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Recognized as a very ancient agrarian area, Siwa oasis is a repository of distinctive date palm varieties and other crops, of which the history go back to distant past..Taken @Siwa, Egypt
Approaching spring and be recognized by :
Sneezing
Runny nose
Itchy , red , watery eyes
Itchiness allover
and other sighs of spontaneous joy
So take handful of antihistamines and go outside
Here is what Jeff Foxworthy has to say about Canadians:
If your local Dairy Queen is closed from
September through May,
You may live in Canada .
If someone in a Home Depot store
Offers you assistance and they don't work there,
You may live in Canada .
If you've worn shorts and a parka at the same time,
You may live in Canada .
If you've had a lengthy telephone conversation
With someone who dialed a wrong number,
You may live in Canada .
If 'Vacation' means going anywhere
South of Detroit for the weekend,
You may live in Canada .
If you measure distance in hours,
You may live in Canada .
If you know several people
Who have hit a deer more than once,
You may live in Canada .
If you have switched from 'heat' to 'A/C'
In the same day and back again,
You may live in Canada .
If you can drive 90 km/hr through 2 feet of snow
During a raging blizzard without flinching,
You may live in Canada .
If you install security lights on your house and garage,
But leave both unlocked,
You may live in Canada .
If you carry jumper cables in your car
And your wife knows how to use them,
You may live in Canada .
If you design your kid's Halloween costume
To fit over a snowsuit,
You may live in Canada .
If the speed limit on the highway is 80 km --
You're going 95 and everybody is passing you,
You may live in Canada .
If driving is better in the winter
Because the potholes are filled with snow,
You may live in Canada .
If you know all 4 seasons:
Almost winter, winter, still winter,
and road construction,
You may live in Canada .
If you have more miles
On your snow blower than your car,
You may live in Canada .
If you find -2 degrees 'a little chilly',
You may live in Canada .
If you actually understand these jokes,
and forward them to all
your friends,
you definitely are Canadian and proud to be.
This should have “ * “
* excluding Vancouver and Vancouver Island :-) ( snow and ice parts )
Rolleiflex 2.8F planar 80mm + fuji pro160s (pushed 2 stops),@shanghai.
書店裡的貓/酒館裡的狗/玻璃矇著霧氣/為了擦拭/為了看見我走過/為了這盲啞的對視。
是不是我們曾經一起死過/大家看起來都那麼眼熟。
View from London Bridge.
Tower Bridge is the most recognizably bridge on the River Thames and is often mistakenly referred to as “London Bridge”.
The total cost of construction of Tower Bridge was £1,184,000 (£100 million as of 2011).
The bridge was officially opened on 30 June 1894 by The Prince of Wales (the future King Edward Vll) and his wife, The Princess of Wales.
It takes 61 seconds to open Tower Bridge, which opens about 1,000 times a year.
Tower Bridge is the only bridge over the Thames that can be raised as it is a combined bascule (drawbridge) and suspension bridge. This means that the middle section of the bridge can be raised to allow river traffic to pass through.
The bridge was originally painted a chocolate brown colour. Then in 1977, it was painted red, white and blue for the Queen’s Silver Jubilee.
There have been several incidents on the bridge over the years. In December 1952, the bridge opened while a number 78 double-decker bus was on it
More London photos link below
The Victoria Crowned Pigeon, Goura victoria, is a large, approximately 74cm (29 in) long and weighing up to 2.5 kg (5.5 lb), bluish-grey pigeon with elegant blue lace-like crests, maroon breast and red iris. The bird may be easily recognized by the unique white tips on its crests. Both sexes are similar.
One of three superficially similar species of crowned pigeons (the others being the Western Crowned Pigeon and the Southern Crowned Pigeon), the Victoria Crowned Pigeon is distributed in the lowland and swamp forests of northern New Guinea and surrounding islands. Its diet consists mainly of fruits, figs, seeds and invertebrates. The female usually lays a single white egg.
The name commemorates the British monarch, Queen Victoria of the United Kingdom.
Due to continuing habitat loss, being tame and easily hunted for its plumes and meat, the Victoria Crowned Pigeon is evaluated as Vulnerable on the IUCN Red List of Threatened Species. It is listed in Appendix II of CITES.
en.wikipedia.org/wiki/Great_reed_warbler
The great reed warbler (Acrocephalus arundinaceus) is a Eurasian passerine in the genus Acrocephalus. It used to be placed in the Old World warbler assemblage, but is now recognized as part of the marsh and tree-warbler family (Acrocephalidae). A. arundinaceus are medium-sized birds and are the largest of the European warblers. They breed throughout mainland Europe and Asia and migrate to sub-Saharan Africa in the winter. Great reed warblers favor reed beds as their habitat during breeding months, while living in reed beds, bush thickets, rice fields, and forest clearings during the winter. Great reed warblers exhibit relatively low sexual dimorphism, and both genders of the species are similar in appearance. This species mates both polygynously and monogamously.
Description
The thrush-sized warbler is one of the largest species of Old World warbler. It measures 16–21 cm (6.3–8.3 in) in length, 25 to 30 cm (9.8 to 11.8 in) in wingspan and weighs 22 to 38 g (0.78 to 1.34 oz).[2][3][4] The adult has unstreaked brown upperparts and dull buffish-white chin and underparts. The forehead is flattened, and the bill is strong and pointed. It looks very much like a giant Eurasian reed warbler (A. scirpaceus), but with a stronger supercilium.
The sexes are identical, as with most old world warblers, but young birds are richer buff below.
The warbler's song is very loud and far-carrying. The song's main phrase is a chattering and creaking carr-carr-cree-cree-cree-jet-jet, to which the whistles and vocal mimicry typical of marsh warblers are added.
Distribution and ecology
A. arundinaceus breeds in Europe and westernmost temperate Asia. It does not breed in Great Britain, but is a regular visitor. Its population has in recent decades increased around the eastern Baltic Sea, while it has become rarer at the western end of its range. It is a migratory bird, wintering in tropical Africa. This bird migrates north at a rather late date, and some birds remain in their winter quarters until the end of April.[1][5][6]
While there are no subspecies of this bird, mtDNA haplotype data indicate that during the last glacial period there were two allopatric populations of A. arundinaceus. The great reed warblers in southwestern and southeastern Europe were at that time apparently separated by the Vistulian-Würm ice sheets and the surrounding barren lands. Though the data are insufficient to robustly infer a date for this separation, it suggests the populations became separated around 80,000 years ago – coincident with the first major advance of the ice sheets. The populations must have expanded their range again at the start of the Holocene about 13,000 years ago, but even today the western birds winter in the west and the eastern birds in the east of tropical Africa.[6]
This passerine bird is found in large reed beds, often with some bushes. On their breeding grounds, they are territorial. In their winter quarters, they are frequently found in large groups, and may occupy a reed bed to the exclusion of other birds.[5] Like most warblers, it is insectivorous, but it will take other prey items of small size, including vertebrates such as tadpoles.
The great reed warbler undergoes marked long-term population fluctuations, and it is able to expand its range quickly when new habitat becomes available. This common and widespread bird is considered a species of least concern by the IUCN.[
Behavior
Diet
Communication and courtship
Male great reed warblers have been observed to communicate via two basic song types: short songs about one second in length with few syllables, and long songs of about four seconds that have more syllables and are louder than the short variety. It has been observed that long songs are primarily used by males to attract females; long songs are only given spontaneously by unpaired males, and cease with the arrival of a female. Short songs, however, are primarily used in territorial encounters with rival males.[10]
During experimental observation, male great reed warblers showed reluctance to approach recordings of short songs, and when lured in by long songs, would retreat when playback was switched to short songs.[10]
Traditionally, monogamous species of genus Acrocephalus use long, variable, and complex songs to attract mates, whereas polygynous varieties use short, simple, stereotypical songs for territorial defense. There is evidence that long songs have been evolved through intersexual selection, whereas short songs have been evolved through intrasexual selection. “A. arundinaceus” is a notable example of these selective pressures, as it is a partial polygynist and has evolved variable song structure (both long and short) through evolutionary compromise.[10]
In addition to communication, the great reed warbler’s song size has been implicated in organism fitness and reproductive success. Though no direct relationship has been found between song size and either territory size or beneficial male qualities, such as wing length, weight, or age, strong correlation has been observed between repertoire size and territory quality. Furthermore, partial correlation analysis has shown that territory quality has significant effect on number of females obtained, while repertoire length is linked to the number of young produced.[11]
Mating system and sexual behavior
A. arundinaceus females lay 3–6 eggs in a basket nest in reeds. Some pairs of warblers are monogamous, but others are not, and unpaired, territory-less males still father some young.[12]
A long-term study of the factors that contribute to male fitness examined the characteristics of males and territories in relation to annual and lifetime breeding success. It showed that the arrival order of the male was the most significant factor for predicting pairing success, fledgling success, and number of offspring that survive. It also found that arrival order was closely correlated with territory attractiveness rank. Females seem to prefer early arriving males that occupy more attractive territories. These females also tend to gain direct benefits through the increased production of fledglings and offspring that become adults. In addition, male song repertoire length is positively correlated to annual harem size and overall lifetime production of offspring that survive. Song repertoire size alone is able to predict male lifetime number of surviving offspring. Females tend to be attracted to males with longer song repertoires since they tend to sire offspring with improved viability. In doing so, they gain indirect benefits for their own young.[13][14]
Great reed warblers have a short, polygynous breeding cycle in which the male contributes little to parental care. They defend large territories in reed beds where there is reduced visibility, which may allow males to practice deception by moving and attracting a second female. This second female may not realize that the male has already mated. Polygyny of the great reed warbler was assessed in another study that showed the importance of female choice. The differences in territory characteristics seemed to be more important. However, there is also a strong correlation between male and their territory characteristics. Models based on the polygyny threshold and sexy son hypotheses predict that females should gain evolutionary advantage in either short-term or long-term in this mating system, yet the study did not support this. The data showed that secondary females had greatly reduced breeding success
The Supermarine Spitfire is probably one of the most recognizable and iconic aircraft in history, with a total production number of 20 351. As I have always been fond of it, I decided to give it a try, even though it is my very first propeller aircraft model.
About the aircraft
The history of the Spitfire started in 1934, with the first flight of the famous K5054 prototype taking place on 5th March 1936. After the initial delays, the first Spitfire Mk. Is started to reach the operational units in 1938, and since then the type became a stronghold of RAF fighter forces, with a number of substantial improvements being introduced over the whole duration of WWII. Most of these improvements were directly correlated with the development of another icon, the Rolls-Royce Merlin engine. Consequently, 3 generations of Spitfires are commonly recognized: early Merlins (Merlins with a single-stage supercharger, Spitfires Mk. I, II, III, V, VI, and PR XIII), late Merlins (60 and 70 series Merlins with a two-stage supercharger, Spitfires Mk. VII – IX, PR X, PR XI, and Mk. XVI), and the last generation utilizing more powerful and heavier Rolls-Royce Griffon (Mk. IV, XII, XIV, XVIII, PR XIX, XX, 21-24). Among all those Marks, the Mk. IX and XVI were by far the most numerous, and their introduction was a major step in RAF’s capabilities. The idea for Mk. IX came out of necessity, as after the introduction of Focke-Wulf Fw 190 in late 1941 it became obvious that the then-standard Spitfire Mk. V was no match for the newest Luftwaffe addition. As the two-stage Merlin 61 became available, the Supermarine proposed to address this issue with an interim Mk. IX variant, which was basically Mk. V airframe fitted with the new engine. At the beginning, it was planned as just a short-term fix, with the revised Mk. VIII being the “ultimate” late-Merlin variant. However, the Mk. IX proved to be so successful that there was no point in disturbing its production lines, and it remained in production until the end of the war with constant upgrades being added (e.g. Merlin 66 engine). An interesting twist in the history of the Mk. IX is the Mk. XVI variant, which even though gained a new Mark number, differed only by the fact that instead of the British-built Merlin 66, its US licensed-built Packard Merlin 266 variant was utilized.
About the building process
The Spitfire is my very first propeller-driven aircraft, and it was basically an accident that I even started it. I was playing with some trans-clear canopy solutions and after one of the attempts I thought “Well, this looks like a Spitfire canopy”. As it turned out, it was perfectly scaled to my favorite 1:33 scale, so I had no choice but to continue. Still, the idea to make a WWII fighter was not new to me, as for years I’ve been a great fan of a number of different designs by other builders, so I’ve always wanted to have one for myself. As the Spitfire is an extremely common topic, it is impossible to mention all my inspirations. Still, by far the most prominent one was the Spitfire Mk. IX by Ed Diment, which even utilizes the same scale as mine. Another big inspiration was a much bigger Spitfire Mk. I by Lennart Cort. In fact, I had a very hard time deciding on the scale, as his 1:18 Spitfire looks so amazing it gave me second thoughts. Other, smaller designs, which were extremely useful for me, were the Spits by Dierett89, Sydag, BuildArmy, and picardbricks. As I mentioned before, the first part I got together was the canopy, followed by the engine section. Then, I got stuck a bit with the wings, as I really wanted to include the dihedral on them. Finally, I was able to slightly minimize the solution proposed by Nick Goodwin, which fitted nicely with the rest of the plane. The shape of the wings was also a bit painful to get right, but as I decided to go for the “clipped” wings, I didn’t have to make them fully elliptical, which made it much easier. The rest of the fuselage was quite easy. A big challenge overall was the very disappointing variety of dark green pieces, which I had to compensate for with the extensive amount of stickers. Here, the solution proposed by Maks in his Su-24
turned out to be very handy – I just had to use an awful lot of stickers from 76907 Lotus Evija set. I must say that the results look surprisingly good, as the colors match perfectly.
About the model
The model represents a Supermarine Spitfire LF. Mk.XVIe in a 1/33 scale. The camouflage is based on the aircraft currently stored in the Polish Aviation Museum in Kraków. It was produced in 1944 and served in the 421 Squadron of the Canadian Air Force (RCAF). In 1956 it was moved to the RAF museum in Hendon, having a short episode in the 1967 Battle of Britain film. Since 1977 it has been in the possession of the Polish Aviation Museum, where currently it is presented in the camouflage of the Polish 308 Squadron as TB995 ZF-O. The original aircraft of this designation was delivered to 308 Sqn. on 15th March of 1945, and the Squadron was mainly involved in the anti-V1 and V2 operations. As the Mk. XVI was introduced in 1944, there are so misconceptions about its configuration. Similarly to what happened to P-51 Mustang, the late Spitfire variants were fitted with the teardrop “bubble” canopy. Even though it was used in a number of different Marks, including Mk. IX, it is most commonly associated with Mk. XVI, as due to the shorter production, a much higher percentage of them received this upgrade. Still, the “razorback” Mk. XVIs were also quite common, being virtually indistinguishable from the standard Mk. IXs, which is the case for the TB995 ZF-O. As the model is significantly smaller than my usual jets, I wasn’t able to include as many working features as usual. Still, it has movable flaps, a working tail, and working landing gear.
Recognize her?? Collab between myself and one flightless bird. Sadly, we didn't actually meet, but we have been talking about cloning ourselves together for a long time now and finally have.
Larger on black is here.
She shot herself, and I shot mine, and we emailed different versions back and forth constantly for the last few days until we were satisfied.
Editing this was SO much harder than either of us expected it to be, but I am sooooooo happy with the final result.
She is so amazingly talented and is my Flickr soulmate ,and we are so excited about this photo and finally seeing it come together. If you've never visited her stream, you need to get your ass over there immediately. She'll stun you with her photos and rip your heart out with her words (in a good way).
Her version of this photo is here.
♥
love you, bird. :)
The Mallard, or Wild duck (Anas platyrhynchos[1]), probably the best-known and most recognizable of all ducks, is a dabbling duck which breeds throughout the temperate and sub-tropical Americas, Europe, Asia, New Zealand (where it is currently the most common duck species), and Australia.
The male birds have a bright green head, while the female's is light brown. The Mallard lives in wetlands, eats water plants, and is gregarious. It is also migratory. The Mallard is the ancestor of all domestic ducks, and can interbreed with other species of genus Anas.[2] This interbreeding is causing rarer species of ducks to become genetically diluted.
The Mallard is 56–65 centimetres (22–26 in) long, has a wingspan of 81–98 centimetres (32–39 in), and weighs 0.9–1.2 kilograms (32–42 oz). The breeding male is unmistakable, with a bright green head, black rear end and a yellowish orange (can also contain some red) bill tipped with black (as opposed to the dark brown bill in females), and is also nature's most feared duck. The female Mallard is light brown, like most female dabbling ducks. However, both the female and male Mallards have distinct purple speculum edged with white, prominent in flight or at rest (though temporarily shed during the annual summer moult). In non-breeding (eclipse) plumage the drake becomes drab, looking more like the female, but still distinguishable by its yellow bill and reddish breast.
In captivity, domestic ducks come in wild-type plumages, white, and other colours. Most of these colour variants are also known in domestic Mallards not bred as livestock, but kept as pets, aviary birds, etc., where they are rare but increasing in availability.
A noisy species, the male has a nasal call, the female has a "quack" stereotypically associated with ducks.[3]
The Mallard is a rare example of both Allen's Rule and Bergmann's Rule in birds. Bergmann's Rule, which states that polar forms tend to be larger than related ones from warmer climates, has numerous examples in birds. Allen's Rule says that appendages like ears tend to be smaller in polar forms to minimize heat loss, and larger in tropical and desert equivalents to facilitate heat diffusion, and that the polar taxa are stockier overall. Examples of this rule in birds are rare, as they lack external ears. However, the bill of ducks is very well supplied with blood vessels and is vulnerable to cold.
There are many raisins on the market depending on the type of grape and its preparation method, which you can buy and consume according to your taste, but people may not have much information in choosing raisins and distinguishing it in the way of production. For this reason, in this article, we intend to address the issue of distinguishing Sultana raisins so that you can more easily distinguish Sultana raisins from other raisins.
To diagnose Sultana raisins, it is better to first get acquainted with how to prepare this type of raisin and the characteristics of this raisin, below we will explain how to produce Sultana raisins.
Preparation of Sultana Raisins
As you know, there are two natural and chemical methods in preparing different types of raisins, the natural method is divided into two methods: sunny and show of sun, but in this article, we are going to discuss how to prepare sultana raisins and the method of drying grapes for the acquisition of sultana raisins in more detail.
Sultana raisins are not usually prepared by natural methods, and the only way to prepare sultana raisins is by chemical method, as follows:
Acute raisin detection methods
Sultana raisins are usually made with a chemical called aqua regia, which will speed up the drying process in grapes, which means that the drying process in other natural and traditional raisins is very slow. It may take 30 to 40 days, while chemical methods can be used to dry large volumes of grape in a matter of hours, resulting in Sultana raisins.
The process of preparing Sultana raisins is that the washed grapes are placed in open space and dried using sulfur smoke. The effect of sulfur smoke on grapes is that it causes fine cracks to appear on the surface of the raisins and then the water in the grape seeds evaporates quickly, and as a result, and only after a few hours, this process is completed and the dried grapes are taken out of the yard, and then used. And people’s consumption will be packaged and presented to the market.
Not to mention that Sultana raisins are one of the best-selling raisins that are exported to other countries and will be very profitable for the producer. However, you should also note that the consumption of this type of raisin is not recommended for people with diseases such as cancer, diabetes, etc. due to the use of chemicals in its preparation method, because it may have side effects for this group of people. Be, but still consumption of raisins in any kind of more than standard can have side effects, so it is recommended that you pay attention to the consumption of this nutrient-rich food so that you can without any side effects of food and medicinal properties.
Reference: esgtrade.com/blog/methods-of-recognizing-sultana-raisins....
Follow us: @esgtrade on Twitter
Recognized as one of the Midwest's largest living history festivals, come share in the excitement at Galesburg Heritage Days in Galesburg, Illinois. . A family event, featuring both pre-1840 early American Colonial Frontier Rendezvous, and a thoroughly fielded Civil War Battle Reenactment/Encampment, along with dozens of unique period merchants...all within walking distance of each other.
"One of a pair of Juvenile Red-tailed Hawk siblings."
Red-tailed Hawk
The Red-tailed Hawk (Buteo jamaicensis) is a bird of prey, one of three species colloquially known in the United States as the "Chickenhawk," though it rarely preys on standard sized chickens. It breeds throughout most of North America, from western Alaska and northern Canada to as far south as Panama and the West Indies, and is one of the most common Buteos in North America. Red-tailed hawks can acclimate to all the biomes within their range. There are fourteen recognized subspecies, which vary in appearance and range. It is one of the largest members of the genus Buteo in North America, typically weighing from 1.5 to 3.5 pounds, and measuring 18–26 inches in length, with a wingspan from 43–57 inches. The Red-tailed Hawk displays sexual dimorphism in size, with females averaging about 25% heavier than males. The bird is sometimes referred to as the red-tail for short, when the meaning is clear in context.
For more info: en.wikipedia.org/wiki/Red-tailed_hawk
This is like the only positive portrayal I have captured of a Korean man. My stream is too female dominated. It worries me. Are Korean men unattractive and uninteresting or is it me?
OLYMPUS DIGITAL CAMERA
LOS ANGELES - Groups of dedicated volunteers were formally recognized on February 20, 2018, by the City of Los Angeles Fire Commission and Fire Chief Ralph Terrazas, for their critical help at recent historic wildfires in Los Angeles.
Members of the Los Angeles Fire Department Community Emergency Response Team (CERT), Rio Hondo Fire Academy, Notre Dame High School and U.S. Department of Veterans Affairs - VA of Greater Los Angeles Healthcare System exemplified a giving spirit during the multiple and sometimes concurrent crises that threatened homes and lives.
The Los Angeles Fire Department expressed particular appreciation for the hard-work the volunteers demonstrated for several weeks during the “La Tuna”, “Creek” and “Skirball” wildfires by establishing base-camps, assisting with supplies and providing logistical support that freed up firefighters to continue battling on the front lines.
The volunteers provided over 800 lunches in one hour during the La Tuna wildfire, assisted with the pick up of tens of thousands of feet of fire hose, fueled vehicles and even patrolled base camps for spot fires caused by embercasts, and extinguished them.
These noble volunteers under the oversight of LAFD Captain Christopher Winn proved themselves as invaluable members of our LAFD Team at a time of immense challenge.
The willingness of these volunteers to perform community service of their own free will, without any manner of monetary compensation, remains a historic achievement.
Among those recognized in Fire Commission chambers were:
LAFD CERT VOLUNTEERS:
Carl Ginsberg, Gregg Aniolek, Rachel Black, Barry Watkins, Terrance Gomes, Renato Akerman, Steve Weinberger, Kobey Horn, Michael Godfrey, Lori Atwater, Rodolfo Rotondo,
Tony Gomez-Hill, Erik Clarke, Aaron Yee, Phil Jamtaas, Linda Muhlmeyer, Orlando Bohr, May Braido, Renee Dutreaux, Gizelle James, Jacqueline Kozak, Lorraine Curry, Matt Towner, Douglas Choi, Christy Adair, Martin Rumpf, Israel Lopez, Kevin Kong, Jackson Jang, Sam Ward, Ron Terrell, Steven Cammarata, Emanuele Rodrigues-Berardini, Bob Adjemian, Manny Hernandez, Patrick Botz-Forbes, James Anderson, Mathis Chazanov, Alton Reed, Bonnie Shatun, Ken Weston, Bill Hopkins, Barry Woods, Seraphine Segal, Paul Beauregard, Jon Hum, Cindy Kurland, Mary Davidson, Kolja Erman, Sue Bullough, Chin Thammasaengsri, Pat Hall, Jeff Hole
RIO HONDO FIRE ACADEMY VOLUNTEERS:
Spenser Nail, Cameron Velasco, Robert Amaya, Isaiah Escoto, Quinn Dorman, Eric Agliozzo, Seth Jones, Michael Tettleton, Giovanni Mendez
NOTRE DAME HIGH SCHOOL VOLUNTEERS:
Rose Profozich, Jessica Yang, Bellamy Suter
VETERAN AFFAIRS of Greater Los Angeles Healthcare System (PICTURED) :
Michiko Riley, Public Affairs Specialist; Blake Anderson, Web Communications Specialist/Public Affairs; Nikki Baker, Associate Chief Public Affairs
OTHER VOLUNTEERS;
Sofia Sanchez, Tarin Wilson, Francesca Mercier
- - - -
To learn more about the specialized LAFD volunteer programs welcoming your year-round involvement, visit: www.lafd.org/volunteer
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | David Ortiz
LAFD Event: 022018 - Wildfire Volunteers Saluted by Fire Commission
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Recognizable as former Soo Line by the bluish color Dresser WI trap rock ballast, a westbound corn train passes the old grain elevator. The Soo Line arrived Lehr in 1898. Oddly enough, this small hamlet is situated in 2 counties.
Recognized as one of the Midwest's largest living history festivals, come share in the excitement at Galesburg Heritage Days in Galesburg, Illinois. . A family event, featuring both pre-1840 early American Colonial Frontier Rendezvous, and a thoroughly fielded Civil War Battle Reenactment/Encampment, along with dozens of unique period merchants...all within walking distance of each other.
for recognize the fine ambiance, please press L-key and enjoy the full-size view
the subject was captured with a tilt-shift lens. I have used a lateral tilt at open aperture. You can see the close focus range of the diagonally running across all three leaves.
post processing workflow: lying on the couch next to my TV looking wife. I have loaded the RAW file direct into the IPAD2. Open it with NIK-Snapseed. Its like a child play to work with color, contrast and texture layer here.
If you recognize this awesome time machine, good for you! I hope your day isn't totally lame... and don't forget to be excellent to each other! (If you don't know what in the world I'm talking about, you need to go watch 1989 cult-classic film Bill and Ted's Excellent Adventure... but you can probably skip the sequels, as they are pretty bogus.)
NOTE: This phonebooth is not my design. I got it from free instructions here on Rebrickable: rebrickable.com/mocs/MOC-49595/Flashback_Bricks/excellent...
With this model, I have completed my time-travel vehicle quartet: the TARDIS (Doctor Who), the DeLorean time machine and the Jules Verne Time Train (both Back to the Future) and the phonebooth. (Bill and Ted's Excellent adventure)
..."Aren't you the guy taking pictures of all the businesses closing down in this neighborhood?!"
My 15 minutes of fame, right here at 1/60th of a second at the supermarket.
Recognize that kitty in the corner?! LOL! These are my blocks for birdhouses group 1! I made a few with black cats too, but we have lots of Nosey Parkers to go around! I considered doing a black thumbprint on the face with blue eyes and sending out Poukie, but... LOL!
Blogged here: ruthiequilts.wordpress.com/
Recognized Blue as a flower and as a flame
(G)I-DLE - 'LION'
www.youtube.com/watch?v=6oanIo_2Z4Q&list=RD6oanIo_2Z4...
*I know that I shared this song so many times, but I believe this song perfectly described how Leo women (especially me) are
[Fire under the red sun
A blue flower burning
I'm here to play hard to get
Sharp claws are revealed
Wounds burning up
Footsteps lingering beside my crown
I create a new path no one has attempted before
All those condescending people will click their tongues
But the applause I receive after breaking that prejudice is thrilling
I've had a taste, now I can't deny it
I'm a queen]
A mongrel, mutt or mixed-breed dog is a dog that does not belong to one officially recognized breed, including those that result from intentional breeding. Although the term mixed-breed dog is sometimes preferred, many mongrels have no known purebred ancestors.
Crossbreed dogs, and "designer dogs", while also a mix of breeds, differ from mongrels in being intentionally bred. At other times, the word mongrel has been applied to informally purpose-bred dogs such as curs, which were created at least in part from mongrels, especially if the breed is not officially recognized.
Although mongrels are viewed as of less commercial value than intentionally bred dogs, they are thought to be less susceptible to genetic health problems associated with inbreeding (based on the theory of heterosis), and have enthusiasts and defenders who prefer them to intentionally bred dogs.
Estimates place the prevalence of mongrels at 150 million animals worldwide.
Terminology
Crossbreed v mongrel
In the United States, the term mixed-breed is a favored synonym over mongrel among individuals who wish to avoid negative connotations associated with the latter term. The implication that such dogs must be a mix of defined breeds may stem from an inverted understanding of the origins of dog breeds. Purebred dogs have been, for the most part, artificially created from random-bred populations by human selective breeding with the purpose of enhancing desired physical, behavioral, or temperamental characteristics. Dogs that are not purebred are not necessarily a mix of such defined breeds. Therefore, among some experts and fans of such dogs, mongrel is still the preferred term.
Dog crossbreeds, sometimes called designer dogs, also are not members of a single recognized breed. Unlike mixed-breeds, crossbreed dogs are often the product of artificial selection – intentionally created by humans, whereas the term mongrel specifically refers to dogs that develop by natural selection, without the planned intervention of humans.
A mutt with a heavy, counter-shaded winter coat
Regional and slang terms
The words cur, tyke, mutt, and mongrel are used, sometimes in a derogatory manner. There are also regional terms for mixed-breed dogs. In the United Kingdom, mongrel is the unique technical word for a mixed-breed dog. North Americans generally prefer the term mix or mixed-breed. Mutt[11] is also commonly used (in the United States and Canada). Some American registries and dog clubs that accept mixed-breed dogs use the breed description All American.
There are also names for mixed-breeds based on geography, behavior, or food. In Hawaii, mixes are referred to as poi dogs, although they are not related to the extinct Hawaiian Poi Dog. In the Bahamas and the Turks and Caicos Islands, the common term is potcake dogs (referring to the table scraps they are fed). In South Africa, the tongue-in-cheek expression pavement special is sometimes used as a description for a mixed-breed dog. In Trinidad and Tobago, these mixed dogs are referred to as pot hounds (pothong). In Serbia, a similar expression is prekoplotski avlijaner (over-the-fence yard-dweller). In Russia, a colloquial term дворняга (yard-dweller) is used most commonly. In the Philippines, mixed-breed street dogs are often called askal, a Tagalog-derived contraction of asong kalye (”street dog"). In Puerto Rico, they are known as satos; in Venezuela they are called yusos or cacris, the latter being a contraction of the words callejero criollo (literally, street creole, as street dogs are usually mongrels); and in Chile and Bolivia, they are called quiltros. In Costa Rica, it is common to hear the word zaguate, a term originating from a Nahuatl term, zahuatl, that refers to the disease called scabies. In the rural southern United States, a small hunting dog is known as a feist.
Slang terms are also common. Heinz 57, Heinz, or Heinz Hound is often used for dogs of uncertain ancestry, in a playful reference to the "57 Varieties" slogan of the H. J. Heinz Company. In some countries, such as Australia, bitsa (or bitzer) is sometimes used, meaning "bits o' this, bits o' that". In Brazil and the Dominican Republic, the name for mixed-breed dogs is vira-lata (trash-can tipper) because of homeless dogs who knock over trash cans to reach discarded food. In Newfoundland, a smaller mixed-breed dog is known as a cracky, hence the colloquial expression "saucy as a cracky" for someone with a sharp tongue.
Determining ancestry
Guessing a mixed-breed's ancestry can be difficult even for knowledgeable dog observers, because mixed-breeds have much more genetic variation than purebreds. For example, two black mixed-breed dogs might each have recessive genes that produce a blond coat and, therefore, produce offspring looking unlike their parents.
Starting in 2007, genetic analysis has become available to the public. The companies claim their DNA-based diagnostic test can genetically determine the breed composition of mixed-breed dogs. These tests are still limited in scope because only a small number of the hundreds of dog breeds have been validated against the tests, and because the same breed in different geographical areas may have different genetic profiles. The tests do not test for breed purity, but for genetic sequences that are common to certain breeds. With a mixed-breed dog, the test is not proof of purebred ancestry, but rather an indication that those dogs share common ancestry with certain purebreds. The American Kennel Club does not recognize the use of DNA tests to determine breed.
Many newer dog breeds can be traced back to a common foundational breed, making them difficult to separate genetically. For example, Labrador Retrievers, Flat-coated Retrievers, Chesapeake Bay Retrievers, and Newfoundland dogs share a common ancestry with the St. John's water dog – a now-extinct naturally occurring dog landrace from the island of Newfoundland.
Health
The theory of hybrid vigor suggests that as a group, dogs of varied ancestry will be generally healthier than their purebred counterparts. In purebred dogs, intentionally breeding dogs of very similar appearance over several generations produces animals that carry many of the same alleles, some of which are detrimental. If the founding population for the breed was small, then the genetic diversity of that particular breed may be small for quite some time.
When humans select certain dogs for new breeds, they artificially isolate that group of genes and cause more copies of that gene to be made than might have otherwise occurred in nature. The population is initially more fragile because of the lack of genetic diversity. If the dog breed is popular, and the line continues, over hundreds of years diversity increase due to mutations and occasional out-breeding. This is why some of the very old breeds are more stable. One issue is when certain traits found in the breed standard are associated with genetic disorders. The artificial selective force favors the duplication of the genetic disorder because it comes with a desired physical trait. The genetic health of hybrids tends to be higher. Healthy traits have been lost in many purebred dog lines because many breeders of showdogs are more interested in conformation – the physical attributes of the dogs in relation to the breed standard – than in the health and working temperament for which the dog was originally bred.
Populations are vulnerable when the dogs bred are closely related. Inbreeding among purebreds has exposed various genetic health problems not always readily apparent in less uniform populations. Mixed-breed dogs are more genetically diverse due to the more haphazard nature of their parents' mating. The offspring of such matings might be less likely to express certain genetic disorders because there might be a decreased chance that both parents carry the same detrimental recessive alleles, but some deleterious recessives occur across many seemingly unrelated breeds, and therefore merely mixing breeds is no guarantee of genetic health. When two poor specimens are bred, the offspring could inherit the worst traits of both parents. This is commonly seen in dogs that came from puppy mills.
Several studies have shown that mixed-breed dogs have a health advantage over purebred dogs. A German study finds that "mongrels require less veterinary treatment". Studies in Sweden have found that "Mongrel dogs are less prone to many diseases than the average purebred dog" and, when referring to death rates, that "mongrels were consistently in the low risk category". Data from Denmark also suggest that mixed breeds have greater longevity on average compared to purebreds. A British study showed similar results, but a few breeds (notably Jack Russell Terriers, Miniature Poodles and Whippets) lived longer than mixed breeds.
In one study, the effect of breed on longevity in the pet dog was analyzed using mortality data from 23,535 pet dogs. The data were obtained from North American veterinary teaching hospitals. The median age at death was determined for purebred and mixed-breed dogs of different body weights. Within each body weight category, the median age at death was lower for purebred dogs compared with mixed-breed dogs. The median age at death was "8.5 years for all mixed breed dogs, and 6.7 years for all pure breed dogs" in the study.
In 2013, a study found that mixed breeds live on average 1.2 years longer than purebreds, and that increasing body weight was negatively correlated with longevity (i.e. the heavier the dog, the shorter its lifespan). Another study published in 2019 confirmed this 1.2 year difference in lifespan for mixed-breed dogs, and further demonstrated negative impacts of recent inbreeding and benefits of occasional outcrossing for lifespan in individual dogs.
Studies that have been done in the area of health show that mixed-breeds on average are both healthier and longer-lived than their purebred relations. This is because current accepted breeding practices within the pedigreed dog community result in a reduction in genetic diversity, and can result in physical characteristics that lead to health issues.
Studies have shown that crossbreed dogs have a number of desirable reproductive traits. Scott and Fuller found that crossbreed dogs were superior mothers compared to purebred mothers, producing more milk and giving better care. These advantages led to a decreased mortality in the offspring of crossbreed dogs.
Types
Mixes that show characteristics of two or more breeds. A mix might have some purebred ancestors, or might come from a long line of mixed-breeds. These dogs are usually identified by the breed they most resemble, such as a "Lab mix" or "Collie-Shepherd", even if their ancestry is unknown.
The generic pariah dog, or feral Canis lupus familiaris, where non-selective breeding has occurred over many generations. The term originally referred to the wild dogs of India, but now refers to dogs belonging to or descended from a population of wild or feral dogs. The Canaan Dog is an example of a recognized breed with pariah ancestry. Pariah dogs tend to be between yellow and light brown in color and of medium height and weight. This may represent the appearance of the modern dog's ancestor. DNA analysis has shown pariah dogs to have a more ancient gene pool than modern breeds.
Functional breeds, which are purpose-bred dogs whose ancestors are not purebred, but rather are selected by their performance at particular tasks. Examples of this are the Alaskan husky, the Eurohound, and the Pointer/Greyhound mixes referred to as Greysters, which compete at skijoring and pulka races, particularly in Europe. Occasionally, a functional breed such as this becomes accepted as a breed over time.
Purebred dogs are known by breed names given to groups of dogs that are visibly similar in most characteristics and have reliable documented descent. In recent years many owners and breeders of crossbreed dogs identify them—often facetiously—by invented names constructed from parts of the parents' breed names. These are known as portmanteau names and the resulting crosses as "designer dogs". For example, a cross between a Pekingese and a Poodle may be referred to as a Pekeapoo. Other similarly named crossbreeds include the Goldendoodle, a cross between a Standard Poodle and a Golden Retriever, and the Dorgi, a cross between a Dachshund and a Welsh Corgi.
Until the early 1980s, mixed-breed dogs were usually excluded from obedience and other dog sport competitions. However, starting with the American Mixed Breed Obedience Registry (AMBOR) and the Mixed Breed Dog Clubs of America (MBDCA), which created obedience venues in which mixed-breed dogs could compete, more opportunities have opened up for all dogs in all dog sports. Most dog agility and fly ball organizations have always allowed mixed-breed dogs to compete. Today, mixed-breeds have proven their worth in many performance sports.
In conformation shows, where dogs' conformation to a breed standard is evaluated, mixed-breed dogs normally cannot compete. For purebred dogs, their physical characteristics are judged against a single breed standard. This is different in the case of mixed-breed dogs because they are difficult to classify, except for height. There is variation in physical traits such as coat, skeletal structure, gait, ear set, eye shape and color. When conformation standards are applied to mixed-breed dogs, such as in events run by the MBDCA, the standards are usually general traits of health, soundness, symmetry, and personality.
The Kennel Club (U.K.) operates a show called Scruffts (a name derived from its prestigious Crufts show) open only to mixed-breeds in which dogs are judged on character, health, and temperament. Some kennel clubs, whose purpose is to promote purebred dogs, still exclude mixed-breeds from their performance events. The AKC and the FCI are two such prominent organizations. While the AKC does allow mixed-breed dogs to earn their Canine Good Citizen award, mixed-breed dogs are not permitted to enter AKC "all breed" events, though through their "Canine Partners" program, mixed-breed dogs can be registered to compete in AKC Agility, Obedience, and Rally events.
Norwegen / Innlandet - Jotunheimen Nationalpark
Knutshøe
Jotunheimen National Park (Norwegian: Jotunheimen nasjonalpark, lit. "Home of the Giants") is a national park in Norway, recognized as one of the country's premier hiking and fishing regions. The national park covers 1,151 square kilometres (444 sq mi) and is part of the larger area Jotunheimen. More than 250 peaks rise above an elevation of 1,900 metres (6,200 ft), including Northern Europe's two highest peaks: Galdhøpiggen at 2,469 metres (8,100 ft), and Glittertind at 2,465 metres (8,087 ft).
The national park covers most of the mountainous region of Jotunheimen, including Hurrungane, but Utladalen and its surroundings are within Utladalen Landscape Protection Area. Geographically, it lies in both Innlandet and Vestland counties. Geologically the Jotunheimen is a Precambrian province. Glaciers have carved the hard gabbro rock massifs of the Jotunheimen, leaving numerous valleys and the many peaks.
Wildlife in the park include the lynx, moose, Norwegian red deer, reindeer, roe deer, and wolverine. Most lakes and rivers hold trout.
History
Jotunheimen has been the site of hunting since before recorded time. Remains of Stone Age hunting camps have been found near the lakes Gjende and Russvatnet. These remains extend through the bronze and Iron Age, up to recorded times. The high pastures have been used as seters for at least 1000 years.
A "Royal Road" decree from the 15th century required that the residents of Lom must keep the mountain crossing passable to the middle of the Sognefjell, allowing folk from the north Gudbrandsdal access to their trading town of the period, Bergen. Caravans carried farm products down the mountains and returned with salt, iron, cloth and lutefisk.
The name Jotunheimen, or "Home of the Giants" is a relatively recent usage. Aasmund Olavsson Vinje (1818–1879), a famous Norwegian poet and journalist who is remembered for his pioneering use of nynorsk, as well as being an exponent of Norwegian romantic nationalism, coined the term in 1862, adopting it from Keilhau's "Jotunfjellene" or the mountains of the giants. A memorial was raised in 1909 to Aa. O. Vinje at the western end of Lake Bygdin at his dear Eidsbugarden at today's outskirts of the national park where he had a private hut. Old friends and followers wanted to commemorate his contribution to appreciation of Norwegian nature and strengthening of the Norwegian national identity. Today Eidsbugarden appears as a rather large mountain tourist centre, with a newly restored hotel from 1909 that reopened in the summer of 2007, a Norwegian Mountain Touring Association (DNT) cabin and approximately 160 private huts. It can be reached by car or boat in summer and by snowmobile in winter.
In 1869 the DNT built its first hut on the shores of Lake Tyin. Today the DNT's tourist huts make this area one of the best developed touring areas in Europe. There are also a restricted number of private cabins by the lakes.
By Royal Decree in December 1980, a 1,145-square-kilometre (442 sq mi) national park was initially established in the heart of Jotunheimen. It includes much of the best of the region, including the Galdhø plateau, the Glittertind massif, Hurrungane, and the Gjende area. The park links to the Utladalen Nature Reserve, an area of 300 square kilometres (120 sq mi).
Archaeological findings
In February 2020, Secrets of the Ice Program researchers discovered a 1,500-year-old Viking arrowhead dating back to the Germanic Iron Age and locked in a glacier in southern Norway caused by the climate change in the Jotunheimen Mountains. The arrowhead made of iron was revealed with its cracked wooden shaft and a feather, is 17 cm long and weighs just 28 grams.
Literary references
Jotunheimen is broadly recognized in literature, especially travel books from the 18th Century. The Jotunheim lakes of Gjende and Bygdin are in the center of many of these descriptions.
Literary references include:
A.O. Vinje's Diktsamling or poetry collection of 1864 celebrated Jotenheimen.
Frederick Delius’ symphonic poem On the Mountains was sketched while the composer was on a walking holiday with Edvard Grieg and Christian Sinding in the Jotunheim Mountains in 1889.
Henrik Ibsen's drama Peer Gynt includes Peer's famous hunt description in the Jotunheim. It is here on the narrow Besseggen Ridge - or perhaps along the Knutshø ridge at the other side of Gjende - that Peer Gynt took his famous wild-reindeer ride along "the Gjendin Ridge".
Three in Norway, by Two of Them by J.A. Lees and W.J. Clutterbuck, includes extensive passages on three Englishmen's fishing and reindeer hunting experiences in these mountains.
Traffic
Despite the large area of Jotunheimen, there are few roads for car traffic. Between Jotunheimen and Breheimen, the plateau is crossed by the Norwegian County Road 55. To the west, the road continues further from Skjolden via Sogndalsfjøra, Balestrand and Høyanger to the European route E39. In the east, the road leads to Lom. A few small dirt roads lead to different parts of the edge of Jotunheimen National Park, although the area of the national park itself is practically roadless. A small exception, however, is a blind road in the Veodalen to Glitterheim, whose head is inside the national park area near the Glittertind.
(Wikipedia)
About Knutshøe
Next to his bigger brother Besseggen on the other side of Gjende lake, you will find the 1,517 metre-high-peak of Knutshøe. Standing on the top, you'll have outstanding views towards the peaks towering all around and the surrounding lakes, including the wonderful Gjende lake. The hike is demanding and you need to scramble at some parts in the hike. It is therefor not recommended if you are afraid of heights, as there are parts of the hike where you need to cross exposed sections. The trail is not marked, but not too difficult to follow, yet if you stray too far from the path you will find several exposed sections and dangerous areas. Make sure you follow the trails and do not hike alone. Also, this hike is also not recommended in bad weather!
We've established that this one is not for the faint-hearted, and if you do decide to go it will be a wonderful experience. The extra challenge only makes it more exciting!
The Knutshøe hike
Drive or take the bus to Vargbakken parking (1,100m) located about 4 km south of Gjendesheim exit, from where you can start your hike to Knutshøe. Start by crossing the bridge across the small river Varga and follow the trail that take you on a scenic tour with several places to stop and enjoy your lunch. From the ridge you can admire the fantastic view of the delta landscape down to Leirugsdalen.
The first part of the hike has the most demanding parts with some steep areas. Throughout the ascent you will find both steep sections and some parts with more easy hiking terrain. The last part before the peak will also require some light scrambling.
Knutshøe is so fascinating that many people believe it was the ground for the Peer Gynt deer ride!
Who is this Hike Suitable for
This hike is demanding and suitable for those in good physical shape.
Season
The main season is summer/late summer. This is when the area is most suitable for trekking. This hike is also not recommended in bad weather!
Accommodation
Stay at Gjendesheim Mountain Lodge is located on the bank of Gjende Lake.
How to Get There
You can access the area from Gjendesheim.
(jotunheimen.com)
Der Jotunheimen-Nationalpark (norwegisch Jotunheimen nasjonalpark) ist ein norwegischer Nationalpark, der zu den Gemeinden Lom, Vågå und Vang in der Provinz Innlandet und Luster und Årdal in der Provinz Vestland gehört. Der Park wurde 1980 gegründet, um die schöne, wilde, unverwechselbare, und weitestgehend unberührte Gebirgslandschaft des Jotunheimen mit ihrer schützenswerten Flora und Fauna zu schützen.
Im Westen grenzt der Nationalpark an das Naturschutzgebiet Utladalen. Im Jotunheimen liegen einige der höchsten Berge Nordeuropas. Zusammen mit den Nationalparks Rondane, Dovre und Dovrefjell-Sunndalsfjella wird das Gebiet um den Jotunheimen-Nationalpark als Nasjonalparkriket bezeichnet.
(Wikipedia)
Recognized as one of the Midwest's largest living history festivals, come share in the excitement at Galesburg Heritage Days in Galesburg, Illinois. . A family event, featuring both pre-1840 early American Colonial Frontier Rendezvous, and a thoroughly fielded Civil War Battle Reenactment/Encampment, along with dozens of unique period merchants...all within walking distance of each other.
An internationally recognized symbol of the San Francisco Bay Area, the Golden Gate Bridge celebrates its 75th anniversary on May, 27th 2012. May your dreams be as great as Joseph Strauss', engineer - bridge-builder - and poet.
Sofonisba Anguissola (c. 1532 – 16 November 1625), also known as Sophonisba Angussola or Sophonisba Anguisciola, was an Italian Renaissance painter born in Cremona to a relatively poor noble family. She received a well-rounded education that included the fine arts, and her apprenticeship with local painters set a precedent for women to be accepted as students of art. As a young woman, Anguissola traveled to Rome where she was introduced to Michelangelo, who immediately recognized her talent, and to Milan, where she painted the Duke of Alba. The Spanish queen, Elizabeth of Valois, was a keen amateur painter and in 1559 Anguissola was recruited to go to Madrid as her tutor, with the rank of lady-in-waiting. She later became an official court painter to the king, Philip II, and adapted her style to the more formal requirements of official portraits for the Spanish court. After the queen's death, Philip helped arrange an aristocratic marriage for her. She moved to Sicily, and later Pisa and Genoa, where she continued to practice as a leading portrait painter.
Her most distinctive and attractive paintings are her portraits of herself and her family, which she painted before she moved to the Spanish court. In particular, her depictions of children were fresh and closely observed. At the Spanish court she painted formal state portraits in the prevailing official style, as one of the first, and most successful, of the relatively few female court painters. Later in her life she also painted religious subjects, although many of her religious paintings have been lost. In 1625, she died at age 93 in Palermo.
Anguissola's example, as much as her oeuvre, had a lasting influence on subsequent generations of artists, and her great success opened the way for larger numbers of women to pursue serious careers as artists. Her paintings can be seen at galleries in Boston (Isabella Stewart Gardner Museum), Milwaukee (Milwaukee Art Museum), Bergamo, Brescia, Budapest, Madrid (Museo del Prado), Naples, and Siena, and at the Uffizi Gallery in Florence.
Her contemporary Giorgio Vasari wrote that Anguissola "has shown greater application and better grace than any other woman of our age in her endeavors at drawing; she has thus succeeded not only in drawing, coloring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings."
The origin and the name of the noble Anguissola family are linked to an ancient Byzantine tradition, rich in historical details. According to this tradition, the Anguissolas are descended from the Constantinopolitan warlord Galvano Sordo or Galvano de Soardi/Sourdi (Σούρδη, a family name still in use today in Greece, Constantinople and Smyrna). In 717, Galvano served in the army of the Byzantine emperor Leo III the Isaurian, and "with an ingenious artificial fire, contributed to liberate the city of Constantinople from the Saracens who had kept it besieged by land and sea”. This “artificial fire” was the so-called Greek fire, an incendiary weapon developed in the late 7th century, which was responsible for many key Byzantine military victories, most notably the salvation of Constantinople from two Arab sieges, thus securing the Empire's survival.
Since the shield of the Sourdi carried the effigy of an asp (in Latin: anguis), after Galvano's victory over the Umayyads, his brothers-in-arms and the people of Constantinople exclaimed: "Anguis sola fecit victoriam!", i.e.: "The snake alone brought the victory!" This saying became very popular, and Galvano himself was nicknamed "Anguissola". The emperor eventually bestowed the Anguissola surname to all his descendants. In this regard, it has been suggested that the monogram depicted on Anguissola's miniature self-portrait may contain the family motto "Anguis sola fecit victoriam" or, more simply, the name of Anguissola's father, Amilcare.
Fleeing from a pestilence that raged in Constantinople, the descendants of the first Anguissola settled in Italy, intermarried with other noble families such as the Komnenoi, the Gonzagas, the Caracciolos, the Scottis and the Viscontis, and built autonomous estates in Piacenza, Cremona, Vicenza and other regions of Italy. The Anguissolas who settled in Venice belonged to the patriciate of that city from 1499 to 1612.
Sofonisba Anguissola was born into a wealthy family in Cremona, Lombardy in 1532, the oldest of seven children, six of whom were girls. Her father, Amilcare Anguissola, was a member of the Cremonese nobility, and her mother, Bianca Ponzone, was also of noble background. The family lived near the site of a famous 2nd century B.C. battle, the battle of the Trebbia, between Romans and Carthaginians, and several members of the Anguissola family were named after ancient Carthaginian historical characters: Amilcare was named for the Carthaginian general Hamilcar Barca; he named his first daughter after the tragic Carthaginian figure Sophonisba and his only son Asdrubale after the warlord Hasdrubal Barca. Amilcare Anguissola, inspired by Baldassare Castiglione's book Il Cortigiano, encouraged all his daughters (Sofonisba, Elena, Lucia, Europa, Minerva and Anna Maria) to cultivate and perfect their talents. Four of the sisters (Elena, Lucia, Europa and Anna Maria) became painters, but Sofonisba was by far the most accomplished and renowned and taught her younger siblings. Elena Anguissola (c. 1532 – 1584) abandoned painting to become a nun. Both Anna Maria and Europa gave up art upon marrying, while Lucia Anguissola (1536 or 1538 – c. 1565–1568), the best painter of Sophonisba's sisters, died young. The remaining sister, Minerva, became a writer and Latin scholar. Asdrubale, Sophonisba's brother, studied music and Latin, but not painting.
Her aristocratic father made sure that Anguissola and her sisters received a well-rounded education that included the fine arts. Anguissola was fourteen when her father sent her and her sister Elena to study with Bernardino Campi, a respected portrait and religious painter of the Lombard school. When Campi moved to another city, Anguissola continued her studies with painter Bernardino Gatti (known as Il Sojaro), a pupil of Correggio's. Anguissola's apprenticeship with local painters set a precedent for women to be accepted as students of art. Dates are uncertain, but Anguissola probably continued her studies under Gatti for about three years (1551–1553).
One of Anguissola's most important early works was Bernardino Campi Painting Sofonisba Anguissola (c. 1550). The unusual double portrait depicts Anguissola's art teacher in the act of painting a portrait of her.
In 1554, at age twenty-two, Anguissola traveled to Rome, where she spent her time sketching various scenes and people. While in Rome, she was introduced to Michelangelo by another painter who was familiar with her work. Anguissola initially showed Michelangelo a drawing of a laughing girl, but the painter challenged her to draw a weeping boy, a subject which he felt would be more challenging. Anguissola drew Boy Bitten by a Crayfish and sent it back to Michelangelo, who immediately recognized her talent. Michelangelo subsequently gave Anguissola sketches from his notebooks to draw in her own style and offered advice on the results. For at least two years, Anguissola continued this informal study, receiving substantial guidance from Michelangelo.
Anguissola's education and training had different implications from those of men, since men and women worked in separate spheres. Her training was not to help her into a profession where she would compete for commissions with male artists, but to make her a better wife, companion, and mother. Although Anguissola enjoyed significantly more encouragement and support than the average woman of her day, her social class did not allow her to transcend the constraints of her sex. Without the possibility of studying anatomy or drawing from life (it was considered unacceptable for a lady to view nudes), she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings.
Instead, she experimented with new styles of portraiture, setting subjects informally. Self-portraits and family members were her most frequent subjects, as seen in such paintings as Self-Portrait (1554, Kunsthistorisches Museum, Vienna), Portrait of Amilcare, Minerva and Asdrubale Anguissola (c. 1557–1558, Nivaagaards Malerisambling, Nivå, Denmark), and her most famous picture, The Chess Game (1555, Muzeum Narodowe, Poznań), which depicted her sisters Lucia, Minerva and Europa. Painted when Anguissola was 23 years old, The Chess Game is an intimate representation of an everyday family scene, combining elaborate formal clothing with very informal facial expressions, which was unusual for Italian art at this time. The Chess Game explored a new kind of genre painting which places her sisters in a domestic setting instead of the formal or allegorical settings that were popular at the time.This painting has been regarded as a conversation piece, which is an informal portr ait of a group engaging in lively conversation or some activity .
Anguissola's self-portraits also offer evidence of what she thought her place was as a woman artist. Normally, men were seen as creative actors and women as passive objects, but in her self-portrait of 1556, Anguissola presents herself as the artist, separating herself from the role as the object to be painted. Additional pieces show how she rebels against the notion that women are objects, in essence an instrument to be played by men. Her self-portrait of 1561 show her playing an instrument, taking on a different role.
She became well known outside of Italy, and in 1559 King Philip II of Spain asked her to be lady-in-waiting and art teacher to Queen Elisabeth of Valois, who was only 14 at the time. Queen Elisabeth of Valois and Anguissola became good friends, and when the Queen died nine years later, Anguissola left the court because she was so sad. She had painted the entire royal family and even the Pope commissioned Anguissola to do a portrait of the Queen.
In 1558, already established as a painter, Anguissola went to Milan, where she painted the Duke of Alba, Fernando Álvarez de Toledo. He in turn recommended her to the Spanish king, Philip II. The following year, Anguissola was invited to join the Spanish Court, which was a turning point in her career.
Anguissola was approximately 26 when she left Italy to join the Spanish court. In the winter of 1559–1560, she arrived in Madrid to serve as a court painter and lady-in-waiting to the new queen, Elisabeth of Valois, Philip's third wife, who was herself an amateur portraitist. Anguissola soon gained Elisabeth's admiration and confidence and spent the following years painting many official portraits for the court, including Philip II's sister, Joanna, and his son, Don Carlos.
These types of painting were far more demanding than the informal portraits upon which Anguissola had based her early reputation, as it took a tremendous amount of time and energy to render the many intricate designs of the fine fabrics and elaborate jewelry associated with royal subjects. Yet despite the challenge, Anguissola's paintings of Elisabeth of Valois – and later of Anne of Austria, Philip II's fourth wife – were vibrant and full of life.
During her 14-year residence, she guided the artistic development of Queen Elisabeth, and influenced the art made by her two daughters, Isabella Clara Eugenia and Catherine Michaela. Anguissola painted a portrait of the King's sister, Margaret of Parma, for Pope Pius IV in 1561 and, after Queen Elisabeth's death in childbirth in 1568, painted the likeness of Anne of Austria, Philip's fourth wife. While she continued painting portraits at the court, the Althorp Self-Portrait is the "only securely attributed work surviving from this period". For the royal family, Anguissola produced detailed scenes of their lives that now hang in the Prado Museum. With the gifts and a dowry of 12,000 scudi she earned along with her salary as court painter and lady-in-waiting to the queen, she amassed an admirable return from her craft.
While in the service of Elizabeth of Valois, Anguissola worked closely with Alonso Sanchez Coello. So closely in fact, that the famous painting of the middle-aged King Philip II was long attributed to Coello or Juan Pantoja de la Cruz. Only recently has Anguissola been recognized as the painting's creator.[26]
After the death of Elisabeth of Valois in 1568, Philip II took a special interest in Anguissola's future. He had wished to marry her to one of the nobles in the Spanish Court. In 1571, when she was approaching the age of 40, Anguissola entered an arranged marriage to a Sicilian nobleman chosen for her by the Spanish court. Philip II paid a dowry of 12,000 scudi for her marriage to Fabrizio Moncada Pignatelli, son of the Prince of Paternò, Viceroy of Sicily. Fabrizio was said to be supportive of her painting. Anguissola and her husband left Spain with the king's permission, and are believed to have lived in Paternò (near Catania) from 1573 to 1579, though some recent scholarship has suggested that the couple remained in Spain. She received a royal pension of 100 ducats that enabled her to continue working and tutoring would-be painters. Her private fortune also supported her family and brother Asdrubale following Amilcare Anguissola's financial decline and death. In Paternò she painted and donated "La Madonna dell'Itria".
Anguissola's husband died in 1579 under mysterious circumstances. Two years later, while traveling to Cremona by sea, she fell in love with the ship's captain, sea merchant Orazio Lomellino. Against the wishes of her brother, they married in Pisa on 24 December 1584 and lived in Genoa until 1620. She had no children, but maintained cordial relationships with her nieces and her stepson, Giulio.
Lomellino's fortune, plus a generous pension from Philip II, allowed Anguissola to paint freely and live comfortably. By now quite famous, Anguissola received many colleagues who came to visit and discuss the arts with her. Several of these were younger artists, eager to learn and mimic Anguissola's distinctive style.
In her later life, Anguissola painted not only portraits but religious themes, as she had done in the days of her youth, although many of the latter have been lost. She was the leading portrait painter in Genoa until she moved to Palermo in her last years. In 1620 she painted her last self-portrait.
Anthony van Dyck, portrait of Anguissola in 1624, when she was 92 and, according to Van Dyck's notes, mentally still very sharp.
On 12 July 1624, Anguissola was visited by the young Flemish painter Anthony van Dyck, who recorded sketches from his visit to her in his sketchbook. Van Dyck, who believed her to be 96 years of age (she was actually about 92) noted that although "her eyesight was weakened", Anguissola was still mentally alert. Excerpts of the advice she gave him about painting survive from this visit, and he was said to have claimed that their conversation taught him more about the "true principles" of painting than anything else in his life.Van made of Anguissola survives in on public display at Knole. The next year, she returned to Sicily.
Anguissola became a wealthy patron of the arts after the weakening of her sight. In 1625, she died at age 93 in Palermo.
Anguissola's adoring second husband, who described her as small of frame, yet "great among mortals", buried her with honor in Palermo at the Church of San Giorgio dei Genovesi. Seven years later, on the anniversary of what would have been her 100th birthday, her husband placed an inscription on her tomb that read in part:
To Sofonisba, my wife, who is recorded among the illustrious women of the world, outstanding in portraying the images of man. Orazio Lomellino, in sorrow for the loss of his great love, in 1632, dedicated this little tribute to such a great woman.
— Orazio Lomellino, Inscription on Anguissola's tomb.[31]
Portrait of Joanna of Austria, Princess of Portugal. 1550s. Private collection.
The influence of Campi, whose reputation was based on portraiture, is evident in Anguissola's early works, such as the Self-Portrait (Florence, Uffizi). Her work was akin to the worldly tradition of Cremona, influenced greatly by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend in Cremonese painting of the late 16th century. This new direction is reflected in Lucia, Minerva and Europa Anguissola Playing Chess (1555; Poznań, N. Mus.) in which portraiture merges into a quasi-genre scene, a characteristic derived from Brescian models.
The main body of Anguissola's earlier work consists of self-portraits (the many "autoritratti" reflect the fact that portraits of her were frequently requested due to her fame) and portraits of her family, which are considered by many to be her finest works.
Approximately fifty works have been attributed to Anguissola. Her paintings can be seen at galleries in Baltimore (Walters Art Museum), Bergamo, Berlin (Gemäldegalerie), Graz (Joanneum Alte Galerie), Madrid (Museo del Prado), Milan (Pinacoteca di Brera), Milwaukee (Milwaukee Art Museum), Naples (National Museum of Capodimonte), Poznań (National Museum, Poznań), Siena (Pinacoteca Nazionale), Southampton (City Art Gallery), and Vienna (Kunsthistorisches Museum).
Sofonisba Anguissola's oeuvre had a lasting influence on subsequent generations of artists. Her portrait of Queen Elisabeth of Valois with a zibellino (the pelt of a marten set with a head and feet of jewelled gold) was widely copied by many of the finest artists of the time, such as Peter Paul Rubens, while Caravaggio allegedly took inspiration from Anguissola's work for his Boy Bitten by a Lizard.
Anguissola is significant to feminist art historians. Although there has never been a period in Western history in which women were completely absent in the visual arts, Anguissola's great success opened the way for larger numbers of women to pursue serious careers as artists; Lavinia Fontana expressed in a letter written in 1579 that she and another woman, Irene di Spilimbergo, had “set [their] heart[s] on learning how to paint” after seeing one of Anguissola's portraits. Some of her more well-known successors include Lavinia Fontana, Barbara Longhi, Fede Galizia and Artemisia Gentileschi.
You may recognize this title from the movie Pinocchio. This is my sort of representation of that song in my own unique way. Cutting loose from ties that bind us, moving on, & finding our own way. This photo project was the embodiment of that concept described in the song. To being free.
Kat or Qat is sold everywhere in Somaliland. You can recognize easily the cars that bring it in towns as they drive like kamikazes on the narrow roads of Somaliland.
It costs a fortune every day for the people (mostly men) to buy some. In every villages i visited, locals showed me "crazy" people, too much qat they told me...
In Somaliland, people swallow the leaves full of pesticides. in Yemen, they just chew it.
Formerly a British colony, Somaliland briefly reached its independence in 1960. It is one of the three Territories, with Puntland and former Italian Somalia that compose the current State of Somalia.
Somaliland proclaimed its independence in 1991, adopting its own currency, a fully independent government, working institutions and police. The authorities organized a referendum in 2001, advocating once again for full independence. However, to date, it is not internationally recognized.
Ethiopian Prime minister Meles Zenawi is the only one to speak about a Somalilander president, recognizing implicitly the existence of an independent State. Indeed the economy of neighboring Ethiopia dramatically depends on Somaliland stability, since the landlocked country’s main trade route passes through the Somalilander port of Berbera… And vice-versa, the economy of Somaliland largely depends on the taxes and duties it charges Ethiopia. Besides that, the principal economic activity of Somaliland is livestock exportation to the Arabian Peninsula. Most people are Sunni Muslims and speak Arabic, as well as some Somali dialect and many of them, English.Lastely, the East African demography being based on clan alliances, it is no surprise that the frontiers drawn by the colonists don’t match the ethnic divisions of territory, leading to open clashes. More broadly, this problem is recurrent across the African continent.
© Eric Lafforgue
Krishna is considered the supreme deity, worshipped across many traditions of Hinduism in a variety of different perspectives. Krishna is recognized as the eighth incarnation (avatar) of Lord Vishnu, and one and the same as Lord Vishnu one of the trimurti and as the supreme god in his own right. Krishna is the principal protagonist with Arjuna in the Bhagavad Gita also known as the Song of God, which depicts the conversation between the Royal Prince Arjuna and Krishna during the great battle of Kureksetra 5000 years ago where Arjuna discovers that Krishna is God and then comprehends his nature and will for him and for mankind. In present age Krishna is one of the most widely revered and most popular of all Indian divinities.
Krishna is often described and portrayed as an infant eating butter, a young boy playing a flute as in the Bhagavata Purana, or as an elder giving direction and guidance as in the Bhagavad Gita. The stories of Krishna appear across a broad spectrum of Hindu philosophical and theological traditions. They portray him in various perspectives: a god-child, a prankster, a model lover, a divine hero, and the Supreme Being. The principal scriptures discussing Krishna's story are the Mahabharata, the Harivamsa, the Bhagavata Purana, and the Vishnu Purana.
Krishna's disappearance marks the end of Dvapara Yuga and the start of Kali Yuga (present age), which is dated to February 17/18, 3102 BCE. Worship of the deity Krishna, either in the form of deity Krishna or in the form of Vasudeva, Bala Krishna or Gopala can be traced to as early as 4th century BC. Worship of Krishna as Svayam Bhagavan, or the supreme being, known as Krishnaism, arose in the Middle Ages in the context of the Bhakti movement. From the 10th century AD, Krishna became a favourite subject in performing arts and regional traditions of devotion developed for forms of Krishna such as Jagannatha in Odisha, Vithoba in Maharashtra and Shrinathji in Rajasthan. Since the 1960s the worship of Krishna has also spread in the Western world, largely due to the International Society for Krishna Consciousness.
NAMES AND EPITHETS
The name originates from the Sanskrit word Kṛṣṇa, which is primarily an adjective meaning "black", "dark" or "dark blue". The waning moon is called Krishna Paksha in the Vedic tradition, relating to the adjective meaning "darkening". Sometimes it is also translated as "all-attractive", according to members of the Hare Krishna movement.
As a name of Vishnu, Krishna listed as the 57th name in the Vishnu Sahasranama. Based on his name, Krishna is often depicted in murtis as black or blue-skinned. Krishna is also known by various other names, epithets and titles, which reflect his many associations and attributes. Among the most common names are Mohan "enchanter", Govinda, "Finder of the cows" or Gopala, "Protector of the cows", which refer to Krishna's childhood in Braj (in present day Uttar Pradesh). Some of the distinct names may be regionally important; for instance, Jagannatha, a popular incarnation of Puri, Odisha in eastern India.
ICONOGRAPHY
Krishna is easily recognized by his representations. Though his skin color may be depicted as black or dark in some representations, particularly in murtis, in other images such as modern pictorial representations, Krishna is usually shown with a blue skin. He is often shown wearing a silk dhoti and a peacock feather crown. Common depictions show him as a little boy, or as a young man in a characteristically relaxed pose, playing the flute. In this form, he usually stands with one leg bent in front of the other with a flute raised to his lips, in the Tribhanga posture, accompanied by cows, emphasizing his position as the divine herdsman, Govinda, or with the gopis (milkmaids) i.e. Gopikrishna, stealing butter from neighbouring houses i.e. Navneet Chora or Gokulakrishna, defeating the vicious serpent i.e. Kaliya Damana Krishna, lifting the hill i.e. Giridhara Krishna ..so on and so forth from his childhood / youth events.
A steatite (soapstone) tablet unearthed from Mohenjo-daro, Larkana district, Sindh depicting a young boy uprooting two trees from which are emerging two human figures is an interesting archaeological find for fixing dates associated with Krishna. This image recalls the Yamalarjuna episode of Bhagavata and Harivamsa Purana. In this image, the young boy is Krishna, and the two human beings emerging from the trees are the two cursed gandharvas, identified as Nalakubara and Manigriva. Dr. E.J.H. Mackay, who did the excavation at Mohanjodaro, compares this image with the Yamalarjuna episode. Prof. V.S. Agrawal has also accepted this identification. Thus, it seems that the Indus valley people knew stories related to Krishna. This lone find may not establish Krishna as contemporary with Pre-Indus or Indus times, but, likewise, it cannot be ignored.
The scene on the battlefield of the epic Mahabharata, notably where he addresses Pandava prince Arjuna in the Bhagavad Gita, is another common subject for representation. In these depictions, he is shown as a man, often with supreme God characteristics of Hindu religious art, such as multiple arms or heads, denoting power, and with attributes of Vishnu, such as the chakra or in his two-armed form as a charioteer. Cave paintings dated to 800 BCE in Mirzapur, Mirzapur district, Uttar Pradesh, show raiding horse-charioteers, one of whom is about to hurl a wheel, and who could potentially be identified as Krishna.
Representations in temples often show Krishna as a man standing in an upright, formal pose. He may be alone, or with associated figures: his brother Balarama and sister Subhadra, or his main queens Rukmini and Satyabhama.
Often, Krishna is pictured with his gopi-consort Radha. Manipuri Vaishnavas do not worship Krishna alone, but as Radha Krishna, a combined image of Krishna and Radha. This is also a characteristic of the schools Rudra and Nimbarka sampradaya, as well as that of Swaminarayan sect. The traditions celebrate Radha Ramana murti, who is viewed by Gaudiyas as a form of Radha Krishna.
Krishna is also depicted and worshipped as a small child (Bala Krishna, Bāla Kṛṣṇa the child Krishna), crawling on his hands and knees or dancing, often with butter or Laddu in his hand being Laddu Gopal. Regional variations in the iconography of Krishna are seen in his different forms, such as Jaganatha of Odisha, Vithoba of Maharashtra, Venkateswara (also Srinivasa or Balaji) in Andhra Pradesh, and Shrinathji in Rajasthan.
LITERARY SOURCES
The earliest text to explicitly provide detailed descriptions of Krishna as a personality is the epic Mahabharata which depicts Krishna as an incarnation of Vishnu. Krishna is central to many of the main stories of the epic. The eighteen chapters of the sixth book (Bhishma Parva) of the epic that constitute the Bhagavad Gita contain the advice of Krishna to the warrior-hero Arjuna, on the battlefield. Krishna is already an adult in the epic, although there are allusions to his earlier exploits. The Harivamsa, a later appendix to this epic, contains the earliest detailed version of Krishna's childhood and youth.
The Rig Veda 1.22.164 sukta 31 mentions a herdsman "who never stumbles". Some Vaishnavite scholars, such as Bhaktivinoda Thakura, claim that this herdsman refers to Krishna. Ramakrishna Gopal Bhandarkar also attempted to show that "the very same Krishna" made an appearance, e.g. as the drapsa ... krishna "black drop" of RV 8.96.13. Some authors have also likened prehistoric depictions of deities to Krishna.
Chandogya Upanishad (3.17.6) composed around 900 BCE mentions Vasudeva Krishna as the son of Devaki and the disciple of Ghora Angirasa, the seer who preached his disciple the philosophy of ‘Chhandogya.’ Having been influenced by the philosophy of ‘Chhandogya’ Krishna in the Bhagavadgita while delivering the discourse to Arjuna on the battlefield of Kurukshetra discussed about sacrifice, which can be compared to purusha or the individual.
Yāska's Nirukta, an etymological dictionary around 6th century BC, contains a reference to the Shyamantaka jewel in the possession of Akrura, a motif from well known Puranic story about Krishna. Shatapatha Brahmana and Aitareya-Aranyaka, associate Krishna with his Vrishni origins.
Pāṇini, the ancient grammarian and author of Asthadhyayi (probably belonged to 5th century or 6th century BC) mentions a character called Vāsudeva, son of Vasudeva, and also mentions Kaurava and Arjuna which testifies to Vasudeva Krishna, Arjuna and Kauravas being contemporaries.
Megasthenes (350 – 290 BC) a Greek ethnographer and an ambassador of Seleucus I to the court of Chandragupta Maurya made reference to Herakles in his famous work Indica. Many scholars have suggested that the deity identified as Herakles was Krishna. According to Arrian, Diodorus, and Strabo, Megasthenes described an Indian tribe called Sourasenoi, who especially worshipped Herakles in their land, and this land had two cities, Methora and Kleisobora, and a navigable river, the Jobares. As was common in the ancient period, the Greeks sometimes described foreign gods in terms of their own divinities, and there is a little doubt that the Sourasenoi refers to the Shurasenas, a branch of the Yadu dynasty to which Krishna belonged; Herakles to Krishna, or Hari-Krishna: Methora to Mathura, where Krishna was born; Kleisobora to Krishnapura, meaning "the city of Krishna"; and the Jobares to the Yamuna, the famous river in the Krishna story. Quintus Curtius also mentions that when Alexander the Great confronted Porus, Porus's soldiers were carrying an image of Herakles in their vanguard.
The name Krishna occurs in Buddhist writings in the form Kānha, phonetically equivalent to Krishna.
The Ghata-Jâtaka (No. 454) gives an account of Krishna's childhood and subsequent exploits which in many points corresponds with the Brahmanic legends of his life and contains several familiar incidents and names, such as Vâsudeva, Baladeva, Kaṃsa. Yet it presents many peculiarities and is either an independent version or a misrepresentation of a popular story that had wandered far from its home. Jain tradition also shows that these tales were popular and were worked up into different forms, for the Jains have an elaborate system of ancient patriarchs which includes Vâsudevas and Baladevas. Krishna is the ninth of the Black Vâsudevas and is connected with Dvâravatî or Dvârakâ. He will become the twelfth tîrthankara of the next world-period and a similar position will be attained by Devakî, Rohinî, Baladeva and Javakumâra, all members of his family. This is a striking proof of the popularity of the Krishna legend outside the Brahmanic religion.
According to Arthasastra of Kautilya (4th century BCE) Vāsudeva was worshiped as supreme Deity in a strongly monotheistic format.
Around 150 BC, Patanjali in his Mahabhashya quotes a verse: "May the might of Krishna accompanied by Samkarshana increase!" Other verses are mentioned. One verse speaks of "Janardhana with himself as fourth" (Krishna with three companions, the three possibly being Samkarshana, Pradyumna, and Aniruddha). Another verse mentions musical instruments being played at meetings in the temples of Rama (Balarama) and Kesava (Krishna). Patanjali also describes dramatic and mimetic performances (Krishna-Kamsopacharam) representing the killing of Kamsa by Vasudeva.
In the 1st century BC, there seems to be evidence for a worship of five Vrishni heroes (Balarama, Krishna, Pradyumna, Aniruddha and Samba) for an inscription has been found at Mora near Mathura, which apparently mentions a son of the great satrap Rajuvula, probably the satrap Sodasa, and an image of Vrishni, "probably Vasudeva, and of the "Five Warriors". Brahmi inscription on the Mora stone slab, now in the Mathura Museum.
Many Puranas tell Krishna's life-story or some highlights from it. Two Puranas, the Bhagavata Purana and the Vishnu Purana, that contain the most elaborate telling of Krishna’s story and teachings are the most theologically venerated by the Vaishnava schools. Roughly one quarter of the Bhagavata Purana is spent extolling his life and philosophy.
LIFE
This summary is based on details from the Mahābhārata, the Harivamsa, the Bhagavata Purana and the Vishnu Purana. The scenes from the narrative are set in north India mostly in the present states of Uttar Pradesh, Bihar, Haryana, Delhi and Gujarat.
BIRTH
Based on scriptural details and astrological calculations, the date of Krishna's birth, known as Janmashtami, is 18 July 3228 BCE. He was born to Devaki and her husband, Vasudeva, When Mother Earth became upset by the sin being committed on Earth, she thought of seeking help from Lord Vishnu. She went in the form of a cow to visit Lord Vishnu and ask for help. Lord Vishnu agreed to help her and promised her that he would be born on Earth. On Earth in the Yadava clan, he was yadav according to his birth, a prince named Kamsa sent his father Ugrasena (King of Mathura) to prison and became the King himself. One day a loud voice from the sky (Akash Vani in Hindi) prophesied that the 8th son of Kamsa's sister (Devaki) would kill Kamsa. Out of affection for Devaki, Kamsa did not kill her outright. He did, however, send his sister and her husband (Vasudeva) to prison. Lord Vishnu himself later appeared to Devaki and Vasudeva and told them that he himself would be their eighth son and kill Kamsa and destroy sin in the world. In the story of Krishna the deity is the agent of conception and also the offspring. Because of his sympathy for the earth, the divine Vishnu himself descended into the womb of Devaki and was born as her son, Vaasudeva (i.e., Krishna).[citation needed] This is occasionally cited as evidence that "virgin birth" tales are fairly common in non-Christian religions around the world. However, there is nothing in Hindu scriptures to suggest that it was a "virgin" birth. By the time of conception and birth of Krishna, Devaki was married to Vasudeva and had already borne 7 children. Virgin birth in this case should be more accurately understood as divine conception. Kunti the mother of the Pandavas referenced contemporaneously with the story of Krishna in the Mahabharata also has divine conception and virgin birth of Prince Karna.
The Hindu Vishnu Purana relates: "Devaki bore in her womb the lotus-eyed deity...before the birth of Krishna, no one could bear to gaze upon Devaki, from the light that invested her, and those who contemplated her radiance felt their minds disturbed.” This reference to light is reminiscent of the Vedic hymn "To an Unknown Divine," which refers to a Golden Child. According to F. M. Müller, this term means "the golden gem of child" and is an attempt at naming the sun. According to the Vishnu Purana, Krishna is the total incarnation of Lord Vishnu. It clearly describes in the Vishnu Purana that Krishna was born on earth to destroy sin, especially Kamsa.
Krishna belonged to the Vrishni clan of Yadavas from Mathura, and was the eighth son born to the princess Devaki, and her husband Vasudeva.
Mathura (in present day Mathura district, Uttar Pradesh) was the capital of the Yadavas, to which Krishna's parents Vasudeva and Devaki belonged. King Kamsa, Devaki's brother, had ascended the throne by imprisoning his father, King Ugrasena. Afraid of a prophecy from a divine voice from the heavens that predicted his death at the hands of Devaki's eighth "garbha", Kamsa had the couple locked in a prison cell. After Kamsa killed the first six children, Devaki apparently had a miscarriage of the seventh. However, in reality, the womb was actually transferred to Rohini secretly. This was how Balarama, Krishna's elder brother, was born. Once again Devaki became pregnant. Now due to the miscarriage, Kamsa was in a puzzle regarding 'The Eighth One', but his ministers advised that the divine voice from the heavens emphasised "the eight garbha" and so this is the one. That night Krishna was born in the Rohini nakshatra and simultaneously the goddess Durga was born as Yogamaya in Gokulam to Nanda and Yashoda.
Since Vasudeva knew Krishna's life was in danger, Krishna was secretly taken out of the prison cell to be raised by his foster parents, Yasoda and Nanda, in Gokula (in present day Mathura district). Two of his other siblings also survived, Balarama (Devaki's seventh child, transferred to the womb of Rohini, Vasudeva's first wife) and Subhadra (daughter of Vasudeva and Rohini, born much later than Balarama and Krishna).
CHILDHOOD AND YOUTH
Nanda was the head of a community of cow-herders, and he settled in Vrindavana. The stories of Krishna's childhood and youth tell how he became a cow herder, his mischievous pranks as Makhan Chor (butter thief) his foiling of attempts to take his life, and his role as a protector of the people of Vrindavana.
Krishna killed the demoness Putana, disguised as a wet nurse, and the tornado demon Trinavarta both sent by Kamsa for Krishna's life. He tamed the serpent Kāliyā, who previously poisoned the waters of Yamuna river, thus leading to the death of the cowherds. In Hindu art, Krishna is often depicted dancing on the multi-hooded Kāliyā.
Krishna lifted the Govardhana hill and taught Indra, the king of the devas, a lesson to protect native people of Brindavana from persecution by Indra and prevent the devastation of the pasture land of Govardhan. Indra had too much pride and was angry when Krishna advised the people of Brindavana to take care of their animals and their environment that provide them with all their necessities, instead of worshipping Indra annually by spending their resources. In the view of some, the spiritual movement started by Krishna had something in it which went against the orthodox forms of worship of the Vedic gods such as Indra. In Bhagavat Purana, Krishna says that the rain came from the nearby hill Govardhana, and advised that the people worshiped the hill instead of Indra. This made Indra furious, so he punished them by sending out a great storm. Krishna then lifted Govardhan and held it over the people like an umbrella.
The stories of his play with the gopis (milkmaids) of Brindavana, especially Radha (daughter of Vrishbhanu, one of the original residents of Brindavan) became known as the Rasa lila and were romanticised in the poetry of Jayadeva, author of the Gita Govinda. These became important as part of the development of the Krishna bhakti traditions worshiping Radha Krishna.
Krishna’s childhood reinforces the Hindu concept of lila, playing for fun and enjoyment and not for sport or gain. His interaction with the gopis at the rasa dance or Rasa-lila is a great example of this. Krishna played his flute and the gopis came immediately from whatever they were doing, to the banks of the Yamuna River, and joined him in singing and dancing. Even those who could not physically be there joined him through meditation. The story of Krishna’s battle with Kāliyā also supports this idea in the sense of him dancing on Kāliyā’s many hoods. Even though he is doing battle with the serpent, he is in no real danger and treats it like a game. He is a protector, but he only appears to be a young boy having fun. This idea of having a playful god is very important in Hinduism. The playfulness of Krishna has inspired many celebrations like the Rasa-lila and the Janmashtami : where they make human pyramids to break open handis (clay pots) hung high in the air that spill buttermilk all over the group after being broken by the person at the top. This is meant to be a fun celebration and it gives the participants a sense of unity. Many believe that lila being connected with Krishna gives Hindus a deeper connection to him and thus a deeper connection to Vishnu also; seeing as Krishna is an incarnation of Vishnu. Theologists, like Kristin Johnston Largen, believe that Krishna’s childhood can even inspire other religions to look for lila in deities so that they have a chance to experience a part of their faith that they may not have previously seen.
THE PRINCE
On his return to Mathura as a young man, Krishna overthrew and killed his maternal uncle, Kamsa, after quelling several assassination attempts from Kamsa's followers. He reinstated Kamsa's father, Ugrasena, as the king of the Yadavas and became a leading prince at the court. During this period, he became a friend of Arjuna and the other Pandava princes of the Kuru kingdom, who were his cousins. Later, he took his Yadava subjects to the city of Dwaraka (in modern Gujarat) and established his own kingdom there.
Krishna married Rukmini, the Vidarbha princess, by abducting her, at her request, from her proposed wedding with Shishupala. He married eight queens - collectively called the Ashtabharya - including Rukmini, Satyabhama, Jambavati, Kalindi, Mitravinda, Nagnajiti, Bhadra and Lakshmana. Krishna subsequently married 16,000 or 16,100 maidens who were held captive by the demon Narakasura, to save their honour. Krishna killed the demon and released them all. According to social custom of the time, all of the captive women were degraded, and would be unable to marry, as they had been under the Narakasura's control. However Krishna married them to reinstate their status in the society. This symbolic wedding with 16,100 abandoned daughters was more of a mass rehabilitation. In Vaishnava traditions, Krishna's wives are forms of the goddess Lakshmi - consort of Vishnu, or special souls who attained this qualification after many lifetimes of austerity, while his two queens, Rukmani and Satyabhama, are expansions of Lakshmi.
When Yudhisthira was assuming the title of emperor, he had invited all the great kings to the ceremony and while paying his respects to them, he started with Krishna because he considered Krishna to be the greatest of them all. While it was a unanimous feeling amongst most present at the ceremony that Krishna should get the first honours, his cousin Shishupala felt otherwise and started berating Krishna. Due to a vow given to Shishupal's mother, Krishna forgave a hundred verbal abuses by Shishupal, and upon the one hundred and first, he assumed his Virat (universal) form and killed Shishupal with his Chakra. The blind king Dhritarashtra also obtained divine vision to be able to see this form of Krishna during the time when Duryodana tried to capture Krishna when he came as a peace bearer before the great Mahabharat War. Essentially, Shishupala and Dantavakra were both re-incarnations of Vishnu's gate-keepers Jaya and Vijaya, who were cursed to be born on Earth, to be delivered by the Vishnu back to Vaikuntha.
KURUKSHETRA WAR AND BHAGAVAD GITA
Once battle seemed inevitable, Krishna offered both sides the opportunity to choose between having either his army called narayani sena or himself alone, but on the condition that he personally would not raise any weapon. Arjuna, on behalf of the Pandavas, chose to have Krishna on their side, and Duryodhana, Kaurava prince, chose Krishna's army. At the time of the great battle, Krishna acted as Arjuna's charioteer, since this position did not require the wielding of weapons.
Upon arrival at the battlefield, and seeing that the enemies are his family, his grandfather, his cousins and loved ones, Arjuna is moved and says his heart does not allow him to fight and he would rather prefer to renounce the kingdom and put down his Gandiv (Arjuna's bow). Krishna then advises him about the battle, with the conversation soon extending into a discourse which was later compiled as the Bhagavad Gita.
Krishna asked Arjuna, "Have you within no time, forgotten the Kauravas' evil deeds such as not accepting the eldest brother Yudhishtira as King, usurping the entire Kingdom without yielding any portion to the Pandavas, meting out insults and difficulties to Pandavas, attempt to murder the Pandavas in the Barnava lac guest house, publicly attempting to disrobe and disgracing Draupadi. Krishna further exhorted in his famous Bhagavad Gita, "Arjuna, do not engage in philosophical analyses at this point of time like a Pundit. You are aware that Duryodhana and Karna particularly have long harboured jealousy and hatred for you Pandavas and badly want to prove their hegemony. You are aware that Bhishmacharya and your Teachers are tied down to their dharma of protecting the unitarian power of the Kuru throne. Moreover, you Arjuna, are only a mortal appointee to carry out my divine will, since the Kauravas are destined to die either way, due to their heap of sins. Open your eyes O Bhaarata and know that I encompass the Karta, Karma and Kriya, all in myself. There is no scope for contemplation now or remorse later, it is indeed time for war and the world will remember your might and immense powers for time to come. So rise O Arjuna!, tighten up your Gandiva and let all directions shiver till their farthest horizons, by the reverberation of its string."
Krishna had a profound effect on the Mahabharata war and its consequences. He had considered the Kurukshetra war to be a last resort after voluntarily acting as a messenger in order to establish peace between the Pandavas and Kauravas. But, once these peace negotiations failed and was embarked into the war, then he became a clever strategist. During the war, upon becoming angry with Arjuna for not fighting in true spirit against his ancestors, Krishna once picked up a carriage wheel in order to use it as a weapon to challenge Bhishma. Upon seeing this, Bhishma dropped his weapons and asked Krishna to kill him. However, Arjuna apologized to Krishna, promising that he would fight with full dedication here/after, and the battle continued. Krishna had directed Yudhisthira and Arjuna to return to Bhishma the boon of "victory" which he had given to Yudhisthira before the war commenced, since he himself was standing in their way to victory. Bhishma understood the message and told them the means through which he would drop his weapons - which was if a woman entered the battlefield. Next day, upon Krishna's directions, Shikhandi (Amba reborn) accompanied Arjuna to the battlefield and thus, Bhishma laid down his arms. This was a decisive moment in the war because Bhishma was the chief commander of the Kaurava army and the most formidable warrior on the battlefield. Krishna aided Arjuna in killing Jayadratha, who had held the other four Pandava brothers at bay while Arjuna's son Abhimanyu entered Drona's Chakravyuha formation - an effort in which he was killed by the simultaneous attack of eight Kaurava warriors. Krishna also caused the downfall of Drona, when he signalled Bhima to kill an elephant called Ashwatthama, the namesake of Drona's son. Pandavas started shouting that Ashwatthama was dead but Drona refused to believe them saying he would believe it only if he heard it from Yudhisthira. Krishna knew that Yudhisthira would never tell a lie, so he devised a clever ploy so that Yudhisthira wouldn't lie and at the same time Drona would be convinced of his son's death. On asked by Drona, Yudhisthira proclaimed
Ashwathama Hatahath, naro va Kunjaro va
i.e. Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant. But as soon as Yudhisthira had uttered the first line, Pandava army on Krishna's direction broke into celebration with drums and conchs, in the din of which Drona could not hear the second part of the Yudhisthira's declaration and assumed that his son indeed was dead. Overcome with grief he laid down his arms, and on Krishna's instruction Dhrishtadyumna beheaded Drona.
When Arjuna was fighting Karna, the latter's chariot's wheels sank into the ground. While Karna was trying to take out the chariot from the grip of the Earth, Krishna reminded Arjuna how Karna and the other Kauravas had broken all rules of battle while simultaneously attacking and killing Abhimanyu, and he convinced Arjuna to do the same in revenge in order to kill Karna. During the final stage of the war, when Duryodhana was going to meet his mother Gandhari for taking her blessings which would convert all parts of his body on which her sight falls to diamond, Krishna tricks him to wearing banana leaves to hide his groin. When Duryodhana meets Gandhari, her vision and blessings fall on his entire body except his groin and thighs, and she becomes unhappy about it because she was not able to convert his entire body to diamond. When Duryodhana was in a mace-fight with Bhima, Bhima's blows had no effect on Duryodhana. Upon this, Krishna reminded Bhima of his vow to kill Duryodhana by hitting him on the thigh, and Bhima did the same to win the war despite it being against the rules of mace-fight (since Duryodhana had himself broken Dharma in all his past acts). Thus, Krishna's unparalleled strategy helped the Pandavas win the Mahabharata war by bringing the downfall of all the chief Kaurava warriors, without lifting any weapon. He also brought back to life Arjuna's grandson Parikshit, who had been attacked by a Brahmastra weapon from Ashwatthama while he was in his mother's womb. Parikshit became the Pandavas' successor.
FAMILY
Krishna had eight princely wives, also known as Ashtabharya: Rukmini, Satyabhama, Jambavati, Nagnajiti, Kalindi, Mitravinda, Bhadra, Lakshmana) and the other 16,100 or 16,000 (number varies in scriptures), who were rescued from Narakasura. They had been forcibly kept in his palace and after Krishna had killed Narakasura, he rescued these women and freed them. Krishna married them all to save them from destruction and infamity. He gave them shelter in his new palace and a respectful place in society. The chief amongst them is Rohini.
The Bhagavata Purana, Vishnu Purana, Harivamsa list the children of Krishna from the Ashtabharya with some variation; while Rohini's sons are interpreted to represent the unnumbered children of his junior wives. Most well-known among his sons are Pradyumna, the eldest son of Krishna (and Rukmini) and Samba, the son of Jambavati, whose actions led to the destruction of Krishna's clan.
LATER LIFE
According to Mahabharata, the Kurukshetra war resulted in the death of all the hundred sons of Gandhari. On the night before Duryodhana's death, Lord Krishna visited Gandhari to offer his condolences. Gandhari felt that Krishna knowingly did not put an end to the war, and in a fit of rage and sorrow, Gandhari cursed that Krishna, along with everyone else from the Yadu dynasty, would perish after 36 years. Krishna himself knew and wanted this to happen as he felt that the Yadavas had become very haughty and arrogant (adharmi), so he ended Gandhari's speech by saying "tathastu" (so be it).
After 36 years passed, a fight broke out between the Yadavas, at a festival, who killed each other. His elder brother, Balarama, then gave up his body using Yoga. Krishna retired into the forest and started meditating under a tree. The Mahabharata also narrates the story of a hunter who becomes an instrument for Krishna's departure from the world. The hunter Jara, mistook Krishna's partly visible left foot for that of a deer, and shot an arrow, wounding him mortally. After he realised the mistake, While still bleeding, Krishna told Jara, "O Jara, you were Bali in your previous birth, killed by myself as Rama in Tretayuga. Here you had a chance to even it and since all acts in this world are done as desired by me, you need not worry for this". Then Krishna, with his physical body ascended back to his eternal abode, Goloka vrindavan and this event marks departure of Krishna from the earth. The news was conveyed to Hastinapur and Dwaraka by eyewitnesses to this event. The place of this incident is believed to be Bhalka, near Somnath temple.
According to Puranic sources, Krishna's disappearance marks the end of Dvapara Yuga and the start of Kali Yuga, which is dated to February 17/18, 3102 BCE. Vaishnava teachers such as Ramanujacharya and Gaudiya Vaishnavas held the view that the body of Krishna is completely spiritual and never decays (Achyuta) as this appears to be the perspective of the Bhagavata Purana. Lord Sri Chaitanya Mahaprabhu (an incarnation of Lord Sri Krishna according to the Bhavishya Purana) exhorted, "Krishna Naama Sankirtan" i.e. the constant chanting of the Krishna's name is the supreme healer in Kali Yuga. It destroys sins and purifies the hearts through Bhakti ensures universal peace.
Krishna never appears to grow old or age at all in the historical depictions of the Puranas despite passing of several decades, but there are grounds for a debate whether this indicates that he has no material body, since battles and other descriptions of the Mahabhārata epic show clear indications that he seems to be subject to the limitations of nature. While battles apparently seem to indicate limitations, Mahabharata also shows in many places where Krishna is not subject to any limitations as through episodes Duryodhana trying to arrest Krishna where his body burst into fire showing all creation within him. Krishna is also explicitly described as without deterioration elsewhere.
WORSHIP
VAISHNAVISM
The worship of Krishna is part of Vaishnavism, which regards Vishnu as the Supreme God and venerates His associated avatars, their consorts, and related saints and teachers. Krishna is especially looked upon as a full manifestation of Vishnu, and as one with Vishnu himself. However the exact relationship between Krishna and Vishnu is complex and diverse, where Krishna is sometimes considered an independent deity, supreme in his own right. Out of many deities, Krishna is particularly important, and traditions of Vaishnava lines are generally centered either on Vishnu or on Krishna, as supreme. The term Krishnaism has been used to describe the sects of Krishna, reserving the term "Vaishnavism" for sects focusing on Vishnu in which Krishna is an avatar, rather than as a transcendent Supreme Being.
All Vaishnava traditions recognise Krishna as an avatar of Vishnu; others identify Krishna with Vishnu; while traditions, such as Gaudiya Vaishnavism, Vallabha Sampradaya and the Nimbarka Sampradaya, regard Krishna as the Svayam Bhagavan, original form of God. Swaminarayan, the founder of the Swaminarayan Sampraday also worshipped Krishna as God himself. "Greater Krishnaism" corresponds to the second and dominant phase of Vaishnavism, revolving around the cults of the Vasudeva, Krishna, and Gopala of late Vedic period. Today the faith has a significant following outside of India as well.
EARLY TRADITIONS
The deity Krishna-Vasudeva (kṛṣṇa vāsudeva "Krishna, the son of Vasudeva") is historically one of the earliest forms of worship in Krishnaism and Vaishnavism. It is believed to be a significant tradition of the early history of the worship of Krishna in antiquity. This tradition is considered as earliest to other traditions that led to amalgamation at a later stage of the historical development. Other traditions are Bhagavatism and the cult of Gopala, that along with the cult of Bala Krishna form the basis of current tradition of monotheistic religion of Krishna. Some early scholars would equate it with Bhagavatism, and the founder of this religious tradition is believed to be Krishna, who is the son of Vasudeva, thus his name is Vāsudeva; he is said to be historically part of the Satvata tribe, and according to them his followers called themselves Bhagavatas and this religion had formed by the 2nd century BC (the time of Patanjali), or as early as the 4th century BC according to evidence in Megasthenes and in the Arthasastra of Kautilya, when Vāsudeva was worshiped as supreme deity in a strongly monotheistic format, where the supreme being was perfect, eternal and full of grace. In many sources outside of the cult, the devotee or bhakta is defined as Vāsudevaka. The Harivamsa describes intricate relationships between Krishna Vasudeva, Sankarsana, Pradyumna and Aniruddha that would later form a Vaishnava concept of primary quadrupled expansion, or avatar.
BHAKTI TRADITION
Bhakti, meaning devotion, is not confined to any one deity. However Krishna is an important and popular focus of the devotional and ecstatic aspects of Hindu religion, particularly among the Vaishnava sects. Devotees of Krishna subscribe to the concept of lila, meaning 'divine play', as the central principle of the Universe. The lilas of Krishna, with their expressions of personal love that transcend the boundaries of formal reverence, serve as a counterpoint to the actions of another avatar of Vishnu: Rama, "He of the straight and narrow path of maryada, or rules and regulations."
The bhakti movements devoted to Krishna became prominent in southern India in the 7th to 9th centuries AD. The earliest works included those of the Alvar saints of the Tamil country. A major collection of their works is the Divya Prabandham. The Alvar Andal's popular collection of songs Tiruppavai, in which she conceives of herself as a gopi, is the most famous of the oldest works in this genre. Kulasekaraazhvaar's Mukundamala was another notable work of this early stage.
SPREAD OF THE KRISHNA-BHAKTI MOVEMENT
The movement, which started in the 6th-7th century A.D. in the Tamil-speaking region of South India, with twelve Alvar (one immersed in God) saint-poets, who wrote devotional songs. The religion of Alvar poets, which included a woman poet, Andal, was devotion to God through love (bhakti), and in the ecstasy of such devotions they sang hundreds of songs which embodied both depth of feeling and felicity of expressions. The movement originated in South India during the seventh-century CE, spreading northwards from Tamil Nadu through Karnataka and Maharashtra; by the fifteenth century, it was established in Bengal and northern India.
While the learned sections of the society well versed in Sanskrit could enjoy works like Gita Govinda or Bilvamangala's Krishna-Karnamritam, the masses sang the songs of the devotee-poets, who composed in the regional languages of India. These songs expressing intense personal devotion were written by devotees from all walks of life. The songs of Meera and Surdas became epitomes of Krishna-devotion in north India.
These devotee-poets, like the Alvars before them, were aligned to specific theological schools only loosely, if at all. But by the 11th century AD, Vaishnava Bhakti schools with elaborate theological frameworks around the worship of Krishna were established in north India. Nimbarka (11th century AD), Vallabhacharya (15th century AD) and (Lord Sri Chaitanya Mahaprabhu an incarnation of Lord Sri Krishna according to the Bhavishya Purana) (16th century AD) all inspired by the teachings of Madhvacharya (11th century AD) were the founders of the most influential schools. These schools, namely Nimbarka Sampradaya, Vallabha Sampradaya and Gaudiya Vaishnavism respectively, see Krishna as the supreme God, rather than an avatar, as generally seen.
In the Deccan, particularly in Maharashtra, saint poets of the Varkari sect such as Dnyaneshwar, Namdev, Janabai, Eknath and Tukaram promoted the worship of Vithoba, a local form of Krishna, from the beginning of the 13th century until the late 18th century. In southern India, Purandara Dasa and Kanakadasa of Karnataka composed songs devoted to the Krishna image of Udupi. Rupa Goswami of Gaudiya Vaishnavism, has compiled a comprehensive summary of bhakti named Bhakti-rasamrita-sindhu.
IN THE WEST
In 1965, the Krishna-bhakti movement had spread outside India when its founder, Bhaktivedanta Swami Prabhupada, (who was instructed by his guru, Bhaktisiddhanta Sarasvati Thakura) traveled from his homeland in West Bengal to New York City. A year later in 1966, after gaining many followers, he was able to form the International Society for Krishna Consciousness (ISKCON), popularly known as the Hare Krishna movement. The purpose of this movement was to write about Krishna in English and to share the Gaudiya Vaishnava philosophy with people in the Western world by spreading the teachings of the saint Chaitanya Mahaprabhu. In an effort to gain attention, followers chanted the names of God in public locations. This chanting was known as hari-nama sankirtana and helped spread the teaching. Additionally, the practice of distributing prasad or “sanctified food” worked as a catalyst in the dissemination of his works. In the Hare Krishna movement, Prasad was a vegetarian dish that would be first offered to Krishna. The food’s proximity to Krishna added a “spiritual effect,” and was seen to “counteract material contamination affecting the soul.” Sharing this sanctified food with the public, in turn, enabled the movement to gain new recruits and further spread these teachings.
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