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Indischer Brunnen is a fountain at Luisenstädtischer Kanal in Kreuzberg, Berlin, Germany.
The Luisenstädtische Kanal is a historic inner-city canal in Berlin's Luisenstadt , which connected the Spree with the Landwehrkanal . It was opened in 1852 and ran through the later districts of Kreuzberg and Mitte . In 1926, the canal was filled in except for the angel basin and converted into a garden. With the construction of the Berlin Wall in 1961, the border between East and West Berlin ran along the northern part of the canal until 1990 . Since 1991, sections of the gardens, which have been destroyed since the Second World War, have been reconstructed.
In 1825, senior building officer Johann Carl Ludwig Schmid drew up a development plan for the Köpenicker Feld, the southern part of Luisenstadt. Even in these initial plans, which were never implemented, a north-south canal was planned for drainage and as a waterway. After Friedrich Wilhelm IV became King of Prussia in 1840, urban planning for Berlin was entrusted to the landscape architect and city planner Peter Joseph Lenné .
Based on Schmid's plans, Lenné designed a development plan that took better account of the space requirements of industrial and railway areas and was intended to be more socially balanced. He wanted to make the Landwehr Canal navigable and take over the connecting canal from the Landwehr Canal to the Spree that Schmid had already planned. For Lenné, the social tasks of urban planning were of great importance - he viewed green spaces for local recreation and streets and squares with high recreational value as necessary for a functioning urban district.
In this spirit, the Luisenstädtische Kanal should be more than just a waterway; rather, it should be a decorative street designed as a decorative center that forms the design center of the new city district. Lenné defined the course and design of the Luisenstadt Canal in his work Projected Jewelry and Borders of Berlin with the immediate surroundings, published in 1839/1840 .
Construction of the Luisenstädtischer Canal began in 1848, two years after the completion of the Landwehr Canal. The canal was intended to serve as a transport route for building materials, as urban drainage and to channel the floods of the Spree. Above all, however, the construction served as a job creation measure; around 5,000 workers were employed without any major technical aids. In October 1848 there were bloody riots among workers out of fear of losing their jobs to construction machinery.
The canal was 2.3 kilometers long, 22.5 meters wide and 1.5 meters deep at medium water. The clinker seawalls, which are atypical for Berlin, towered above the water level by around three meters. It had only a minimal gradient and was designed for ships with a load capacity of up to 175 tons . The waterfront promenade was planted with “Kaiser linden ” trees. At the point where the canal flowed through what was then the Berlin customs wall , a new gate, the Wassertor, was also built in 1848.
The canal began at what was then Urbanhafen and ran in a northeasterly direction parallel to the street grid. It was divided by the Wassertorplatz , where there was a smaller pool, the Oranienplatz, the cast-iron Waldemar Bridge along Waldemarstrasse and a larger water basin, the Angel Pool. At the Engel Becken the canal branched off at a right angle to the east and ran in an arc to the northeast to the Cöpenick lock and the Spree. The lock was north of the Cöpenick Bridge . [1] It served to overcome the different water levels between the Spree and the Luisenstädtischen Canal and the Landwehr Canal and thus fulfilled the same purpose as the upper lock in the Landwehr Canal.
The angel pool is named after the archangel St. Michael , a copy of whose statue can now be found on the ridge at the front of St. Michael's Church . The original statue of the archangel, created by August Kiß , standing in flight towards the canal, was oriented towards the political “West” and was probably dismantled during the GDR era for ideological reasons. Saint Michael's Church is in ruins as a result of Allied air raids during World War II .
The relatively distinctive lines with the right-angled bends at the Urbanhafen and the Angel Basin were due to the layout of the city. From a shipping perspective it made little sense. The canal was created together with the late classicist buildings built on its banks and with them also formed an urban ensemble. It is of urban planning importance in that it was an attempt to use water as an urban design element.
shirley wilson and don burkley were probably the most photographed people there... the press loved the fact that they were unabashed in showing their emotions. most likely some of you have seen their picture on major websites or newspapers already.
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Overcoming poverty is not a gesture of charity. It is an act of justice. It is the protection of a fundamental human right, the right to dignity and a decent life . . .
Nelson Mandela
Mud flows from the Fountain Paint Pots have gradually overcome tree lines in certain pockets of the NP.
Fountain Paint Pot trail, Yellowstone National Park, Wyoming, USA :
This part of Lower Geyser Basin seen from a half-mile trail has all four of the hydrothermal features found in the park:
Clepsydra Geyser is a geyser in the Lower Geyser Basin of Yellowstone National Park. Clepsydra plays nearly continuously to heights of 45 feet. The name Clepsydra is derived from the Greek word for water clock. Prior to the 1959 Hebgen Lake earthquake, it erupted regularly every three minutes.
Yellowstone National Park has several hydrothermal areas, so what makes the Fountain Paint Pot Area worth visiting? For starters, this part of Lower Geyser Basin has all four of the hydrothermal features found in the park (mudpots, geysers, hot springs, and fumaroles) and you can see them all from a compact half-mile long boardwalk loop. While none of the many Fountain Paint Pot Area geysers are as famous as Old Faithful, they erupt so frequently that you are almost guaranteed a great show on your short hike. Since the walkway passes all four of Yellowstone’s hydrothermal formations, the hike comes with a guaranteed lesson in hydrothermal volcanism.
Hiking the loop in a clockwise direction, you will first pass through a forest of lodgepole pine snags that were drowned and left lifeless by the surrounding hot springs. As you approach the northwest end of the loop, you will spot a lively collection of geysers. Clepsydra Geyser, Fountain Geyser, Jelly Geyser, Jet Geyser, Morning Geyser, Spasm Geyser, and Twig Geyser erupt with various levels of regularity.
As you progress around the walkway toward the northeast corner, you will pass Red Spouter, which behaves like a fumarole, a hot spring, and a mudpot throughout the year. It is like a hot spring in the winter, a muddy reddish pool in the spring and a steaming fumarole in the drier summer and fall. Wrapping down the east side of the boardwalk, you will pass Leather Pool and a slope of fumaroles. These gaps in the surface whistle and hiss as gasses and steam escape from the ground. Just below the fumaroles, where a little more water is present, the trail circles Fountain Paint Pot. These mudpots bubble and pop as globs of mud springs from the surface like miniature trapeze artists.
Continuing downhill, the hydrothermal features become even wetter as you arrive at Silex Spring. Look down into the small blue pool rimmed with white silica. Water spills over the sides of the spring creating an orange-colored surface covered in rippling runoff. These colors are created by thermophiles, heat-loving microorganisms that live in Yellowstone’s hot springs.
( www.hikespeak.com/trails/fountain-paint-pot-trail-yellows... )
Geothermal features of Yellowstone NP- A brief note:
There are four geothermal features found in the park – Hot springs, Geysers, Fumaroles , and Mud volcanoes/pots.
What is a Hot spring?
Hot spring, also called thermal spring, spring with water at temperatures substantially higher than the air temperature of the surrounding region. Most hot springs discharge groundwater that is heated by shallow intrusions of magma (molten rock) in volcanic areas.
Some thermal springs, however, are not related to volcanic activity. In general, the temperature of rocks within the earth increases with depth. The rate of temperature increase with depth is known as the geothermal gradient. In such cases, the water is heated by convective circulation: groundwater percolating downward reaches depths of a kilometre or more where the temperature of rocks is high because of the normal temperature gradient of the Earth’s crust—about 30 °C / kilometer in the first 10 km. The water from hot springs in non-volcanic areas is heated in this manner.
But in active volcanic zones such as Yellowstone National Park, water may be heated by coming into contact with magma (molten rock). The high temperature gradient near magma may cause water to be heated enough that it boils or becomes superheated. If the water becomes so hot that it builds steam pressure and erupts in a jet above the surface of the Earth, it is called a geyser.
[ Warm springs are sometimes the result of hot and cold springs mixing. They may occur within a volcanic area or outside of one. One example of a non-volcanic warm spring is Warm Springs, Georgia (frequented for its therapeutic effects by paraplegic U.S. President Franklin D. Roosevelt, who built the Little White House there) ].
List of hot springs:
[ en.wikipedia.org/wiki/List_of_hot_springs ]
The science of colors of a hot spring:
[ ttps://www.britannica.com/science/hot-spring]
Many of the colours in hot springs are caused by thermophilic (heat-loving) microorganisms, which include certain types of bacteria, such as cyanobacteria, and species of archaea and algae. Many thermophilic organisms grow in huge colonies called mats that form the colourful scums and slimes on the sides of hot springs. The microorganisms that grow in hot springs derive their energy from various chemicals and metals; potential energy sources include molecular hydrogen, dissolved sulfides, methane, iron, ammonia, and arsenic. In addition to geochemistry, the temperature and pH of hot springs play a central role in determining which organisms inhabit them.
Examples of thermophilic microorganisms found in hot springs include bacteria in the genera Sulfolobus, which can grow at temperatures of up to 90 °C (194 °F), Hydrogenobacter, which grow optimally at temperatures of 85 °C (185 °F), and Thermocrinis, which grow optimally at temperatures of 80 °C (176 °F). Thermophilic algae in hot springs are most abundant at temperatures of 55 °C (131 °F) or below.
What is a Geyser?
A geyser is formed when water collecting below the surface is heated by a magma source. When the water boils, it rises to the surface. If the water has an unobstructed path, it will pool on the surface in the form of a steaming hot springs. If the passage of the water is imposed upon, the pressure will increase. When the pressure becomes too great, the water converts into to steam. Steam takes up 1,500 times the volume of water, and at this point, the pressure becomes so intense that the steam and surrounding water droplets shoot out of the ground in geyser form, erupting until the pressure has abated and the process starts all over again.
What is a fumarole?
It’s a vent in the Earth’s surface from which steam and volcanic gases are emitted. The major source of the water vapour emitted by fumaroles is groundwater heated by bodies of magma lying relatively close to the surface. Carbon dioxide, sulfur dioxide, and hydrogen sulfide are usually emitted directly from the magma. Fumaroles are often present on active volcanoes during periods of relative quiet between eruptions.
Fumaroles are closely related to hot springs and geysers. In areas where the water table rises near the surface, fumaroles can become hot springs. A fumarole rich in sulfur gases is called a solfatara; a fumarole rich in carbon dioxide is called a mofette. If the hot water of a spring only reaches the surface in the form of steam, it is called a fumarole. [ www.britannica.com/science/fumarole ]
What is a mud volcano/ mud pot/ paint pot?
Usually mud volcanoes are created by hot-spring activity where large amounts of gas and small amounts of water react chemically with the surrounding rocks and form a boiling mud.
Geo-chemistry of mud volcano: Hydrogen sulfide gas rising from magma chamber, as in Yellowstone’s, causes the rotten-egg smell. Microorganisms, or thermophiles, use this gas as a source of energy, and then help turn the gas into sulfuric acid. The acid then breaks down the rocks and soil into mud. Many of the colors seen are vast communities of thermophiles, but some of the yellow is pure sulfur. When iron mixes with sulfur to form iron sulfide, gray and black swirls sometimes appear in the mud (From description of the display board in the park).
If the water of a hot spring is mixed with mud and clay, it is called a mud pot. Variations are the porridge pot (a basin of boiling mud that erodes chunks of the surrounding rock) and the paint pot (a basin of boiling mud that is tinted yellow, green, or blue by minerals from the surrounding rocks).
There are other mud volcanoes, entirely of a nonigneous origin, occur only in oil-field regions that are relatively young and have soft, unconsolidated formations.
Sources: [ www.britannica.com/science/mud-volcano ], and display boards of the YNP.
Documentary Trailer "The One Who Holds Sovereignty Over Everything" | The Rise and Fall of Nations
Is the rise and fall of a country or nation the result of human actions? Is it a natural law? What kind of mystery is contained within? Exactly who commands the rise and fall of a country or nation? The Christian musical documentary The One Who Holds Sovereignty Over Everything will soon reveal the mystery!
Hammer Film Productions’ 1959 The Mummy (not so much a remake of the 1932 film as a composite of all five Universal mummy movies) is everything all those über-famous Universal Studios flicks from the 30’s and 40’s should have been, but mostly weren’t. This is perhaps an unfair comparison, as Hammer had an extra 15-30 years to overcome the staginess that plagued so many very old movies, but considering how far The Mummy towers over even its contemporaries, I really think there must be something more at work than time alone. If I had to guess, I’d say that something is a combination of pacing, an unusually astute script, and top-notch performances from Peter Cushing and Christopher Lee, who in this film acts the pants off just about everybody in Hollywood today, using his eyes alone.
After more than 40 years, the story of this film probably offers no surprises, but here goes. The year is 1895, and the famous archaeologist Stephen Banning (Felix Aylmer) is in Egypt with his brother Joseph (Raymond Huntley, from The Ghost Train and So Evil My Love) and his son John (a startlingly young Cushing), excavating what he hopes is the long-lost tomb of the 20th-dynasty princess Anankha. John is currently unable to take full part in the dig, because he broke his leg some five days earlier, but he is determined to stay in the field-- he has no intention of missing the excitement in the event that his father really has found Anankha’s tomb. Just after the Bannings’ laborers finally break through the layers of rubble blocking the entrance, a well-dressed Egyptian man (George Pastell, Hammer’s favorite ethnic actor-- we’ll later learn that the character’s name is Mehmed Akhim) arrives to warn the Bannings of a curse laid upon the tomb in ancient times. Stephen thinks this curse to be nothing but ridiculous superstition, and enters the tomb anyway, his brother at his side.
The tomb proves to be all that he had hoped. Not only is it really the tomb of Anankha, it has miraculously been spared the depredations of the 4000 years’ worth of grave robbers who ravaged so many of the ancient tombs. Anankha’s mummy is there, along with her vast fortune in grave-goods, including a hitherto-considered-legendary text called the Scroll of Life, the latter preserved in a cartouche-shaped box inlaid with lapis lazuli. Stephen sends Joseph to tell John of the discovery, and the younger Banning brother hurries away. Moments after Joseph has left the tomb, however, he hears his brother screaming within. When he reaches Stephen’s side, the latter man has collapsed across the princess’s sarcophagus, and looks to be in deep shock, muttering incoherently to himself and seemingly oblivious to his surroundings.
Three years later, John has come to see his father at the nursing home to which he has been confined since that day in Egypt. For the first time in all those years, the elder Banning has emerged from his catatonia, and asked to see his son. The reason for Stephen’s concern stems from what he saw back in the tomb. The way he tells it, he did not have a stroke (the doctors’ best guess as to his affliction). Rather, as he read aloud the text of the Scroll of Life, the ancient incantations brought to life a mummy (Anankha’s? Someone else’s?), which attacked him, bringing on his present debility. Stephen is unshakably convinced that this living mummy is now coming to England to kill him, along with Joseph and John, who were accomplices in his violation of the tomb. John takes the old man’s ramblings as well as could be asked (though, watching him, one gets a clear sense of “I came all the way out here for this?!”), and tries to persuade him that he is mistaken, and is simply suffering from an attack of nerves. Disgusted at his son’s disbelief, Stephen sends him away.
Not much time has passed, however, before we begin seeing evidence that Stephen knew what he was talking about. A pair of cartmen are sitting in a tavern, discussing over drinks their current assignment. Apparently a “foreigner” has commissioned them to transport a crateful of ancient Egyptian relics to his newly-acquired home in the countryside about half a mile away from the tavern. The trip to the house takes them past Stephen’s nursing home, which doubles as an insane asylum, just as the asylum’s alarm begins to sound. Afraid that the alarm heralds the escape of some dangerous lunatic, the cartmen whip their horses to a higher speed, despite the worsening condition of the road ahead. Predictably, the cart hits a massive bump in the road, causing their employer’s crate to fall overboard into a deep bog. The cartmen don’t much care; at this point, they just want to get away from the asylum.
The next day, the police are questioning one of the cartmen as they attempt to dredge up the crate. Just then, the “foreigner” who hired them shows up to see what all the fuss is about. You probably don’t need me to tell you that this man is none other than Mehmed Akhim. Mehmed is suspiciously unconcerned about the fate of his relics. I don’t know about you, but if I’d just lost thousands of pounds’ worth of irreplaceable Egyptian artifacts because of the clumsiness of the movers, I’d be pretty fucking pissed. But not Mehmed; he just nods his head and goes back home when the police inform him that his crate is in all probability irrecoverable.
He comes back that night, though, with a familiar-looking papyrus in his hands, and begins to read it over the bog. The incantation is full of worrisome phrases like, “Make supple these limbs, and strong these sinews, and give them not to corruption,” and it is rather less than surprising that the recitation results in Christopher Lee, wrapped in bandages and clotted with mud, rising from the bog. Mehmed Akhim instructs the mummy to seek out and destroy those who have desecrated Princess Anankha’s grave, and the next thing we know, the moldy old hulk is smashing his way into Stephen Banning’s hospital cell to strangle him.
Now, it should be fairly obvious that Christopher Lee is not Princess Ananakha, so some explanation is clearly in order. Back in 20th dynasty days, Anankha made a pilgrimage to the Temple of Karnack to perform some important religious observance or other. She never reached the temple alive. Her actual fate remains unknown, but her body was recovered by Kharis, priest of the Temple of Karnack (Lee), and was buried with all the grandeur due a princess and a priestess-- with one exception. Instead of following the customary practice of sending the body back to the royal capital for interment, Kharis had Anankha buried locally, in a location known only to him and to the builders of the tomb-- all of whom he immediately had killed. The reason for Kharis’s departure from orthodoxy was that the priest was in love with the princess, but was kept from her by her religious vows. The trick is that Anankha’s vows were only binding during her lifetime. With her death, she was released from them, and was free to do what she wished. The ever-resourceful Kharis was not troubled by the obstacle that the princess’s death would seem to present to a fulfilling relationship, because he possessed the Scroll of Life, whose incantations held the power to raise the dead. So he naturally wanted to keep the body of his love close by. Unfortunately for Kharis, he was discovered before he could complete the spell, and sentenced to be buried alive in Anankha’s tomb. Before he died, a spell was placed over him pressing him into service to stand guard over Anankha forever.
The collision course with Kharis on which that spell places the Bannings should be obvious, and the main outlines of the film’s principal conflict should be equally so. The complication that will get us to the all-important scene in which the mummy staggers off into the night carrying a beautiful, unconscious girl is similarly predictable. John Banning’s wife, Isabel (Yvonne Furneaux) bears a striking resemblance to Anankha. I’m sure you see where this is going.
The thing is, though, that The Mummy suffers not a bit from all this predictability. Sure, all but the most dim-witted viewers will be two or three steps ahead of the film the entire time, but in this case, that somehow adds to the film’s effectiveness. Watching The Mummy is like watching a complex but graceful and elegant machine at work. You already know what the end result will be, but the pleasure is in seeing the process itself. The Mummy’s predictability is the predictability of rightness rather than of intellectual laziness, and the only misstep in the entire film is the conspicuous lack of an explanation for Isabel’s unconsciousness when the mummy absconds with her-- one moment, we see her menaced by the mummy, the next, we see it carry her through the door. Sure, several obvious explanations present themselves, but something in the structure of the scene makes it seem like we were supposed to see her faint or be knocked out or whatever. But it’s a minor flaw, and is vastly outweighed by the film’s many strengths. Especially satisfying is the way screenwriter Jimmy Sangster weaves together all the best elements from The Mummy, The Mummy’s Hand, The Mummy’s Tomb, The Mummy’s Ghost, and The Mummy’s Curse into a narrative far more coherent and compelling than those upon which it was based. Though much longer than any of the Universal films, and more deliberately paced than any but the original The Mummy, this version holds the viewer’s attention in a way that none of its models do-- not even the ones that are only an hour long! Finally, even if this version of The Mummy had nothing else to recommend it, it could still succeed on the strength of the awesome screen presence of Christopher Lee. Even with scarcely any dialogue (and none at all as the mummy), Lee dominates the film, even upstaging Peter Cushing for once. His Kharis is the only living mummy ever filmed that doesn’t make you say, “why the fuck doesn’t anybody just go around him and toss a match at him from behind?”-- in a way that Boris Karloff, Tom Tyler, and Lon Chaney Jr. never could, Lee makes the mummy seem genuinely threatening. It’s going to take a lot more than zillion-dollar CGI visual effects to make a mummy film that can stand up to this one.
"In each of us lie good and bad, light and dark, art and pain, choice and regret, cruelty and sacrifice. We’re each of us our own chiaroscuro, our own bit of illusion fighting to emerge into something solid, something real. We’ve got to forgive ourselves that. I must remember to forgive myself. Because there is a lot of grey to work with. No one can live in the light all the time."
not sure how I feel about this one, either. hmph.
APRIL 11, 2023 WASHINGTON DC. WORLD BANK GROUP/INTERNATIONAL MONETARY FUND 2023 SPRING MEETINGS
Overcoming Debt, Generating Growth
Rising interest rates and slowing global growth are tipping a growing number of countries into debt crises. Yet global initiatives to help countries overcome these vulnerabilities have proved insufficient. Debt transparency remains inadequate. These vulnerabilities are making it harder for many developing economies to recover from the setbacks of the past three years. This event explores what they can do to avoid debt crises and generate growth at a time when public-debt levels are at 50-year highs.
Speakers: David R. Malpass, President of the World Bank Group; Tina Vandersteel, Head of Emerging Country Debt, GMO; Raghuram Rajan, Professor of Finance, University of Chicago's Booth School; Raghuram Rajan, Professor of Finance, University of Chicago's Booth School; Nigel Clarke, Minister of Finance and the Public Service, Jamaica. Host: Paul Blake, External Affairs Officer, World Bank Group Photo: World Bank / Leigh Vogel
America - Overcoming Differences and Overcoming Hatred by Daniel Arrhakis (2024)
A New Series and a reflection about choice, "America - The New Generation", with a positive mood in an America that heads towards the future!!
Liberty is the moral imperative to act in a just and responsible way. Freedom, on the other hand, is an external force that enables us to do what we want
appointed Women's Convention Morning Preacher.
Mother Sweetie Salome Love Joy Williams Little. Bishop Frank ClemmonsBishop Ithel Clemmons Pauline Clemmons. Was her sister AND Brothers Childern but they were family with the love of Christ
Historic First Church of God in Christ, Brooklyn, NY as well as Church of God in Christ Cathedral, home of Wells Memorial Church of God in Christ, Bishop Frank Clemmons, the late Founder and Pastor of Historic First, 221 Kingston Avenue, Brooklyn, NY 11213 (from January 1924 until September 1990) was born in Washington, North Carolina, September 6, 1894 Queen name came from Queen Easter little her grand mother Aunt Sweetie . THIS NAME is also in Alex Haley Queen , Queens Mothers Name Was Easter
Easter was a slave Girl on the Andrew Jackson farm. and the story continue in me .. Queen Jackson why was i name that ,.
It was during a time of great confusion, war, political struggles, and protest against racial injustice, that I arose as a mother in Israel and Supervisor of New York, Southeast.
These were the turbulent 1960's. In 1961 the Church of God in Christ had experienced the departing of their first General Overseer Bishop Charles H. Mason. In 1963, President John F. Kennedy was killed by assassination. in 1968 A People of hope lost a great freedom leader, Dr. Martin Luther King, and let us not forget the thousands of lives lost in the Vietnam War.
In the early 1960's I was asked to help Bishop I. G. Glover and his wife to get Victory Temple C.O.G.I.C. on the move. I started a choir there was their first pianist. I put together my program to help with the work. During the summer of 1965 I was doing rare field work with Bishop I. G. Glover called asking me to fill the office of the State Supervisor of the New York southeast. There had been confusion in the state and a split had occurred. Before accepting the office, I spoke with my pastor, from my home church, Bishop Frank Clemmons, and with State Mother Maydie Payton to make sure I had their permission.
These were the dark years, yet light did shine throughout he darkness. A people began to work together for the fulfillment of a dream, and through prayer many barriers were broken.
President Johnson was now in office, and the Church of God in Christ was struggling to regain its composure. A accepted my promotion and was licensed by International Supervisor, Mother Annie Bailey. My father's name is Dempsey Williams, Sr., who wed my mother Sarah. I wed an Elder named Adam Little. We had one child named Miriam Joy Little. thats Queen E.Jackson mother.
It was during these days that Mother Little sent a letter to to President Johnson asking him to call the nation to prayer. She has a copy of the letter that was mailed back in September of 1965, it reads like this:
Dear President.
Thus saith the Lord to me, Mrs. S. Little to ask the President of United States to call the people of this country to prayer each day. Send out a proclamation, to sound an alarm or ring bells or blow a whistle or traveling pray that God will turn away wrath from us and have mercy and give us peace, because much evil is fast approaching.
Your Servant Praying for the Nations,
Mrs. S. Little History of the PCCNA
Memphis 1994: Miracle and Mandate
Dr. Vinson Synan
It was a day never to be forgotten in the annals of American Pentecostalism‚October 18, 1994‚when the Spirit moved in Memphis to end decades of racial separation and open doors to a new era of cooperation and fellowship between African-American and white Pentecostals. At the time, it was called the ìMemphis Miracleî by those gathered in Memphis as well as in the national press which hailed the historic importance of the event.
It was called a miracle because it ended decades of formal separation between the predominantly black and white Pentecostal churches in America. In its beginnings, the Pentecostal movement inherited the interracial ethos of the Holiness Movement at the turn of the century. One of the miracles of the Azusa Street revival was the testimony that ìthe color line was washed away in the Blood." Here in the worldwide cradle of the movement a black man, William J. Seymour, served as pastor of a small black church in Los Angeles, where from 1906 to 1909, thousands of people of all races gathered to received the baptism in the Holy Spirit with the accompanying evidence of speaking in tongues. Often black hands were laid upon white heads to pray down the power of Pentecost. From Azusa Street the movement spread to the nations and continents of the world.
In the beginning, practically all the Pentecostal movements and churches in America were inter-racial with many having thriving black leaders and churches. But from 1908 to 1924, one by one, most churches bowed to the American system of segregation by separating into racially-segregated fellowships. In ìJim Crowî America, segregation in all areas of life ruled the day. Gradually Seymourís Azusa Street dream of openness and equality faded into historical memory.
The PFNA
The separation of black and white Pentecostals was formalized in 1948 with the creation of the all-white Pentecostal Fellowship of North America (PFNA) in Des Moines, Iowa. As incredible as it seems today, no black churches were invited. The races continued to drift further and further apart.
But by the 1990s the climate had changed drastically in the United States. The civil rights movements and legislation of the 1950s and 60s swept away the last vestiges of legal ìJim Crowî segregation in American life. Schools were integrated. Many doors were opened for all to enter into American public life. Most churches, however, remained segregated and out of touch with these currents. The year 1948 also saw the beginnings of the salvation-healing crusades of Oral Roberts and other Pentecostal evangelists. Both blacks and whites flocked together to the big tent services. Along with Billy Graham, Oral Roberts and other Pentecostal evangelists refused to seat the races in separate areas. Although the churches remained separate, there was more interracial worship among blacks and whites who flocked together to the big tent services.
The advent of the charismatic movement in 1960 and the creation of the Society for Pentecostal Studies (SPS) in 1970 brought more contacts between black and white Pentecostals. The congresses sponsored by the North American Renewal Service Committee (NARSC) in the 1980s and 1990s also brought many black and white Pentecostal leaders together for the first time while serving on the Steering Committee to plan the massive charismatic rallies in New Orleans, Indianapolis and Orlando.
The Architects Of Unity
The leaders, who above all, brought the races together in Memphis in 1994 were Bishop Ithiel Clemmons of the Church of God in Christ (COGIC), and Bishop Bernard E. Underwood of the International Pentecostal Holiness Church. These men had met while serving on the NARSC board planning the New Orleans Congress of 1987. With great trust and mutual dedication, these two men were able to lay the groundwork for the 1994 meeting in Memphis.
The process began when Underwood was elected to head the PFNA in 1991. At that time he purposed in his heart to use his term to end the racial divide between the Pentecostal churches. On March 6, 1992, the Board of Administration voted unanimously to ìpursue the possibility of reconciliation with our African-American brethren.î After this, there were four important meetings on the road to Memphis.
The first meeting was on July 31, 1992, in Dallas, Texas, in the DFW Hyatt Regency Hotel where COGIC Bishop O. T. Jones captivated the PFNA leaders with his wit and wisdom. The second meeting was held in Phoenix, Arizona, on January 4-5, 1993, where COGIC pastor Reuben Anderson from Compton, California (represented Bishop Charles Blake) played a key role in bringing understanding of the challenges of urban ministries in America. The third session convened at the PFNA annual meeting in Atlanta, Georgia, on October 25-27, 1993. Here, Jack Hayford of the International Church of the Foursquare Gospel and Bishop Gilbert Patterson, of the Church of God in Christ, strongly affirmed the plans for reconciliation. A fourth meeting in Memphis in January 1994 became known as the ì20/20 Meetingî because 20 whites and 20 blacks joined to plan the climactic conference that was planned for October 1994 in Memphis. There, it was hoped, the old PFNA could be laid to rest in order to birth a new fellowship without racial or ethnic boundaries.
The Memphis Miracle
When the delegates arrived in Memphis on October 17, 1994, there was an electric air of expectation that something wonderful was about to happen. The conference theme was ìPentecostal Partners: A Reconciliation Strategy for 21st Century Ministry.î Over 3,000 persons attended the evening sessions in the Dixon-Meyers Hall of the Cook Convention Center in downtown Memphis. Everyone was aware of the racial strife in Memphis where Martin Luther King, Jr. was assassinated in 1968. Here, it was hoped, a great racial healing would take place. The night services reflected the tremendous work done by the local committee in the months before the gathering. Bishop Gilbert Patterson of the Temple of Deliverance Church of God in Christ, and Samuel Middlebrook, Pastor of the Raleigh Assembly of God in Memphis, co-chaired the committee. Although both men had pastored in the same city for 29 years, they had never met. The Memphis project brought them together.
The morning sessions were remarkable for the honesty and candor of the papers that were presented by a team of leading Pentecostal scholars. These included Dr. Cecil M. Robeck, Jr. of Fuller Theological Seminary and the Assemblies of God, Dr. Leonard Lovett of the Church of God in Christ, Dr. William Turner of Duke University and the United Holy Church, and Dr. Vinson Synan of Regent University and the Pentecostal Holiness Church. In these sessions, the sad history of separation, racism and neglect was laid bare before the 1,000 or more leaders assembled. These sometimes chilling confessions brought a stark sense of past injustice and the absolute need of repentance and reconciliation. The evening worship sessions were full of Pentecostal fire and fervor as Bishop Patterson, Billy Joe Daugherty and Jack Hayford preached rousing sermons to the receptive crowds.
The climactic moment, however, came in the scholarís session on the afternoon of October 18, after Bishop Blake tearfully told the delegates, ìBrothers and Sisters, I commit my love to you. There are problems down the road, but a strong commitment to love will overcome them all.î Suddenly there was a sweeping move of the Holy Spirit over the entire assembly. A young black brother uttered a spirited message in tongues after which Jack Hayford hurried to the microphone to give the interpretation. He began by saying, ìFor the Lord would speak to you this day, by the tongue, by the quickening of the Spirit, and he would sayî:
My sons and my daughters, look if you will from the heavenward side of things, and see where you have been ‚ two, separate streams, that is, streams as at flood tide. For I have poured out of my Spirit upon you and flooded you with grace in both your circles of gathering and fellowship. But as streams at flood tide, nonetheless, the waters have been muddied to some degree. Those of desperate thirst have come, nonetheless, for muddy water is better than none at all.
My sons and my daughters, if you will look and see that there are some not come to drink because of what they have seen. You have not been aware of it, for only heaven has seen those who would doubt what flowed in your midst, because of the waters muddied having been soiled by the clay of your humanness, not by your crudity, lucidity, or intentionality, but by the clay of your humanness the river has been made impure.
But look. Look, for I, by my Spirit, am flowing the two streams into one. And the two becoming one, if you can see from the heaven side of things, are being purified and not only is there a new purity coming in your midst, but there will be multitudes more who will gather at this one mighty river because they will see the purity of the reality of my love manifest in you. And so, know that as heaven observes and tells us what is taking place, there is reason for you to rejoice and prepare yourself for here shall be multitudes more than ever before come to this joint surging of my grace among you, says the Lord.
Immediately, a white pastor appeared in the wings of the backstage with a towel and basin of water. His name was Donald Evans, an Assemblies of God pastor from Tampa, Florida. When he explained that the Lord had called him to wash the feet of a black leader as a sign of repentance, he was given access to the platform. In a moment of tearful contrition, he washed the feet of Bishop Clemmons while begging forgiveness for the sins of the whites against their black brothers and sisters. A wave of weeping swept over the auditorium. Then, Bishop Blake approached Thomas Trask, General Superintendent of the Assemblies of God, and tearfully washed his feet as a sign of repentance for any animosity blacks had harbored against their white brothers and sisters. This was the climactic moment of the conference. Everyone sensed that this was the final seal of Holy Spirit approval from the heart of God over the proceedings. In an emotional speech the next day, Dr. Paul Walker of the Church of God (Cleveland, TN) called this event, ìthe Miracle in Memphis,î a name that struck and made headlines around the world.
That afternoon, the members of the old PFNA gathered for the final session of its history. In a very short session, a motion was carried to dissolve the old, all-white organization in favor of a new entity that would be birthed the next day. But more reconciliation was yet to come!
When the new constitution was read to the delegates on October 19, a new name was proposed for he group-Pentecostal Churches of North America (PCNA). It was suggested that the governing board of the new group have equal numbers of blacks and whites and that denominational charter memberships would be welcomed that very day. But before the constitution came before the assembly for a vote, Pastor Billy Joe Daugherty of Tulsaís Victory Christian Center asked the delegates to include the word ìCharismaticî in the new name. Over a hastily-called luncheon meeting of the ìRestructuring Committee,î it was agreed that those Christians who thought of themselves as ìCharismaticsî would also be invited to join. When the vote was taken, the body unanimously voted to call the new organization the Pentecostal and Charismatic Churches of North America (PCCNA). Thus the Memphis Miracle included the beginning of healing between Pentecostals and Charismatics as well as between blacks and whites.
Another milestone of the day was the unanimous adoption of a ìRacial Reconciliation Manifestoî that was drafted by Bishop Ithiel Clemmons, Dr. Cecil M. Robeck, Jr., Dr. Leonard Lovett, and Dr. Harold D. Hunter. In this historic document, the new PCCNA pledged to ìoppose racism prophetically in all its various manifestationsî and to be ìvigilant in the struggle.î They further agreed to ìconfess that racism is a sin and as a blight must be condemnedÖî while promising to ìseek partnerships and exchange pulpits with persons of a different hueÖin the spirit of our Blessed Lord who prayed that we might be one.î
After this, the election of officers took place with Bishop Clemmons chosen as Chairman and Bishop Underwood as Vice-Chairman. Also elected to the Board was Bishop Barbara Amos, whose election demonstrated the resolve of the new organization to bridge the gender gap as well. The other officers represented a balance of blacks and whites from the constituent membership.
The Memphis Mandate
The subsequent meetings of the PCCNA in Memphis in 1996 and Washington, D.C., in 1997 have shown that the road to racial reconciliation in America will not be short or easy. Everyone agrees that there is much more to be done and much to overcome. The incredible ìMemphis Miracleî has now become the ìMemphis Mandateî. All Spirit-filled believers must join in a crusade of love and good will to show the world that when the Spirit moves, those who have been baptized in the Holy Spirit will move forward to bring the lost to Christ, and to full ministry and fellowship, in churches that have no racial, ethnic or gender barriers.
Dr. Vinson Synan, Dean of Regent University School of Divinity, has served as an advisor to the PCCNA Executive. Author of the widely-read Holiness-Pentecostal Tradition, Dr. Synan has served as chair of the North American Renewal Service Committee (NARSC) and is an ordained minister with the International Pentecostal Holiness Church.
Took a little drive into Frankston today.
Sorry about the slight over exposed spot....Someone forgot their ND grad filters!!!
©EvLloyd.com
Taken at Hull Bridge near Tickton in East Yorkshire. This boat has been overwhelmed by the exceptionally full River Hull.
There will be a time that all the walls will fall.
There will be a day when what's modern collapses away.
It might take centuries but until then vines will climb.
Mother Nature will reclaim everything in the end.
She will tear down that fucking wall.
Hanuman is a Hindu god and an ardent devotee of Rama. He is a central character in the Indian epic Ramayana and its various versions. He also finds mentions in several other texts, including Mahabharata, the various Puranas and some Jain texts. A vanara, Hanuman participated in Rama's war against the demon king Ravana. Several texts also present him as an incarnation of Lord Shiva. He is the son of Kesari, and is also described as the son of Vayu, who according to several stories, played a role in his birth. Several sects including Arya Samaj believe that Hanuman was a human and not vanara.
ETYMOLOGY & OTHER NAMES
The Sanskrit texts mention several legends about how Sri Hanuman got his name. One legend is that Indra, the king of the deities, struck Sri Hanuman's jaw during his childhood (see below). The child received his name from the Sanskrit words Hanu ("jaw") and -man (or -mant, "prominent" or "disfigured"). The name thus means "one with prominent or disfigured jaw". Another theory says the name derives from the Sanskrit words Han ("killed" or "destroyed") and maana (pride); the name implies "one whose pride was destroyed". Some Jain texts mention that Sri Hanuman spent his childhood on an island called Hanuruha, which is the origin of his name.
According to one theory, the name "Hanuman" derives from the proto-Dravidian word for male monkey (ana-mandi), which was later Sanskritized to "Hanuman" (see historical development below). Linguistic variations of "Hanuman" include Hanumat, Anuman (Tamil), Anoman (Indonesian), Andoman (Malay) and Hunlaman (Lao).
Hanuman came to be regarded as an avatar (incarnation) of Shiva by the 10th century CE (this development possibly started as early as in the 8th century CE). Hanuman is mentioned as an avatar of Shiva or Rudra in the Sanskrit texts like Mahabhagvata Purana, Skanda Purana, Brhaddharma Purana and Mahanataka among others. This development might have been a result of the Shavite attempts to insert their ishta devata (cherished deity) in the Vaishnavite texts, which were gaining popularity. The 17th century Oriya work Rasavinoda by Divakrsnadasa goes on to mention that the three gods – Brahma, Vishnu and Shiva – combined take to the form of Hanuman.
Hanuman became more important in the medieval period, and came to be portrayed as the ideal devotee (bhakta) of Rama. His characterization as a lifelong brahmachari (celibate) was another important development during this period. The belief that Hanuman's celibacy is the source of his strength became popular among the wrestlers in India. The celibacy or brahmacharya aspect of Hanuman is not mentioned in the original Ramayana.
BIRTH & CHILDHOOD
Hanuman was born to the vanaras. His mother Anjana was an apsara who was born on earth due to a curse. She was redeemed from this curse on her giving birth to a son. The Valmiki Ramayana states that his father Kesari was the son of Brihaspati and that Kesari also fought on Rama's side in the war against Ravana. Anjana and Kesari performed intense prayers to Shiva to get a child. Pleased with their devotion, Shiva granted them the boon they sought. Hanuman, in another interpretation, is the incarnation or reflection of Shiva himself.
Hanuman is often called the son of the deity Vayu; several different traditions account for the Vayu's role in Hanuman's birth. One story mentioned in Eknath's Bhavartha Ramayana (16th century CE) states that when Anjana was worshiping Shiva, the King Dasharatha of Ayodhya was also performing the ritual of Putrakama yagna in order to have children. As a result, he received some sacred pudding (payasam) to be shared by his three wives, leading to the births of Rama, Lakshmana, Bharata, and Shatrughna. By divine ordinance, a kite snatched a fragment of that pudding and dropped it while flying over the forest where Anjana was engaged in worship. Vayu, the Hindu deity of the wind, delivered the falling pudding to the outstretched hands of Anjana, who consumed it. Hanuman was born to her as a result. Another tradition says that Anjana and her husband Kesari prayed Shiva for a child. By Shiva's direction, Vayu transferred his male energy to Anjana's womb. Accordingly, Hanuman is identified as the son of the Vayu.
Another story of Hanuman's origins is derived from the Vishnu Purana and Naradeya Purana. Narada, infatuated with a princess, went to his lord Vishnu, to make him look like Vishnu, so that the princess would garland him at swayamvara (husband-choosing ceremony). He asked for hari mukh (Hari is another name of Vishnu, and mukh means face). Vishnu instead bestowed him with the face of a vanara. Unaware of this, Narada went to the princess, who burst into laughter at the sight of his ape-like face before all the king's court. Narada, unable to bear the humiliation, cursed Vishnu, that Vishnu would one day be dependent upon a vanara. Vishnu replied that what he had done was for Narada's own good, as he would have undermined his own powers if he were to enter matrimony. Vishnu also noted that Hari has the dual Sanskrit meaning of vanara. Upon hearing this, Narada repented for cursing his idol. But Vishnu told him not repent as the curse would act as a boon, for it would lead to the birth of Hanuman, an avatar of Shiva, without whose help Rama (Vishnu's avatar) could not kill Ravana.
BIRTH PLACE
Multiple places in India are claimed as the birthplace of Hanuman.
According to one theory, Hanuman was born on 'Anjaneya Hill', in Hampi, Karnataka. This is located near the Risyamukha mountain on the banks of the Pampa, where Sugreeva and Rama are said to have met in Valmiki Ramayana's Kishkinda Kanda. There is a temple that marks the spot. Kishkinda itself is identified with the modern Anegundi taluk (near Hampi) in Bellary district of Karnataka.
Anjan, a small village about 18 km away from Gumla, houses "Anjan Dham", which is said to be the birthplace of Hanuman. The name of the village is derived from the name of the goddess Anjani, the mother of Hanuman. Aanjani Gufa (cave), 4 km from the village, is believed to be the place where Anjani once lived. Many objects of archaeological importance obtained from this site are now held at the Patna Museum.
The Anjaneri (or Anjneri) mountain, located 7 km from Trimbakeshwar in the Nasik district, is also claimed as the birthplace of Hanuman.
According to Anjan Dham, Hanuman was born on Lakshka Hill near Sujangarh in Churu district, Rajasthan.
CHILDHOOD
As a child, believing the sun to be a ripe mango, Hanuman pursued it in order to eat it. Rahu, a Vedic planet corresponding to an eclipse, was at that time seeking out the sun as well, and he clashed with Hanuman. Hanuman thrashed Rahu and went to take sun in his mouth.[18] Rahu approached Indra, king of devas, and complained that a monkey child stopped him from taking on Sun, preventing the scheduled eclipse. This enraged Indra, who responded by throwing the Vajra (thunderbolt) at Hanuman, which struck his jaw. He fell back down to the earth and became unconscious. A permanent mark was left on his chin (हनुः hanuḥ "jaw" in Sanskrit), due to impact of Vajra, explaining his name. Upset over the attack, Hanuman's father figure Vayu deva (the deity of air) went into seclusion, withdrawing air along with him. As living beings began to asphyxiate, Indra withdrew the effect of his thunderbolt. The devas then revived Hanuman and blessed him with multiple boons to appease Vayu.
Brahma gave Hanuman a boon that would protect him from the irrevocable Brahma's curse. Brahma also said: "Nobody will be able to kill you with any weapon in war." From Brahma he obtained the power of inducing fear in enemies, of destroying fear in friends, to be able to change his form at will and to be able to easily travel wherever he wished. From Shiva he obtained the boons of longevity, scriptural wisdom and ability to cross the ocean. Shiva assured safety of Hanuman with a band that would protect him for life. Indra blessed him that the Vajra weapon will no longer be effective on him and his body would become stronger than Vajra. Varuna blessed baby Hanuman with a boon that he would always be protected from water. Agni blessed him with immunity to burning by fire. Surya gave him two siddhis of yoga namely "laghima" and "garima", to be able to attain the smallest or to attain the biggest form. Yama, the God of Death blessed him healthy life and free from his weapon danda, thus death would not come to him. Kubera showered his blessings declaring that Hanuman would always remain happy and contented. Vishwakarma blessed him that Hanuman would be protected from all his creations in the form of objects or weapons. Vayu also blessed him with more speed than he himself had. Kamadeva also blessed him that the sex will not be effective on him.So his name is also Bala Bramhachari.
On ascertaining Surya to be an all-knowing teacher, Hanuman raised his body into an orbit around the sun and requested to Surya to accept him as a student. Surya refused and explained claiming that he always had to be on the move in his chariot, it would be impossible for Hanuman to learn well. Undeterred, Hanuman enlarged his form, with one leg on the eastern ranges and the other on the western ranges, and facing Surya again pleaded. Pleased by his persistence, Surya agreed. Hanuman then learned all of the latter's knowledge. When Hanuman then requested Surya to quote his "guru-dakshina" (teacher's fee), the latter refused, saying that the pleasure of teaching one as dedicated as him was the fee in itself. Hanuman insisted, whereupon Surya asked him to help his (Surya's) spiritual son Sugriva. Hanuman's choice of Surya as his teacher is said to signify Surya as a Karma Saakshi, an eternal witness of all deeds. Hanuman later became Sugriva's minister.
Hanuman was mischievous in his childhood, and sometimes teased the meditating sages in the forests by snatching their personal belongings and by disturbing their well-arranged articles of worship. Finding his antics unbearable, but realizing that Hanuman was but a child, (albeit invincible), the sages placed a mild curse on him by which he became unable to remember his own ability unless reminded by another person. The curse is highlighted in Kishkindha Kanda and he was relieved from the curse by the end of Kishkindha Kanda when Jambavantha reminds Hanuman of his abilities and encourages him to go and find Sita and in Sundara Kanda he used his supernatural powers at his best.
ADVANTURES IN RAMAYANA
The Sundara Kanda, the fifth book in the Ramayana, focuses on the adventures of Hanuman.
MEETING WITH RAMA
Hanuman meets Rama during the Rama's 14-year exile. With his brother Lakshmana, Rama is searching for his wife Sita who had been abducted by Ravana. Their search brings them to the vicinity of the mountain Rishyamukha, where Sugriva, along with his followers and friends, are in hiding from his older brother Vali.
Having seen Rama and Lakshmana, Sugriva sends Hanuman to ascertain their identities. Hanuman approaches the two brothers in the guise of a brahmin. His first words to them are such that Rama says to Lakshmana that none could speak the way the brahmin did unless he or she had mastered the Vedas. He notes that there is no defect in the brahmin's countenance, eyes, forehead, brows, or any limb. He points out to Lakshmana that his accent is captivating, adding that even an enemy with sword drawn would be moved. He praises the disguised Hanuman further, saying that sure success awaited the king whose emissaries were as accomplished as he was.
When Rama introduces himself, the brahman identitifies himself as Hanuman and falls prostrate before Rama, who embraces him warmly. Thereafter, Hanuman's life becomes interwoven with that of Rama. Hanuman then brings about friendship and alliance between Rama and Sugriva; Rama helps Sugriva regain his honour and makes him king of Kishkindha. Sugriva and his vanaras, most notably Hanuman, help Rama defeat Raavana and reunite with Sita.
In their search for Sita, a group of Vanaras reaches the southern seashore. Upon encountering the vast ocean, every vanara begins to lament his inability to jump across the water. Hanuman too is saddened at the possible failure of his mission, until the other vanaras and the wise bear Jambavantha begin to extol his virtues. Hanuman then recollects his own powers, enlarges his body, and flies across the ocean. On his way, he encounters a mountain that rises from the sea, proclaims that it owed his father a debt, and asks him to rest a while before proceeding. Not wanting to waste any time, Hanuman thanks the mountain, touches it briefly, and presses on. He then encounters a sea-monster, Surasa, who challenges him to enter her mouth. When Hanuman outwits her, she admits that her challenge was merely a test of his courage. After killing Simhika, a rakshasi, he reaches Lanka.
FINDING SITA
Hanuman reaches Lanka through flight and marvels at its beauty. After he finds Sita in captivity in a garden, Hanuman reveals his identity to her, reassures her that Rama has been looking for her, and uplifts her spirits. He offers to carry her back to Rama, but she refuses his offer, saying it would be an insult to Rama as his honour is at stake. In order to give Sita faith, Hanuman gives her a ring that Rama wanted Hanuman to give her. After meeting Sita, Hanuman begins to wreak havoc, gradually destroying the palaces and properties of Lanka. He kills many rakshasas, including Jambumali and Aksha Kumar. To subdue him, Ravana's son Indrajit uses the Brahmastra. Though immune to the effects of this weapon Hanuman, out of respect to Brahma, allows himself be bound. Deciding to use the opportunity to meet Ravana, and to assess the strength of Ravana's hordes, Hanuman allows the rakshasa warriors to parade him through the streets. He conveys Rama's message of warning and demands the safe return of Sita. He also informs Ravana that Rama would be willing to forgive him if he returns Sita honourably.
Enraged, Ravana orders Hanuman's execution, whereupon Ravana's brother Vibhishana intervenes, pointing out that it is against the rules of engagement to kill a messenger. Ravana then orders Hanuman's tail be lit afire. As Ravana's forces attempted to wrap cloth around his tail, Hanuman begins to lengthen it. After frustrating them for a while, he allows it to burn, then escapes from his captors, and with his tail on fire he burns down large parts of Lanka. After extinguishing his flaming tail in the sea, he returns to Rama.
SHAPESHIFTING
In the Ramayana Hanuman changes shape several times. For example, while he searches for the kidnapped Sita in Ravana's palaces on Lanka, he contracts himself to the size of a cat, so that he will not be detected by the enemy. Later on, he takes on the size of a mountain, blazing with radiance, to show his true power to Sita.
Also he enlarges & immediately afterwards contracts his body to out-wit Surasa, the she-demon, who blocked his path while crossing the sea to reach Lanka. Again, he turns his body microscopically small to enter Lanka before killing Lankini, the she-demon guarding the gates of Lanka.
He achieved this shape-shifting by the powers of two siddhis; Anima and Garima bestowed upon him in his childhood by Sun-God, Surya.
MOUNTAIN LIFTING
When Lakshmana is severely wounded during the battle against Ravana, Hanuman is sent to fetch the Sanjivani, a powerful life-restoring herb, from Dronagiri mountain in the Himalayas, to revive him. Ravana realises that if Lakshmana dies, a distraught Rama would probably give up, and so he dispatches the sorcerer Kalanemi to intercept Hanuman. Kalanemi, in the guise of a sage, deceives Hanuman, but Hanuman uncovers his plot with the help of an apsara, whom he rescues from her accursed state as a crocodile.
Ravana, upon learning that Kalanemi has been slain by Hanuman, summons Surya to rise before its appointed time because the physician Sushena had said that Lakshmana would perish if untreated by daybreak. Hanuman realizes the danger, however, and, becoming many times his normal size, detains the Sun God to prevent the break of day. He then resumes his search for the precious herb, but, when he finds himself unable to identify which herb it is, he lifts the entire mountain and delivers it to the battlefield in Lanka. Sushena then identifies and administers the herb, and Lakshmana is saved. Rama embraces Hanuman, declaring him as dear to him as his own brother. Hanuman releases Surya from his grip, and asks forgiveness, as the Sun was also his Guru.
Hanuman was also called "langra veer"; langra in Hindi means limping and veer means "brave". The story behind Hanuman being called langra is as follows. He was injured when he was crossing the Ayodhya with the mountain in his hands. As he was crossing over Ayodhya, Bharat, Rama's young brother, saw him and assumed that some Rakshasa was taking this mountain to attack Ayodhya. Bharat then shot Hanuman with an arrow, which was engraved with Rama's name. Hanuman did not stop this arrow as it had Rama's name written on it, and it injured his leg. Hanuman landed and explained to Bharat that he was moving the mountain to save his own brother, Lakshmana. Bharat, very sorry, offered to fire an arrow to Lanka, which Hanuman could ride in order to reach his destination more easily. But Hanuman declined the offer, preferring to fly on his own, and he continued his journey with his injured leg.
PATALA INCIDENT
In another incident during the war, Rama and Lakshmana are captured by the rakshasa Mahiravana and Ahiravan), brother of Ravana, who held them captive in their palace in Patala (or Patalpuri) - the netherworld. Mahiravana keeps them as offerings to his deity. Searching for them, Hanuman reaches Patala, the gates of which are guarded by a young creature called Makardhwaja (known also as Makar-Dhwaja or Magar Dhwaja), who is part reptile and part Vanara.
The story of Makardhwaja's birth is said to be that when Hanuman extinguished his burning tail in the ocean, a drop of his sweat fell into the waters, eventually becoming Makardhwaja, who perceives Hanuman as his father. When Hanuman introduces himself to Makardhwaja, the latter asks his blessings. Hanuman enters Patala.
Upon entering Patala, Hanuman discovers that to kill Mahiravana, he must simultaneously extinguish five lamps burning in different directions. Hanuman assumes the Panchamukha or five-faced form of Sri Varaha facing north, Sri Narasimha facing south, Sri Garuda facing west, Sri Hayagriva facing the sky and his own facing the east, and blows out the lamps. Hanuman then rescues Rama and Lakshmana. Afterwards, Rama asks Hanuman to crown Makardhwaja king of Patala. Hanuman then instructs Makardhwaja to rule Patala with justice and wisdom.
To date Chandraloak Devpuri mandir is located at Dugana a small village 17 km from Laharpur,Sitapur district,Uttar Pradesh. A divine place where Chakleswar Mahadev situated.
HONOURS
Shortly after he is crowned Emperor upon his return to Ayodhya, Rama decides to ceremoniously reward all his well-wishers. At a grand ceremony in his court, all his friends and allies take turns being honoured at the throne. Hanuman approaches without desiring a reward. Seeing Hanuman come up to him, an emotionally overwhelmed Rama embraces him warmly, declaring that he could never adequately honour or repay Hanuman for the help and services he received from the noble Vanara. Sita, however, insists that Hanuman deserved honour more than anyone else, and Sita gives him a necklace of precious stones adorning her neck.
When he receives it, Hanuman immediately takes it apart, and peers into each stone. Taken aback, many of those present demand to know why he is destroying the precious gift. Hanuman answers that he was looking into the stones to make sure that Rama and Sita are in them, because if they are not, the necklace is of no value to him. At this, a few mock Hanuman, saying his reverence and love for Rama and Sita could not possibly be as deep as he implies. In response, Hanuman tears his chest open, and everyone is stunned to see Rama and Sita literally in his heart.
HANUMAN RAMAYANA
After the victory of Rama over Ravana, Hanuman went to the Himalayas to continue his worship of the Lord Rama. There he scripted a version of the Ramayana on the Himalayan mountains using his nails, recording every detail of Rama's deeds. When Maharishi Valmiki visited him to show him his own version of the Ramayana, he saw Hanuman's version and became very disappointed.
When Hanuman asked Valmiki the cause of his sorrow, the sage said that his version, which he had created very laboriously, was no match for the splendour of Hanuman's, and would therefore go ignored. At this, Hanuman discarded his own version, which is called the Hanumad Ramayana. Maharishi Valmiki was so taken aback that he said he would take another birth to sing the glory of Hanuman which he had understated in his version.
Later, one tablet is said to have floated ashore during the period of Mahakavi Kalidasa, and hung at a public place to be deciphered by scholars. Kalidasa is said to have deciphered it and recognised that it was from the Hanumad Ramayana recorded by Hanuman in an extinct script, and considered himself very fortunate to see at least one pada of the stanza.
AFTER RAMAYANA WAR
After the war, and after reigning for several years, the time arrived for Rama to depart to his supreme abode Vaikuntha. Many of Rama's entourage, including Sugriva, decided to depart with him. Hanuman, however, requested from Rama that he will remain on earth as long as Rama's name was venerated by people. Sita accorded Hanuman that desire, and granted that his image would be installed at various public places, so he could listen to people chanting Rama's name. He is one of the immortals (Chiranjivi) of Hinduism.
MAHABHARATA
Hanuman is also considered to be the brother of Bhima, on the basis of their having the same father, Vayu. During the Pandavas' exile, he appears disguised as a weak and aged monkey to Bhima in order to subdue his arrogance. Bhima enters a field where Hanuman is lying with his tail blocking the way. Bhima, unaware of his identity, tells him to move it out of the way. Hanuman, incognito, refuses. Bhima then tries to move the tail himself but he is unable, despite his great strength. Realising he is no ordinary monkey, he inquires as to Hanuman's identity, which is then revealed. At Bhima's request, Hanuman is also said to have enlarged himself to demonstrate the proportions he had assumed in his crossing of the sea as he journeyed to Lanka and also said that when the war came, he would be there to protect the Pandavas. This place is located at Sariska National Park in the Alwar District of the State of Rajasthan and named as Pandupole(Temple of Hanuman ji).Pandupole is very famous tourist spot of Alwar.
During the great battle of Kurukshetra, Arjuna entered the battlefield with a flag displaying Hanuman on his chariot. The incident that led to this was an earlier encounter between Hanuman and Arjuna, wherein Hanuman appeared as a small talking monkey before Arjuna at Rameshwaram, where Rama had built the great bridge to cross over to Lanka to rescue Sita. Upon Arjuna's wondering aloud at Rama's taking the help of monkeys rather than building a bridge of arrows, Hanuman challenged him to build a bridge capable of bearing him alone; Arjuna, unaware of the vanara's true identity, accepted. Hanuman then proceeded to repeatedly destroy the bridges made by Arjuna, who decided to take his own life. Krishna smiled and placed his divine discus beneath the bridge,and this time hanuman could no longer break it.Vishnu then appeared before them both after originally coming in the form of a tortoise, chiding Arjuna for his vanity and Hanuman for making Arjuna feel incompetent. As an act of penitence, Hanuman decided to help Arjuna by stabilizing and strengthening his chariot during the imminent great battle. After, the battle of Kurukshetra was over, Krishna asked Arjuna, that today you step down the chariot before me. After Arjuna got down, Krishna followed him and thanked Hanuman for staying with them during the whole fight in the form of a flag on the chariot. Hanuman came in his original form, bowed to Krishna and left the flag, flying away into the sky. As soon as he left the flag, the chariot began to burn and turned into ashes. Arjuna was shocked to see this, then Krishna told Arjuna, that the only reason his chariot was still standing was because of the presence of Himself and Hanuman, otherwise, it would have burnt many days ago due to effects of celestial weapons thrown at it in the war.
According to legend, Hanuman is one of the four people to have heard the Bhagwad Gita from Krishna and seen his Vishvarupa (universal) form, the other three being Arjuna, Sanjaya and Barbarika, son of Ghatotkacha.
OTHER TEXTS
Apart from Ramayana and Mahabharata, Hanuman is mentioned in several other texts. Some of these stories add to his adventures mentioned in the earlier epics, while others tell alternative stories of his life.
Paumacariya (also known as Pauma Chariu or Padmacharit), the Jain version of Ramayana written by Vimalasuri, mentions Hanuman as a Vidyadhara (a supernatural being), who is the son of Pavangati and Anjana Sundari. Anjana gives birth to Hanuman in a forest cave, after being banished by her in-laws. Her maternal uncle rescues her from the forest; while boarding his vimana, Anjana accidentally drops her baby on a rock. However, the baby remains uninjured while the rock is shattered. The baby is raised in Hanuruha, his great uncle's island kingdom, from which Hanuman gets his name. In this version, Hanuman is not celibate. He marries princess Anangakusuma, the daughter of Kharadushana and Ravana's sister Chandranakha. Ravana also presents Hanuman one of his nieces as a second wife. After becoming an ally of Sugriva, Hanuman acquires a hundred more wives. Hanuman is originally enraged at Rama for murdering his father-in-law Kharadushana. However, he becomes a supporter of Rama after meeting him and learning about Sita's kidnapping by Ravana. He goes to Lanka on Rama's behalf, but is unable to convince Ravana to surrender. Ultimately, he joins Rama in the war against Ravana and performs several heroic deeds. After the victory and subsequent celebrations, both Rama and Hanuman take Jaineshwari Diksha and become Jain Munis and achieve salvation. Later Jain texts such as Uttarapurana (9th century CE) by Gunabhadra and Anjana-Pavananjaya (12th century CE) tells the same story.
The Brahma Purana mentions that the vanaras built several Shiva lingams in Kishkindha. After his return to Ayodhya, Rama asks Hanuman to destroy these lingams, as they are no longer required. However, when Hanuman is unable to uproot these lingams, Rama orders them to worshipped permanently. The Skanda Purana mentions a variant of this story, which happens in Rameswaram. The Narada Purana describes Hanuman as a master of vocal music, and as an embodiment of the combined power of Shiva and Vishnu.
Apart from the Puranas, the Agama Saunaka Samhitha, and Agastya Sara Samhitha explains certain stories which are not mentioned in other Hindu texts along with the worship rituals of Hanuman. Recently a simple English Translation of some of stories are released as a book named Tales Of Hanuman: Tales from the eternal life of Hanuman
The 16th-century Indian poet Tulsidas wrote Hanuman Chalisa, a devotional song dedicated to Hanuman. He claimed to have visions where he met face to face with Hanuman. Based on these meetings, he wrote Ramcharitmanas, an Awadhi language version of Ramayana. The Sankat Mochan Hanuman Temple (Varanasi) is said to be located on the spot where Tulsidas had these visions. The works of Tulsidas played an important role in increasing the popularity of Hanuman worship in North India.
Durga Chalisa mentions that Hanuman leads and welcomes the procession of the ferocious lion-riding Bhavani.
The non-Indian versions of Ramayana, such as the Thai Ramakien, mention that Hanuman had relationships with multiple women, including Svayamprabha, Benjakaya (Vibhisana's daughter), Suvannamaccha and even Ravana's wife Mandodari. According to these versions of the Ramayana, Macchanu is son of Hanuman borne by Suvannamaccha, daughter of Ravana. The Jain text Paumacariya also mentions that Hanuman married Lankasundari, the daughter of Lanka's chief defender Bajramukha. Another legend says that a demigod named Matsyaraja (also known as Makardhwaja or Matsyagarbha) claimed to be his son. Matsyaraja's birth is explained as follows: a fish (matsya) was impregnated by the drops of Hanuman's sweat, while he was bathing in the ocean.
PROPHECY & LEGACY
A number of religious leaders have claimed to have seen Hanuman over the course of the centuries, notably Madhvacharya (13th century CE), Tulsidas (16th century), Samarth Ramdas (17th century), Raghavendra Swami (17th century) and Swami Ramdas (20th century).
Swaminarayan, founder of the Hindu Swaminarayan sects, holds that other than worship of God through the Narayana Kavacha, Hanuman is the only deity who may be worshiped in the event of trouble by evil spirits.
Others have also asserted his presence wherever the Ramayana is read.
“Bow down to Hanumān, who is the slayer of demons, and who is present with head bowed and eyes full of flowing tears wherever the fame of Rāma is sung.”
This can be found in other texts such as the Vinaya Patrika by Tulsidas and the Mahabharta, and in other texts with only slight variation in language. During the readings of the Ramayana (Ramayanpath), a special puja and space (asan) are reserved for Hanuman.
TEMPLES
Hanuman is worshipped by villagers as a boundary guardian, by Shaiva ascetics as a Yogi, and by wrestlers for his strength. There are numerous temples for Hanuman, and his images are usually installed at all temples where images of avatars of Vishnu are installed. Hanuman temples are believed to keep the area and surroundings free of rakshasas (demons) and other evil beings. Hanuman idols are found on mountain roads because it is believed that he protects people from accidents.
Jakhu temple is a famous temple at Shimla, the capital of Himachal Pradesh. The word "Jakhu" is derived from "Yaku"/"Yaksha". The hill is the legendary abode of Yaksha, Kinners Nagas and Asuras. The temple was founded on a plain where, according to legend, Hanuman's sudden landing flattened a hill. A 33-metre statue of Hanuman has been erected at the top of the 2,591-metre tall Jakhu Hill, the highest point in Shimla.
According to the Ramayana, during the battle between Lord Rama and Ravana at Lanka, Lakshmana, brother of Lord Rama, was mortally wounded by an arrow. To save his life, Hanuman journeyed to the Himalayas to retrieve the Sanjeevani herb. En route, he encountered a meditating sage on Jakhu mountain; as he paused to inquire about the herb, Hanuman's landing on the mountain compressed the earth, changing the shape of the mountain to its present state. In his haste to depart, Hanuman is said to have left his friends behind, and they are said to continue to roam the area even today. A temple honoring Lord Hanuman was constructed by the Jakhu sage.
The oldest known independent Hanuman statue is the one at Khajuraho, which has an inscription dated Sam. 940 (AD 883) mentioning that it was erected by Gahil's son Gollak.
Sankat Mochan Shri Hanuman Mandir, located in the Punjab town of Phillaur is one of the popular temples of Hanuman. Sankat Mochan Hanuman Temple, Varanasi, believed to be built by Tulsidas, is second most popular temple in the city.
Namakkal Anjaneyar temple is located in the town of Namakkal, Tamil Nadu. There is an 18-feet idol of Sri Hanuman in the temple facing east, worshipping Sri Lakshmi Narasimha Swami (one of the avatar of god Vishnu) in this temple. Anjenayar idol is Swayambu, believed to be growing in height; thus, temple has no roof enclosing.
Sholinghur Sri Yoga Narasimha swami temple and Sri Yoga Anjaneyar temple, located in Sholinghur, a town which is about 30 km from Arakkonam of Vellore District.Sri yoga Anjaneyar temple located over small hill containing 480 steps from ground. Lord Anjaneyar with Sathurpujam (sathur=four, pujam=arms) Sri Sangu and Sri Chakaram 2 hands and Jabba Malai and Jaba Shankaram in other two respectively facing Sri yoga Narasimha swami and Yoga Amurthavalli Thayar present over hill (periya malai= big hill) with 1305 steps from ground. Sholinghur shetram one among 108 divya desams also one of most famous temple of our Lord Anjaneya.
Ragigudda Anjaneya temple is a Hanuman temple located in JP Nagar Bangalore. The temple is located on a hillock.
The Hanuman temple at Nerul, Navi Mumbai, Maharashtra, India is situated inside SIES complex. The Hanuman idol is 10 m tall and is installed on a pedestal of height 4 m, bringing the total height to 14 m. In the picture shown, Hanuman has silver coverings (Silver Kavasam). The 33 feet Hanuman idol is carved out of single granite stone. This is the tallest single granite stone Hanuman idol in India as per the temple.
Similarly, a 10 m idol of Sri Anjaneyar was entrenched in 1989 at Nanganallur in Chennai, India. The distinguishing factor of the idol is that it was molded out of a single rock.
An 26-m Karya Siddhi Hanuman statue was installed at Carapichaima in Trinidad and Tobago, by Avadhoota Dattapeetham's Pontiff Ganapathy Sachchidananda. It is the tallest in the Western hemisphere and second tallest in the world. One has also built a Karya Siddhi Hanuman Temple in Frisco, Texas in the U.S.
The tallest Hanuman statue is the Veera Abhaya Anjaneya Hanuman Swami, standing 135 feet tall at Yerravaram, 46 km from Rajahmundry in Andhra Pradesh, installed in 2003.
The image of Hanuman is said to have come alive and moved when installed at the Shri Hanuman Mandir, Sarangpur. The temple is noted for getting rid of evil spirits.
Suchindram temple is a pious place lying about 14 km from Kanyakumari, Tamil Nadu. The temple is famous for it 18 feet tall Hanuman idol. This idol is decorated fully with butter (Vennai kappu in Tamil) and Sandalwood paste (Chandana kappu in Tamil).
In Rajasthan,Hanuman Temples at Mehendipur Balaji in Dausa district (80 km from Jaipur) and Salasar dhaam in Churu district (160 km from Jaipur) attract a large number of devotees from all over India. [{Chandraloak Devpuri Balaji}] is located in Dugana 17 km from Laharpur district-sitapur,UttarPradesh
Bhaktha Anjaneyar is Temple is located in Vedasandur, Dindigul, Tamil Nadu.
Kaviyoor is a small village about 5–6 km from the town of Thiruvalla, Kerala The Kaviyoor Mahadevar Temple here is about 100 years old and the Hanuman temple inside the Shiva temple is considered as very auspicious by devotees. Hanuman idol consecrated here is made of Panchaloha and is depicting him telling the story of Ramayana to Sita in the Asoka Vana.
Yalagur, a small village about 30–35 km from the town of Bagalkot in Karnataka, also has a temple dedicated to Hanuman.
Sri Baktha Hanuman Temple, Ramboda.Sri Lanka. Ramboda is a place where Hanuman was searching for Sita Devi.
WORSHIP
Some of the prayers, songs, mantras, shlokas, devoted to Hanuman include Hanuman Chalisa, Bajranga Baan, Maruti Strotam, Anjaneya Dandakam , Vadvanal Strotam, Hanuman Sathhika, Hanuman Bahuk, Hanuman Dwadesha, Bhimrupi Strotam, Sundara Kanda, Maruti Gayatri Mantra, Hanumansahasranam stotra (Stotra of thousand names of Hanuman), Ek-mukhi Hanuman Raksha Kavacham, Pancha-mukhi Hanuman Raksha Kavacham and Sapta-mukhi Hanuman Raksha Kavacham.
"Ram Raksha Strotam", the Sanskrit Strota, a Shield of Rama has lines devoted to Hanuman, saying, whoever, reads this, will be protected by Hanuman.
PANCHAMUKHA SRI HANUMAN
Sri Hanuman assumed Panchamukha or five-faced form to kill Ahiravana, a powerful rakshasa black-magician and practitioner of the dark arts during the Ramayana war. Ahiravana, brother of Ravana, had taken Lord Rama and Lakshmana to netherworld as captive, and the only way to kill him was to extinguish five lamps burning in different directions, all at the same instant. Sri Hanuman assumed His Panchamukha form and accomplished the task, thus killing the rakshasa, and freeing Rama and Lakshmana.
This form of Sri Hanuman is very popular, and is also known as Panchamukha Anjaneya and Panchamukhi Anjaneya. (Anjaneya, which means "son of Anjana", is another name of Sri Hanuman). These faces show there is nothing in the world which does not come under any the influence of any of the five faces, symbolic of his all around security to all devotees. This also signifies vigilance and control over the five directions - north, south, east, west and the upward direction/zenith.
There are five ways of prayer, Naman, Smaran, Keerthanam, Yachanam and Arpanam. The five faces depict these five forms. Lord Sri Hanuman always used to Naman, Smaran and Keerthanam of Lord Sri Rama. He totally surrendered (Arpanam) to his Master Sri Rama. He also begged (yachanam) Sri Rama to bless him the undivided love.
The weapons are a parashu, a Khanda, a chakra, a dhaalam, a gada, a trishula, a kumbha, a Katar, a plate filled with blood and again a big Gada.
Chitrakoot in Central India is claimed to be the resting place of Sri Hanuman. The Hanuman Dhara Temple is situated on the peak of mountain where there is natural rock formation image of Shri Hanuman inside the cave and a natural stream of water falling on the tail. It is believed that after the coronation of Lord Rama, Sri Hanuman requested for a permanent place to settle in the Kingdom of Lord Rama, where his Injury of burns on his tails will be cured. Lord Rama, then with his arrow, spurred a stream of water on the tip of mountain and asked Sri Hanuman to rest there with water of the stream falling on his tail to cool down burning sensation in his tail. The access to the cave temple is through stairs starting from bottom of the mountain to its top. It takes roughly 30 to 40 minutes to reach the temple. Over time the temple has gained a new name, namely Hanuman Dhara.
Sri Panchamukha Anjaneya Swami was the main deity of Sri Raghavendra Swami. The place where he meditated on this five-faced form of Sri Hanuman is now known as Panchamukhi, wherein a temple for him has been built. There is also a shrine for Panchamukha Anjaneya Swami at Kumbakonam in Tamil Nadu, India. A 12 m tall monolithic green granite murti of Sri Panchamukha Hanuman has been installed in Thiruvallur, also in Tamil Nadu. This place was known as Rudravanam in olden times when many saints and seers had blessed this place with their presence. The Panchamukha Hanuman Ashram itself was established by a saint called Venkatesa Battar. A four foot image of Panchmukha Hanuman has been consecrated West of Lusaka, Zambia in Oye Kapi farm.
RELATION WITH SHANI
In Hinduism, Hanuman is one of the few deities not afflicted by Shani. Hanuman is the one of the deities in Hindu religion, over whom Shani could not cast his spell. Shani could not overcome Hanuman and as such people worship Hanuman to get rid of malefic effects of Shani.
In the Ramayana, Hanuman is said to have rescued Shani, from the clutches of Ravana.
In gratitude, Shani promised Hanuman that those who prayed him (Hanuman) would be rescued from the painful effects of Saturn, which in Hindu astrology, is said to produce malefic effects on one's life when one is afflicted "negatively" with Saturn.
Another version of the encounter between Lord Hanuman and Shani Bhagavan is that the latter once climbed on to Lord Hanuman's shoulder, implying that he (Hanuman) was coming under the effects of the influence of Shani. At this, Hanuman assumed a large size, and Shani was caught painfully between Hanuman's shoulders and the ceiling of the room they were in. As the pain was unbearable, Shani requested Hanuman to release him, promising that he (Shani) would moderate the malefic effects of his influence on a person praying to Hanuman. Hanuman released Shani thereafter.
In the verse with a thousand Names of Hanuman the Hanumansahasranam stotra, Shani is one of the Names of Hanuman. In some regions of India, Hanuman is also seen sporting an iron whip akin to Shani.
WIKIPEDIA
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
Robert Habeck, Vice-Chancellor and Federal Minister for Economic Affairs and Climate Action of Germany, speaking in the Energy Outlook: Overcoming the Crisis session at the World Economic Forum Annual Meeting 2022 in Davos-Klosters, Switzerland, 23 May. Congress Centre - Aspen 2. World Economic Forum/Manuel Lopez
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