountains in Pennsylvania
View LARGE and feel like you're there!
“When you come to the edge of all that you know, you must believe in one of two things: there will be earth upon which to stand, or you will be given wings.”
-O. R. Melling, “The Summer King”
"For all of us, then, the season of Lent in this Jubilee Year is a favourable time to overcome our existential alienation by listening to God’s word and by practising the works of mercy. In the corporal works of mercy we touch the flesh of Christ in our brothers and sisters who need to be fed, clothed, sheltered, visited; in the spiritual works of mercy – counsel, instruction, forgiveness, admonishment and prayer – we touch more directly our own sinfulness. The corporal and spiritual works of mercy must never be separated. By touching the flesh of the crucified Jesus in the suffering, sinners can receive the gift of realizing that they too are poor and in need."
– Pope Francis, Message for Lent 2016.
Today is Ash Wednesday, the first day of Lent, and this stained glass window is in Baltimore Cathedral.
Krishna is considered the supreme deity, worshipped across many traditions of Hinduism in a variety of different perspectives. Krishna is recognized as the eighth incarnation (avatar) of Lord Vishnu, and one and the same as Lord Vishnu one of the trimurti and as the supreme god in his own right. Krishna is the principal protagonist with Arjuna in the Bhagavad Gita also known as the Song of God, which depicts the conversation between the Royal Prince Arjuna and Krishna during the great battle of Kureksetra 5000 years ago where Arjuna discovers that Krishna is God and then comprehends his nature and will for him and for mankind. In present age Krishna is one of the most widely revered and most popular of all Indian divinities.
Krishna is often described and portrayed as an infant eating butter, a young boy playing a flute as in the Bhagavata Purana, or as an elder giving direction and guidance as in the Bhagavad Gita. The stories of Krishna appear across a broad spectrum of Hindu philosophical and theological traditions. They portray him in various perspectives: a god-child, a prankster, a model lover, a divine hero, and the Supreme Being. The principal scriptures discussing Krishna's story are the Mahabharata, the Harivamsa, the Bhagavata Purana, and the Vishnu Purana.
Krishna's disappearance marks the end of Dvapara Yuga and the start of Kali Yuga (present age), which is dated to February 17/18, 3102 BCE. Worship of the deity Krishna, either in the form of deity Krishna or in the form of Vasudeva, Bala Krishna or Gopala can be traced to as early as 4th century BC. Worship of Krishna as Svayam Bhagavan, or the supreme being, known as Krishnaism, arose in the Middle Ages in the context of the Bhakti movement. From the 10th century AD, Krishna became a favourite subject in performing arts and regional traditions of devotion developed for forms of Krishna such as Jagannatha in Odisha, Vithoba in Maharashtra and Shrinathji in Rajasthan. Since the 1960s the worship of Krishna has also spread in the Western world, largely due to the International Society for Krishna Consciousness.
NAMES AND EPITHETS
The name originates from the Sanskrit word Kṛṣṇa, which is primarily an adjective meaning "black", "dark" or "dark blue". The waning moon is called Krishna Paksha in the Vedic tradition, relating to the adjective meaning "darkening". Sometimes it is also translated as "all-attractive", according to members of the Hare Krishna movement.
As a name of Vishnu, Krishna listed as the 57th name in the Vishnu Sahasranama. Based on his name, Krishna is often depicted in murtis as black or blue-skinned. Krishna is also known by various other names, epithets and titles, which reflect his many associations and attributes. Among the most common names are Mohan "enchanter", Govinda, "Finder of the cows" or Gopala, "Protector of the cows", which refer to Krishna's childhood in Braj (in present day Uttar Pradesh). Some of the distinct names may be regionally important; for instance, Jagannatha, a popular incarnation of Puri, Odisha in eastern India.
ICONOGRAPHY
Krishna is easily recognized by his representations. Though his skin color may be depicted as black or dark in some representations, particularly in murtis, in other images such as modern pictorial representations, Krishna is usually shown with a blue skin. He is often shown wearing a silk dhoti and a peacock feather crown. Common depictions show him as a little boy, or as a young man in a characteristically relaxed pose, playing the flute. In this form, he usually stands with one leg bent in front of the other with a flute raised to his lips, in the Tribhanga posture, accompanied by cows, emphasizing his position as the divine herdsman, Govinda, or with the gopis (milkmaids) i.e. Gopikrishna, stealing butter from neighbouring houses i.e. Navneet Chora or Gokulakrishna, defeating the vicious serpent i.e. Kaliya Damana Krishna, lifting the hill i.e. Giridhara Krishna ..so on and so forth from his childhood / youth events.
A steatite (soapstone) tablet unearthed from Mohenjo-daro, Larkana district, Sindh depicting a young boy uprooting two trees from which are emerging two human figures is an interesting archaeological find for fixing dates associated with Krishna. This image recalls the Yamalarjuna episode of Bhagavata and Harivamsa Purana. In this image, the young boy is Krishna, and the two human beings emerging from the trees are the two cursed gandharvas, identified as Nalakubara and Manigriva. Dr. E.J.H. Mackay, who did the excavation at Mohanjodaro, compares this image with the Yamalarjuna episode. Prof. V.S. Agrawal has also accepted this identification. Thus, it seems that the Indus valley people knew stories related to Krishna. This lone find may not establish Krishna as contemporary with Pre-Indus or Indus times, but, likewise, it cannot be ignored.
The scene on the battlefield of the epic Mahabharata, notably where he addresses Pandava prince Arjuna in the Bhagavad Gita, is another common subject for representation. In these depictions, he is shown as a man, often with supreme God characteristics of Hindu religious art, such as multiple arms or heads, denoting power, and with attributes of Vishnu, such as the chakra or in his two-armed form as a charioteer. Cave paintings dated to 800 BCE in Mirzapur, Mirzapur district, Uttar Pradesh, show raiding horse-charioteers, one of whom is about to hurl a wheel, and who could potentially be identified as Krishna.
Representations in temples often show Krishna as a man standing in an upright, formal pose. He may be alone, or with associated figures: his brother Balarama and sister Subhadra, or his main queens Rukmini and Satyabhama.
Often, Krishna is pictured with his gopi-consort Radha. Manipuri Vaishnavas do not worship Krishna alone, but as Radha Krishna, a combined image of Krishna and Radha. This is also a characteristic of the schools Rudra and Nimbarka sampradaya, as well as that of Swaminarayan sect. The traditions celebrate Radha Ramana murti, who is viewed by Gaudiyas as a form of Radha Krishna.
Krishna is also depicted and worshipped as a small child (Bala Krishna, Bāla Kṛṣṇa the child Krishna), crawling on his hands and knees or dancing, often with butter or Laddu in his hand being Laddu Gopal. Regional variations in the iconography of Krishna are seen in his different forms, such as Jaganatha of Odisha, Vithoba of Maharashtra, Venkateswara (also Srinivasa or Balaji) in Andhra Pradesh, and Shrinathji in Rajasthan.
LITERARY SOURCES
The earliest text to explicitly provide detailed descriptions of Krishna as a personality is the epic Mahabharata which depicts Krishna as an incarnation of Vishnu. Krishna is central to many of the main stories of the epic. The eighteen chapters of the sixth book (Bhishma Parva) of the epic that constitute the Bhagavad Gita contain the advice of Krishna to the warrior-hero Arjuna, on the battlefield. Krishna is already an adult in the epic, although there are allusions to his earlier exploits. The Harivamsa, a later appendix to this epic, contains the earliest detailed version of Krishna's childhood and youth.
The Rig Veda 1.22.164 sukta 31 mentions a herdsman "who never stumbles". Some Vaishnavite scholars, such as Bhaktivinoda Thakura, claim that this herdsman refers to Krishna. Ramakrishna Gopal Bhandarkar also attempted to show that "the very same Krishna" made an appearance, e.g. as the drapsa ... krishna "black drop" of RV 8.96.13. Some authors have also likened prehistoric depictions of deities to Krishna.
Chandogya Upanishad (3.17.6) composed around 900 BCE mentions Vasudeva Krishna as the son of Devaki and the disciple of Ghora Angirasa, the seer who preached his disciple the philosophy of ‘Chhandogya.’ Having been influenced by the philosophy of ‘Chhandogya’ Krishna in the Bhagavadgita while delivering the discourse to Arjuna on the battlefield of Kurukshetra discussed about sacrifice, which can be compared to purusha or the individual.
Yāska's Nirukta, an etymological dictionary around 6th century BC, contains a reference to the Shyamantaka jewel in the possession of Akrura, a motif from well known Puranic story about Krishna. Shatapatha Brahmana and Aitareya-Aranyaka, associate Krishna with his Vrishni origins.
Pāṇini, the ancient grammarian and author of Asthadhyayi (probably belonged to 5th century or 6th century BC) mentions a character called Vāsudeva, son of Vasudeva, and also mentions Kaurava and Arjuna which testifies to Vasudeva Krishna, Arjuna and Kauravas being contemporaries.
Megasthenes (350 – 290 BC) a Greek ethnographer and an ambassador of Seleucus I to the court of Chandragupta Maurya made reference to Herakles in his famous work Indica. Many scholars have suggested that the deity identified as Herakles was Krishna. According to Arrian, Diodorus, and Strabo, Megasthenes described an Indian tribe called Sourasenoi, who especially worshipped Herakles in their land, and this land had two cities, Methora and Kleisobora, and a navigable river, the Jobares. As was common in the ancient period, the Greeks sometimes described foreign gods in terms of their own divinities, and there is a little doubt that the Sourasenoi refers to the Shurasenas, a branch of the Yadu dynasty to which Krishna belonged; Herakles to Krishna, or Hari-Krishna: Methora to Mathura, where Krishna was born; Kleisobora to Krishnapura, meaning "the city of Krishna"; and the Jobares to the Yamuna, the famous river in the Krishna story. Quintus Curtius also mentions that when Alexander the Great confronted Porus, Porus's soldiers were carrying an image of Herakles in their vanguard.
The name Krishna occurs in Buddhist writings in the form Kānha, phonetically equivalent to Krishna.
The Ghata-Jâtaka (No. 454) gives an account of Krishna's childhood and subsequent exploits which in many points corresponds with the Brahmanic legends of his life and contains several familiar incidents and names, such as Vâsudeva, Baladeva, Kaṃsa. Yet it presents many peculiarities and is either an independent version or a misrepresentation of a popular story that had wandered far from its home. Jain tradition also shows that these tales were popular and were worked up into different forms, for the Jains have an elaborate system of ancient patriarchs which includes Vâsudevas and Baladevas. Krishna is the ninth of the Black Vâsudevas and is connected with Dvâravatî or Dvârakâ. He will become the twelfth tîrthankara of the next world-period and a similar position will be attained by Devakî, Rohinî, Baladeva and Javakumâra, all members of his family. This is a striking proof of the popularity of the Krishna legend outside the Brahmanic religion.
According to Arthasastra of Kautilya (4th century BCE) Vāsudeva was worshiped as supreme Deity in a strongly monotheistic format.
Around 150 BC, Patanjali in his Mahabhashya quotes a verse: "May the might of Krishna accompanied by Samkarshana increase!" Other verses are mentioned. One verse speaks of "Janardhana with himself as fourth" (Krishna with three companions, the three possibly being Samkarshana, Pradyumna, and Aniruddha). Another verse mentions musical instruments being played at meetings in the temples of Rama (Balarama) and Kesava (Krishna). Patanjali also describes dramatic and mimetic performances (Krishna-Kamsopacharam) representing the killing of Kamsa by Vasudeva.
In the 1st century BC, there seems to be evidence for a worship of five Vrishni heroes (Balarama, Krishna, Pradyumna, Aniruddha and Samba) for an inscription has been found at Mora near Mathura, which apparently mentions a son of the great satrap Rajuvula, probably the satrap Sodasa, and an image of Vrishni, "probably Vasudeva, and of the "Five Warriors". Brahmi inscription on the Mora stone slab, now in the Mathura Museum.
Many Puranas tell Krishna's life-story or some highlights from it. Two Puranas, the Bhagavata Purana and the Vishnu Purana, that contain the most elaborate telling of Krishna’s story and teachings are the most theologically venerated by the Vaishnava schools. Roughly one quarter of the Bhagavata Purana is spent extolling his life and philosophy.
LIFE
This summary is based on details from the Mahābhārata, the Harivamsa, the Bhagavata Purana and the Vishnu Purana. The scenes from the narrative are set in north India mostly in the present states of Uttar Pradesh, Bihar, Haryana, Delhi and Gujarat.
BIRTH
Based on scriptural details and astrological calculations, the date of Krishna's birth, known as Janmashtami, is 18 July 3228 BCE. He was born to Devaki and her husband, Vasudeva, When Mother Earth became upset by the sin being committed on Earth, she thought of seeking help from Lord Vishnu. She went in the form of a cow to visit Lord Vishnu and ask for help. Lord Vishnu agreed to help her and promised her that he would be born on Earth. On Earth in the Yadava clan, he was yadav according to his birth, a prince named Kamsa sent his father Ugrasena (King of Mathura) to prison and became the King himself. One day a loud voice from the sky (Akash Vani in Hindi) prophesied that the 8th son of Kamsa's sister (Devaki) would kill Kamsa. Out of affection for Devaki, Kamsa did not kill her outright. He did, however, send his sister and her husband (Vasudeva) to prison. Lord Vishnu himself later appeared to Devaki and Vasudeva and told them that he himself would be their eighth son and kill Kamsa and destroy sin in the world. In the story of Krishna the deity is the agent of conception and also the offspring. Because of his sympathy for the earth, the divine Vishnu himself descended into the womb of Devaki and was born as her son, Vaasudeva (i.e., Krishna).[citation needed] This is occasionally cited as evidence that "virgin birth" tales are fairly common in non-Christian religions around the world. However, there is nothing in Hindu scriptures to suggest that it was a "virgin" birth. By the time of conception and birth of Krishna, Devaki was married to Vasudeva and had already borne 7 children. Virgin birth in this case should be more accurately understood as divine conception. Kunti the mother of the Pandavas referenced contemporaneously with the story of Krishna in the Mahabharata also has divine conception and virgin birth of Prince Karna.
The Hindu Vishnu Purana relates: "Devaki bore in her womb the lotus-eyed deity...before the birth of Krishna, no one could bear to gaze upon Devaki, from the light that invested her, and those who contemplated her radiance felt their minds disturbed.” This reference to light is reminiscent of the Vedic hymn "To an Unknown Divine," which refers to a Golden Child. According to F. M. Müller, this term means "the golden gem of child" and is an attempt at naming the sun. According to the Vishnu Purana, Krishna is the total incarnation of Lord Vishnu. It clearly describes in the Vishnu Purana that Krishna was born on earth to destroy sin, especially Kamsa.
Krishna belonged to the Vrishni clan of Yadavas from Mathura, and was the eighth son born to the princess Devaki, and her husband Vasudeva.
Mathura (in present day Mathura district, Uttar Pradesh) was the capital of the Yadavas, to which Krishna's parents Vasudeva and Devaki belonged. King Kamsa, Devaki's brother, had ascended the throne by imprisoning his father, King Ugrasena. Afraid of a prophecy from a divine voice from the heavens that predicted his death at the hands of Devaki's eighth "garbha", Kamsa had the couple locked in a prison cell. After Kamsa killed the first six children, Devaki apparently had a miscarriage of the seventh. However, in reality, the womb was actually transferred to Rohini secretly. This was how Balarama, Krishna's elder brother, was born. Once again Devaki became pregnant. Now due to the miscarriage, Kamsa was in a puzzle regarding 'The Eighth One', but his ministers advised that the divine voice from the heavens emphasised "the eight garbha" and so this is the one. That night Krishna was born in the Rohini nakshatra and simultaneously the goddess Durga was born as Yogamaya in Gokulam to Nanda and Yashoda.
Since Vasudeva knew Krishna's life was in danger, Krishna was secretly taken out of the prison cell to be raised by his foster parents, Yasoda and Nanda, in Gokula (in present day Mathura district). Two of his other siblings also survived, Balarama (Devaki's seventh child, transferred to the womb of Rohini, Vasudeva's first wife) and Subhadra (daughter of Vasudeva and Rohini, born much later than Balarama and Krishna).
CHILDHOOD AND YOUTH
Nanda was the head of a community of cow-herders, and he settled in Vrindavana. The stories of Krishna's childhood and youth tell how he became a cow herder, his mischievous pranks as Makhan Chor (butter thief) his foiling of attempts to take his life, and his role as a protector of the people of Vrindavana.
Krishna killed the demoness Putana, disguised as a wet nurse, and the tornado demon Trinavarta both sent by Kamsa for Krishna's life. He tamed the serpent Kāliyā, who previously poisoned the waters of Yamuna river, thus leading to the death of the cowherds. In Hindu art, Krishna is often depicted dancing on the multi-hooded Kāliyā.
Krishna lifted the Govardhana hill and taught Indra, the king of the devas, a lesson to protect native people of Brindavana from persecution by Indra and prevent the devastation of the pasture land of Govardhan. Indra had too much pride and was angry when Krishna advised the people of Brindavana to take care of their animals and their environment that provide them with all their necessities, instead of worshipping Indra annually by spending their resources. In the view of some, the spiritual movement started by Krishna had something in it which went against the orthodox forms of worship of the Vedic gods such as Indra. In Bhagavat Purana, Krishna says that the rain came from the nearby hill Govardhana, and advised that the people worshiped the hill instead of Indra. This made Indra furious, so he punished them by sending out a great storm. Krishna then lifted Govardhan and held it over the people like an umbrella.
The stories of his play with the gopis (milkmaids) of Brindavana, especially Radha (daughter of Vrishbhanu, one of the original residents of Brindavan) became known as the Rasa lila and were romanticised in the poetry of Jayadeva, author of the Gita Govinda. These became important as part of the development of the Krishna bhakti traditions worshiping Radha Krishna.
Krishna’s childhood reinforces the Hindu concept of lila, playing for fun and enjoyment and not for sport or gain. His interaction with the gopis at the rasa dance or Rasa-lila is a great example of this. Krishna played his flute and the gopis came immediately from whatever they were doing, to the banks of the Yamuna River, and joined him in singing and dancing. Even those who could not physically be there joined him through meditation. The story of Krishna’s battle with Kāliyā also supports this idea in the sense of him dancing on Kāliyā’s many hoods. Even though he is doing battle with the serpent, he is in no real danger and treats it like a game. He is a protector, but he only appears to be a young boy having fun. This idea of having a playful god is very important in Hinduism. The playfulness of Krishna has inspired many celebrations like the Rasa-lila and the Janmashtami : where they make human pyramids to break open handis (clay pots) hung high in the air that spill buttermilk all over the group after being broken by the person at the top. This is meant to be a fun celebration and it gives the participants a sense of unity. Many believe that lila being connected with Krishna gives Hindus a deeper connection to him and thus a deeper connection to Vishnu also; seeing as Krishna is an incarnation of Vishnu. Theologists, like Kristin Johnston Largen, believe that Krishna’s childhood can even inspire other religions to look for lila in deities so that they have a chance to experience a part of their faith that they may not have previously seen.
THE PRINCE
On his return to Mathura as a young man, Krishna overthrew and killed his maternal uncle, Kamsa, after quelling several assassination attempts from Kamsa's followers. He reinstated Kamsa's father, Ugrasena, as the king of the Yadavas and became a leading prince at the court. During this period, he became a friend of Arjuna and the other Pandava princes of the Kuru kingdom, who were his cousins. Later, he took his Yadava subjects to the city of Dwaraka (in modern Gujarat) and established his own kingdom there.
Krishna married Rukmini, the Vidarbha princess, by abducting her, at her request, from her proposed wedding with Shishupala. He married eight queens - collectively called the Ashtabharya - including Rukmini, Satyabhama, Jambavati, Kalindi, Mitravinda, Nagnajiti, Bhadra and Lakshmana. Krishna subsequently married 16,000 or 16,100 maidens who were held captive by the demon Narakasura, to save their honour. Krishna killed the demon and released them all. According to social custom of the time, all of the captive women were degraded, and would be unable to marry, as they had been under the Narakasura's control. However Krishna married them to reinstate their status in the society. This symbolic wedding with 16,100 abandoned daughters was more of a mass rehabilitation. In Vaishnava traditions, Krishna's wives are forms of the goddess Lakshmi - consort of Vishnu, or special souls who attained this qualification after many lifetimes of austerity, while his two queens, Rukmani and Satyabhama, are expansions of Lakshmi.
When Yudhisthira was assuming the title of emperor, he had invited all the great kings to the ceremony and while paying his respects to them, he started with Krishna because he considered Krishna to be the greatest of them all. While it was a unanimous feeling amongst most present at the ceremony that Krishna should get the first honours, his cousin Shishupala felt otherwise and started berating Krishna. Due to a vow given to Shishupal's mother, Krishna forgave a hundred verbal abuses by Shishupal, and upon the one hundred and first, he assumed his Virat (universal) form and killed Shishupal with his Chakra. The blind king Dhritarashtra also obtained divine vision to be able to see this form of Krishna during the time when Duryodana tried to capture Krishna when he came as a peace bearer before the great Mahabharat War. Essentially, Shishupala and Dantavakra were both re-incarnations of Vishnu's gate-keepers Jaya and Vijaya, who were cursed to be born on Earth, to be delivered by the Vishnu back to Vaikuntha.
KURUKSHETRA WAR AND BHAGAVAD GITA
Once battle seemed inevitable, Krishna offered both sides the opportunity to choose between having either his army called narayani sena or himself alone, but on the condition that he personally would not raise any weapon. Arjuna, on behalf of the Pandavas, chose to have Krishna on their side, and Duryodhana, Kaurava prince, chose Krishna's army. At the time of the great battle, Krishna acted as Arjuna's charioteer, since this position did not require the wielding of weapons.
Upon arrival at the battlefield, and seeing that the enemies are his family, his grandfather, his cousins and loved ones, Arjuna is moved and says his heart does not allow him to fight and he would rather prefer to renounce the kingdom and put down his Gandiv (Arjuna's bow). Krishna then advises him about the battle, with the conversation soon extending into a discourse which was later compiled as the Bhagavad Gita.
Krishna asked Arjuna, "Have you within no time, forgotten the Kauravas' evil deeds such as not accepting the eldest brother Yudhishtira as King, usurping the entire Kingdom without yielding any portion to the Pandavas, meting out insults and difficulties to Pandavas, attempt to murder the Pandavas in the Barnava lac guest house, publicly attempting to disrobe and disgracing Draupadi. Krishna further exhorted in his famous Bhagavad Gita, "Arjuna, do not engage in philosophical analyses at this point of time like a Pundit. You are aware that Duryodhana and Karna particularly have long harboured jealousy and hatred for you Pandavas and badly want to prove their hegemony. You are aware that Bhishmacharya and your Teachers are tied down to their dharma of protecting the unitarian power of the Kuru throne. Moreover, you Arjuna, are only a mortal appointee to carry out my divine will, since the Kauravas are destined to die either way, due to their heap of sins. Open your eyes O Bhaarata and know that I encompass the Karta, Karma and Kriya, all in myself. There is no scope for contemplation now or remorse later, it is indeed time for war and the world will remember your might and immense powers for time to come. So rise O Arjuna!, tighten up your Gandiva and let all directions shiver till their farthest horizons, by the reverberation of its string."
Krishna had a profound effect on the Mahabharata war and its consequences. He had considered the Kurukshetra war to be a last resort after voluntarily acting as a messenger in order to establish peace between the Pandavas and Kauravas. But, once these peace negotiations failed and was embarked into the war, then he became a clever strategist. During the war, upon becoming angry with Arjuna for not fighting in true spirit against his ancestors, Krishna once picked up a carriage wheel in order to use it as a weapon to challenge Bhishma. Upon seeing this, Bhishma dropped his weapons and asked Krishna to kill him. However, Arjuna apologized to Krishna, promising that he would fight with full dedication here/after, and the battle continued. Krishna had directed Yudhisthira and Arjuna to return to Bhishma the boon of "victory" which he had given to Yudhisthira before the war commenced, since he himself was standing in their way to victory. Bhishma understood the message and told them the means through which he would drop his weapons - which was if a woman entered the battlefield. Next day, upon Krishna's directions, Shikhandi (Amba reborn) accompanied Arjuna to the battlefield and thus, Bhishma laid down his arms. This was a decisive moment in the war because Bhishma was the chief commander of the Kaurava army and the most formidable warrior on the battlefield. Krishna aided Arjuna in killing Jayadratha, who had held the other four Pandava brothers at bay while Arjuna's son Abhimanyu entered Drona's Chakravyuha formation - an effort in which he was killed by the simultaneous attack of eight Kaurava warriors. Krishna also caused the downfall of Drona, when he signalled Bhima to kill an elephant called Ashwatthama, the namesake of Drona's son. Pandavas started shouting that Ashwatthama was dead but Drona refused to believe them saying he would believe it only if he heard it from Yudhisthira. Krishna knew that Yudhisthira would never tell a lie, so he devised a clever ploy so that Yudhisthira wouldn't lie and at the same time Drona would be convinced of his son's death. On asked by Drona, Yudhisthira proclaimed
Ashwathama Hatahath, naro va Kunjaro va
i.e. Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant. But as soon as Yudhisthira had uttered the first line, Pandava army on Krishna's direction broke into celebration with drums and conchs, in the din of which Drona could not hear the second part of the Yudhisthira's declaration and assumed that his son indeed was dead. Overcome with grief he laid down his arms, and on Krishna's instruction Dhrishtadyumna beheaded Drona.
When Arjuna was fighting Karna, the latter's chariot's wheels sank into the ground. While Karna was trying to take out the chariot from the grip of the Earth, Krishna reminded Arjuna how Karna and the other Kauravas had broken all rules of battle while simultaneously attacking and killing Abhimanyu, and he convinced Arjuna to do the same in revenge in order to kill Karna. During the final stage of the war, when Duryodhana was going to meet his mother Gandhari for taking her blessings which would convert all parts of his body on which her sight falls to diamond, Krishna tricks him to wearing banana leaves to hide his groin. When Duryodhana meets Gandhari, her vision and blessings fall on his entire body except his groin and thighs, and she becomes unhappy about it because she was not able to convert his entire body to diamond. When Duryodhana was in a mace-fight with Bhima, Bhima's blows had no effect on Duryodhana. Upon this, Krishna reminded Bhima of his vow to kill Duryodhana by hitting him on the thigh, and Bhima did the same to win the war despite it being against the rules of mace-fight (since Duryodhana had himself broken Dharma in all his past acts). Thus, Krishna's unparalleled strategy helped the Pandavas win the Mahabharata war by bringing the downfall of all the chief Kaurava warriors, without lifting any weapon. He also brought back to life Arjuna's grandson Parikshit, who had been attacked by a Brahmastra weapon from Ashwatthama while he was in his mother's womb. Parikshit became the Pandavas' successor.
FAMILY
Krishna had eight princely wives, also known as Ashtabharya: Rukmini, Satyabhama, Jambavati, Nagnajiti, Kalindi, Mitravinda, Bhadra, Lakshmana) and the other 16,100 or 16,000 (number varies in scriptures), who were rescued from Narakasura. They had been forcibly kept in his palace and after Krishna had killed Narakasura, he rescued these women and freed them. Krishna married them all to save them from destruction and infamity. He gave them shelter in his new palace and a respectful place in society. The chief amongst them is Rohini.
The Bhagavata Purana, Vishnu Purana, Harivamsa list the children of Krishna from the Ashtabharya with some variation; while Rohini's sons are interpreted to represent the unnumbered children of his junior wives. Most well-known among his sons are Pradyumna, the eldest son of Krishna (and Rukmini) and Samba, the son of Jambavati, whose actions led to the destruction of Krishna's clan.
LATER LIFE
According to Mahabharata, the Kurukshetra war resulted in the death of all the hundred sons of Gandhari. On the night before Duryodhana's death, Lord Krishna visited Gandhari to offer his condolences. Gandhari felt that Krishna knowingly did not put an end to the war, and in a fit of rage and sorrow, Gandhari cursed that Krishna, along with everyone else from the Yadu dynasty, would perish after 36 years. Krishna himself knew and wanted this to happen as he felt that the Yadavas had become very haughty and arrogant (adharmi), so he ended Gandhari's speech by saying "tathastu" (so be it).
After 36 years passed, a fight broke out between the Yadavas, at a festival, who killed each other. His elder brother, Balarama, then gave up his body using Yoga. Krishna retired into the forest and started meditating under a tree. The Mahabharata also narrates the story of a hunter who becomes an instrument for Krishna's departure from the world. The hunter Jara, mistook Krishna's partly visible left foot for that of a deer, and shot an arrow, wounding him mortally. After he realised the mistake, While still bleeding, Krishna told Jara, "O Jara, you were Bali in your previous birth, killed by myself as Rama in Tretayuga. Here you had a chance to even it and since all acts in this world are done as desired by me, you need not worry for this". Then Krishna, with his physical body ascended back to his eternal abode, Goloka vrindavan and this event marks departure of Krishna from the earth. The news was conveyed to Hastinapur and Dwaraka by eyewitnesses to this event. The place of this incident is believed to be Bhalka, near Somnath temple.
According to Puranic sources, Krishna's disappearance marks the end of Dvapara Yuga and the start of Kali Yuga, which is dated to February 17/18, 3102 BCE. Vaishnava teachers such as Ramanujacharya and Gaudiya Vaishnavas held the view that the body of Krishna is completely spiritual and never decays (Achyuta) as this appears to be the perspective of the Bhagavata Purana. Lord Sri Chaitanya Mahaprabhu (an incarnation of Lord Sri Krishna according to the Bhavishya Purana) exhorted, "Krishna Naama Sankirtan" i.e. the constant chanting of the Krishna's name is the supreme healer in Kali Yuga. It destroys sins and purifies the hearts through Bhakti ensures universal peace.
Krishna never appears to grow old or age at all in the historical depictions of the Puranas despite passing of several decades, but there are grounds for a debate whether this indicates that he has no material body, since battles and other descriptions of the Mahabhārata epic show clear indications that he seems to be subject to the limitations of nature. While battles apparently seem to indicate limitations, Mahabharata also shows in many places where Krishna is not subject to any limitations as through episodes Duryodhana trying to arrest Krishna where his body burst into fire showing all creation within him. Krishna is also explicitly described as without deterioration elsewhere.
WORSHIP
VAISHNAVISM
The worship of Krishna is part of Vaishnavism, which regards Vishnu as the Supreme God and venerates His associated avatars, their consorts, and related saints and teachers. Krishna is especially looked upon as a full manifestation of Vishnu, and as one with Vishnu himself. However the exact relationship between Krishna and Vishnu is complex and diverse, where Krishna is sometimes considered an independent deity, supreme in his own right. Out of many deities, Krishna is particularly important, and traditions of Vaishnava lines are generally centered either on Vishnu or on Krishna, as supreme. The term Krishnaism has been used to describe the sects of Krishna, reserving the term "Vaishnavism" for sects focusing on Vishnu in which Krishna is an avatar, rather than as a transcendent Supreme Being.
All Vaishnava traditions recognise Krishna as an avatar of Vishnu; others identify Krishna with Vishnu; while traditions, such as Gaudiya Vaishnavism, Vallabha Sampradaya and the Nimbarka Sampradaya, regard Krishna as the Svayam Bhagavan, original form of God. Swaminarayan, the founder of the Swaminarayan Sampraday also worshipped Krishna as God himself. "Greater Krishnaism" corresponds to the second and dominant phase of Vaishnavism, revolving around the cults of the Vasudeva, Krishna, and Gopala of late Vedic period. Today the faith has a significant following outside of India as well.
EARLY TRADITIONS
The deity Krishna-Vasudeva (kṛṣṇa vāsudeva "Krishna, the son of Vasudeva") is historically one of the earliest forms of worship in Krishnaism and Vaishnavism. It is believed to be a significant tradition of the early history of the worship of Krishna in antiquity. This tradition is considered as earliest to other traditions that led to amalgamation at a later stage of the historical development. Other traditions are Bhagavatism and the cult of Gopala, that along with the cult of Bala Krishna form the basis of current tradition of monotheistic religion of Krishna. Some early scholars would equate it with Bhagavatism, and the founder of this religious tradition is believed to be Krishna, who is the son of Vasudeva, thus his name is Vāsudeva; he is said to be historically part of the Satvata tribe, and according to them his followers called themselves Bhagavatas and this religion had formed by the 2nd century BC (the time of Patanjali), or as early as the 4th century BC according to evidence in Megasthenes and in the Arthasastra of Kautilya, when Vāsudeva was worshiped as supreme deity in a strongly monotheistic format, where the supreme being was perfect, eternal and full of grace. In many sources outside of the cult, the devotee or bhakta is defined as Vāsudevaka. The Harivamsa describes intricate relationships between Krishna Vasudeva, Sankarsana, Pradyumna and Aniruddha that would later form a Vaishnava concept of primary quadrupled expansion, or avatar.
BHAKTI TRADITION
Bhakti, meaning devotion, is not confined to any one deity. However Krishna is an important and popular focus of the devotional and ecstatic aspects of Hindu religion, particularly among the Vaishnava sects. Devotees of Krishna subscribe to the concept of lila, meaning 'divine play', as the central principle of the Universe. The lilas of Krishna, with their expressions of personal love that transcend the boundaries of formal reverence, serve as a counterpoint to the actions of another avatar of Vishnu: Rama, "He of the straight and narrow path of maryada, or rules and regulations."
The bhakti movements devoted to Krishna became prominent in southern India in the 7th to 9th centuries AD. The earliest works included those of the Alvar saints of the Tamil country. A major collection of their works is the Divya Prabandham. The Alvar Andal's popular collection of songs Tiruppavai, in which she conceives of herself as a gopi, is the most famous of the oldest works in this genre. Kulasekaraazhvaar's Mukundamala was another notable work of this early stage.
SPREAD OF THE KRISHNA-BHAKTI MOVEMENT
The movement, which started in the 6th-7th century A.D. in the Tamil-speaking region of South India, with twelve Alvar (one immersed in God) saint-poets, who wrote devotional songs. The religion of Alvar poets, which included a woman poet, Andal, was devotion to God through love (bhakti), and in the ecstasy of such devotions they sang hundreds of songs which embodied both depth of feeling and felicity of expressions. The movement originated in South India during the seventh-century CE, spreading northwards from Tamil Nadu through Karnataka and Maharashtra; by the fifteenth century, it was established in Bengal and northern India.
While the learned sections of the society well versed in Sanskrit could enjoy works like Gita Govinda or Bilvamangala's Krishna-Karnamritam, the masses sang the songs of the devotee-poets, who composed in the regional languages of India. These songs expressing intense personal devotion were written by devotees from all walks of life. The songs of Meera and Surdas became epitomes of Krishna-devotion in north India.
These devotee-poets, like the Alvars before them, were aligned to specific theological schools only loosely, if at all. But by the 11th century AD, Vaishnava Bhakti schools with elaborate theological frameworks around the worship of Krishna were established in north India. Nimbarka (11th century AD), Vallabhacharya (15th century AD) and (Lord Sri Chaitanya Mahaprabhu an incarnation of Lord Sri Krishna according to the Bhavishya Purana) (16th century AD) all inspired by the teachings of Madhvacharya (11th century AD) were the founders of the most influential schools. These schools, namely Nimbarka Sampradaya, Vallabha Sampradaya and Gaudiya Vaishnavism respectively, see Krishna as the supreme God, rather than an avatar, as generally seen.
In the Deccan, particularly in Maharashtra, saint poets of the Varkari sect such as Dnyaneshwar, Namdev, Janabai, Eknath and Tukaram promoted the worship of Vithoba, a local form of Krishna, from the beginning of the 13th century until the late 18th century. In southern India, Purandara Dasa and Kanakadasa of Karnataka composed songs devoted to the Krishna image of Udupi. Rupa Goswami of Gaudiya Vaishnavism, has compiled a comprehensive summary of bhakti named Bhakti-rasamrita-sindhu.
IN THE WEST
In 1965, the Krishna-bhakti movement had spread outside India when its founder, Bhaktivedanta Swami Prabhupada, (who was instructed by his guru, Bhaktisiddhanta Sarasvati Thakura) traveled from his homeland in West Bengal to New York City. A year later in 1966, after gaining many followers, he was able to form the International Society for Krishna Consciousness (ISKCON), popularly known as the Hare Krishna movement. The purpose of this movement was to write about Krishna in English and to share the Gaudiya Vaishnava philosophy with people in the Western world by spreading the teachings of the saint Chaitanya Mahaprabhu. In an effort to gain attention, followers chanted the names of God in public locations. This chanting was known as hari-nama sankirtana and helped spread the teaching. Additionally, the practice of distributing prasad or “sanctified food” worked as a catalyst in the dissemination of his works. In the Hare Krishna movement, Prasad was a vegetarian dish that would be first offered to Krishna. The food’s proximity to Krishna added a “spiritual effect,” and was seen to “counteract material contamination affecting the soul.” Sharing this sanctified food with the public, in turn, enabled the movement to gain new recruits and further spread these teachings.
WIKIPEDIA
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REFORD GARDENS | LES JARDINS DE METIS
MECONOPSIS BETONICIFOLIA
Himalayan flower imported by Elsie Reford in the early 1930s that has since become the floral emblem of the Gardens.
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
I've been fairly inactive on Flickr for quite some time now due to other commitments. I've not stopped shooting in the meantime though and have several thousand unprocessed shots to trawl through.
I came across this file tonight, taken in March 2012. I've tried night shoots at this location several times and not always come up with the goods, often due to condensation on my lens. I've since learned to overcome such issues. My camera now gets treated to a thick, cozy neck snood and either a disposable heat-pack or if it's really cold, with high humidity, I turn to a telescope heater, powered with a 7AH battery pack!
The main reason that I'm uploading this is because this is a shot that looked ok on the back of my camera, as a jpg, but I was disappointed with on the big screen. It was resigned to the cyber bin, that is until I ran the RAW file through RAW conversion in CS6, lightened the exposure, tweaked the white balance and added a couple of subtle vignettes with curves adjustments in CS6.
I take a mixture of long exposures and multiple exposures for this kind of scene, depending on what I want to achieve with the image. This was a single 32 minute exposure and luckily, there was only one subtle plane trail to edit out.
Despite some banding in the shadows, I'm amazed at what CS6 Raw converter can pull out of a RAW file.
ISO 100
F/ 5.6
32 minutes
ChariTrees is an annual charity project with a core mission to raise funds for those in need and recognise the tireless efforts of invidivuals and organisation dedicated to bettering the lives of the underserved in our community.
This project also serves a testament to Singapore’s strength in overcoming the various challengers we have, while caring for the welfare of the underserved.
In this 14 edition, ChariTrees 2024 is themed Blossom of Hope, symbolising our journey towards recovery and resilience and serves as a beacon of determination, inviting everyone to embrace hope, compassion and unity, Charitrees 2024 will be supporting four charity causes, - TRCL’s Business Time (BT-BAF), Kidney Dialysis Foundation (KDF), Samaritans of Singapore (SOS)
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"When we look squarely at injustice and get involved, we actually feel less pain, not more, because we overcome the gnawing guilt and despair that festers under our numbness. We clean the wound --- our own and others' --- and it can finally heal."
- Desmond Tutu
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The history of the Swiss Air Force began in 1914 with the establishment of an ad hoc force consisting of a handful of men in outdated and largely civilian aircraft. It was only in the 1930s the military and civilian leadership decided to establish an effective air force. On 13 December 1929, in what was in retrospect referred to as the "bill to create an air force", the Federal Council asked the Swiss Federal Assembly to approve the spending of 20 million francs for the purchase of 65 French Dewoitine D.27 fighters and the manufacture of 40 Dutch (Fokker C.V-E) reconnaissance planes under license.
Although the opposition Social Democratic Party collected 42,000 signatures in a petition opposing the bill, Parliament passed it handily and declined to allow a referendum on the issue, optional at that time for spending bills. This was the start of a massive armament program that would consume more than a billion francs over the next ten years, but after Hitler's rise to power in Germany, the Social Democrats added their support to the efforts.
The program not only included the procurement of foreign aircraft the domestic industry also started to develop its own products. One of the leading manufacturers of its time in Switzerland was the Eidgenössische Konstruktionswerkstätte (English: "Federal Constructions Works"), short K+W or EKW, and later also known as F+W. It was a Swiss state-owned enterprise, established in 1867 in Thun. The company produced artillery, vehicles, and other typical military equipment, and in 1914 EKW had already started the production of the Häfeli DH-1 reconnaissance biplane. Long-standing connections to the ETH Zurich ensured the necessary know-how. EKW started the program with three military aircraft, the indigenous C-34 single-seat fighter and the fast C-36 long-range light bomber/reconnaissance monoplane, plus the C-35 two-seat reconnaissance and ground-attack biplane, which was actually a license-built Fokker C.X with a water-cooled Hispano-Suiza HS-77 V12 engine, a license-built version of the 12Ycs that also powered the C-36.
The C-34 was the direct response to a requirement issued by the Swiss Air Force for a new fighter, and was the winner of a competition against the German Arado 80, which had been offered for export and eventual license production. The German monoplane was a modern construction, but the type was uninspiring in terms of performance and suffered from a number of failures (so that the German Luftwaffe rejected it, too). Although Arado’s low-wing monoplane Arado heralded the design standard for future fighter aircraft, the Swiss Air Force preferred EKW’s conservative but more maneuverable C-34 biplane, which also offered better starting and landing characteristics and a superior rate of climb – important features in Switzerland’s mountainous theatre of operations.
The C-34’s structure was conventional and of all-metal construction. To overcome the biplane layout’s inherent speed disadvantage, EKW’s design team used flush-head rivets and as little as possible stabilizing rigging to reduce drag. The fuselage was fully planked with aluminum, as well as the fixed parts of the tail surfaces, wings and rudders were still fabric-covered. It had unequal-span biplane wings, braced by struts, with upper-wing ailerons but no flaps yet.
The prototype, which flew for the first time in March 1935, was powered by an imported German liquid-cooled BMW VI 6.0 V-12 engine with 660 hp, which drove a metal three-blade propeller with fixed pitch. The C-34’s production version, which was already introduced in September of the same year, was outfitted with a more powerful, now license-produced BMW VI 7.3 with 633 kW (850 hp), which required a bigger radiator and higher-octane fuel to achieve this performance, though. Armament consisted of two 7.5 mm (.295 in) Darne machine guns, imported from France and synchronized to fire through the propeller. Provisions were made to carry up to four 20 lb (9.1 kg) bombs under-wing, but these were hardly ever used in service.
An initial production run comprised 30 aircraft to equip a complete fighter unit. The first C-34s were delivered in a typical three-ton splinter camouflage in ochre, khaki green and red brown, over grey undersides. The machines were allocated to the so-called “Überwachungschwader” (Surveillance Squadron) at Dübendorf near Zürich, and the new biplane proved to be an instant success. The C-34 was commonly well liked by its crews, being very maneuverable and benefitting from a relatively strong fuselage structure, a favorable control arrangement, a tight turning circle. An excellent handling made the type furthermore ideal for executing aerobatic displays. After a brief and successful period of testing, orders for 80 additional C-34s were placed in 1936.
During the rising tensions in Europe Switzerland remained neutral and isolated, and the Swiss Air Force machines received prominent identification stripes in red and white on fuselage and wings. The air corps furthermore confined its activities to training and exercises, reconnaissance, and patrol.
The Swiss Air Force as an autonomous military service was created in October 1936, and the units were re-arranged to reflect this new structure. In 1938 Gottlieb Duttweiler's launched a popular initiative calling for the purchase of a thousand aircraft and the training of three thousand pilots. After 92,000 citizens signed in support, nearly twice the number necessary for a national popular vote, the federal government offered a referendum proposal in 1939 that was nearly as extensive, which was accepted by a 69 percent majority. This led to a massive procurement of additional and more up-to-date aircraft, namely the Messerschmitt Bf 109 and Morane-Saulnier 406 fighters from Germany and France, respectively, and the Moranes were license-built as D-3800 in Switzerland. By that time, the Swiss Air Force changed its aircraft designation system, and the C-34 was officially renamed C-3400.
Despite these new and more modern aircraft the C-3400s remained in service, and to supplement the fleet a further eight aircraft were built between 1941 and 1942 from spares. These machines received a simplified camouflage with dark green upper surfaces over a light blue-grey underside, similar to the imported Bf 109s from Germany, and some older C-3400s were re-painted accordingly, even though many machines retained their pre-war splinter scheme for the rest of their service life. During the same period, almost all aircraft received prominent neutrality markings in the form of bright red and white stripes on wings and fuselage.
From 1941 on, most C-3400s were gradually upgraded during overhauls. Several new features were introduced, which included a fully closed canopy that greatly improved pilot comfort esp. in wintertime, a variable pitch/constant speed propeller, a better radio set, a new gun sight and spatted main wheels. The Darne machine guns were replaced with belt-fed MAC 1934 machine guns of the same caliber from domestic production, because they were more reliable and had, with the license production of the Morane Saulnier M.S. 406, become a standard weapon in the Swiss arsenal. These modified aircraft were re-designated C-3401, even though the aircraft under this designation did not uniformly feature all improvements.
When enough monoplane fighters had widely become available for the Swiss Air Force in 1943, the C-3400/-3401 biplanes were quickly removed from front-line service. They served on in second-line surveillance and aerial patrol units, or they were transferred to training units, where most of the type (a total of 119 were built) survived the hostilities. The last C-3400/-3401 was finally withdrawn from service in 1954, and only a single specimen survived in the collection of the Aviation Museum (Flieger Flab Museum) in Dübendorf, Switzerland.
General characteristics:
Crew: 1
Length: 7.2 m (23 ft 7 in)
Wingspan: 10.02 m (32 ft 10 in)
Height: 3 m (9 ft 10 in)
Wing area: 23 m2 (250 sq ft)
Airfoil: NACA M-12
Empty weight: 1,360 kg (2,998 lb)
Gross weight: 1,740 kg (3,836 lb)
Powerplant:
1× BMW VI 7.3 V-12 liquid-cooled piston engine, 634 kW (850 hp),
driving a three-bladed variable pitch metal propeller
Performance:
Maximum speed: 400 km/h (250 mph, 220 kn) at 3,000 m (9,843 ft)
Service ceiling: 11,500 m (37,700 ft)
Rate of climb: 16.67 m/s (3,281 ft/min)
Time to altitude: 5,000 m (16,404 ft) in 5 minutes 30 seconds
Wing loading: 75.7 kg/m2 (15.5 lb/sq ft)
Power/mass: 0.36 kW/kg (0.22 hp/lb)
Armament:
2× fixed, forward-firing 7.5 mm (.295 in) MAC 1934 machine guns with 600 RPG
4× underwing hardpoints for 20 lb (9.1 kg) bombs (rarely used)
The kit and its assembly:
This whiffy biplane was/is just a kit travesty – the fictional EKW C-34 is a Kawasaki Ki-10 (the ICM kit) with mild mods and Swiss pre-WWII markings. I had an eye on the quite elegant Japanese fighter for a while, and due to its engine with German roots (its Kawasaki Ha9-IIa was a license-built water-cooled BMW VI V12 engine) I thought about a European operator – and eventually I decided to make it a Swiss aircraft.
The ICM kit was built almost OOB, the only changes I made were the spatted wheels (IIRC left over from an ICM Polikarpov I-15 biplane), which needed some tweaks on the OOB struts, and the different, closed canopy (from a Hobby Boss A6M Zero), because I wanted a relatively modern look, comparable with the contemporary Avia B-534 biplane. Mounting it was tricky, because of the “step” under the windscreen, so that I had to add a console under it, and some PSR was necessary to blend the canopy, which was cut into three parts for open display, into the rounded back of the Ki-10. A scratched antenna mast was added, too, to fill the respective opening in the rear part of the dorsal glazing. Thanks to the many braces of the A6M canopy, the implant looks quite organic.
The ICM Ki-10 went together quite well, it’s a rather simple kit with only a single sprue and few parts. The biggest challenge was the upper wing, though, which is only carried by the struts. The locator pins are only marginal, and finding a proper position took some time and superglue.
I furthermore modified the propeller with a long metal axis and a tube adapter inside if the fuselage, so that it could spin freely.
Painting and markings:
The reason why the Ki-10 became a Swiss aircraft was the paint scheme – a quite attractive tricolor splinter pattern (apparently inspired by the similar German camouflage in RLM 61,62 and 63?) was the Swiss Air Force’s standard at the breakout of WWII, and I adopted it for the C-3401, too.
The pattern is vaguely based on a real C-35 biplane (presented at the Dübendorf Aviation Museum), which I deem to look authentic, and I tried to emulate its colors as good as possible. I settled on Desert Yellow (Humbrol 94, the tone is officially called “Ochre” but appears to be quite yellowish), French Khaki Green (ModelMaster 2106) and Chestnut Brown (ModelMaster 2107, another French WWII aircraft tone), with light grey (Humbrol 64) undersides. Painting the splinter scheme with a brush on a biplane like this was tricky, though. The cockpit interior was painted with a grey-green tone similar to RLM 02 (Humbrol 45), the wing struts became black.
As usual, the model received a light black ink washing, plus some post-panel shading and dry-brushing to emphasize details and to weather it, but only lightly, because the aircraft would not have been involved in fights.
The roundels on the upper wings came from a generic TL-Modellbau national markings sheet, while the red bands for the national insignia under the lower wings and on the rudder were painted. The white cross on the fin comes from a Swiss BAe Hawk trainer (Italeri), while the slightly bigger white cross under the lower wings was scratched from white decal stripes. The tactical code comes from a Croatian MiG-21UM trainer (KP kit), the unit badge is fictional and came from a Spanish Heinkel He 70.
The model was sealed overall with matt acrylic varnish, and as a final step the rigging was applied, made from heated black sprue material, using the real Ki-10 as benchmark for the connections/positions.
A pretty result, and the simple travesty of the elegant Ki-10 into a late interwar biplane from Continental Europe works surprisingly well. The spats and the closed canopy might not have been necessary, but they modernize and change the aircraft, so that its use during WWII – even though not in any offensive role – becomes even more believable. The splinter scheme suits the aircraft well, too, even though its application was a bit tricky, as well as the Swiss roundels.