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D’Auguste Rodin à Duane Hanson, de Georg Baselitz à Ana Mendieta, de David Hammons à Marlene Dumas, d’Arthur Jafa à Ali Cherri, une quarantaine d’artistes explore, à travers la peinture, la sculpture, la photographie, la vidéo et le dessin, les liens entre le corps et l’esprit.
« Dans les courbes matricielles de la Bourse de Commerce, en un écho à la ronde des corps habitant le vaste panorama peint ceinturant le dôme de verre du bâtiment, l’exposition “Corps et âmes“ sonde, à travers les œuvres d’une quarantaine d’artistes de la Collection Pinault, la prégnance du corps dans la pensée contemporaine. Libéré de tout carcan mimétique, le corps qu’il soit photographié, dessiné, sculpté, filmé ou peint ne cesse de se réinventer, conférant à l’art une organicité essentielle lui permettant, tel un cordon ombilical, de prendre le pouls du corps et de l’âme humaine.
L’art se saisit des énergies, des flux vitaux de la pensée et de la vie intérieure, pour inviter à une expérience engagée et humaniste de l’altérité. Les formes se métamorphosent, renouent avec la figuration ou s’en affranchissent pour se saisir, retenir et laisser affleurer l’âme et la conscience. Il s’agit non plus d’incarner des formes mais de capturer des forces et de rendre visible ce qui est enfoui, invisible, d’éclairer les ombres. Dans la Rotonde, l’œuvre d’Arthur Jafa Love is the Message, the Message is Death transforme l’espace en une caisse de résonance de la musique et de l’engagement des icônes africaines-américaines, Martin Luther King Jr, Jimi Hendrix, Barack Obama, Beyoncé, leur conférant une portée universelle.
En résonance avec l’exposition, une riche programmation musicale fait de “Corps et âmes“ un événement polyphonique. » Emma Lavigne, directrice générale de la Collection, conservatrice générale.
Avec : Georges Adéagbo / Terry Adkins / Gideon Appah / Diane & Allan Arbus / Michael Armitage / Richard Avedon / Georg Baselitz / Cecilia Bengolea / Constantin Brancusi / Miriam Cahn / Claude Cahun / Ali Cherri / Peter Doig / Marlene Dumas / Robert Frank / Latoya Ruby Frazier / Philip Guston / Anna Halprin & Seth Hill / David Hammons / Duane Hanson / Kudzanai‑Violet Hwami / Anne Imhof / Arthur Jafa / William Kentridge / Deana Lawson / Sherrie Levine / Kerry James Marshall / Ana Mendieta / Zanele Muholi / Senga Nengudi / Antonio Obá / Irving Penn / Man Ray / Robin Rhode / Auguste Rodin / Niki De Saint Phalle / Mira Schor / Lorna Simpson / Wolfgang Tillmans / Kara Walker / Lynette Yiadom-Boakye
Commissariat général : Emma Lavigne, directrice générale de la Collection, conservatrice générale
www.pinaultcollection.com/fr/boursedecommerce/corps-et-ames
“Therefore [in the sexual alchemical copulation] shall the Ish איש [the י Iod, the tithe, the shakti potential, of the fire אש] leave [ יה Jah] his father and his mother [sperm and ovum, their physical receptacles], and [up along the spine] shall [the י Iod, the tithe, open the womb, the spine and] cleave to [the head as Hei or אשה Isha, the Kundalini, the Serpent of Brass] his wife: and they [Ish and Isha, איש ו אשה , the fire of יה Jah, Abba and Aima Elohim] shall be one [fire in the ו Vav of husband and wife, that is, in the spinal medulla of their Hei, their] flesh [their physicality]. - Genesis 2: 24
The twelfth precept is to first by means of sexual alchemy bring up your spine the shakti potential of the fruits of Daath (tree of knowledge) and thereafter radiate the Light — that is, the fruits of Chaim, the tree of life — in all the areas of our life, as a true blessing for all humanity. Thus, in the evening, we perform the positive sexual connection of יה Jah with our חוה Chavah, for such an alchemical transmutation will be the seed given force for the rest of the day, given that the evening and the morning are one day; therefore:
יום ליום יביע אמר ולילה ללילה יחוה דעת
"Day after day utter a speech, and night after night experience knowledge.” - Psalm 19: 2
What the former psalm states is our alchemical duty. Since this is what we alchemists do, day after day we utter the doctrine, and when we go and practice sexual alchemy night after night, we experience knowledge (daath, gnosis).
“What, in fact, does man know? Nothing, and at the same time he is allowed to ignore nothing. Devoid of knowledge, he is called upon to know all. Now, knowledge supposes the duad – a being who knows and an object known. The duad is the generator of society and of law: it is also the number of Gnosis. The duad is unity multiplying itself in order to create, and hence in sacred symbolism Eve issues from the inmost bosom of Adam. Adam is the human tetragram, summed up in the mysterious IOD, type of the kabbalistic phallus. By adding to this IOD the triadic name of Eve, the name of Jehovah is formed, the Divine Tetragram, which is eminently the kabbalistic and magical word, יהוה, being that which the high-priest in the temple pronounced IODCHAVAH.” - Eliphas Levi
glorian.org/learn/courses-and-lectures/precepts-of-alchem...
THE MAJOR THREE: SALT-SULPHUR-MERCURY
Sun and moon engender mercury via sulphur and salt.
(Paracelsus)
INTRODUCTION
I will start this chapter with an expansion on the core of this study, namely: exposing the opera's alchemical structure. The previous chapters have already provided several alchemical preludes and overtures, especially chapter 2, but until now there has been no systematic analysis. As I have argued before, Die Zauberfliite in its entirety is anembodiment and representation of the magnum opus: impure substances are treated in a process of transmutation with the sole purpose of creating the philosophers' stone, among other names also known as the stone if the sages. The focus of this chapter and the next is on these substances. Next I will scrutinize the individual phases of the process itself. But first I will stage the dramatis personae themselves,
followed by their mutual drama. This approach incidentally closely resembles the actual work of the alchemist. First he works to prepare the individual substances into as pure a state as possible. Only after he has achieved this will he start their further treatment, processing and transmutation into a new and noble product. The main substances are salt, sulphur and mercury. In the chapter on the Rosicrucians I have already drawn attention to the alchemy of the three principles. Before discussing the tria principia, I would like to say the following. From this point on we are going to be fully immersed in the conceptual and philosophical world of the alchemists at the end of the 18th century. Their concepts will at first glance seem odd, and from a modern day empirical scientific perspective they have either partially and in other cases been completely
superseded. In this study I am attempting to reflect and render their particular world view and conception of the human condition. I have emphasized "reflect and render" because I am not interested in providing a contemporary interpretation of that world view and conception. The brilliant contemporary interpretation of alchemy Jung has given us, with the help of depth-psychological categories, would probably have sounded just as strange to the alchemists as their theories do to us today. What I do want to retrieve is what the makers of Die Zaubeifliite themselves had in mind when using these images, in such
a way that they could easily identify with my representation. What in my opinion does belong to this representation is their interpretation of alchemical terms, which is, as I have mentioned before, highly Paracelsean. And it was exactly this spiritual interpretation that the makers of the opera were after. They have a specific intention when representing mercury for example. And it is this intention that I reflect and render, even though I myself may sometimes think that Jung's vision on mercury is a far more balanced one. It is however not at all my intention to suggest in any way that Mozart and Schikaneder would have been depth psychologists avant la date. II will now turn to the subject of this chapter. The conviction that "all good things come in threes" can already be found in Plato. He states that two terms by themselves can never form a composition without the aid of a third. If there is to be a connection between two elements then one way or another that requires a linking factor. 2 It is astounding to see just how the number 3 claims a central
position time and again in all cultures, but decidedly so in our
Western culture. After one ... two ... three ... things happen!
The singular divine mystery is experienced as a threefold deity (in Christianity as father, son and spirit), man himself consists of three dimensions (body, soul and spirit), nature knows three realms (mineral, vegetable and animal) and the mineral world in its turn is made up of three fundamental principles: salt, sulphur and mercury. From an alchemical perspective, that which exists below also exists above, and vice versa. Celestial and terrestrial forces....
brill.com/display/book/9789004496545/B9789004496545_s009.xml
Paracelsus was one of the greatest minds of the Renaissance due to his contribution to the field of science and medicine. However, what is often overlooked in the historical narrative is his theology and how this is manifested in his scientific works. Born in Einsiedeln, Switzerland as Phillipus Aureolus Theophrastus Bombastus von Hohenheim in the early 1490s, Paracelsus was exposed to the practice of medicine through his father, a physician. In addition, local monks bolstered his education by teaching him Catholic theology, as well as ideas common in medieval magic and mysticism. With this mish-mosh of various, and at times, opposing ideas Paracelsus developed and pioneered the use of chemical medicine, focusing on the use of salts and minerals to cure diseases of the body. Taken at face value, his medical framework reads much like an extension of medieval alchemy. However, theological ideas are firmly ground in them. Upon close inspection of Paracelsus’ beliefs on the creation of man and universe, one finds that the tripartite view of creation has massive repercussions on his own scientific developments. Paracelsus’ chemical basis of matter, called tria prima (salt, sulfur, and mercury), reflects this tripartite view as well, grounded on Paracelsus’ own understanding of the Holy Trinity. Broadly, it is Paracelsus’ theology that is the main influence on his writings and scientific frameworks.
Paracelsus’ conception of creation of man deviates slightly from Old Testament views, and most importantly, implicates a unique microcosm-macrocosm relationship between man and the universe. The Catholic Church’s teachings of the time enforced that God created the world and mankind ex nihilo, or out of nothing.[1] Paracelsus offered up a similar explanation but he deviated from tradition in that he believed that though God created the universe out of nothing, God created man out of a pre-existing substance.
Man was not born out of nothingness, but was made from a substance . . . God took the limus terrae, the primordial stuff of the earth, and formed man out of this mass . . . limus terrae is also the Great World, and thus man was created from heaven and earth. Limus terrae is an extract of the firmament, of the universe of stars, and at the same time of all the elements.[2]It is explicit here that Paracelsus believes that mankind was created from limus terrae, a deviation from established Catholic teaching. This only hints at Paracelsus’ negative view of Catholic teachings and the Catholic Church as an institution at the time, which will be explained later. What is more interesting, however, is how the limus terrae effectively positions mankind in the context of the greater universe. By stating that man was created from the same substance as the elements, heaven, and earth, man was thus a reflection of the universe itself. Paracelsus describes man as being a microcosm of the greater universe, compacted into the body and covered in skin, due to man being of the same substance as the greater world.[3] The idea of man as a microcosm, and how it interrelates with the macrocosm is prevalent in most of Paracelsus’ writings, and provides the basis for much of his medical framework. This microcosm-macrocosm belief is not unique to Paracelsus since it was a commonly held belief of most alchemists, and other Renaissance thinkers. For one, Marisilio Ficino was one of the forerunners in the practice of medical astrology, and he highly emphasized the interaction of the body and universe and the effect of the stars on health, which highlights the microcosm-macrocosm concept.[4] How then does Paracelsus’ microcosm-macrocosm concept differ from the other minds of his time? The answer lies in God’s conception of man. As said before, Paracelsus believed that God fashioned man out of limus terrae, but more importantly, God fashioned man in His image. This is an age-old idea in Christian theology, but Paracelsus utilized the concept of images as an imprint of the maker’s likeness to expand his ideas on the nature of mankind.
German Renaissance historian, Andrew Weeks suggests that the idea of images is a unifying theological concept in Paracelsian works. Weeks explain that since man was made in the image of God, man also possesses a kind of tripartite nature like that of God’s (Father, Son, Holy Sprit). “The human creature is also heaven and earth, visible and invisible, and a threefold being of body, sidereal spirit, and soul of the eternal spirit and breath of life.”[5] Here, Weeks validates the idea of the microcosm-macrocosm in Paracelsus’ works since humans reflect the “heaven and earth.” He also suggests the tripartite nature of man in that he is composed of the body, which represents that which is solid and visible, the spirit, which represents the intangible and invisible, and the soul, which represents the principle that galvanizes the two together into a cohesive being. It is in Paracelsus’ own theology about creation as images that one receives a clear picture of how he viewed the nature of man. This idea is especially present in the following excerpt from Astronomia Magna in Weeks’ Paracelsus.
… neither I nor anyone else, can or may know of the image of God, as it is, except for what we understand and abstract from Christ and Scripture . . . it is no less the case that God is the person. In as much as the person is, there is also an image, for a person cannot be without image and image is a form and figure.[6]
Here, the reader is exposed to Paracelsus’ explanation of how Scripture and Christ are used as tools to gain some understanding of who God is. This is particularly interesting since in Christian theology, Christ was the physical manifestation of God and the Scripture is said to contain the Holy Spirit and can be accessed by careful reading. These two represent the “body” and the “spirit,” and God is left as the third and final part of the Holy Trinity. Furthermore, the latter part of the passage affirms the idea that man is an image of God. Thus, these ideas can be applied to each other and it can be gleaned that mankind is tripartite in nature for he is made from God’s image. Here, it is clear how important of a role that theology, specifically Paracelsus’ own theology, plays in his conception of the world around him.
It is important to consider how the tripartite view of human nature effectively developed Paracelsus’ views on the natural world, and ultimately, the chemical principles that facilitate the natural world’s processes. The intellectual historian, Charles Webster extends the tripartite principle into nature, suggesting that Paracelsus also viewed that everything that existed in the natural world was also comprised of three entities.[7] In Paracelsus’ mind, the tripartite view of nature was acceptable not out of convenience, but with the logical deduction that since God was the maker of the natural world, surely the maker would also impart a Trinitarian principle in it, just like with the creation of man.[8] Thus, if the microcosm-macrocosm principle still holds and the entirety of creation was comprised of three entities, it is no surprise that Paracelsus developed a tripartite view of the chemical basis of matter. Called the tria prima, Paracelsus utilized the salt, mercury and sulfur as the three key substances. Heaven and earth have been created out of nothingness, but they are composed of three things – mercurius [mercury], sulphur [sulfur], and sal [salt] . . . Of these same three things the planets and all the stars consist; and not only the stars but all bodies that grow and are born from them. And just as the Great World [macrocosm] is thus built upon the three primordial substances, so man – the Little World [microcosm] – was composed of the same substances. Thus man, too, is nothing but mercury, sulphur and salt.[9]
As Paracelsus outlined in a passage above from Astronomia Magna, he utilized the idea of the microcosm-macrocosm to suggest that man is composed of the tria prima since the stars and everything else in the macrocosm is composed of these three substances as well. These three substances were not completely radical. Medieval alchemists have long since recognized their importance, mercury in particular for its transformative ability to not only exist as a shiny metal in coloring, but it also has the viscosity and movement of a liquid.[10] In this regard, Paracelsus’ incorporation of mercury and sulfur into his chemical theory was not particularly groundbreaking. However, what is innovative about the tria prima is the fact that salt is given equal importance as the other two. Biblically, salt is given great importance in the Old Testament in that it was one of the vital components in performing ritual sacrifices to God.[11] Thus, Paracelsus incorporated salt in his tria prima due to its inherent biblical authority. Furthermore, Paracelsus discredited the hierarchy that medieval alchemists placed on these elements. By doing this, each component is given equal importance, which emphasized the Trinitarian nature of the tria prima in that each substance was equally vital in unity.[12] His reliance on theological canon to give credibility to his principles is evident. It is in this regard that Paracelsus truly differed from his medieval predecessors.
The tria prima not only explained the physical composition of the natural world, but it also explained it in terms of qualities, and it is these qualities that also facilitated the understanding of how diseases worked within the human body. In addition, the tria prima’s qualities also reflect an understanding of the Holy Trinity. Physically, the tria prima’s physical attributes did not differ from the established alchemical knowledge. However, Paracelsus ascribed the three substances with specific characteristics. Mercury had the quality of mystery, spirituosity, and power; salt had the quality of coagulation and preservation, and sulfur had the quality of substance and solidity.[13] With these qualities in mind, Paracelsus argued in On the Miners’ Sickness and Other Miners’ Diseases (1538) that diseases came to be (in particular, a lung disease specific to miners) as a result of manifesting these qualities.
Know then also concerning the lung-sickness that it comes through the power of the stars in that their peculiar characters are boiled out, settling on the lungs in three different ways: in a mercurial manner like a sublimated smoke that coagulates, like a salt spirit what passes from resolution to coagulation, and thirdly, like a sulphur which is precipitated on the walls by roasting.[14]
The tria prima served as the basis for understanding the way diseases manifested in the body. The nature of the disease was separated into its three components, and then settled in the lungs based on their individual qualities. The sickness then arises as the “precipitation” on the walls of the lungs. Furthermore, Paracelsus noted the effect of the stars in this passage. It is evident here that the microcosm-macrocosm idea is at play in that the sickness comes from the stars, and since the body is a mirror of the universe, the same sickness can manifest itself within the body. Consequently, one can also interpret these qualities as reflective of the Holy Trinity. Sulfur’s quality of precipitation into a solid material is analogous to Christ (God’s physical manifestation on earth); salt’s quality of coagulation is akin to the Holy Spirit, and mercury’s quality of sublimation and invisibility is representative of God. This interpretation is not surprising since Paracelsus, as established, truly relied on the theology to develop and hone his scientific framework.It is interesting to note that much of Paracelsus’ theology falls in line with Catholic dogma: his ideas on Creation and the Trinitarian view of God does not differ that much from doctrine. However, it is his application of this theology to the view of mankind and the chemical basis of matter that does set him apart from medieval alchemists and other thinkers of his time. At its core, Paracelsian theological beliefs are not radical, but it is how these beliefs are translated onto scientific writing (and often, propagandistic in tone due to his personality) that is quite radical and represents a break from the Renaissance norm. Set in the religiopolitically tumultuous milieu of 1530s Germany, a time that marked the high period of Protestant Reformation, Paracelsus’ reforming attitudes were directed towards the exclusivity of medical academia. As Andrew Wear, a member of the Academic Unit of Wellcome Institute for the History of Medicine, London, explains in, Paracelsus attacked the established learned tradition with his tria prima in that it completely disregarded the Galenic tradition of the time.[15] He viewed humoral theory as an archaic institution, false and insufficient in explaining the ways in which the world worked. Further, Paracelsus believed in the spiritual nature of the world, as evident in his tripartite view, and humoral theory does not adequately take this into account. Most importantly, Paracelsus wanted to break down the learned medical tradition since it relied on outdated texts and observations from ancients who knew nothing of his world and time. Paracelsus worked to effectively shift the focus on relying on the old authors of medicine to one’s own experiences of the nature around mankind.[16] This shift from reliance on texts to pure observation is in itself in line with Renaissance trends. For one, Andreas Vesalius’ new anatomy was representative of the advances in dissections and knowledge of the human body, and Vesalius relied on experience as the primary teacher in exploring the wonders of the human body.[17] However, Vesalius still operated under Galenic thought, and respected the ancients unlike Paracelsus. In the end, it is clear that it is Paracelsus’ tria prima and tripartite views, and not the theology behind them that placed Paracelsus in a precarious position within Renaissance trends: on one hand, he advocated the dissolution of learned medical tradition completely, which few of his contemporaries agreed with, and on the other hand, his way of doing so – the shift to observation as the only way of learning – is not revolutionary for people like Vesalius agreed and advocated this as well.
It is evident that Paracelsus’ works were greatly influenced by established Christian doctrine. His belief on the creation of man from the image of God imbued mankind with a tripartite nature. This tripartite nature thus became omnipresent in all of creation, and from this idea came Paracelsus’ tria prima. The tria prima on its surface explained the chemical basis of matter and even how diseases came to be. Digging more deeply, the tria prima actually reflects the nature of the Holy Trinity, which further bolsters the idea that Paracelsus relied heavily on theology as his main guide to establishing his scientific and medical framework. With that said, Paracelsus’ science also effectively undermined the authority of ancient authors as valid sources in the study of medicine, made especially visible in his writings in the context of the Reformation in 1530s Germany. The intersectional nature of religion and medicine is something that the modern audience does not see often since the two are often seen as conflicting forces. It is evident from this analysis of Paracelsus’ theology that science and religious beliefs freely interact, building each other up to new heights. It is Paracelsus’ theological discourse that allowed him to not only develop the ideas behind the nature of man, but it also allowed him to extend theology in the development of his chemical beliefs, grounded on the tria prima. As stated before, he fits right in with the other great minds of his time like Ficino and Vesalius due to his reliance on the microcosm-macrocosm idea and observation as teacher, respectively. This warrants the question: to what extent was Paracelsus an innovator or a rebel? In the end, however innovative and rebellious Paracelsus might have been, he was a product of his time. His scientific developments grounded on theology were indeed radical set in the context of traditional academic institutions that pervaded Renaissance Europe. However, this radicalism is what was expected of an intellectual character such as Paracelsus due to the rise of the Reformation, and the swiftly changing sociopolitical and religious currents of his time.
[1] Charles Webster, Paracelsus: Medicine, Magic and Mission at the End of Time, 133
[2] Paracelsus, and Jolande Jacobi. Selected Writings. Astronomia Magna (1537/38), translated excerpt, 16.
[3] Paracelsus, and Jolande Jacobi. Selected Writings. Schriften über Kometen, Erdbeben, Friedbogen, Himmelszeichen (1531/34), translated excerpt, 17.
[4] Alisha Rankin. “Astrological and Alchemical Medicine.” Lecture.
[5] Andrew Weeks. Paracelsus: Speculative Theory and the Crisis of the Early Reformation, 113.
[6] Andrew Weeks. Paracelsus: Speculative Theory and the Crisis of the Early Reformation.111. Excerpt from Astronomia Magna.
[7] Charles Webster, Paracelsus: Medicine, Magic and Mission at the End of Time, 135.
[8] Charles Webster, Paracelsus: Medicine, Magic and Mission at the End of Time, 136
[9] Paracelsus, and Jolande Jacobi. Selected Writings. Astronomia Magna (1537/38), translated excerpt, 19.
[10] Charles Webster, Paracelsus: Medicine, Magic and Mission at the End of Time,137
[11] Leviticus 2:13
[12] Charles Webster, Paracelsus: Medicine, Magic and Mission at the End of Time, 137
[13] Charles Webster, Paracelsus: Medicine, Magic and Mission at the End of Time, 138
[14] Paracelsus. Four Treatises of Theophrastus Von Hohenheim, Called Paracelsus, 59
[15] Andrew Wear. The Western Medical Tradition: 800 B.C. to A.D. 1800, 313
[16] Andrew Wear. The Western Medical Tradition: 800 B.C. to A.D. 1800, 315.
[17] Andrew Wear. The Western Medical Tradition: 800 B.C. to A.D. 1800, 273-280
markjoshuabernardo.wordpress.com/2015/08/09/theological-b...
The Bourse de Commerce is drawing some one hundred works from the Pinault Collection to present the exhibition "Corps et âmes", an exploration of the representation of the body in contemporary art. The Bourse de Commerce is drawing some one hundred works from the Pinault Collection to present the exhibition “Corps et âmes”, an exploration of representations of the body in contemporary art. From Auguste Rodin to Duane Hanson, Georg Baselitz to Ana Mendieta, David Hammons to Marlene Dumas, and Arthur Jafa to Ali Cherri, some forty artists have used painting, sculpture, photography, video, and drawing to explore the connections between body and soul.
“In the generative curves of the Bourse de Commerce, as an echo of the rondo of bodies that populate the vast, painted panorama encircling the building’s glass dome, the exhibition ‘Corps et âmes’ explores the significance of the body in contemporary thought through the works of some forty artists in the Pinault Collection. Freed from all mimetic constraints, the body — whether photographed, sculpted, drawn, filmed, or painted — does not cease to reinvent itself, thereby granting art an essential organic quality that allows it, like an umbilical cord, to take the pulse of the human body and soul.
Art seizes the energies and vital flows of our thoughts and inner lives to create a socially committed, humanist experience of otherness. Forms metamorphose, returning to figuration or freeing themselves from it, to grasp, hold on to, and allow the soul and consciousness to reveal themselves. It is no longer a matter of merely painting bodies, instead capturing the forces that run through them, to bring to light what is buried and invisible, and to open up the shadows. Arthur Jafa’s work in the Rotunda, Love is the Message, the Message is Death, transforms the space into a sounding board for the music and social commitment of African American icons such as Martin Luther King Jr, Jimi Hendrix, Barack Obama, and Beyoncé, thus granting them a universal scope.
His films, which oscillate between life and death, violence and transcendence, play out as a visual melody inspired by gospel, jazz, and black music. They form a flow of images and sounds that lend their beat to the entire exhibition, in a choreography in which the depicted bodies bear witness to the links between art and life. A rich musical programming in resonance with the exhibition makes ‘Corps et âmes’ a polyphonic event”.
Emma Lavigne, General Curator, General Director in charge of the Pinault Collection
Are babies born with inverted vision?
Not exactly. While it's true that the image projected onto the retina is flipped, just like in adults, a baby's brain is still developing the ability to interpret and make sense of what they see. But by the time they're a few months old, they're seeing the world much like we do—right-side up and full of new wonders.
Using the same design principles of my Nintendo World Mosaic from fall 2013, in conjunction with my mosaic “Lite Brite” mood lamps from December, I’ve combined both ideas and created a flat mosaic sprite portrait with hollow innards lined with bright LED strips! The light from the LEDs illuminate the colored LEGO dots plugged into a mosaic grid of Technic bricks, thus mimicking a “Lite Brite” effect. Each LED strip is soldered into a series circuit with 24 gauge wires, then connected to a switch and a female DC adapter plug. The grid of LED strips is attached to a rear door which opens/closes via LEGO hinge bricks.
Check out the tutorial on Instructables, so you can build your own!
www.instructables.com/id/Illuminated-Mosaic-LEGO-Sprite-P...
Electrical power: 12VDC
LED strips: 16 feet (~5 meters)
Event: The Annual Women’s Empowerment Principles, entitled “Unlimited Potential: Business Partners for Gender Equality”
hosted by UN Women and the UN Global Compact in ECOSOC chambers at United Nations Headquarters on 10 March 2015.
Welcoming remarks by:
Master of Ceremonies: Jo Confino, Executive Editor, The Guardian and Chairman & Editorial Director of Guardian Sustainable Business
Georg Kell, Executive Director, UN Global Compact
Phumzile Mlambo-Ngcuka, Under-Secretary-General and Executive Director, UN Women.
Opening remarks by: UNSGKeynote Speaker: Hon. Hillary Rodham Clinton, former US Secretary of State
Photo: UN Women/Ryan Brown
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
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Go to the Book with image in the Internet Archive
Title: Surgery, its principles and practice
Creator: Ashhurst, Astley Paston Cooper
Publisher: Philadelphia, Lea
Sponsor: MSN
Contributor: Gerstein - University of Toronto
Date: 1920
Language: eng
14
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Heart of DC
John A. Wilson Building
City Hall Art Collection
----------------------------------
In the 1930s, Kainen was a social realist working in color lithography, and affiliated
with the New York Group; Kainen wrote a statement of principles in conjunction with
a 1938 exhibition of the group's work: "The New York Group is interested in those
aspects of contemporary life which reflect the deepest feelings of the people; their
poverty, their surroundings, their desire for peace, their fight for life." (reproduced
in essay by Avis Berman, Jacob Kainen, Smithsonian American Art Museum, Thames
and Hudson, Washington, D.C, 1993, p. 20) While eventually departing from
social realism for abstraction, he would maintain an interest in conveying human
experience: "However abstract the forms and colors see, they should somehow give
off an aura of human experience," Kainen said in 1973 (reproduced in essay by
Berman, Jacob Kainen, p. 21)
During the early 1930s, Jacob Kainen developed a close relationship with Arshile
Gorky (1904-1948), whose ideas would influence his later work. He was an active
participant in the graphic arts program, as a printmaker, with the New York City WPA
from 1935 to 1942. After Kainen moved to Washington, D.C. in 1943, he was one of
the first abstract artists working in that city, and produced abstract compositions of
symbols and form, and he continued in this manner well into the 1950s. During this
period of time, Kainen espoused Gorky's notion that the cryptic meanings of symbols
and organic form on the canvas derived from the subconscious. In so doing, he
produced his own kind of Abstract Expressionism. While close to Washington color-
field painters such as Morris Louis (1912-1962) and Kenneth Noland (born 1924),
Kainen was never a member of this group. His painting moved between abstraction
and figuration. In the 1960s, his work became more figural and representational. He
returned to pure abstraction wth linear geometric forms in the late 1970s and 1980s.
From 1942-1970 Jacob Kainen was curator of the Division of Graphic Arts at the
Smithsonian's U. S. National Museum. When he began working there, Kainen took
over a monthly program of print exhibitions which were solo shows of living artists
who were of great significance to American art history and whose work had not been
shown in D.C. until Kainen's tenure; artists whose work was shown included Josef
Albers, Louis Lozowick, and others, as well as local artists James Wells and Pretiss
Taylor. Kainen was instrumental in building the Smithsonian collection to include the
work of modern artists, including Daumier, Bonnard, Toulouse-Lautrec, Picasso, The
German Expressionists and Jasper Johns. During this time, Kainen painted nightly
following his workday at his unheated studio until ten or eleven o'clock at night,
then returned home to do writing or museum research until 2 a.m. because he was
not allowed to do scholarly writing on government time. (essay by Avis Berman,
Jacob Kainen, p. 27) Following his tenure at the National Museum, Kainen was hired
as curator of the department of Prints and Drawings at the Smithsonian's National
Collection of Fine Arts from 1966 to 1969.
Kainen taught evening classes in painting and printmaking at the Washington
Workshop Center for the Arts, and was instrumental in getting Morris Louis hired
to teach painting at the Workshop by introducing Louis to Kenneth Noland. Shortly
thereafter, Louis and Noland began collaborating on "staining" which was the
fundamental notion of Washington Color Painting, a groundbreaking technique with
influential practitioners.
Jacob Kainen's work is a part of the collections, among others, of the Achenbach
Foundation for the Graphic Arts, Fine Arts Museums of San Francisco; Ackland Art
Museum at the University of North Carolina; Addison Gallery of American Art, Phillips
Academy, Andover, Massachusetts; Art Institute of Chicago, Illinois; Australian
National Gallery, Canberra; Bezalel National Museum, Jerusalem; The Baltimore
Museum of Art; H. Biggs Memorial Hospital, Ithaca, New York; The British Museum,
London; Brooklyn Museum; Carnegie Museum of Art, Pittsburgh, Pennsylvania;
The Cleveland Museum of Art, Ohio; Corcoran Gallery of Art, Washington, D.C.;
East Texas State Teachers College; Grunwald Graphic Arts Foundation, UCLA,
Los Angeles, California; Hamburger Kunsthalle, Hamburg, Germany; Hirshhorn
Museum and Sculpture Garden; Howard University; Indianapolis Museum of Art,
Indiana; Kunstverein, Frechen, Germany; Library of Congress, Washington, D.C.;
Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National
Gallery of Art, Washington, D.C.; Smithsonian American Art Museum, Washington,
D.C.; The New York Public Library; New York University; Philadelphia Museum of
Art, Pennsylvania; Phillips Collection, Washington, D.C.; The Portland Art Museum,
Oregon; Queens College; University of Maryland; University of Iowa Art Museum;
Walker Art Museum, Minneapolis, MN; Whitney Museum of American Art; and Yale
University Art Gallery, New Haven Connecticut.
This is a small video clip about the Compositional Principles made by Chanel Higashi and Annique Daquep
Haveli is generic term used for a traditional townhouse and mansions in India, Pakistan, Nepal and Bangladesh usually one with historical and architectural significance. The word haveli is derived from Arabic haveli, meaning "an enclosed place" or "private space" popularised under Mughal Empire and was devoid of any architectural affiliations. Later, the word haveli came to be used as generic term for various styles of regional mansions, townhouse and temples found in India, Pakistan, Nepal and Bangaldesh.
HISTORY
The traditional courtyard homes in South Asia is built on the ancient principles of Vastu Shastra. which state that all spaces emerge from a single point, that is the centre of the house. Courtyards are common feature in south asian architecture. The earliest archaeological evidence of courtyard homes in the region dates back to 2600–2450 BCE. Traditional homes in South Asia are built around courtyard and all family activities revolved around chowk or courtyard. Additionally, the courtyard serves as a light well and an effective ventilation strategy for hot and dry climates of South Asia. During medieval period, the term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat under the Mughal Empire and Rajputana kingdoms. Later, the generic term haveli eventually came to be identified with townhouse and mansions of the merchant class.
CHARACTERISTIC
Socio-Cultural Aspects: The chowk or courtyard served as the centre for various ceremonies and the rituals. The sacred tulsi plant was placed here and worshipped daily to bring prosperity to the house.
Security and Privacy: The chowk, at times, separated areas for men and women, and provided them with privacy.
Climate: Treating open space in building design to respond to the local climate. Air movement caused by temperature differences is utilized in the natural ventilation of building.
Different Activities At Different Times: The use of the court in the day time, mostly by women to carry out their work, interact with other women in private open space. Mansions of merchant class had more than one courtyard.
Articulation Of Space: In Mor chowk, City Palace, Udaipur, there is the concept of courtyard as a dancing hall. Similarly, in havelis, a courtyard has several functions, commonly used for weddings and festive occasions.
Materials : Fired bricks, sandstone, marble, wood, plaster and granite are commonly used materials. Decorative aspects are influenced by local culture and traditions.
All these elements join to form an enclosure and give the chowk a composed secured feel. The architectural built form of havelis has evolved in response to the climate, lifestyle and availability of material. In hot climates where cooling is a necessity, buildings with internal courtyards were considered the most appropriate. It acted as a perfect shading technique, while also allowing light inside. The arcade along the court, or the high wall around it, kept the interiors cool.
Many of the havelis of India and Pakistan were influenced by Rajasthani architecture. They usually contain a courtyard often with a fountain in the centre. The old cities of Agra, Lucknow and Delhi in India and Lahore, Multan, Peshawar, Hyderabad in Pakistan have many fine examples of Rajasthani-style havelis.
FAMOUS HAVELIS IN INDIA
The term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat. In the northern part of India. havelis for Lord Krishna are prevalent with huge mansion like constructions. The havelis are noted for their frescoes depicting images of gods, goddesses, animals, scenes from the British colonization, and the life stories of Lords Rama and Krishna. The music here was known as Haveli Sangeet.
Later on these temple architectures and frescoes were imitated while building huge individual mansions and now the word is popularly recognized with the mansions themselves. Between 1830 and 1930, Marwari's erected buildings in their homeland, Shekhawati and Marwar. These buildings were called havelis. The Marwaris commissioned artists to paint those buildings which were heavily influenced by the Mughal architecture.
The havelis were status symbols for the Marwaris as well as homes for their extended families, providing security and comfort in seclusion from the outside world. The havelis were to be closed from all sides with one large main gate.
The typical havelis in Shekhawati consisted of two courtyards - an outer one for the men which serves as an extended threshold, and the inner one, the domain of the women. The largest havelis could have up to three or four courtyards and were two to three stories high. Most of the havelis are empty nowadays or are maintained by a watchman (typically an old man). While many others have been converted into hotels and places of tourist attraction.
FAMOUS HAVELI IN MAWAR AREA (SIKAR DISTRICT)
"Nadine Le Prince Haveli"
FAMOUS HAVELI IN MAWAR AREA (JODHPUR DIVISION) Havelli Heritage, Ahore
The towns and villages of Shekhawati are famous for the embellished frescoes on the walls of their grandiose havelis, to the point of becoming popular tourist attractions.
The havelis in and around Jaisalmer Fort(also known as the Golden Fort), situated in Jaisalmer, Rajasthan, of which the three most impressive are Patwon Ki Haveli, Salim Singh Ki Haveli, and Nathmal-Ki Haveli, deserve special mention. These were the elaborate homes of Jaisalmer's rich merchants. The ostentatious carvings etched out in sandstone with infinite detail and then painstakingly pieced together in different patterns each more lavish than the next were commissioned to put on show the owner's status and wealth. Around Jaisalmer, they are typically carved from yellow sandstone. They are often characterized by wall paintings, frescoes, jharokhas (balconies) and archways.
The Patwon Ji ki Haveli is the most important and the largest haveli, as it was the first erected in Jaisalmer. It is not a single haveli but a cluster of 5 small havelis. The first in the row is also the most popular, and is also known as Kothari's Patwa Haveli. The first among these was commissioned and constructed in the year 1805 by Guman Chand Patwa, then a rich trader of jewellery and fine brocades, and is the biggest and the most ostentatious. Patwa was a rich man and a renowned trader of his time and he could afford and thus order the construction of separate stories for each of his 5 sons. These were completed in the span of 50 years. All five houses were constructed in the first 60 years of the 19th century. Patwon Ji Ki is renowned for its ornate wall paintings, intricate yellow sandstone-carved jharokhas (balconies), gateways and archways. Although the building itself is made from yellow sandstone, the main gateway is brown.
FAMOUS HAVELIS OF PAKISTAN
There are a number of historically and architecturally significant havelis in Pakistan, most of which are situated in the Punjab province and constructed during the Mughal period.
Below is a list of some of the historically and architecturally significant havelis in Pakistan:
Kapoor Haveli in Peshawar
Fakir Khana Haveli and Museum, in Lahore
Mubarak Haveli in Lahore
Haveli Asif Jah in Lahore
Haveli Wajid Ali Shah in Lahore
Choona Mandi Haveli in Lahore
Haveli Nau Nihal Singh in Lahore
Haveli Barood Khana in Lahore
Lal Haveli or Chandu Di Haveli in Lahore
Haveli Man Singh in Jhelum
Lal Haveli in Rawalpindi
Saad Manzil in Kamalia
Khan Club in Peshawar
Waziristan Haveli in Abbottabad, home of Osama bin laden
Janjua Haveli in Malowal, Gujrat, Pakistan
Haveli Mubashar Ali Janjua, in Matore, Kahuta, Rawalpindi
HAVELIS IN POPULAR CULTURE
Haveli is an also a novel by Suzanne Fisher Staples and is a sequel to her Newbery Award-winning novel Shabanu: Daughter of the Wind. The story takes place in an old-fashioned haveli in Lahore, Pakistan.
WIKIPEDIA
A figure used in a lecture from JR James at the Department of Town and Regional Planning at The University of Sheffield between 1967 and 1978.
Haveli is generic term used for a traditional townhouse and mansions in India, Pakistan, Nepal and Bangladesh usually one with historical and architectural significance. The word haveli is derived from Arabic haveli, meaning "an enclosed place" or "private space" popularised under Mughal Empire and was devoid of any architectural affiliations. Later, the word haveli came to be used as generic term for various styles of regional mansions, townhouse and temples found in India, Pakistan, Nepal and Bangaldesh.
HISTORY
The traditional courtyard homes in South Asia is built on the ancient principles of Vastu Shastra. which state that all spaces emerge from a single point, that is the centre of the house. Courtyards are common feature in south asian architecture. The earliest archaeological evidence of courtyard homes in the region dates back to 2600–2450 BCE. Traditional homes in South Asia are built around courtyard and all family activities revolved around chowk or courtyard. Additionally, the courtyard serves as a light well and an effective ventilation strategy for hot and dry climates of South Asia. During medieval period, the term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat under the Mughal Empire and Rajputana kingdoms. Later, the generic term haveli eventually came to be identified with townhouse and mansions of the merchant class.
CHARACTERISTIC
Socio-Cultural Aspects: The chowk or courtyard served as the centre for various ceremonies and the rituals. The sacred tulsi plant was placed here and worshipped daily to bring prosperity to the house.
Security and Privacy: The chowk, at times, separated areas for men and women, and provided them with privacy.
Climate: Treating open space in building design to respond to the local climate. Air movement caused by temperature differences is utilized in the natural ventilation of building.
Different Activities At Different Times: The use of the court in the day time, mostly by women to carry out their work, interact with other women in private open space. Mansions of merchant class had more than one courtyard.
Articulation Of Space: In Mor chowk, City Palace, Udaipur, there is the concept of courtyard as a dancing hall. Similarly, in havelis, a courtyard has several functions, commonly used for weddings and festive occasions.
Materials : Fired bricks, sandstone, marble, wood, plaster and granite are commonly used materials. Decorative aspects are influenced by local culture and traditions.
All these elements join to form an enclosure and give the chowk a composed secured feel. The architectural built form of havelis has evolved in response to the climate, lifestyle and availability of material. In hot climates where cooling is a necessity, buildings with internal courtyards were considered the most appropriate. It acted as a perfect shading technique, while also allowing light inside. The arcade along the court, or the high wall around it, kept the interiors cool.
Many of the havelis of India and Pakistan were influenced by Rajasthani architecture. They usually contain a courtyard often with a fountain in the centre. The old cities of Agra, Lucknow and Delhi in India and Lahore, Multan, Peshawar, Hyderabad in Pakistan have many fine examples of Rajasthani-style havelis.
FAMOUS HAVELIS IN INDIA
The term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat. In the northern part of India. havelis for Lord Krishna are prevalent with huge mansion like constructions. The havelis are noted for their frescoes depicting images of gods, goddesses, animals, scenes from the British colonization, and the life stories of Lords Rama and Krishna. The music here was known as Haveli Sangeet.
Later on these temple architectures and frescoes were imitated while building huge individual mansions and now the word is popularly recognized with the mansions themselves. Between 1830 and 1930, Marwari's erected buildings in their homeland, Shekhawati and Marwar. These buildings were called havelis. The Marwaris commissioned artists to paint those buildings which were heavily influenced by the Mughal architecture.
The havelis were status symbols for the Marwaris as well as homes for their extended families, providing security and comfort in seclusion from the outside world. The havelis were to be closed from all sides with one large main gate.
The typical havelis in Shekhawati consisted of two courtyards - an outer one for the men which serves as an extended threshold, and the inner one, the domain of the women. The largest havelis could have up to three or four courtyards and were two to three stories high. Most of the havelis are empty nowadays or are maintained by a watchman (typically an old man). While many others have been converted into hotels and places of tourist attraction.
FAMOUS HAVELIS IN MAWAR AREA (SIKAR DISTRICT)
"Nadine Le Prince Haveli"
FAMOUS HAVELIS IN MAWAR AREA (JODHPUR DIVISION)
The towns and villages of Shekhawati are famous for the embellished frescoes on the walls of their grandiose havelis, to the point of becoming popular tourist attractions.
The havelis in and around Jaisalmer Fort(also known as the Golden Fort), situated in Jaisalmer, Rajasthan, of which the three most impressive are Patwon Ki Haveli, Salim Singh Ki Haveli, and Nathmal-Ki Haveli, deserve special mention. These were the elaborate homes of Jaisalmer's rich merchants. The ostentatious carvings etched out in sandstone with infinite detail and then painstakingly pieced together in different patterns each more lavish than the next were commissioned to put on show the owner's status and wealth. Around Jaisalmer, they are typically carved from yellow sandstone.They are often characterized by wall paintings, frescoes, jharokhas (balconies) and archways.
The Patwon Ji ki Haveli is the most important and the largest haveli, as it was the first erected in Jaisalmer. It is not a single haveli but a cluster of 5 small havelis. The first in the row is also the most popular, and is also known as Kothari's Patwa Haveli. The first among these was commissioned and constructed in the year 1805 by Guman Chand Patwa, then a rich trader of jewellery and fine brocades, and is the biggest and the most ostentatious. Patwa was a rich man and a renowned trader of his time and he could afford and thus order the construction of separate stories for each of his 5 sons. These were completed in the span of 50 years. All five houses were constructed in the first 60 years of the 19th century. Patwon Ji Ki is renowned for its ornate wall paintings, intricate yellow sandstone-carved jharokhas (balconies), gateways and archways. Although the building itself is made from yellow sandstone, the main gateway is brown.
FAMOUS HAVELIS OF PAKISTAN
There are a number of historically and architecturally significant havelis in Pakistan, most of which are situated in the Punjab province and constructed during the Mughal period.
Below is a list of some of the historically and architecturally significant havelis in Pakistan:
Kapoor Haveli in Peshawar
Fakir Khana Haveli and Museum, in Lahore
Mubarak Haveli in Lahore
Haveli Asif Jah in Lahore
Haveli Wajid Ali Shah in Lahore
Choona Mandi Haveli in Lahore
Haveli Nau Nihal Singh in Lahore
Haveli Barood Khana in Lahore
Lal Haveli or Chandu Di Haveli in Lahore
Haveli Man Singh in Jhelum
Lal Haveli in Rawalpindi
Saad Manzil in Kamalia
Khan Club in Peshawar
Waziristan Haveli in Abbottabad, home of Osama bin laden
Janjua Haveli in Malowal, Gujrat, Pakistan
Haveli Mubashar Ali Janjua, in Matore, Kahuta, Rawalpindi
HAVELIS IN POPULAR CULTURE
Haveli is an also a novel by Suzanne Fisher Staples and is a sequel to her Newbery Award-winning novel Shabanu: Daughter of the Wind. The story takes place in an old-fashioned haveli in Lahore, Pakistan.
WIKIPEDIA
VCAD's Interior Design program allows you to develop a skill set that compliments your creative vision so you can excel in interior design. The program introduces students to design principles, color theory, space planning, drafting and industry-standard software.
Subscribe to VCAD:
www.youtube.com/subscription_center?add_user=VancouverVCAD
Visual College of Art and Design
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V6B 1V9
Using the same design principles of my Nintendo World Mosaic from fall 2013, in conjunction with my mosaic “Lite Brite” mood lamps from December, I’ve combined both ideas and created a flat mosaic sprite portrait with hollow innards lined with bright LED strips! The light from the LEDs illuminate the colored LEGO dots plugged into a mosaic grid of Technic bricks, thus mimicking a “Lite Brite” effect. Each LED strip is soldered into a series circuit with 24 gauge wires, then connected to a switch and a female DC adapter plug. The grid of LED strips is attached to a rear door which opens/closes via LEGO hinge bricks.
Check out the tutorial on Instructables, so you can build your own!
www.instructables.com/id/Illuminated-Mosaic-LEGO-Sprite-P...
Electrical power: 12VDC
LED strips: 16 feet (~5 meters)
Burney Falls Autumn Leaves Fall Colors Sunset Starburst California Fuji GFX100s Fine Art Landscape Nature Photography FUJIFILM GF WR Lens McArthur-Burney Falls Memorial SP ! Epic California State Park Winter Wilderness Art! Elliot McGucken 45EPIC Master Medium Format Photographer
Epic Fine Art Photography Prints & Luxury Wall Art:
Support epic, stoic fine art: Hero's Odyssey Gear!
Follow me on Instagram!
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Best wishes on your Epic Odyssey!
Homer: Tell me, O muse, of that ingenious hero who traveled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home. . . --Homer's Odyssey, Book I
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“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
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The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
The first "bike box" in Victoria sorts cyclists and motorists at this complex intersection where the lane is an optional through or left turn lane. Cyclists and motorists alike are pleased with the performance.
Evolution 1998 - 2003
As then President of the Greater Victoria Cycling Coalition and Chair of the City of Victoria Cycling Advisory Committee I lobbied for installation of the box after learning about the treatment from a visit to Victoria by Michael Ronkin, bike and ped coordinator from the state of Oregon. He had seen them working on European roads. When the project was eventually implemented, I was again chair of the CAC but had founded a new organization, Capital Bike and Walk. The GVCC opposed the project over concerns that the treatment didn't reflect "vehicular cycling" principles. The CAC and city staff still recommended the project and council endorsed it. The facility has been very successful with cyclists and motorists alike expressing satisfaction. GVCC members are also happy with the "blue box" One other bike box is in use in Victoria and numbers of area municipalities are planning similar facilities or coloured lane treatments.
Stop 1 on the 40 engineers tour.
Update 2012.
Late in the fall of 2011 the "box" was recoated in green, adopted as a new standard for colour treatments for special facilities and bike lane sections through conflict zones.
The green is noticeably brighter and the blue had eventually worn away over several years of traffic.
See: www.flickr.com/photos/luton/6178610636/ and also
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
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"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
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Communicating at Work Principles and Practices for Business and the Professions
In a 2,000-word essay in the latest issue of The Architectural Review, Prince Charles has come up with 10 “important geometric principles” for urban masterplanning. He says we need to “reconnect with traditional approaches” and said “It is time to take a more mature view” as he lays out his vision for the future of architecture and planning.
“All I am suggesting is that the new alone is not enough. We have to be mindful of the long-term consequences of what we construct in the public realm and, in its design, reclaim our humanity and our connection with nature, both of which, because of the corporate rather than human way in which our urban spaces have been designed, have come under increasing threat.”
“To counter this, I believe we have to revisit the learning that for so long has been embedded in traditional approaches to design, simply because they are so rooted in our own connection with nature’s patterns and processes. As we face so many critical challenges in the years ahead, these approaches are crying out to be brought back to the forefront of contemporary practice.”
His 10 principles are:
Developments must respect the land. They should not be intrusive; they should be designed to fit within the landscape they occupy.
Architecture is a language. We have to abide by the grammatical ground rules, otherwise dissonance and confusion abound. This is why a building code can be so valuable.
Scale is also key. Not only should buildings relate to human proportions, they should correspond to the scale of the other buildings and elements around them. Too many of our towns have been spoiled by casually placed, oversized buildings of little distinction that carry no civic meaning.
Harmony – the playing together of all parts. The look of each building should be in tune with its neighbours, which does not mean creating uniformity. Richness comes from diversity, as Nature demonstrates, but there must be coherence, which is often achieved by attention to details like the style of door cases, balconies, cornices and railings.
The creation of well-designed enclosures.Rather than clusters of separate houses set at jagged angles, spaces that are bounded and enclosed by buildings are not only more visually satisfying, they encourage walking and feel safer.
Materials also matter. In the UK, as elsewhere, we have become dependent upon bland, standardised building materials. There is much too much concrete, plastic cladding, aluminium, glass and steel employed, which lends a place no distinctive character. For buildings to look as if they belong, we need to draw on local building materials and regional traditional styles.
Signs, lights and utilities. They can be easily overused. We should also bury as many wires as possible and limit signage. A lesson learned from Poundbury is that it is possible to rid the street of nearly all road signs by using ‘events’ like a bend, square or tree every 60-80 metres, which cause drivers to slow down naturally.
The pedestrian must be at the centre of the design process. Streets must be reclaimed from the car.
Density. Space is at a premium, but we do not have to resort to high-rise tower blocks which alienate and isolate. I believe there are far more communal benefits from terraces and the mansion block. You only have to consider the charm and beauty of a place like Kensington and Chelsea in London to see what I mean. It is often forgotten that this borough is the most densely populated one in London.
Flexibility. Rigid, conventional planning and rules of road engineering render all the above instantly null and void, but I have found it is possible to build flexibility into schemes and I am pleased to say that many of the innovations we have tried out in the past 20 years are now reflected in national engineering guidance, such as The Manual For Streets.
Haveli is generic term used for a traditional townhouse and mansions in India, Pakistan, Nepal and Bangladesh usually one with historical and architectural significance. The word haveli is derived from Arabic haveli, meaning "an enclosed place" or "private space" popularised under Mughal Empire and was devoid of any architectural affiliations. Later, the word haveli came to be used as generic term for various styles of regional mansions, townhouse and temples found in India, Pakistan, Nepal and Bangaldesh.
HISTORY
The traditional courtyard homes in South Asia is built on the ancient principles of Vastu Shastra. which state that all spaces emerge from a single point, that is the centre of the house. Courtyards are common feature in south asian architecture. The earliest archaeological evidence of courtyard homes in the region dates back to 2600–2450 BCE. Traditional homes in South Asia are built around courtyard and all family activities revolved around chowk or courtyard. Additionally, the courtyard serves as a light well and an effective ventilation strategy for hot and dry climates of South Asia. During medieval period, the term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat under the Mughal Empire and Rajputana kingdoms. Later, the generic term haveli eventually came to be identified with townhouse and mansions of the merchant class.
CHARACTERISTIC
Socio-Cultural Aspects: The chowk or courtyard served as the centre for various ceremonies and the rituals. The sacred tulsi plant was placed here and worshipped daily to bring prosperity to the house.
Security and Privacy: The chowk, at times, separated areas for men and women, and provided them with privacy.
Climate: Treating open space in building design to respond to the local climate. Air movement caused by temperature differences is utilized in the natural ventilation of building.
Different Activities At Different Times: The use of the court in the day time, mostly by women to carry out their work, interact with other women in private open space. Mansions of merchant class had more than one courtyard.
Articulation Of Space: In Mor chowk, City Palace, Udaipur, there is the concept of courtyard as a dancing hall. Similarly, in havelis, a courtyard has several functions, commonly used for weddings and festive occasions.
Materials : Fired bricks, sandstone, marble, wood, plaster and granite are commonly used materials. Decorative aspects are influenced by local culture and traditions.
All these elements join to form an enclosure and give the chowk a composed secured feel. The architectural built form of havelis has evolved in response to the climate, lifestyle and availability of material. In hot climates where cooling is a necessity, buildings with internal courtyards were considered the most appropriate. It acted as a perfect shading technique, while also allowing light inside. The arcade along the court, or the high wall around it, kept the interiors cool.
Many of the havelis of India and Pakistan were influenced by Rajasthani architecture. They usually contain a courtyard often with a fountain in the centre. The old cities of Agra, Lucknow and Delhi in India and Lahore, Multan, Peshawar, Hyderabad in Pakistan have many fine examples of Rajasthani-style havelis.
FAMOUS HAVELIS IN INDIA
The term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat. In the northern part of India. havelis for Lord Krishna are prevalent with huge mansion like constructions. The havelis are noted for their frescoes depicting images of gods, goddesses, animals, scenes from the British colonization, and the life stories of Lords Rama and Krishna. The music here was known as Haveli Sangeet.
Later on these temple architectures and frescoes were imitated while building huge individual mansions and now the word is popularly recognized with the mansions themselves. Between 1830 and 1930, Marwari's erected buildings in their homeland, Shekhawati and Marwar. These buildings were called havelis. The Marwaris commissioned artists to paint those buildings which were heavily influenced by the Mughal architecture.
The havelis were status symbols for the Marwaris as well as homes for their extended families, providing security and comfort in seclusion from the outside world. The havelis were to be closed from all sides with one large main gate.
The typical havelis in Shekhawati consisted of two courtyards - an outer one for the men which serves as an extended threshold, and the inner one, the domain of the women. The largest havelis could have up to three or four courtyards and were two to three stories high. Most of the havelis are empty nowadays or are maintained by a watchman (typically an old man). While many others have been converted into hotels and places of tourist attraction.
FAMOUS HAVELI IN MAWAR AREA (SIKAR DISTRICT)
"Nadine Le Prince Haveli"
FAMOUS HAVELI IN MAWAR AREA (JODHPUR DIVISION) Havelli Heritage, Ahore
The towns and villages of Shekhawati are famous for the embellished frescoes on the walls of their grandiose havelis, to the point of becoming popular tourist attractions.
The havelis in and around Jaisalmer Fort(also known as the Golden Fort), situated in Jaisalmer, Rajasthan, of which the three most impressive are Patwon Ki Haveli, Salim Singh Ki Haveli, and Nathmal-Ki Haveli, deserve special mention. These were the elaborate homes of Jaisalmer's rich merchants. The ostentatious carvings etched out in sandstone with infinite detail and then painstakingly pieced together in different patterns each more lavish than the next were commissioned to put on show the owner's status and wealth. Around Jaisalmer, they are typically carved from yellow sandstone. They are often characterized by wall paintings, frescoes, jharokhas (balconies) and archways.
The Patwon Ji ki Haveli is the most important and the largest haveli, as it was the first erected in Jaisalmer. It is not a single haveli but a cluster of 5 small havelis. The first in the row is also the most popular, and is also known as Kothari's Patwa Haveli. The first among these was commissioned and constructed in the year 1805 by Guman Chand Patwa, then a rich trader of jewellery and fine brocades, and is the biggest and the most ostentatious. Patwa was a rich man and a renowned trader of his time and he could afford and thus order the construction of separate stories for each of his 5 sons. These were completed in the span of 50 years. All five houses were constructed in the first 60 years of the 19th century. Patwon Ji Ki is renowned for its ornate wall paintings, intricate yellow sandstone-carved jharokhas (balconies), gateways and archways. Although the building itself is made from yellow sandstone, the main gateway is brown.
FAMOUS HAVELIS OF PAKISTAN
There are a number of historically and architecturally significant havelis in Pakistan, most of which are situated in the Punjab province and constructed during the Mughal period.
Below is a list of some of the historically and architecturally significant havelis in Pakistan:
Kapoor Haveli in Peshawar
Fakir Khana Haveli and Museum, in Lahore
Mubarak Haveli in Lahore
Haveli Asif Jah in Lahore
Haveli Wajid Ali Shah in Lahore
Choona Mandi Haveli in Lahore
Haveli Nau Nihal Singh in Lahore
Haveli Barood Khana in Lahore
Lal Haveli or Chandu Di Haveli in Lahore
Haveli Man Singh in Jhelum
Lal Haveli in Rawalpindi
Saad Manzil in Kamalia
Khan Club in Peshawar
Waziristan Haveli in Abbottabad, home of Osama bin laden
Janjua Haveli in Malowal, Gujrat, Pakistan
Haveli Mubashar Ali Janjua, in Matore, Kahuta, Rawalpindi
HAVELIS IN POPULAR CULTURE
Haveli is an also a novel by Suzanne Fisher Staples and is a sequel to her Newbery Award-winning novel Shabanu: Daughter of the Wind. The story takes place in an old-fashioned haveli in Lahore, Pakistan.
WIKIPEDIA
A rather dismal sight, and a former pub, at the corner of this estate. Closed years earlier, and demolished as of 2010.
Address: 48 St Norbert Road.
Former Name(s): The Golden Dragon.
Owner: Courage (former).
Links:
A look in the Warwick Quaker Garden.
There is entrances on High Street, and I walked up Leycester Place, and opened a door on Castle Lane at the back.
It is open 8am to 8pm daily. Or to sunset.
It was a Quaker burial ground.
A historical quiet place for reflection.
The Friends Meeting House
Grade II* Listed Building
Summary
Quaker Meeting House, built 1695, extended in the C18, and in 1992 by Donald James & Partners.
Description
Quaker Meeting House, built 1695, extended in the C18, and in 1992 by Donald James & Partners.
MATERIALS: red brick, stone, clay tile roofs.
PLAN: the meeting house was built in three phases, forming an L-shape overall: the 1695 meeting room is rectangular in plan running north-west to south-east; the C18 cottage attached to the north-west end of the meeting room is rectangular in plan, two rooms deep, with the front at a slightly-offset angle; and the 1992 extension comprises two irregularly-shaped compartments.
EXTERIOR: the 1695 meeting room is two-storey, constructed of red brick laid in Flemish bond, with stone quoins, and on a stone plinth. The pitched roof is covered in clay tiles. The principal elevation is to the south-west, adjoining the rear of the C18 cottage. On this elevation the red-brick cottage is of three bays, with three 12-pane sash windows with segmental relieving-arches at ground level, and a small two-light leaded window and two gabled dormers with small sashes to first floor. There is a blocked doorway to the far left. The entrance to the adjacent meeting room is via a pair of six-panel timber doors with H-L hinges, with a flat timber canopy on brackets above. To the right are two tall mullion and transom timber casements with leaded lights to the meeting room, and smaller rectangular leaded lights to the gallery. The south-east gable has a central glazed door (the original entrance) with a mullion and transom window with two brick relieving-arches above. The north-east elevation is blind. Additionally, there is a semi-circular stone well attached to the south-west elevation. The north-west elevation faces onto Hill Street, and comprises the principal elevations of the C18 cottage and extension, both of which are two-storeys with an attic. The entrance is reached by four stone steps with wrought-iron handrails, and the door is panelled and glazed with a plain canopy on brackets above. There is a 16-pane sash window at ground floor with two 12-pane sashes above and a dormer.
The 1992 extension is built of modern red brick, with brick corbelled eaves brackets, and three C20 12-pane sash windows at ground and first floor. To the left (east) there is a lower section of the building with a dormer window. To the right (west) is a red-brick archway with stone dressings inscribed in painted letters FRIENDS MEETING HOUSE. This leads to a passage, providing access into the 1992 extension on the west, with two C20 sash windows above. At the rear the extension has twin gables and C20 12-pane sash windows.
INTERIOR: the meeting room entrance leads into an internal porch with C20 woodwork and glazed double doors, and then to the rear of the meeting room below the C18 gallery. The gallery has a substantial boxed-bressumer, framed and panelled front and boarded floor. The gallery stairs are in the north corner and are C20 in date. The walls are lined with framed panelling, plastered and painted above. On the south-west wall is a C18 fireplace with a timber, bolection moulded surround (there is no external stack). The main body of the meeting room is three-bay, with two roof trusses partially-obscured by the ceiling, connected by C18 braces with ogee stops. The floor is parquet. On the north-west wall of the meeting room is a segmental arch doorway with C20 doors, leading into the C18 cottage. The rear room has clasped, crossed and chamfered ceiling beams with ogee stops. The cottage now houses a common room and library and most doors and other fixtures date to 1972. All fixtures inside the 1992 extension (now a community café with offices above) are of that date.
History
The Quaker movement emerged out of a period of religious and political turmoil in the mid-C17. Its main protagonist, George Fox, openly rejected traditional religious doctrine, instead promoting the theory that all people could have a direct relationship with God, without dependence on sermonising ministers, nor the necessity of consecrated places of worship. Fox, originally from Leicestershire, claimed the Holy Spirit was within each person, and from 1647 travelled the country as an itinerant preacher. 1652 was pivotal in his campaign; after a vision on Pendle Hill, Lancashire, Fox was moved to visit Firbank Fell, Cumbria, where he delivered a rousing, three-hour speech to an assembly of 1000 people, and recruited numerous converts. The Quakers, formally named the Religious Society of Friends, was thus established.
Fox asserted that no one place was holier than another, and in their early days, the new congregations often met for silent worship at outdoor locations; the use of members’ houses, barns, and other secular premises followed. Persecution of Nonconformists proliferated in the period, with Quakers suffering disproportionately. The Quaker Act of 1662, and the Conventicle Act of 1664, forbade their meetings, though they continued in defiance, and a number of meeting houses date from this early period. Broad Campden, Gloucestershire, came into Quaker use in 1663 and is the earliest meeting house in Britain, although it was out of use from 1871 to 1961. The meeting house at Hertford, 1670, is the oldest to be purpose built. The Act of Toleration, passed in 1689, was one of several steps towards freedom of worship outside the established church, and thereafter meeting houses began to make their mark on the landscape.
Quaker meeting houses are generally characterised by simplicity of design, both externally and internally, reflecting the form of worship they were designed to accommodate. The earliest purpose-built meeting houses were built by local craftsmen following regional traditions and were on a domestic scale, frequently resembling vernacular houses; at the same time, a number of older buildings were converted to Quaker use. From the first, most meeting houses shared certain characteristics, containing a well-lit meeting hall with a simple arrangement of seating. In time a raised stand became common behind the bench for the Elders, so that traveling ministers could be better heard. Where possible, a meeting house would provide separate accommodation for the women’s business meetings, and early meeting houses may retain a timber screen, allowing the separation (and combination) of spaces for business and worship. In general, the meeting house will have little or no decoration or enrichment, with joinery frequently left unpainted.
Throughout the C18 and early C19 many new meeting houses were built, or earlier buildings remodelled, with ‘polite’, Classically-informed designs appearing, reflecting architectural trends more widely. However, the buildings were generally of modest size and with minimal ornament, although examples in urban settings tended to be more architecturally ambitious. After 1800, it became more common for meeting houses to be designed by an architect or surveyor. The Victorian and Edwardian periods saw greater stylistic eclecticism, though the Gothic Revival associated with the Established Church was not embraced; on the other hand, Arts and Crafts principles had much in common with those of the Quakers, and a number of meeting houses show the influence of that movement.
The C20 saw changes in the way meeting houses were used which influenced their design and layout. In 1896 it was decided to unite men’s and women’s business, so separate rooms were no longer needed, whilst from the mid-1920s ministers were not recorded, and consequently stands were rarely provided in new buildings. Seating was therefore rearranged without reference to the stand, with moveable chairs set in concentric circles becoming the norm in smaller meeting houses. By the interwar years, there was a shift towards more flexible internal planning, together with the provision of additional rooms for purposes other than worship, reflecting the meeting house’s community role – the need for greater contact with other Christians and a more active contribution within the wider world had been an increasing concern since the 1890s. Traditional styles continued to be favoured, from grander Classical buildings in urban centres to local examples in domestic neo-Georgian. The work of the prolific Hubert Lidbetter, longtime Surveyor to the Six Weeks Meeting, demonstrates a range from the solid Classicism of Friends House, London (1924-27) to the more contemporary style of the Sheffield meeting house of 1964 (now in alternative use). In the post-war period, a small number of Quaker buildings in more emphatically modern styles were built; examples include the meeting house at Heswall, Merseyside, 1963 by Beech and Thomas, and buildings by Trevor Dannatt, of which the Blackheath Quaker Meeting House is one.
The beginnings of Quakerism in Warwick coincided with George Fox’s visits in 1655 and 1656. By 1671, a piece of land had been purchased on High Pavement (High Street) for a Quaker burial ground. A dwelling on the site was used as a meeting house until it was destroyed in the Great Fire of Warwick in 1694. The present meeting house was built on the same site in 1695 at a cost of £116. The entrance door was central on the south-west elevation with the stand opposite. Internal changes had taken place by 1710 including the removal of the elders’ stand. At an unknown date, possibly the late C18, a gallery was built and a fireplace added. The entrance into the meeting house at this time was to the south-east. In the C18 a cottage was built adjoining the north-west elevation of the meeting house. In the late C19 the entrance had an external porch.
Following a decline in membership numbers the meeting house closed in 1909 for 40 years, opening again in 1949. During the 1950s it was restored with repairs to the windows, woodwork and walls. By 1972 additional space was required by the Friends, and a children's room and kitchen were created in the C18 cottage at a cost of £3,000. In 1992, at a cost of £130,000 a three-storey building was built to the designs of Donald James & Partners to the west, to provide additional ancillary facilities at ground level and office accommodation above.
Reasons for Listing
Warwick Quaker Meeting House built in 1695 and extended in the C18 and 1992, is listed at Grade II* for the following principal reasons:
Architectural interest:
* as an early purpose-built C17 Quaker meeting house typifying the modest nature of these buildings for worship;
* the meeting room’s interior retains its early layout and dado panelling, and C18 gallery and fireplace.
Historic interest:
* as an illustration of the prominent role played by the Religious Society of Friends in the development of Warwick;
* the 1992 extension respects the character of the C18 cottage and is representative of the growing need of Quakerism in Warwick into the C20.
Group value:
* with the many listed buildings on High Street, including the Grade I-listed 56 High Street and Hospital of Robert Dudley Earl of Leicester.
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Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Best wishes on your Epic Odyssey!
Homer: Tell me, O muse, of that ingenious hero who traveled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home. . . --Homer's Odyssey, Book I
John Stuart Mill - Principles of Political Economy
edited by Donald Winch
Pelican Classics AC17, 1970
Cover: A detail from 'Forging the Shaft: a Welding Heat' by John Ferguson Weir
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Tuweap GCNP Sunset! North Rim Elliot McGucken Grand Canyon National Park Tuweep Toroweap Arizona Fuji GFX100 Fine Art Landscape Nature Photography! Elliot McGucken dx4/dt=ic Fuji GFX 100 & Fujifilm Fujinon GF Lens Master Fine Art Medium Format Photographer!
“On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!” --Seneca the Younger
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
(further information you can get very easily by clicking on the link at the end of page!)
Cemetery Church to St. Charles Borromeo
The cemetery church to the Holy Charles Borromeo is next to Otto Wagner's church at Steinhof the most important church of Art Nouveau. After a construction period of approximately three years, the church was consecrated in 1911. From 1995 to 2000 it was completely refurbished.
History
Already in the initial planning for the Viennese central cemetery a church site ("Kapellenhof" - chapel court) was provided. The architect Max Hegele created the design for the entire urban development axis and its most important buildings: from the Pylonentor (pylons gate) (with the two laterally arranged lying-out halls to the church with the it enclosing segmental arch-like columbarias (crypt systems). Hegele incorporated the yet existing Sichtziegelbauten (facing bricks buildings) of the Arkadengrüfte (arcade crypts). These were built 1880/81 according to the designs of the architects Mylius and Bluntschli.
During the Second World War the bells of the church have been melted for war purposes. The roof was destroyed by a bomb. The dome with the mosaic equipment was heavily damaged. The western glass window "The Raising of Lazarus" was lost. Apart from that, the Art Nouveau features remained unchanged and complete.
Architecture of the church
The impressive - 58.5 meters high - Zentralkuppelbau (central dome building) extends with the three staircases over an area of 2,231 square meters. Three mighty column portals with eleven meters wide, 22-step flight of stairs leading into the interior of the upper church. Through the entrances of the two corner towers on the front facade one gets into the lower church to the crypt chapels.
The building altogether is flanked by four corner towers. The two rear ones serve as clock and bell towers. The watches have letters instead of numbers, which give the words "Tempus fugit" (time flies). The twelfth hour was marked with a small cross.
The central dome chamber has a diameter of 22.7 meters and reaches an impressive height of 39 meters. Since 1979 lying-in-states are taking place there as well.
In the simpler than the upper church designed lower church are arranged along the central space the by columns separated tomb chapels. These contain a total of 38 tombs .
In the main chapel, located directly under the main altar, is the tomb of Karl Lueger. The 1910 late mayor was buried after his temporary burial in the family grave in the lower church. At that time the church also received the nickname "Dr.-Karl-Lueger Memorial Church".
Starry sky
Interior decoration
The interior design was created by well-known artists of the Art Nouveau. The porch adorn two reliefs of Georg Leisek and Hans Rathausky. The impressive, intensely colored windows and mosaics stem from Leopold Forstner. The valuable works of art on the high altar of marble have been created by Anton Kaan, Franz Klug, Karl Philipp and Adolf Pohl. The representation of the Last Judgement above the high altar was designed by Hans Zatzka.
Arcades and columbarias (crypt systems)
On both sides of the church adjoin semi-circular-like arcades and columbarias. These were built 1906/1907, ie, before the church. Besides 70 arcade crypts and two mausoleums with eight tombs here are 768 columbaria niches.
The term "columbarium" comes from the Romans, meaning "pigeon house". So at the time of the Romans were walls called in which many small niches were eroded. These niches were used for the storage of cinerary urns. In the columbaria niches in the central cemetery but now coffins are housed. Occupied slots are sealed with a concrete slab and get a marble plaque with grave inscription.
General renovation of the church
Subsidence caused by static defects, and penetrating moisture had the church badly affected . The realisation of the renovation work was carried out in three phases. All historically valuable components such as steps and lamps were first inventoried and numbered. They were then removed and after the renewal of the support structure again attached. The interior was also heavily damaged, about 40 percent of the tiled floor was broken, metal and brass parts completely rusted and the mural paitings no longer recognizable.
The restoration of the valuable building fabric and the artistic furnishing was done in coordination with the Federal Monuments Office and according to strict scientific and monument preservation principles.
www.friedhoefewien.at/eportal/ep/programView.do/pageTypeI...
Stages of Ethical Development in Artificial General Intelligence Systems by Ben Goertzel and Stephan Vladimir Bugaj
"Balance the risks of action and inaction"
- Max More 2004
I030308 176
VIDEO, Rocking Christmas Songs - youtu.be/Q5IF6iWf5W4
The VanDusen Garden Festival of Lights is a Christmas event that many nature-lovers have been waiting for to start the holiday season.
One of the guiding principles of the VanDusen Garden has always been to connect people to plants and the natural environment. Year-round, visitors have come here to appreciate and learn about conservation, gardening, plant lives and stories, nutrition, pollination, adopt a tree, birding in the garden and many more.
The VanDusen Garden is also a popular spot for wedding couples getting hitched.
Although there are more than 100 events happening all year, don’t think that during winter the garden would be in hibernation. No, December happens to be the busiest time of the year.
To celebrate Christmas and the Yuletide season, the garden comes alive with more than a million light bulbs illuminating all vegetation and the surrounding enclave. 1.4 million lights to be exact.
Nancy Wong, VanDusen Garden’s Public Relations Director, proudly pointed out that volunteers counted each light bulb every year and made sure they were working before putting them on.
The Festival of Lights is an extremely popular event. Families come in droves.
On the first day of the festival (Dec 02), there was a long lineup of people wanting in before the garden officially opened at 4:30 PM. In fact, visitors were advised to purchase tickets in advance at Tickets Tonight or in person at the Garden Shop at VanDusen Garden as early as Nov 1st.
Once visitors entered the garden, many of them seek out the popular Dancing Lights at Livingstone Lake in which a continuous series of strobe lights was synchronized to rock versions of familiar Christmas songs that reverberated with the audience, adults and kids alike.
Music is the universal language, no loss in translation there. It signifies the joyous season and everyone is excited to be there. Dancing Lights plays every half-hour and it has become one of the main attractions of the Festival of Lights experience.
After the light show, visitors began to explore different areas of the garden and there were plenty for them to see and enjoy - Santa’s Living Room, Gingerbread Wood, Make-a-Wish Candle Shrine, Sparkling Spruce in the centre court, Candy Cane Express model train etc.
Roaming along the brightly-illuminated Candy Cane Lane, you would likely hear a singing choir that draws you nearer or encounter two Christmas Gnomes, Svend and Jens eager to entertain.
Svend joked often in a heavy Swedish accent while Jens played his quiet and abiding partner. Their routine worked out very well I must say.
It’s the Winter Light season (not Lights, in honor of director Ingmar Bergman) and with Svend and Jens close by, you are reminded of the Swedish filmmaker’s world-famous troupe of actors including Liv Ulman, Max Von Sydow, Gunnel Lindblom and others. Ja!
After an hour or two, you just might feel hungry and it is a perfect time to have dinner at the garden. Both light fare and full meals are available at the VanDusen Garden. Dinner is also served every night at the Shaughnessy Restaurant during the Festival of Lights. Reservations are recommended.
Ho-Ho-Ho, Santa’s rocking in his chair too!
_____________________________________
Ray Van Eng is an award-winning photographer, journalist, online publisher, screenwriter and movie & TV producer. One of his videos is currently on view at the Hava Nagila Exhibit, Museum of Jewish Heritage – A Living Memorial to the Holocaust in New York City. from Sep 2012 to May 2013.
Eight principles for locally led adaptation have been developed to help ensure that local communities are empowered to lead sustainable and effective adaptation to climate change at the local level.
They have been endorsed by nearly 80 governments, global institutions, local and international NGOs.
This graphic sets out the principles and explains them in more detail, from devolving decision making to the lowest appropriate level to ensuring transparency and accountability.
This poster was produced by IIED and the World Resources Institute on behalf of the community of practice on locally led adaptation.
More information: www.iied.org/principles-for-locally-led-adaptation
Windandsea Beach San Diego Sunset Brilliant Clouds Dramatic Skies Landscape Photography! Elliot McGucken Fuji GFX 100 Fine Art Landscape Nature Photography Ocean Art Seascape Medium Format Fujifilm GFX100 & Fujinon Lens FUJIFILM GF 23mm f/4 R LM WR Lens Wide Angle!
Epic Fine Art Photography Prints & Luxury Wall Art:
Support epic, stoic fine art: Hero's Odyssey Gear!
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
Japanese Garden Design.
Below are a few of the guiding principles of Japanese garden Design. Read these before we visit the Japanese Garden at Cowra.
1.Nature is all important. You must recreate nature, even if symbolically. You cannot have items not found in nature i.e. a fountain (but you can have a waterfall) or a square pond (but you can have an irregular, natural shaped pond) etc. A pond or even the sea is often represented by raked gravel.
2.Balance or sumi is important. You cannot have a large rock in a small space. Rocks can be used to symbolise mountains. But the scale must be correct for the size of the area. Pools can represent lakes etc.
3.Emptiness or ma is important. Japanese gardens often have empty spaces as space or emptiness defines the other elements around it.
4.Wabi or sabi is another basic principle. Sabi is about capturing the ideal image of an item and wabi is about capturing the spiritual essence of an item. So a perfectly plain round boulder in a garden has no wabi or sabi, but an irregular, lichen or moss covered boulder typifies a rock in nature.
5.Time is an important feature of Japanese gardens. The garden must have attractions for all four seasons of the year.
6.Enclosure as a feature of Japanese gardening. To be a retreat to nature, the garden must be fenced and gated to keep out interference. The garden is a separate world, and gates have spiritual meaning. Fences, hedges and screens are meant to also hide items which then suddenly become revealed. This is called miegakure.
7.Flatness is important. Flat areas are used for meditation, often in front of temples or shrines. These areas are Zen in style.
8.Formality is another principle. Although tea gardens are always informal and often have rustic huts and chalets in them. A focal point is always the tea pavilion.
9.Rocks are the backbone of a Japanese garden. Stones are usually, but not always set in groups of three. They can be vertical or horizontal in form. Stones set in the ground are used for stepping stones. A wide stone across a path tells us to stop there and admire the view. The pathway represents the pathway of life.
10.Water is an important feature of a Japanese garden. Waterfalls, ponds, and the bamboo deer scarer which fills the water basis for ritual washing are all important features. Water flows through Japanese gardens and bridges are important. The movement of water symbolises the passage through life from childhood to adulthood and maturity. Crossing a bridge takes you from one world to another world. Some bridges are purely ornamental, but most cross flowing water. Carp are obligatory in ponds as they are part of nature.
11.Plants play a secondary role to stone in Japanese gardens. Common plants for a Japanese garden include pines, bamboo, cherries, maples, camellias, azaleas, water plants, grasses etc. Some Japanese gardens are almost monochrome and entirely green. Evergreen trees like pines symbolise eternity.
12.Stone lanterns, stupas and basins are important elements for the garden.
13.Above all the garden must have atmosphere, simplicity and elegance and this is often obtained through the use of extensive pruning and the shaping of plants.
Event: The Annual Women’s Empowerment Principles, entitled “Unlimited Potential: Business Partners for Gender Equality”
hosted by UN Women and the UN Global Compact in ECOSOC chambers at United Nations Headquarters on 10 March 2015.
Welcoming remarks by:
Master of Ceremonies: Jo Confino, Executive Editor, The Guardian and Chairman & Editorial Director of Guardian Sustainable Business
Georg Kell, Executive Director, UN Global Compact
Phumzile Mlambo-Ngcuka, Under-Secretary-General and Executive Director, UN Women.
Opening remarks by: UNSGKeynote Speaker: Hon. Hillary Rodham Clinton, former US Secretary of State
Photo: UN Women/Ryan Brown
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!