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Sometimes when lions sleep other lions paint them up to look like zebras and other animals as practical jokes...
Photos by Practical Hacks. Read the Practical Hacks review of the Co-Pilot: www.practicalhacks.com/2010/08/09/review-tom-bihn-co-pilo...
I seek refuge in Allah from Satan, the outcast.
In the name of Allah, the Beneficent, the Merciful.
Allah’s peace be upon Prophet Muhammad (S.A.W), the glorious Prophet of Islam, and on his Companions and his followers.
TASAWWUF
"There is no doubt that Tasawwuf is an important branch of Islam. The word itself may have been derived form the Arabic word "Soof" (Wool) or from "Safa" (cleanliness), but its foundation lies in one’s personal sincerity in seeking Allah’s nearness and trying to live a life pleasing to Him. Study of the Quran, the Hadith, and the practical life of the holy Prophet Muhammad (S.A.W) and his faithful Companions provide unmistakable support to this reality." (Hazrat Moulana Allah Yar Khan (R.A)
SUFISM, AN ESSENTIAL PART OF ISLAM
Doubts exist not only in the minds of the Muslim faithful but also among the Ulema, notably the exoteric about Tasawwuf and its votaries. Often they lead to misunderstanding, as if Shariah and Tariqah were two separate entries, or that Tasawwuf was some obscure discipline foreign to Islam, or that it was altogether above the established laws and injunctions of our Religion. To help remove these misgivings and to reassure seekers, as well as scholars, our Sheikh Hazrat Moulana Allah Yar Khan (R.A), Sheikh Silsila Naqshbandia Awaisia, wrote Al-Jamal Wal Kamal, Aqaid-O-Kamalaat Ulmai-e-Deoband, Binat-e-Rasool (S.A.W), Daamad-e-Ali (R.A), Dalael-us-Salook, Ejaad-e-Mazhab Shia, Hayat-un-Nabi (S.A.W), Hayat Barzakhia, Ilm-o-Irfan, Niffaz-e-Shariat Aur Fiqah-e-Jaferia, Saif-e-Owaisi, Shikast-e-Ahdai Hussain and Tahkeek Halal Haram books.
BIOGRAPHY
Sheikh Allah Yar Khan was born in Chakrala, a remote village of Mianwali District of Pakistan, in 1904. He completed his religious education in 1934. The very year, he met Shaykh Abdul Rahim, who took him to the shrine of Shaykh Allah Deen Madni. By Divine Will his spiritual connection was right away established with the saint of the 10th century Hijra (sixteenth century) and he started receiving spiritual beneficence. His sublime education in Sufism, signifying progressive spiritual growth and advancement, continued for about twenty-five years. In 1962 he was directed to carry out the propagation of Prophetic blessings - a noble mission that he accomplished with singular enthusiasm and devotion for a period spanning half a century. Anybody who visited him was duly rewarded with a share of spiritual bliss as per his/her sincerity and capacity. Shaykh Allah Yar Khan's mission produced men and women of deep spiritual vision and distinction.
Although Hazrat Moulana Allah Yar Khan (R.A) have lived a major portion of his life as a scholar, with the avowed mission of illuminating the truth of Islam and the negation of fallacious sects, and this would appear quite removed from Tasawwuf, yet the only practical difference between the two, namely the use of the former as a media to expound the truth, and the latter to imbue people with positive faith. Nevertheless, people are amazed that a man, who until the other day, was known as a dialectician and a preacher of Islam, is not only talking of Mystic Path, but is also claiming spiritual bonds with the veteran Sufi Masters of the Past. This amazement is obviously out of place in the view of Quranic injunction: This is the bounty of Allah which He gives to whom He wills. (62:4)
THE PURIFICATION OF THE SOUL
The purification of the soul always formed part of the main mission of the Prophets; that is, the dissemination and propagation of the Devine Message. This responsibility later fell directly on the shoulders of the true Ulema in the Ummah of the last Prophet Muhammad (S.A.W), who, as his genuine successors, have continued to shed brave light in every Dark Age of materialism and sacrilege. In the present age of ruinous confusion, the importance of this responsibility has increased manifold; of the utter neglect of Islam by Muslims has not only driven them to misery, but also grievously weakened their bonds of faith in Allah and His Prophet Muhammad (S.A.W). The decay in their belief and consequent perversion in their conduct has reached a stage that any attempt to pull them out of the depth of ignominy and the heedless chaos of faithlessness, attracts grave uncertainties and apprehensions rather than a encouraging will to follow the Shariah, to purify the soul and to reform within. The Quranic Verse: Layers upon layers of darkness… (24:40) provides the nearest expression of their present state.
SHARIAH & SUFISM
Any action against the Sunnah (Prophet’s way of life) cannot be called Sufism. Singing and dancing, and the prostration on tombs are not part of Sufism. Nor is predicting the future and predicting the outcome of cases in the courts of law, a part of Sufism. Sufis are not required to abandon their worldly possessions or live in the wilderness far from the practical world. In fact these absurdities are just its opposites. It is an established fact that Tazkiyah (soul purification) stands for that inner purity which inspires a person’s spirit to obey the holy Prophet Muhammad (S.A.W). If a false claimant of Sufism teaches tricks and jugglery, ignoring religious obligations, he is an impostor. A true Sheikh will lead a believer to the august spiritual audience of the holy Prophet Muhammad (S.A.W). If you are fortunate enough to be blessed with the company of an accomplished spiritual guide and Sheikh of Sufism, and if you follow his instructions, you will observe a positive change in yourself, transferring you from vice to virtue.
ISLAM, AS A COMPLETE CODE OF LIFE
Islam, as a complete code of life or Deen, was perfected during the life of the Holy Prophet Muhammad (S.A.W). He was the sole teacher and his mosque was the core institution for the community. Although Islam in its entirety was practiced during that blessed era, the classification and compilation of its knowledge into distinct branches like ‘Tafsir’ (interpretation of the Quran), Hadith (traditions or sayings of the holy Prophet- SAWS), Fiqh (Islamic law), and Sufism (the soul purification) were undertaken subsequently. This Deen of Allah passed from the holy Prophet Muhammad (S.A.W) to his illustrious Companions in two ways: the outward and the inward. The former comprised the knowledge defined by speech and conduct, i.e., the Quran and Sunnah. The latter comprised the invisible blessings or the Prophetic lights transmitted by his blessed self. These blessings purified the hearts and instilled in them a passionate desire to follow Islam with utmost love, honesty and loyalty.
WHAT’S SUFISM
Sufism is the attempt to attain these Barakah (Blessings). The Companions handed down Prophet Muhammad (S.A.W) teachings as well as blessings to the Taba’een. Their strong hearts were capable of infusing these blessings into the hearts of their followers. Both aspects of Islam were similarly passed on by the Taba’een to the Taba Taba’een. The compilation of knowledge and its interpretation led to the establishment of many schools of religious thought; famous four being the Hanafi, the Hanbali, the Maliki, and the Shafa'i, all named after their founders. Similarly, in order to acquire, safeguard and distribute his blessings, an organized effort was initiated by four schools of Sufism: The Naqshbandia, the Qadria, the Chishtia, and the Suharwardia. These schools were also named after their organizers and came to be known as Sufi Orders. All these Orders intend to purify the hearts of sincere Muslims with Prophetic lights. These Sufi Orders also grew into many branches with the passage of time and are known by other names as well. The holy Quran has linked success in this life and the Hereafter with Tazkiyah (soul purification). He, who purified, is successful. (87: 14) Sufi Orders of Islam are the institutions where the basics of Tazkiyah (soul purification) and its practical application are taught. They have graded programs in which every new seeker is instructed in Zikr-e Lisani (oral Zikr) and is finally taught the Zikr-e Qalbi (Remembrance in heart).
ZIKR-E QALBI
However, in the Naqshbandia Order, Zikr-e Qalbi is practiced from the very beginning. Adherence to the Sunnah (Prophet’s way of life) is greatly emphasized in this Order, because the seeker achieves greater and quicker progress through its blessings. The essence of Zikr is that the Qalb should sincerely accept Islamic beliefs and gain the strength to follow the Sunnah with even greater devotion. ‘If the heart is acquainted with Allah and is engaged in His Zikr; then it is filled with Barakaat-e Nabuwwat (Prophetic blessings) which infuse their purity in the mind and body. This not only helps in controlling sensual drives but also removes traces of abhorrence, voracity, envy and insecurity from human soul. The person therefore becomes an embodiment of love, both for the Divine and the corporeal. This is the meaning of a Hadith, “There is a lump of flesh in the human body; if it goes astray the entire body is misguided, and if it is reformed the entire body is reformed. Know that this lump is the Qalb”.’
PAS ANFAS
Recent History Khawajah Naqshband (d. 1389 CE) organized the Naqshbandia Order at Bukhara (Central Asia). This Order has two main branches – the Mujaddidia and the Owaisiah. The former is identified with Sheikh Ahmed Sirhindi, known as Mujaddid Alif Sani (literally: reviver of the second Muslim millennium), a successor to Khawajah Baqi Billah, who introduced the Order to the Indo- Pakistan sub-continent. The Owaisiah Order employs a similar method of Zikr but acquires the Prophetic blessings in the manner of Khawajah Owais Qarni, who received this beneficence from the Holy Prophet Muhammad (S.A.W) without a formal physical meeting. The Zikr employed by the Naqshbandia is ‘Zikr-e Khafi Qalbi’ (remembrance of Allah’s Name within the heart) and the method is termed ‘Pas Anfas’, which (in Persian) means guarding every breath. The Chain of Transmission of these Barakah, of course, emanates from the holy Prophet- SAWS.
SPIRITUAL BAI’AT (OATH OF ALLEGIANCE
It is necessary in all Sufi Orders that the Sheikh and the seekers must be contemporaries and must physically meet each other for the transfer of these blessings. However, the Naqshbandia Owaisiah Order goes beyond this requirement and Sufis of this Order receive these Barakah regardless of physical meeting with their Sheikh or even when the Sheikh is not their contemporary. Yet, it must be underscored that physical meeting with the Sheikh of this Order still holds great importance in dissemination of these Barakah. Sheikh Sirhindi writes about the Owaisiah Order in his book ‘Tazkirah’: ‘It is the most sublime, the most exalted, and the most effective…and the highest station of all others is only its stepping stone.’ By far the greatest singular distinction of the Naqshbandia Owaisiah Order is the honor of Spiritual Bai’at (Oath of Allegiance) directly at the blessed hands of the holy Prophet Muhammad (S.A.W).
SHEIKH HAZRAT MOULANA ALLAH YAR KHAN (R.A)
The Reviver Sheikh Allah Yar Khan was born in Chikrala, a remote village of Mianwali District of Pakistan, in 1904. He completed his religious education in 1934. The same year, he met Sheikh ‘Abdul Rahim, who took him to the shrine of Sheikh Allah Deen Madni. By Divine Will his spiritual connection was immediately established with the saint of the 10th century Hijra (sixteenth century CE) and he started receiving spiritual beneficence. His sublime education in Sufism, signifying progressive spiritual growth and advancement, continued for about twenty-five years, after which he was directed to undertake the propagation of Prophetic blessings - a noble mission that he accomplished with singular zeal and dedication for a period spanning half a century. Anybody who visited him was duly rewarded with a share of spiritual bliss commensurate with his/her sincerity and capacity. Sheikh Allah Yar Khan’s mission produced men and women of deep spiritual vision and eminence. He authored eighteen books, the most distinguished being Dalael us-Sulook (Sufism - An Objective Appraisal), Hayat-e Barzakhiah (Life Beyond Life) and Israr ul- Haramain (Secrets of the two holy Mosques). He was undoubtedly one of the most distinguished Sufi saints of the Muslim Ummah and a reviver of the Naqshbandia Owaisiah Order. He passed away on 18 February 1984 in Islamabad at the age of eighty.
THE CHAIN OF TRANSMISSION OF NAQSHBANDIA OWAISIAH
1. Hazrat Muhammad ur-Rasool Allah (Sall Allah-o Alaihi wa Sallam), 2. Hazrat Abu Bakr Siddiq (Radhi Allah-o Unho), 3. Hazrat Imam Hassan Basri (Rahmat Ullah Alaihi), 4. Hazrat Daud Tai (Rahmat Ullah Alaihi), 5. Hazrat Junaid Baghdadi (Rahmat Ullah Alaihi), 6. Hazrat Ubaid Ullah Ahrar (Rahmat Ullah Alaihi), 7. Hazrat Abdur Rahman Jami (Rahmat Ullah Alaihi), 8. Hazrat Abu Ayub Muhammad Salih (Rahmat Ullah Alaihi), 9. Hazrat Allah Deen Madni (Rahmat Ullah Alaihi), 10. Hazrat Moulana Allah Yar Khan (Rahmat Ullah Alaihi).
THE SPIRIT OR RUH
The spirit or Ruh of every person is a created reflection of the Divine Attributes and it originates in Alam-e Amar (Realm of Command). Its food is the Light of Allah or the Divine Refulgence, which it acquires from the Realm of Command through the holy Prophet Muhammad (may Allah’s choicest favors and peace be upon him), whose status in the spiritual world is like that of the sun in the solar system. The Quran refers to him as the ‘bright lamp’. Indeed, he is the divinely selected channel of all Barakah. All Exalted Messengers themselves receive these Barakah from him.
LATAIF
The human Ruh also possesses vital organs like the physical body; through which it acquires its knowledge, food and energy. These are called Lataif (singular Latifah: subtlety). Scholars of various Sufi Orders have associated them with specific areas of the human body. The Naqshbandia Owaisiah Order identifies these Lataif as follows. First - Qalb: This spiritual faculty is located within the physical heart. Its function is Zikr. Its strength increases one’s capacity for Allah’s Zikr. Second – Ruh: The site of this Latifah, which is a distinct faculty of the human Ruh, is on the right side of the chest at the level of Qalb. Its primary function is concentration towards Allah. Third – Sirri: This is located above the Qalb and functions to make possible Kashf. Forth – Khaffi: This is located above the Ruh and functions to perceive the omnipresence of Allah. Fifth – Akhfa: This is located in the middle of chest, at the centre of the first four Lataif and makes it possible for the Ruh to perceive the closeness of Allah, Who is closer to us than our own selves. Sixth – Nafs: This Latifah is located at the forehead and functions to purify the human soul. Seventh – Sultan al-Azkar: This Latifah is located at the top centre of the head and serves to absorb the Barakah of Allah into the entire body, so that every cell resonates with Zikr.
FIVE EXALTED MESSENGERS OF GOD
There are Five Exalted Messengers among the many known and unknown Messengers of Allah. They are Hazrat Muhammad, Hazrat Nuh (Noah), Hazrat Ibrahim (Abraham), Hazrat Musa (Moses), and Hazrat Esa (Jesus), peace be upon them all. Hazrat Adam is the first Prophet of Allah and the father of mankind. Each Latifah is associated with a particular Prophet. The Barakah and lights from Hazrat Adam (peace be upon him), descend on the first Latifah Qalb; its lights are reflected from the first heaven and are yellowish. The second Latifah is associated with Hazrat Nuh and Hazrat Ibrahim (peace be upon them). Its lights descend from the second heaven and appear as golden red. The lights descending upon the third Latifah are from Hazrat Musa (peace be upon him) and are white. One the fourth Latifah, the lights of Hazrat Esa (peace be upon him) descend from the fourth heaven and are deep blue. The fifth Latifah receives its Barakah directly from the holy Prophet Muhammad (may Allah’s choicest favors and peace be upon him). The lights associated with this Latifah are green, descend from the fifth heaven, and overwhelm all the first four Lataif. The Lights descending upon the sixth and seventh Lataif are the Divine Lights, whose color and condition cannot be determined. These are like flashes of lightening that defy comprehension. If Allah blesses a seeker with Kashf, he can observe all of this. The vision is slightly diffused in the beginning, but gradually the clarity improves.
SULOOK
Stages of the Path After all seven Lataif of a seeker have been illuminated with Divine Lights through Tawajjuh of the Sheikh and his Ruh has acquired the ability to fly, the Sheikh initiates its journey on the sublime Path of Divine nearness. The Path is known as Sulook, and its stages are not hypothetical imaginations but real and actually existing stations on the spiritual Path. These are also referred to as Meditations, because a seeker mentally meditates about a station while his/her Ruh actually ascends towards it. The first three stations that form the base of whole Sulook are described as; Ahadiyyat, a station of Absolute Unity of Divinity. It is above and beyond the seven heavens. It is so vast a station that the seven heavens and all that they encompass are lost within Ahadiyyat as a ring is lost in a vast desert. Its lights are white in color. Maiyyat station denotes Divine Company, ‘He is with you, wherever you might be.’ This station is so vast that Ahadiyyat along with the seven heavens beneath are lost within it as a ring is lost in a desert. Its lights are green in color. Aqrabiyyat station denotes Divine Nearness, ‘He is nearer to you than your life- vein.’ Again, Aqrabiyyat is vast as compared to Maiyyat in the same proportion. Its lights are golden red and are reflected from the Divine Throne. It is indeed the greatest favor of Almighty Allah that He blesses a seeker with an accomplished Sheikh, who takes him to these sublime stations. The final station that a seeker attains to during his/her lifetime becomes his/her Iliyyeen (blessed abode) in Barzakh and his/her Ruh stays at this station after death.
ZIKR
Why is Zikr Necessary for Everyone? Allah ordains every soul in the Quran to Perform Zikr. This not only means reciting the Quran and Tasbeeh but also Zikr-e Qalb. It is only through Zikr-e Qalbi that Prophetic Lights reach the depths of human soul and purify it from all vice and evil. Zikr infuses a realization of constant Divine Presence and a seeker feels great improvement in the level of sincerity and love towards Allah and the holy Prophet- SAWS. Such levels of sincerity, love and feelings of Divine Presence can never be obtained without Zikr. It would be a mistake to believe that Zikr may be a requirement only for the very pious and virtuous people. Zikr provides the Prophetic blessings which are in effect the life line of every human soul. It transforms even the most corrupted humans into virtuous souls by bringing out the best in them. The fact is that Zikr is the only way to achieve true contentment and satisfaction in life. The holy Quran has pointed to this eternal fact that it is only through Zikr Allah that hearts can find satisfaction. Such satisfaction and peace are the ultimate requirements of every person, regardless of religion, race and ethnicity. Practicing Zikr regularly removes all traces of anxiety and restlessness, and guides the human soul to eternal bliss and peace.
KHALIFA MAJAZEEN
Hazrat Moulana Allah Yar Khan (R.A), during his life time in 1974, presented a nomination list to Prophet Muhammad (S.A.W), during Maraqba, of expected Khalifa Majazeen for Silsila Naqshbandia Awaisia. Prophet Muhammad (S.A.W) approved some names, deleted some of the names, and added down the name of Major Ghulam Muhammad as also Khalifa Majaaz of Silsila Naqshbandia Awaisia (which was not previously included in the list)
The approved names at that time included:
1. Mr. Muhammad Akram Awan Sahib,
2. Mr. Sayed Bunyad Hussain Shah Sahib,
3. Mr. Major Ahsan Baig Sahib,
4. Mr. Col. Matloob Hussain Sahib,
5. Mr. Major Ghulam Muhammad Sahib of Wan Bhachran Mianwali,
6. Mr. Molvi Abdul Haq Sahib,
7. Mr. Hafiz Abdul Razzaq Sahib,
8. Mr. Hafiz Ghulam Qadri Sahib,
9. Mr. Khan Muhammad Irani Sahib,
10. Mr. Maolana Abdul Ghafoor Sahib,
11. Mr. Syed Muhammad Hassan Sahib of Zohb.
These Majazeen were authorized to; held Majalis of Zikar (Pas Anfas) in their respective areas, arrange Majalis of Zikar in neighboring areas, train them on the way of Sulook, prepare them for Spiritual Bai’at (Oath of Allegiance), and present them to Sheikh Hazrat Moulana Allah Yar Khan for Spiritual Bai’at at the Hand of Prophet Muhammad (S.A.W), in the life of Hazrat Moulana Allah Yar Khan (R.A), and were all equal in status as Khalifa Majaaz of Hazrat Moulana Allah Yar Khan (R.A).
Presently we are following Hazrat Major ® Ghulam Muhammad Sahib, Khalifa Majaaz of Hazrat Moulana Allah Yar Khan (R.A).
Photos by Practical Hacks. Read the Practical Hacks review of the Co-Pilot: www.practicalhacks.com/2010/08/09/review-tom-bihn-co-pilo...
The trend to design bigger and more powerful tanks is universal but the results are not always impressive. The requirement for a 45 ton tank was issued in May 1941 and taken up by Dr Porsche on one hand and by Henschel & Co. on the other. Trials of prototypes in 1942 reveald that the Henschel design was the more practical and production began in July 1942. By this time specifications had changed and the tank would weigh in the region of 57 tonnes, and mount an 88mm KwK 36 gun behind a maximum 110mm of armour on the turret front.
It was a formidable combination. The gun was very effective and extremely accurate while the armour was proof against most contemporary anti-tank guns at anything but the closest range. Yet it was not all progress. the Tiger was so wide it had to be narrowed down to travel by rail and in bad conditions the overlapping wheels trapped mud and ice sufficient to bring the big tank to a halt. The engine had a nasty habit of catching fire while the gearbox, if subjected to great stress, was liable to break down. If this happened the repair crew had to lift the turret off to get at it.
For all that the Tiger was regarded as formidable. It saw action in Russia, Tunisia, Sicily, Italy and north west Europe (although production was limited to just 1,354 tanks) and it was feared by all Allied tank crews, which gave the Panzer forces a considerable pyschological advantage. Even so it would probably be fair to say that more Tigers were lost through mechanical failure than combat action.
Our exhibit was in service with 3 Platoon (Troop), 1 Kompanie, Schwere Panzer Abteilung 504, German Army
It was captured by 48 RTR, A Squadron, 4 Troop, at Djebel Djaffa, Tunisia, on 21st April 1943.
This tank was the first Tiger to be captured intact by British or U.S. forces when it was knocked out in the final month of the Tunisian campaign. It arrived in Tunisia some time between 22nd March and 16th April 1943 and was involved in an action with 48 RTR near Medjez-el-Bab on 21 April 1943. It knocked out two Churchills but a shot from another's six pounder stuck the gun mantlet, and although unable to penetrate the tank's thick armour, jammed the turret and wounded the commander. Damage is still visible on the mantlet, superstructure front plate and turret lifting boss. The crew abandoned the tank and it was recovered the next day and refurbished using parts from other vehicles. The Tiger was later displayed in Tunis and inspected there by King George VI and Winston Churchill. In October 1943 it was sent to the School of Tank Technology for evaluation and in November 1944 displayed on Horse Guards Parade.
Precise Name: Panzerkampfwagen Tiger Aus E
Other Names: Pz Kpw VI, SdKfz 181, VK 4501(H), SdKfz 182, Tiger Aus H1
DESCRIPTION
The Tiger has attained almost mythical status: it is the one German tank that nearly everyone recognises.
This is due in part to its’ psychological dominance of the battlefield – at one time every enemy tank was a ‘Tiger’ to its opponents – reinforced by the exploits of ‘tank aces’ like Michael Wittman and Otto Carius, heavily publicised by German propaganda.
There is no doubt that the Tiger I was a formidable weapon. This was because of its’ lethal 8.8cm gun, thick armour and excellent optical sights as well as the high standard of training of the Panzer crews. It is equally true that it had weaknesses: its’ great weight and relative lack of power restricted its’ tactical mobility, it was difficult to transport by rail, it was mechanically unreliable, it was prone to engine fires and it required frequent skilled maintenance.
The Germans started a limited heavy tank programme in 1937 but large-scale work didn’t begin until the spring of 1941. The object was to counter the perceived threat from new British tanks and anti-tank guns. The whole program was approached with greater urgency after German troops encountered the Soviet T34/76 and KV1 tanks in July 1941 during the invasion of the Soviet Union.
The development history of this first generation of German heavy tanks is complex. The first product of the heavy tank programme was the Panzerkampfwagen VI (Porsche) also known as the VK4501 (P). This was a radical design that used petrol-electric propulsion. The Porsche project experienced severe technical difficulties and it was decided in May 1941 that the Henschel Company would design a second heavy tank, the VK4501 (H) based on the components developed for an earlier, lighter, project, the VK3601.
It was agreed that both the Henschel and Porsche tanks would be armed with an 8.8cm gun derived from the 8.8cm Flak 18 anti-aircraft gun. The gun would be mounted in the turret originally developed by Krupp for the Porsche tank. It was also decided that the front armour would be at least 100mm thick while the sides would be 60mm thick.
Prototypes of both tanks were built and tested during the summer of 1942. Following these trials it was decided at the end of October 1942 that the Henschel prototype would be the new heavy tank.
Ninety Porsche Tigers were converted into Assault Guns called the Ferdinand. They were armed with the long 8.8cm PaK43/2.
One historian has described the development of the Henschel Tiger as ‘a rushed job’. The only major new component was the Maybach petrol engine, initially the HL210, replaced during production by the slightly larger HL230. The suspension, transmission, steering gear and hull developed from designs for earlier Henschel projects, the VK 3001 and VK3601. The turret was a modified version of the one developed for the Porsche Tiger. This reuse of existing designs could also be considered as pragmatic and sensible engineering.
One of the constraints on German heavy tank designs was a need to keep the weight down to less than 30 tons so that existing bridges could be used. Another was a restriction on the width of tanks to fit within the railway loading gauge, a prerequisite for strategic mobility. The weight limit made it very difficult to produce a balanced design that met the joint requirements to carry a big gun and have thick armour. The weight constraint was removed when it was realised that there were very few bridges in Eastern Europe that could bear even a 30 ton load. It was then decided that new medium and heavy tank designs should have a deep wading capability. The Tiger I eventually weighed 57 tons.
The Tiger hull was built from welded armour plate. The armour on the front of the superstructure and turret was 100mm thick, the sides 80mm thick. The turret was a horseshoe shape and mounted the 8.8cm KwK36 gun. The gun, 56 calibres long and with a muzzle velocity of 930 metres/second, could penetrate 13.2cms of armour inclined at 30 degrees at 1,000 metres. It was very accurate.
Every contemporary Allied tank was vulnerable to the Tiger I at 2,000 metres; in contrast most Allied tanks had to close to within a few hundred meters to stand any chance of damaging the Tiger. The only British tank gun that could penetrate the Tiger’s armour was the 17pdr, only available in small numbers until the last few months of the war, mounted on the Sherman Firefly and some M10 Tank destroyers.
The hull was carried on 8 large wheels on each side. The wheels were mounted on twin torsion bars, were interleaved and ran on very broad tracks. This running gear gave the Tiger good mobility in mud and snow. It also had several disadvantages: the interleaved wheels tended to clog with frozen mud and ice while changing a torsion bar or one of the inner wheels was lengthy and heavy job. When the Tiger was moved by rail the wide combat tracks had to be swapped for narrow transport tracks and the outermost wheels removed.
The Maybach petrol engine was mounted in the rear of the hull and drove the tracks via a Maybach Olvar gearbox and steering gear. Like all German war-time tanks the gearbox, steering gear and drive sprockets were located at the front of the Tiger. The engine and transmission were rather ‘delicate’ and required careful handling by the driver.
A total of 1,354 Tiger I tanks were built between July 1942 and May 1944. The design was continually modified in detail. The major visible changes included: a new cast commander’s cupola in place of the original dustbin shape in July 1943 and the use of steel tyred rubber cushioned road wheels from February 1944. The features needed for deep wading were no longer needed and were deleted to simplify production.
The Tank Museum’s Tiger is unique: it is the only one of the six surviving Tiger I tanks that is capable of running. It was the first Tiger to be captured relatively intact by either the British or the Americans. It was manufactured in February 1943: its’ chassis number is 250112. It was sent to Tunisia at some time between March 22nd and April 16th 1943 and was issued to the 3rd Platoon, 1st Kompanie, Schwere Panzer Abteilung 504 of the German Army. It was involved in an action with 4 Troop, A Squadron, 48th Royal Tank Regiment on 21 April 1943. The fighting was at Djebel Djaffa near Medjez el Bab.
The Tiger knocked out two British Churchill tanks but was then engaged by a third. The crew of this Churchill hit the gun mantlet of the Tiger with a 6pdr (57mm) shot and although this failed to penetrate it jammed the turret and wounded the Tiger’s commander. Damage from 6pdr hits is still visible on the front of the superstructure, the gun mantlet and the turret lifting boss. The German crew abandoned the Tiger without destroying it and it was captured by 48 RTR. It was subsequently recovered and refurbished using parts from other destroyed Tigers.
Prime Minister Churchill and His Majesty King George VI inspected the captured Tiger in Tunis. In October 1943 it was sent to the United Kingdom and displayed on Horse Guards Parade in London. It was then passed to the School of Tank Technology at Chertsey during November 1944 where a thorough technical evaluation was carried out. The Tiger was given to the Tank Museum after the war.
A painstaking restoration of the Tiger was started in the 1990s which was eventually completed with help from the National Heritage Lottery Fund. Great care was taken to recreate the original camouflage and markings. The Tiger ran under its’ own power for the first time in 2004.
The Tiger I was too valuable as a gun tank to be converted to other uses, although a number were completed as command tanks. Eighteen damaged hulls were rebuilt as Assault Rocket Mortar carriers, the Sturmmorser Tiger. The barrel of a rocket launching mortar is displayed in the Museum.
The Tiger I was issued first to the 502nd Heavy Tank Battalion of the German Army and made its combat debut on the Leningrad front in August 1942. It subsequently served with 9 other Army Heavy Tank Battalions; the 3rd Battalion of the Army’s Gross Deutschland Panzer Regiment, a number of ad hoc Army units and three SS Divisions.
The Tiger I fought on the Eastern front, in North Africa, Italy and Western Europe until the end of the war. It achieved a combat reputation that was totally disproportionate to the small number produced. Its heavy armour and powerful gun were well suited to the type of defensive fighting that the German Army was engaged in during the later years of the war.
Summary text by Mike Garth V1.0
VEHICLES Features
Full Tracked
Tracks/Wheels
Gun - KwK 36 L/56 88mm
Armament - Main Weapon Type
Snorkel
Additional Features
2 x 7.92mm MG34
Armament - Secondary Weapon Type
Maybach HL210P45 V12, water cooled
Engine
8 Forward, 4 Reverse
Transmission
Torsion Bar
Suspension
Vehicle Statistics
5
Number (Crew)
57tons
Weight (Overall)
38kph
Maximum (Speed - Road)
88mm
Calibre (Main Gun)
600bhp
Power (Engine Output)
125gall
Volume (Fuel)
140km
Radius (Range)
92rounds
Number (Projectile)
100mm
Maximum (Armour Thickness)
8.45m
Length (Overall)
3.70m
Width (Overall)
2.93m
Height (Overall)
A practical and chic pin cushion to inspire your next sewing project. This pretty pin cushion has many shades of gray. Heavy duty cotton duck is printed in paisley. The bottom is recycled wool. Pretty vintage buttons and a classic shape add a traditional touch. Three pins are included, two with glass beads in turquoise.
Stuffed full of new polyester fiberfill and tied with heavy black embroidery cotton.
13 inches in diameter, 4 1/4" inches across and 1 3/4 inches high. Will accept a wide variety of needles and pins.
This was very cool at Variety Outlet. A fun retro assortment of gags you don't see too often anymore. 😊
The history of the Austrian Museum of Applied Arts/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. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to 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 kk 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. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up 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 on 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 Straße 11-13/Schwarzspanierstrasse 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 on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art 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 of 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 Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art 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 arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts 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 is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als 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 the 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 applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated 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. 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 receives thereby 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 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 of 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 delineated. 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 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 Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the 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 craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
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 Applied Arts in Vienna" is renamed "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 Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the 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 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged 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 merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on 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 art space 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 as Director and started building up the collection of 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 thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for 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 re-established, 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 Weiskirchnerstraße 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 the 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 Personale 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 the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part 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 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 in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell 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 Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in 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 special exhibitions annually. / / 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 using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the 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 of 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 Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
Website:
www.museudooriente.pt/?lang=en
PORTUGUESE PRESENCE IN ASIA
english
The unifying concept underpinning this wide reaching exhibition was the
construction of an Oriental utopia by the Portuguese, from the 15th century right through to contemporary times based on trade, proselytism and the interchange of cultures. Given the boundaries to the collection theme allusive to the Portuguese presence in Asia, an enormous effort was therefore put into conceptualising and staging a narrative that would serve to maximise its unquestionable values and offset any shortcomings.
The visitor is welcomed into the central area on level 1 dedicated to Macau, a territory formerly under Portuguese administration and where the Fundação Oriente was founded in 1988. The large exhibition area is dominated by the four magnificent Chinese folding screens belonging to the collection. The oldest displays a Portuguese nau sailing the China Sea and flanked by another, essentially decorative in nature, bearing the coat of arms of the Gonçalves Zarco family and another inscribed with “do Coromandel”, with interesting Christian iconography echoing the school of painting founded by the Jesuits in Japan and that later spread to Macau. The fourth highly rare screen, displaying representations of the cities of Canton and Macau, is located next to the section dedicated to the iconography of the Cidade do Nome de Deus de Macau, with exhibits particularly focusing on the 17th and 18th centuries complemented by pieces from the 19th.
A granite statue, a crude depiction of a Dutchman, recalls the failed attempt to conquer Macau by Holland in 1622. This exhibition section also features a number of paintings and engravings from the period known as “China Trade” (18-19th centuries), both by Western and by Chinese artists.
A small set of designs and a charming painted miniature recall the extensive twenty seven year stay in Macau of the famous painter Georges Chinnery (1774-1852). This exponent of romantic Oriental landscapes left a sizeable legacy of urban, natural and human landscapes across the territory just as its final period of splendour as a key trading post between China and the West came to a close. On visits to Praia Grande or the sampans next to the A-Má Temple, the artist captured surprising instants of daily life dominated by the presence of the Chinese population going about their affairs against a backdrop influenced by a nostalgic European presence.
The role of Macau in international trade is extensively documented in the opposite section with highlights including the collection of porcelain bearing coats of arms laid out with the plates, dishes, terrines or jugs forming a dragon. Furthermore, there is a significant selection of examples of “China Trade” gouaches portraying the production and trade in tea and porcelain as well as Chinese fans so highly appreciated in the West.
Moving onto the eastern sector of level 1, leading onto the staircase, we encounter the following sections:
• And among remote people was founded/ A new kingdom held in great exaltation. Portuguese presence in Asia, in which, “guided” by the words of Camões in his epic Os Lusíadas in addition to those of Fernão Mendes Pinto in Peregrinação and based on a carefully selected range of objects (furniture, textiles, gold jewellery, painting and ivory pieces), complemented by maps and scale models, the establishment and expansion of the Portuguese Empire in the Orient is set out. Centred around Goa, this section features cities and strongholds, the social and cultural interchange resulting from the dialogue and confrontation between cultures and religions. Within this scope, of particular importance are an 18th century treatise written by a Goan on Hindu gentiles along with a set of watercolours making up an album portraying the traditional characters, professions and military authorities in India,
• The Far East, which testifies to the Portuguese discovery of the culture of the Middle Empire and the lucrative trade in luxury products that came about while also incorporating the role of the missionaries that would accompany the traders and soldiers and who first founded the Christian Church in China, as well as those martyred for their faith. The profitable interchange with Japan throughout the 16th and 17th centuries is brilliantly encapsulated by two folding screens and the Namban lacquered pieces, among the most significant pieces in the entire collection,
• The mother of pearl route: from the Holy Land to Oriental Asia, a collection made up of devotional pieces and “remembrances”, of small and medium size, destined either for export or the local Christian community with crucifixes and fixed crosses to the fore in a collection built up over decades by the sculptor Domingos Soares Branco and acquired by the Fundação Oriente.
With this section over, the visitor again returns to the central area of the Macau section and enters the western wing given over to the following:
• East Timor, peoples and cultures, a very rich collection that documents, through pieces related either to the daily reality and the genealogic traditions or to the sacred, the unity and diversity of the cultures presented in addition to the close ties these peoples held and still hold with Portugal. The seed remover and the bench are located in the daily world of working instruments while the bracelets, necklaces, insignias of power or circumcision knives project us into the worlds of ceremony and ritual and developed through the various types of mask present. The various types of cloth woven by Timorese women illustrate the genealogical traditions within community while the decorative doors and panels of homes or votive statues takes us into the microcosm of Timorese homes with their succession of storeys — from ground level, home to animals and lesser spirits, up to the quarters of the living before rising to the area given over to the worship of ancestors.
• Collecting the Art of East Asia contains a collection of terracotta and other antique Chinese, Japanese and Korean pieces acquired by the Fundação Oriente complemented by loans from Machado de Castro National Museum in Coimbra, enriched by the bequests of the poet Camilo Pessanha and the politician and writer Manuel Teixeira Gomes.
Given the extent of the Chinese ceramics collection, covering the most diverse period and techniques, the exhibition documents the typological evolution of funereal terracotta works, with examples dating back to the Neolithic period and running through to the Ming dynasty, as well as ceramics and porcelain both for practical daily purposes and pieces made for export.
The display further contains a small but significant set of bronzes in the majority deriving from the Camilo Pessanha Collection, some of them highly rare either due to their age or their artistic quality. A set of images, of various origins, and paintings in the Pessanha Collection provide a point of reference to the most erudite of Buddhist and Taoist artistic expression.
Courtesy of the painting and costumes in the Pessanha Collection, it is possible to evoke the office and artistic tastes of a 19th century Chinese man of letters with all his “cherished items”, libation recipients, screens and folding screens, objects of devotion and the roles and albums of traditional Chinese painting and calligraphy in addition to their respective means of execution.
From the notable collection of Chinese snuff flasks built up by Manuel Teixeira Gomes, the second largest in Europe, there is a representative selection of existing different types. The same level is reached with the Japanese collection of the same type: inrô (small and portable personal containers), netzuke (to close the inrô and mask shaped mostly with depictions of the leading characters from Nô Theatre) and tsuba (sword hand guards), covering a broad chronological period and which in the case of Japan are complemented by three monumental sets of armour and other ceramics, bronzes, painting and furniture.
Concluding this section, there is a display of Korean pieces: a lacquered wooden box set with mother of pearl incrustations and an interesting set of watercolours from the late 19th century by the Korean artist Kim Jun-geun, known by his artistic name of Kisan, depicting the clothing, costumes and festivals of Korea and produced for European and American markets.
português
O conceito gerador deste grande módulo expositivo foi a construção de uma utopia oriental pelos Portugueses, desde o século XV até aos nossos dias, baseada no comércio, na missionação e no encontro de culturas. Dados os referidos condicionalismos da colecção alusiva à presença portuguesa na Ásia, houve que fazer um enorme esforço de conceptualização e de encenação narrativa para de algum modo potenciar os seus indiscutíveis valores e minorar as suas fraquezas.
O visitante é acolhido no espaço central do piso 1, que é dedicado a Macau, território outrora sob administração portuguesa onde foi fundada a Fundação Oriente, em 1988. Este amplo espaço é dominado pela exposição de quatro magníficos biombos chineses da colecção: o mais antigo representa uma nau portuguesa nos mares da China e encontra-se ladeado por outros dois, um de carácter essencialmente decorativo, decorado com as armas da família Gonçalves Zarco, e um outro, dito “do Coromandel”, com interessante iconografia cristã, eco da escola de pintura criada no Japão pelos Jesuítas, que mais tarde se estenderia a Macau. O quarto biombo, raríssimo exemplar decorado com as representações das cidades de Cantão e de Macau, encontra-se junto à secção dedicada à iconografia da Cidade do Nome de Deus de Macau, com exemplares que remontam aos séculos XVII e XVIII e se estendem pelo século XIX.
Uma estátua em granito, representando toscamente um holandês, evoca a tentativa frustrada de conquista de Macau pelos Holandeses, em 1622. Neste módulo expositivo destacam-se ainda várias pinturas e gravuras do chamado período “China Trade” (séculos XVIII-XIX), tanto de autores ocidentais como de autores chineses.
Um pequeno conjunto de desenhos e uma encantadora pinturinha lembram a prolongada presença de vinte e sete anos em Macau do famoso pintor britânico Georges Chinnery (1774-1852), expoente do paisagismo romântico no Oriente, que deixou um notável registo das paisagens urbana, natural e humana do território no derradeiro período do seu esplendor como entreposto entre a China e o Ocidente. Nas vistas da Praia Grande ou das sampanas junto ao Templo de A-Má surpreendem-se instantâneos do quotidiano que envolvem dominantemente a presença da população chinesa nas suas tarefas, em cenários marcados por uma nostálgica presença europeia.
O papel de Macau no comércio internacional está extensivamente documentado na secção oposta, salientando-se a colecção de porcelana brasonada, formando, na disposição de pratos, travessas, terrinas ou jarras, um dragão. Contudo, não deixam de ser significativas as séries de gouaches “China Trade” que representam o fabrico e o comércio do chá e da porcelana, assim como os leques chineses, muito apreciados no Ocidente.
Passando ao sector nascente do piso 1, fronteiro ao acesso por escada, sucedem-se os seguintes módulos:
• E entre gente remota edificaram/Novo reino que tanto sublimaram. Presença portuguesa na Ásia, em que, “guiados” pelas palavras de Camões n’ Os Lusíadas mas também pelas de Fernão Mendes Pinto na Peregrinação, se procura documentar, a partir de uma criteriosa selecção de objectos (mobiliário, têxteis, ourivesaria, pintura e marfins), complementada por mapas e maquetas, o estabelecimento e a construção do Império Português do Oriente, centrado em Goa, com as suas cidades e praças-fortes, as suas sociedade e cultura miscigenadas, em que se deu o diálogo e o confronto entre culturas e religiões. Neste particular destacam-se um exemplar setecentista de um tratado escrito por um goês sobre o gentilismo hindu, assim como as aguarelas de um álbum que representa tipos populares, profissões e autoridades militares da Índia;
• Ásia Extrema, em que se evidencia a descoberta, pelos Portugueses, da cultura do Império do Meio e do lucrativo comércio de produtos de luxo que com ele poderiam realizar, não esquecendo o papel dos missionários que acompanhavam os comerciantes e os soldados e deram início à Igreja Católica na China, inclusive os que sofreram o martírio pela Fé. O frutuoso encontro com o Japão nos séculos XVI e XVII é brilhantemente ilustrado por dois biombos e por lacas namban que estão entre as mais relevantes peças de toda a colecção;
Findo este sector, o visitante atravessa, de novo, o espaço central dedicado a Macau e entra no sector poente, em que se desenvolvem outros dois módulos:
• Timor-Leste, povos e culturas, colecção muito rica que documenta, através de peças relacionadas quer com as vivências quotidianas e as tradições linhagísticas quer com o sagrado, a unidade e a diversidade das culturas em presença, assim como os estreitos laços que esses povos souberam manter com Portugal. O descaroçador e o banco situam-nos no mundo quotidiano dos instrumentos de trabalho, enquanto as pulseiras, os colares, as insígnias de poder ou as facas de circuncisão nos projectam no universo cerimonial e ritual, tal como acontece com as diversas máscaras presentes. Os vários tipos de panos tecidos pelas mulheres timorenses ilustram os patrimónios linhagísticos das comunidades, enquanto as portas e os painéis decorativos das casas ou a estatuária votiva nos projectam no microcosmo da casa timorense com a sua sucessão de andares — do nível térreo, morada dos animais e dos espíritos inferiores, passando pela residência dos vivos, até ao lugar de culto dos antepassados.
• O coleccionismo de arte do Extremo Oriente, constituído pela colecção de terracotas e de outras antiguidades chinesas, japonesas e coreanas que foi adquirida pela Fundação Oriente, a que se acrescentaram os acervos em depósito provenientes do Museu Nacional de Machado de Castro, em Coimbra, em que se destacam os legados do poeta Camilo Pessanha e do político e escritor Manuel Teixeira Gomes.
Atendendo ao elevado número de exemplares de cerâmica chinesa dos mais diversos períodos e técnicas, é possível documentar a evolução tipológica das terracotas funerárias, com exemplares que remontam ao Neolítico e se estendem até à dinastia Ming, assim como da cerâmica e da porcelana de uso quotidiano, nela incluindo alguma de exportação.
Expõe-se também um pequeno mas significativo conjunto de bronzes provenientes, na sua maioria, da Colecção Camilo Pessanha, alguns deles de grande raridade pela sua antiguidade e pela qualidade artística. Um grupo de imagens de vária proveniência e algumas pinturas da Colecção Pessanha permitem referenciar a expressão artística mais erudita do budismo e do taoísmo.
Graças à pintura e ao traje da Colecção Pessanha, evoca-se o ambiente do gabinete e o gosto artístico de um letrado chinês de oitocentos, com as “preciosidades”, as taças de libação, os ecrãs e os biombos, os objectos devocionais ou os rolos e álbuns de pintura tradicional chinesa e de caligrafia, bem como os respectivos apetrechos de execução.
Da notável colecção de frascos de rapé de fabrico chinês de Manuel Teixeira Gomes, a segunda maior da Europa, apresenta-se uma significativa selecção das diferentes tipologias que a constituem. O mesmo se passa com as peças japonesas da mesma proveniência: os inrô (pequenos contentores portáteis pessoais), as netzuke (fechos dos inrô em forma de máscara, com personagens, na sua maioria, do Teatro Nô) e as tsuba (guarda-mãos de espada), peças de cronologia alargada, a que se acrescentam, ainda no âmbito do Japão, as três monumentais armaduras e outros objectos de cerâmica, bronze, pintura e mobiliário.
Concluindo este módulo, expõem-se também peças coreanas: uma caixa em madeira lacada com incrustações de madrepérola e uma curiosa série de aguarelas de finais de oitocentos da autoria do pintor coreano Kim Jun-geun, conhecido pelo nome artístico de Kisan, sobre trajos, costumes e festas da Coreia, realizadas para o mercado europeu e americano.
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english
The Museum of the Orient (Portuguese: Museu do Oriente) in Lisbon, Portugal celebrates the history of Portuguese exploration with a collection of Asian artifacts. The museum opened in May, 2008, and is located in a refurbished industrial building on the Alcântara waterfront. The collection includes Indonesian textiles, Japanese screens, antique snuff bottles, crucifixes made in Asia for Western export, and the Kwok On Collection of masks, costumes, and accessories.
português
O Museu do Oriente está instalado no edifício Pedro Álvares Cabral, antigos armazéns da Comissão Reguladora do Comércio do Bacalhau em Alcântara, Lisboa.
O museu reúne colecções que têm o Oriente como temática principal, nas vertentes histórica, religiosa, antropológica e artística.
A exposição permanente engloba 1400 peças alusivas à presença portuguesa na Ásia e 650 peças pertencentes à colecção Kwok On.
O museu é da responsabilidade da Fundação Oriente e foi inaugurado no dia 8 de Maio de 2008.
A actual directora é Maria Manuela d'Oliveira Martins.
Foi classificado como Monumento de interesse público (MIP) pelo IGESPAR em 15 de junho de 2010.
Collage for possible xmas card this year. My face looks very pale though. I need a few more mince pies and hot toddies obviously.
Photos by Practical Hacks. Read the Practical Hacks review of the Synapse: www.practicalhacks.com/2011/03/29/review-tom-bihn-synapse...
The Crown has been untaxed since 1995, same comments as for the Granada Coupe.....
Interesting to read the comments from other clubs. Derek Bayliss is amusingly scathing about the 1200!
Practical Householder magazine, August 1957; the little lady is laying the table, while the man of the house has his tool-box out and is doing something useful....
Clock designed and built by Rick Hale after reading Clayton's "Practical Guide to Wooden Wheeled Clock Design" available at www.lisaboyer.com
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I often dress up as this and walk into Butcher shop. I wave arms and point at assorted pig products under counter. I then hand Butcher a note which reads 'Whilst we have never met, you have harmed me even so.' I then leave.
I repeat every week!
This activity helps children learn how to fold. Each napkin has lines that act as guides so children will learn where to fold.
Original clock made after reading Clayton Boyer's pdf book, "A Practical Guide to Wooden Wheel Clock Design available at www.lisaboyer.com
Practical Joke (Into Mischief) and Joel Rosario win the Dwyer (Gr III) at Belmont Park 7/8/17. Trainer: Chad Brown. Owner: Klaravich Stables & William Lawrence
We like a girl who wears comfy shoes. That's Stephanie Lennon, the new Mary from Dungloe, in her Uggs.
Cover of Practical Palmistry: A treatise on Chirosophy based upon actual experiences, by Henry Frith, published by Ward Lock & Co. Limited
Practical Virtual Reality for Disney Themeparks
Bei Yang | Creative Technical Design Lead, Walt Disney Imagineering
Location: Room 3020, West Hall
Date: Thursday, March 5
Time: 10:00am - 11:00am
Practical Arrangements signing between the IAEA and six Universities at the First International Conference on Nuclear Law: The Global Debate, held at the Agency headquarters in Vienna, Austria. 29 April 2022
Welcome Remarks: Peri Lynne Johnson, IAEA Director, Office of Legal Affairs
Opening Remarks: Rafael Mariano Grossi, IAEA Director-General
Photo Credit: Dean Calma / IAEA