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Ottograph, a large-scale mural painter, has been slinging paint since the age of ten. The Modern Art Museum of Antwerpen (Belgium) is home to a giant Ottograph mural. Otto also painted murals in Moscow, Tokyo, Berlin New York and San Fancisco. Ottograph is also operating the website “I Paint Everyday” www.ipainteveryday.com to encourage the tedious, yet necessary practice of serious painting.
Ottograph has worked for clients like Greenpeace, Tommy Hilfiger, Nike, Mars, Ford, and Merecedes-Benz.
#ottograph
Dutch artist Ottograph created Amsterdam’s first real 24/7 outdoor street art gallery at the Wijdesteeg. This is a pic of the colored paving stones of this smashing aleyway.
#wijdesteeg
Media: illustrator, spraypaint, acrylics, stencil, markers, print and wood.
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Dutch pop-art painter Ottograph.
Ottograph who graduated from the Rietveld Academy in Amsterdam, started to paint at the young age of ten, he liked the idea of painting on the walls of the streets of Amsterdam and has never stopped doing so. Now Ottograph’s art can be seen in galleries, on wall’s, in bars and shops around the world and not to mention the wall’s of the Modern Art Museum of Antwerpen, MoMu in Belgium.
Ottograph’s work is full of color and life. What Ottograph paints is something that reflects to society in general and is something that people can relate to.
On his own or to gether with his fellow artist/friends Ottograph has also set up several successful projects such as CIA (Central Illustration Agencey), which speaks for it self as well as KMDG a group of artist with a backround in illustration, graffiti and street-art who bring together artist from around the world to paint walls and commissions together.
Over the years Ottograph has accumulated several important client’s such as Nike, Mars, MercedesBenz, and Apple i-pod and i-phone just to name a few…
conceptual - relating to or based on mental concepts. // this key around my neck was given to me by my boyfriend , he took me out of a very very dark place mentally & my view on people changed completely. i wasn’t looking for anything but peace and self confidence, and i found a friend along with these two things, who turned into the person i never want to be without. this world is a better place with him and i feel safe now. this key reminds me every morning that i am okay , i feel blessed to be woken up everyday and that no matter what i go through , i will always have a friend standing right there holding my hand. it reminds me that i’ll never be alone again. that i can finally live.
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This piece of art relates to my historical influence because I used many bright colours, to create a positive feeling when the artwork is viewed. My historical influence also tried to create a positive vibe using bright colours in all his work. I also tried to add some texture to the earth in this picture. This relates to my theme of nature as it involves earth as its main focus.
The Problems Relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as Reported in Foreign Press (1904-2002). "Prof. Waldstein - Priceless Treasures Awaiting Excavations." The N. Y. Times, Dec. 30, 1904. p.8. [3/3].
Urban (ɜːʳbən) adjective [usually ADJECTIVE noun]
Urban means belonging to, or relating to, a town or city.
Arborist (ˈɑːrbərɪst)
noun
A specialist in the cultivation and care of trees and shrubs, including tree surgery, the diagnosis, treatment, and prevention of tree diseases, and the control of pests
collinsdictionary.com
How do you manage trees that were planted in the 1960s as part of post-war housing development in the third decade of the 21st Millennium? With great care, dinosaur smoke and mankind’s great pursuit in conquest over nature.
The process being undertaken in these photos is what's called pollarding, where a trees limbs are removed entirely to encourage later dense growth within 1 to 2 years. Only certain species of trees can handle this brutal operation, like these London Plane trees here. Once a tree is pollarded, it has to be regularly maintained in 5-10 year operations.
Historically, wood harvested from this method would be used to feed livestock or for light timber, but these days, thanks to the infernal combustion engine, two operatives can pollard five trees in as many hours, with the tree limbs being quite violently mechanically separated and carted off to be used either as mulch or biofuel.
I find arboriculture rather fascinating; living amongst the trees in an urban environment, arborists have been a regular sight over the years, performing everything from whole tree clearings to dead wood pruning, I’ve seen them do a lot.
It’s a highly skilled profession with some of the most dangerous and violent tools possible in the workplace – Darwin Award nominees are quickly weeded out.
There is a strange beauty to the brutality of efficiency, especially towards articles of nature.
Relator da Comissão, deputado Luiz Cláudio Romanelli (PMDB). Fotos: Sandro Nascimento (Alep / crédito obrigatório)
... from our colleges from Lancaster, measures relative distance using ultrasound. Happy embedded software hacking :-D
HB632 (Relating to Open Data) requires state departments to make electronic data sets available to the public. The bill also requires the chief information officer (CIO) to develop policies and procedures to implement the Open Data Initiative, and appropriates $100,000 each fiscal year of the biennium to Office of Information Practices (OIP).
HB635 (Relating to Broadband) requires the state and counties to take action in advancing the Hawaii Broadband Initiative within 60 days (for conservation districts, the state must take action within 145 days). The initiative's goal is to provide ultra high-speed Internet access by 2018, and this clear and decisive timeline will reduce uncertainty for broadband companies and serve as an incentive to invest in increased bandwidth.
SB1003 (Relating to Information Technology), another of the administration's bills, authorizes the CIO to conduct security audits and direct remedial actions, as necessary, in the management of the state's cyber security.
The Problems Relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as Reported in Foreign Press (1904-2002). [Prof. Amedeo Maiuri - War Damage] "Naples preserved Most of its Art." The N. Y. Times, Oct. 7, 1943. p. 5 [1/2].
www.myadvo.in/blog/laws-relating-to-maintenance-in-india/ A person is entitled to basic amenities of life like food, clothing, shelter and other necessary requirements to live a dignified life. Under the principles of social justice, it is the natural duty of a man to provide these amenities to his wife, parents and children in form of maintenance.
Tucked away in a back lane in the inner-Sydney suburb of Redfern stands a historic industrial building relating to the early generation of electric power in New South Wales. Redfern Electric Light Station was the first municipal power-station to be built in Sydney, providing lighting for streets and housing in 1892. This building was the forerunner of the great Sydney city power-stations built from the end of the nineteenth century including Ultimo, Pyrmont and White Bay. In fact, the suburb of Redfern was illuminated by electricity twelve years before the City of Sydney, which followed in 1904 with power generated from Sydney Municipal Council’s Pyrmont power-station. After Redfern power-station was decommissioned, the building managed to survive and was ultimately converted for commercial and residential use.
The first public demonstration of electric lighting in Sydney occurred on 11 June 1863, to mark the marriage of the Prince of Wales, later King Edward VII (1841-1910), when an electric arc light was installed outside Sydney Observatory. Despite this display it was not until the last years of the nineteenth century that significant development and utilisation of electricity eventuated in Sydney.
The first commercial use of electricity in Sydney was in 1879 when arc lighting was used to illuminate the International Exhibition building. Time in which to complete the Garden Palace was running out, so several generators were imported from England to produce the necessary light to allow construction work to continue at night. Arc lamps had been used from the 1840s and 1850s in England, Europe and America for outdoor purposes and stage illumination in theatres. However, they were unsuitable for ordinary indoor use as they were cumbersome, generated fumes and heat, and their constant illumination was difficult to control and maintain. Furthermore, the public supply of electricity could not commence until a lamp, which overcame the shortcomings of the arc light, was developed and introduced commercially. Following the pioneering work of others, Joseph (later Sir Joseph) Wilson Swan (1828-1914) in England in 1878 and Thomas Alva Edison (1847-1931) in America, developed almost simultaneously a satisfactory incandescent carbon filament lamp. Edison patented his lamp in 1879 and the following year produced the first commercial incandescent lamps.
Meanwhile, in Sydney, the first public place to be permanently lit by electricity was Redfern railway terminus (near present day Central station), on 15 June 1882, using power generated at the Eveleigh Railway Workshops. While Sydney proceeded with caution, municipal enterprise and enthusiasm for electric lighting in NSW country towns was considerable. On 8 November 1888, Tamworth became the first Australian town to be have electric street lighting. This was only ten years after the world’s first street lighting was installed in Paris and seven years after the first British supply in Godalming, Surrey, in 1881. Tamworth was followed by Young and Moss Vale in 1889 and Penrith and Broken Hill in 1890.
In Sydney an attempt was made in 1888 to have legislation passed to establish a private network of generation and distribution. This failed but motivated the Sydney Municipal Council into pursuing the matter. In 1891 a committee was established to set up the basis for public distribution of electricity in Sydney. After protracted debate, the Municipal Council of Sydney Electric Lighting Bill was finally passed in 1896. In the same year the Department of Railways, which also had responsibility for the tramways, began planning for the electrification of Sydney’s tramway system and construction commenced on a power-station at Ultimo, now the Powerhouse Museum.
Meanwhile, back in 1889, Redfern Municipal Council had sent aldermen to inspect some of the NSW towns already generating electricity and construction began on their own electric light station in 1891. Completed in 1892, the building was Sydney’s first municipal power-station and Redfern the sixth local council in the State to generate its own electricity. Council engaged Professor Richard (later Sir Richard) Thelfall (1861-1932) as a consultant electrical inspector on the project. Thelfall, who had been appointed to the chair of physics at the University of Sydney in 1886, and his student and friend, the physicist James Arthur Pollock (1865-1922) whom council engaged as an engineering inspector, made a lucrative business in the early 1890s advising municipal councils and private companies on the new electrical-power technology.
The Redfern Electric Light Station building was designed by John E. Kemp of Pitt Street, Sydney, and built by J. Steel. The station consisted of a two-storey engine house, a single-storey boiler house, an octagonal brick chimney and a coal store. The building was constructed of brick, was cement rendered and decorated with late Victorian features including half circle window heads on the first floor of the engine house and pilasters running the full length of the building.
The boiler house was equipped with two multi-tubular horizontal boilers by Tinker Bros of Manchester, England. The boilers were set in substantial brickwork and featured the latest boiler fittings including feed water heaters, Worthington pumps, injectors and low-water alarms. A reserve water tank was available in case the town water supply was shut off. The boilers supplied steam to two horizontal compound steam engines, each 150 hp, supplied by the Benjamin Goodfellow engineering company of Hyde near Manchester. The engines had a common flywheel grooved to take seven driving ropes, which drove two alternators rated at 1,000 volts, and four dynamos. A Sydney firm, the Williamson Electrical Engineering Co. Ltd, designed and made the switchboard and were the contractors who supplied all the plant. The conductors left the switchboard and went upstairs, before passing from a window opening fronting Renwick Street. The station’s plant was tested on 17 May 1892 in front of a group of local dignitaries including the Mayor and Aldermen.
All the mains for both the street and private lighting were carried overhead on machine-turned wooden poles, except for two street crossings and one railway crossing where it was found necessary to take them underground. The street lamps were each of 25 candlepower and supported on neat wrought-iron brackets which carried a clear glass globe and reflector. The transformers were supplied for private lighting and lamps had a capacity of 16 candlepower. The Redfern Electric Light Station was capable of generating enough electricity to power 406 street lamps and 1,000 lamps for private use.
On 8 July 1904, electric street lighting in Sydney was officially turned on by the Lady Mayoress, Mrs S. Lees. With power generated from Pyrmont power-station, 200 arc lamps covered an area from Circular Quay to Redfern railway station. So began the gradual process of the replacement with electricity of Sydney’s gas-lit streets which had commenced in 1841. As well as this the growth in customer demand for electricity increased from 42 subscribers within a month of power being available to 519 subscribers by the end of 1905.
Redfern Council continued to generate its own electricity for twenty-one years and was by then seen as a competitive threat to Sydney Municipal Council’s undertakings to supply the whole city and as much of the environs as possible. Redfern was a major industrial centre, which possessed great possibilities for extension and development, not to mention the large factories in adjoining municipalities. Negotiations began with Redfern Council and the Redfern Electric Light station was acquired as a going concern by Sydney Council for £20,000. However, the machinery, plant, apparatus and appliances, other than the street mains and poles, remained the property of Redfern Council. Agreement was also reached for Sydney Council to run its mains through the streets of Redfern to supply customers in that municipality and in the municipalities lying immediately to its south. Supply to Redfern was officially taken over by Sydney Municipal Council on 19 April 1913. By the early 1920s new generating plant had been installed at Pyrmont power-station and an additional power-station for Sydney Council, at Bunnerong, on the northern shores of Botany Bay, began operations on 2 January 1929.
The Redfern Electric Light Station was eventually superfluous to requirements and it was decommissioned and its machinery and equipment removed. Over the years the building itself has managed to survive, being used to house various light industries including a case factory, machinery and hardware merchants and a store for Wyanna Mills. In 1987 the building was converted into four units, two for commercial use (at this time as photographic studios) and two for residential use. The historic power-station’s external layout is still evident today with its two-storey engine house, single-storey boiler house and brick chimney best seen looking along Renwick Street.
Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.
ETYMOLOGY AND OTHER NAMES
Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.
The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).
Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).
A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".
In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.
In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.
ICONOGRAPHY
Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.
Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.
The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.
COMMON ATTRIBUTES
Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.
Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.
VAHANAS
The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.
Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.
The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.
ASSOCIATIONS
OBSTACLES
Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.
BUDDHI (KNOWLEDGE)
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".
AUM
Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:
(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).
Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.
FIRST CHAKRA
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".
FAMILY AND CONSORTS
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.
The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.
WOSHIP AND FESTIVALS
Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.
Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).
Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.
Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."
GANESH CHATURTI
An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.
TEMPLES
In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.
There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.
T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.
RISE TO PROMINENCE
FIRST APEARANCE
Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:
What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.
POSSIBLE INFLUENCES
Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:
In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.
Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."
One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.
A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.
First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).
VEDIC AND EPIC LITERATURE
The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".
Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.
PURANIC PERIOD
Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:
Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.
Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.
SCRIPTURES
Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.
The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.
BEYOND INDIA AND HINDUISM
Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.
Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.
Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.
Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.
Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.
The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.
WIKIPEDIA
HB632 (Relating to Open Data) requires state departments to make electronic data sets available to the public. The bill also requires the chief information officer (CIO) to develop policies and procedures to implement the Open Data Initiative, and appropriates $100,000 each fiscal year of the biennium to Office of Information Practices (OIP).
HB635 (Relating to Broadband) requires the state and counties to take action in advancing the Hawaii Broadband Initiative within 60 days (for conservation districts, the state must take action within 145 days). The initiative's goal is to provide ultra high-speed Internet access by 2018, and this clear and decisive timeline will reduce uncertainty for broadband companies and serve as an incentive to invest in increased bandwidth.
SB1003 (Relating to Information Technology), another of the administration's bills, authorizes the CIO to conduct security audits and direct remedial actions, as necessary, in the management of the state's cyber security.
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Title: "Memoirs relating to European and Asiatic Turkey; edited from manuscript journals, by R. Walpole. (Travels in various countries of the East; being a continuation of Memoirs relating to European and Asiatic Turkey, &c.)"
Author: WALPOLE, Robert - Rev
Shelfmark: "British Library HMNTS 1786.d.13.", "British Library HMNTS 982.i.7."
Volume: 02
Page: 455
Place of Publishing: London
Date of Publishing: 1817
Publisher: Longman & Co.
Issuance: monographic
Identifier: 003842704
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Relates to UNDP-supported, GCF-funded project 'Strengthening climate resilience of agricultural livelihoods in Agro-Ecological Regions I and II in Zambia' www.adaptation-undp.org/projects/GCF-Zambia
Larry Eiring, Artist
Acrylic on Canvas with Canvas Board on Canvas, Signed by the Artist October, 2007
In the Collection of Mr. and Mrs. Phillip Albert, Sr.
For inquiries relating to artwork by Mr. Eiring, please contact the artist at hleiring@yahoo.com.
HB632 (Relating to Open Data) requires state departments to make electronic data sets available to the public. The bill also requires the chief information officer (CIO) to develop policies and procedures to implement the Open Data Initiative, and appropriates $100,000 each fiscal year of the biennium to Office of Information Practices (OIP).
HB635 (Relating to Broadband) requires the state and counties to take action in advancing the Hawaii Broadband Initiative within 60 days (for conservation districts, the state must take action within 145 days). The initiative's goal is to provide ultra high-speed Internet access by 2018, and this clear and decisive timeline will reduce uncertainty for broadband companies and serve as an incentive to invest in increased bandwidth.
SB1003 (Relating to Information Technology), another of the administration's bills, authorizes the CIO to conduct security audits and direct remedial actions, as necessary, in the management of the state's cyber security.
Les Invalides contains museums and monuments, all relating to the military history of France, as well as a hospital and a retirement home for war veterans, the building's original purpose. The buildings house the Musée de l'Armée (the military museum of the Army of France), the Musée des Plans-Reliefs and the Musée d'Histoire Contemporaine, as well as the Dôme des Invalides, a large church, the tallest in Paris at a height of 350 feet. It houses tombs of some of France's war heroes, most notably Napoleon. The architect of Les Invalides was Libéral Bruant. By the time the enlarged project was completed in 1676, the river front measured 643 feet, and the complex had 15 courtyards, the largest being the cour d'honneur ("court of honor") for military parades. Jules Hardouin-Mansart assisted the aged Bruant, and the chapel for veterans was finished in 1679. This chapel was known as Église Saint-Louis des Invalides, and daily attendance of the veterans in the church services was required. Shortly after the veterans' chapel was completed, Louis XIV commissioned Mansart to construct a separate private royal chapel referred to as the Église du Dôme. The domed chapel was finished in 1708. The building retained its primary function of a retirement home and hospital for military veterans until the early 20th century. In 1872 the musée d'artillerie (Artillery Museum) was located within the building to be joined by the musée historique des armées (Historical Museum of the Armies) in 1896. The two institutions were merged to form the present Musée de l'Armée in 1905. At the same time, the veterans in residence were dispersed to smaller centers outside Paris, as the building became too large for its original purpose. The modern complex includes facilities about a hundred elderly or incapacitated former soldiers, including one gentleman sitting outside in full World War II army dress.
Your employees when you ask them to track their time accurately
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Postal Museum (Liechtenstein)
The postal museum in the English building in Vaduz
The Postal Museum of the Principality of Liechtenstein exhibits documents relating to philately and postal history in the Principality of Liechtenstein . The museum is affiliated with the Liechtenstein State Museum . It is located in the center of Vaduz in the so-called English building - the first steel-framed building in the country.
History
The museum was founded in 1930 to collect stamp issues and other important documents from the country's philately and postal history and make them accessible to the public. The museum opened in 1936. Hermann E. Sieger carried out significant curatorial work .
After the museum was housed in various rooms, it has been in the English building since 2002 .
Exhibition
The focus of the exhibition is on the stamps issued by the Principality of Liechtenstein since 1912. The museum also presents the most important designs, proofs and engraving plates as well as other important documents of postal history and historical postal equipment. In addition to the permanent exhibitions, changing exhibitions are also held periodically.
Postage stamps in the pedestrian zone
Since May 2011, a selection of oversized Liechtenstein stamps has been on display in the Städtle – Vaduz's pedestrian zone. The 25 stamp reproductions function here as pavement slabs.
Vaduz is the capital of the Principality of Liechtenstein . The municipality in the Oberland is the residence of the prince as well as the seat of the state government , the state parliament and all courts . It is also the seat of the Roman Catholic archdiocese of the same name .
Vaduz is particularly well-known for its role as an international financial center . The municipality has six exclaves and is therefore an administrative unit divided into seven. The inhabitants are called Vaduzer , the adjective is Vaduzisch .
The municipality has an area of 17,284 km² and includes the village of Vaduz and its immediate surroundings as well as six exclaves. The area with the village of Vaduz borders Schaan to the north , Triesenberg to the east, Triesen to the south and the Swiss communities of Sevelen and Buchs SG , located on the other side of the Rhine , to the west . The highest point in the municipality is 2150 m above sea level. M. the silver horn .
Four exclaves are located in the Rhine Valley. These are the agriculturally used Vaduzer Riet between the Schaaner industrial area and Eschen / Nendeln , the forests of Forst at the foot of the Three Sisters massif and Rüttistein and Dachsegg above Planken . The forest plots are owned by the Vaduz citizens' cooperative , whose members are entitled to the annual loose wood. At around 900 m above sea level. Traces of a prehistoric settlement were found in Dachsegg.
Two exclaves are located in the mountain area: on the one hand, the cooperative Alps Pradamee and Hahnenspiel and on the other hand, the Alp Hinter Valorsch . The Pradamee and Hahnenspiel Alps in the Malbun high valley were formerly known as Vaduz Malbun .
The Alp Hintervalorsch was separated from Vorder- and Mittlervalorsch in 1643 because of a dispute between Vaduz and Schaan and has belonged to Vaduz ever since. [8th]
In 1781, the use of the alpine pastures was divided between the Vaduz upper and lower villages and separate alpine buildings were built on the Under Pradamee (1500 m above sea level) and the Upper Pradamee (1700 m above sea level). Since 1930, the municipality of Vaduz has received around one million cubic meters of drinking water from Pradamee every year. The separate dairy operation ended around the middle of the 20th century. Since then, part of the milk has been made into cheese on the Ober Pradamee.
In 1962, the first ski lift in Malbun was built in the Alp Pradamee area, which was replaced by new chairlifts in 2006 along with other old lifts.
The Alp Hahnenspiel is used as Galtalp . One at approx. 2000 m above sea level. The small cave located M. served as a burial place for a dead person during the early Bronze Age .
Alp Gaflei, which was purchased by the municipality of Vaduz in 1952, is located in the Triesenberg municipality. Although the alpine buildings have been demolished since 2006, the alpine pastures continue to be used.
Vaduz was first mentioned in 1175/1200 as de Faduzes , two mentions from 1021 are later forgeries. The name, like many others in the Rhine Valley, is of Romanesque origin and goes back to Old Romansh auadutg “moat; Canal for mills and sawmills; Mill flume”, which in turn comes from the Latin aquaeductus .
On May 3, 1342, the then dominion of the Counts of Bregenz was divided, creating the County of Vaduz . In 1392, under Counts Henry V. (I.) and Hartmann IV. (II.) of Werdenberg-Sargans-Vaduz, it gained imperial immediacy through a privilege from King Wenceslas . In the following decades and centuries, the county repeatedly became the scene of wars and looting, e.g. B. in the Old Zurich War (1444–1446) or in the Swabian War (1499–1500).
Over time, the rulers of Hohenems became increasingly indebted, so that they were ultimately forced to sell the county of Vaduz and the neighboring lordship of Schellenberg . In 1699, Prince Hans Adam of Liechtenstein acquired the rule of Schellenberg and in 1712 the county of Vaduz. On January 23, 1719, a diploma from Emperor Charles VI united. the county of Vaduz with the rule of Schellenberg and raised it to an imperial principality with the name Liechtenstein. As a result, Vaduz became increasingly important.
In 1806, Napoleon Bonaparte founded the Confederation of the Rhine , which also included Liechtenstein and thereby effectively became independent. This independence was confirmed at the Congress of Vienna and Liechtenstein was accepted into the German Confederation .
However, Liechtenstein – and thus also Vaduz – remained very backward for a long time. It was only the customs treaty concluded with Austria in 1852 that enabled economic conditions to improve, and a constitutional constitution of 1862 brought political change so that the prince could no longer rule without restrictions.
The First World War impoverished the population, and at the end of the war the customs agreement with the war loser Austria-Hungary was dissolved.
After the customs treaty with Austria was dissolved in 1919, Liechtenstein became increasingly closer to Switzerland , and in 1923 the customs treaty with Switzerland, which still exists today, was signed. After Austria was annexed to the German Reich in March 1938, the newly ruling Prince Franz Josef II, the first prince of Liechtenstein, decided - because of his rejection of National Socialism - to move his residence to Liechtenstein to Vaduz Castle . Liechtenstein remained neutral during the Second World War and was never involved in direct hostilities. Instead, the principality was able to use its locational advantages (no loss of army personnel, central location, customs union with Switzerland, tax advantages, political stability), so that many new industrial companies were founded in Vaduz, but also in the wider principality, and progress in the country began to make rapid progress .
As of December 31, 2018, Vaduz had 5,625 inhabitants and was the second largest municipality in Liechtenstein after Schaan (with 6,016 inhabitants). At around 42 percent, the proportion of foreigners in Vaduz was higher than in all other Liechtenstein communities.
According to the 2015 census, 66.5 percent of the total population is Roman Catholic , with the proportion of Catholics among the population with Liechtenstein citizenship (80.8 percent) being significantly higher than among the population with foreign citizenship (47.1 percent Catholics). 10.1 percent of Vaduz's residents are Protestants , and 2.6 percent belong to another Christian church (majority Christian Orthodox churches ). 7.7 percent are Muslim , and other religions make up 0.75 percent of the population. Non-religious people make up 9.2 percent of the population - the highest proportion in Liechtenstein.
In the historical lexicon of the Principality of Liechtenstein, Vaduz is defined as the main town. Despite these official declarations, the term main location appears to be controversial among the general public. The principality's tourism website often refers to Vaduz as the capital, as do several Vaduz hotels, several media outlets (such as the Frankfurter Allgemeine Zeitung , Die Welt , the Geo , the Kronen Zeitung or the Deutschlandfunk), the Association of the Consular Corps in the Principality of Liechtenstein and the Foreign Office of the Federal Republic of Germany.
Hubert Büchel said during his lecture in the Feldkirch Palais Liechtenstein in 1988 : “Vaduz with 5,000 inhabitants is of a size where we do not yet dare to speak of a ‘capital’, but at best of a ‘capital town’.”
In a travel magazine, the moderator Hape Kerkeling asked the FBP politician and former mayor of Vaduz, Manfred Bischof, whether one could “seriously speak of a capital” for a place with 6,000 inhabitants. Bishop replied that Vaduz could seriously be called a capital, since Liechtenstein is its own country and a country also has a capital.
The former Vaduz local councilor and former president of the Johann Schädler Agra Foundation , Stefanie Hasler, said on “ Vaterland TV ” at the end of 2022 that Vaduz is actually a capital and that “every now and then” he doesn’t dare to say so .
In March 2023, the Munich Merkur described Vaduz as the “de facto capital” of Liechtenstein.
Liechtenstein Art Museum : Opened in 2000, the state museum for modern and contemporary art houses the state art collection of the Principality of Liechtenstein. The facade, a colored and seamlessly cast concrete made of predominantly black basalt rock and colored river gravel, is treated in such a way that “a lively play is created on the reflective surface”.
Liechtenstein State Museum : The cultural and natural history of Liechtenstein is presented here . The museum includes two old buildings and a new building in Vaduz. In addition, the postal museum in Vaduz and a rural living museum in Schellenberg are assigned to the state museum.
“ Engländerbau ” with postal museum : The “Engländerbau” was built in 1933/1934 on behalf of an English company as a commercial building. Today it is an exhibition building that shows changing exhibitions of contemporary art. Since 2002, it has also been home to the Postal Museum, which is part of the State Museum and collects, preserves and makes available to the public important documents and artifacts from Liechtenstein philately and postal history.
Kurt Beck Watch Museum : Opened in March 2018 at Lettstrasse 39, the privately run museum shows around 250 antique watches by the collector Kurt Beck.
Vaduz Castle : The landmark of Vaduz was built in the 12th century and finally expanded in the 16th and 17th centuries. The castle has been owned by the Princes of Liechtenstein since 1712, but was not inhabited for a long time and fell increasingly into disrepair. It was only at the beginning of the 20th century that it was extensively renovated, and in 1938 Prince Franz Josef II became the first prince of Liechtenstein to move his permanent residence to the castle. Since then it has no longer been open to the public.
Schalun ruins : The medieval Schalun castle ruins (also called the “Wildschloss”) were built in the 12th century and were supplemented by other parts of the building over time. The ruins are located above Vaduz Castle at an altitude of approx. 850 m above sea level. M. Large parts of the foundation walls are still preserved today, especially the core of the castle with building remains up to ten meters high. The castle has been owned by the municipality of Vaduz since 1933.
“ Red House ”: It is a listed medieval stepped-gable house in the middle village of Vaduz. It belonged to the Vaistli between 1400 and 1500 : The house was acquired by an heir of the Vaistlis in 1525 from the monastery of St. Johann im Thurtal, and the associated vineyard ( Wingert ) has retained its resulting name, Abtswingert, to this day.
St. Florin Chapel: The St. Florin Chapel was a sacred building in the municipality of Vaduz that was probably built in the early modern period. In 1872 the tower and sacristy and in 1874 the remaining parts of the building were demolished, so that the chapel is no longer preserved today. A paving on the floor plan in the center of Vaduz refers to the former location of the chapel. In addition, a large part of the equipment has been preserved or found a new use: the bells of the chapel, for example, were used in the casting of the four bells of the new parish church of St. Florin.
St. Florin Cathedral : The neo-Gothic church was built between 1868 and 1873 and inaugurated on October 5, 1873. With the inauguration of the parish church, Vaduz became a parish, as the community had until then been attached to the original parish of Schaan . Until 1997, Liechtenstein belonged to the diocese of Chur . On December 2, 1997, the Archdiocese of Vaduz was established by Pope John Paul II and separated from the Diocese of Chur. At the same time as the founding of the Archdiocese of Vaduz, the parish church of St. Florin was elevated to the status of a cathedral.
St. Josef Chapel: It was built in 1930 and 1931. It is located in the Ebenholz district and is a branch church of the municipality of Vaduz. The chapel can be seen as an example of a clearly structured church type, as was often built in the 1930s.
The Ebenholz Evangelical Church is located in the Ebenholz district and was built in 1962 and 1963. The modern church building has a clear structure with a choir and a tower in the north and an organ gallery above the main entrance. The three bells come from the Schellenberg monastery church and were cast in 1880.
The Johanneskirche is the sacred building of the Evangelical Lutheran Church of the Principality of Liechtenstein. The church building was built in 1947 as an emergency church in Stuttgart and finally transferred to Liechtenstein as a gift in 1956. The organ, which dates from the early 18th century, is particularly significant.
Princely crypt : Until the Second World War, the princely crypt in Wranau served as a burial place for the princely family of Liechtenstein. When Franz Josef II became the first prince to move his residence to Vaduz, a new grave was built between 1958 and 1960 in the park south of the cathedral. Prince Franz Josef II was the first sovereign to be buried here in 1989. Since 1992 there has been a relief on the wings of the entrance door showing the resurrection of Lazarus .
Liechtenstein State Parliament Building : The state parliament building was opened in 2008 after 7 years of construction. Since then, it has served as a plenary hall for the state parliament of the Principality of Liechtenstein , where all members of the state parliament can sit at a single round table. Over a million clinker bricks, 600 tons of steel and 5,800 cubic meters of concrete were used in the construction, which cost 42.2 million Swiss francs.
Government building of Liechtenstein : The government building was built from 1903 to 1905 in the neo-baroque style. It contained major technical innovations for Liechtenstein, which was poor at the time: the first central heating system in Liechtenstein was installed in the government building. The building, popularly known as the “Big House”, has been a listed building since 1992.
Vaduz town hall : The town hall was built in 1932 and 1933. Of particular importance is a balcony fresco on the south facade depicting Saint Urban , the patron saint of winegrowers. The coat of arms of the municipality of Vaduz is carved on the entrance front .
“ Rheinbergerhaus ”: The building was built around 1550 and was first mentioned in documents in 1613. It is significant because the composer Josef Gabriel Rheinberger (1839–1901) was born in this house. At the age of twelve he left his hometown to receive musical training in Munich . He worked in Munich his entire life and died there. After the Second World War, he and his wife were transferred to Vaduz in 1945. A bronze portrait of Josef Gabriel Rheinberger was erected in front of his birthplace in 1939/1940.
Old Rhine Bridge : Since 1901, the old Rhine Bridge has connected Vaduz with the Swiss community of Sevelen . The 135 meter long bridge is the only remaining wooden Rhine bridge in Liechtenstein. The bridges of the other Liechtenstein communities were abandoned due to dilapidation or fires and replaced by concrete bridges. Since the opening of the new Rhine bridge, the bridge, which consists of five pillars, has only been accessible to non-motorized private transport. It was extensively renovated in 2009/2010.
The most important sports club is FC Vaduz . As of 2022, he has won the Liechtenstein Cup 48 times and plays in the second highest Swiss league, the Challenge League . FC Vaduz's venue is the Rheinpark Stadium , where the Liechtenstein national football team also plays its home games.
Debate sobre a MP 651 no Senado Federal cujo o relator é o dep. Newton Lima (PT-SP)
Brasília, 02/set/2014
Foto:Gustavo Bezerra
Relating helps you develop a very sensitive, even telepathic resonance with your surroundings. This opens up your intuition. Relating begins from an attitude of not knowing and stays open to perceiving changes and new possibilities as they unfold.
From the book "Getting Real"
SB1082 (Relating to Transportation of School Children) simplifies Section 302A-406, Hawaii Revised Statutes. The bill allows for more flexibility by the BOE and DOE regarding contract requirements. This measure will provide the DOE with a tool to control costs of school bus transportation by removing statutory requirements related to school bus procurement.
SB1083 (Relating to Transportation of School Children) exempts contracts for transportation for school services from Section 103-55, Hawaii Revised Statutes. Under the provisions of this bill, the DOE will not need to require school bus contractors to certify that they pay same wages as public officers and employees. The bill removes the statutory requirements related to school bus procurement.
Information relating to the statue of Queen Victoria outside the Queen Victoria Building in Sydney.
The site of the Queen Victoria Building was the location of the George Street Markets, and was selected for the construction of a grand government building. Architect George McRae designed the QVB in the ornate Romanesque Revival style with the express purpose of employing a great number of skilled craftsmen who were out of work due to a severe recession. The building was completed in 1898 and named the Queen Victoria Building after the monarch.
The completed building included coffee shops, showrooms and a concert hall. It provided a business environment for tradesmen such as tailors, mercers, hairdressers, and florists. The concert hall was later changed to a municipal library and the building was partitioned into small offices for Sydney City Council. The building steadily deteriorated and in 1959 was threatened with demolition. It was restored between 1984 and 1986 by Ipoh Ltd at a cost of $86 million, under the terms of a 99-year lease from the City Council and now contains mostly upmarket boutiques and "brand-name" shops.
This bronze statue of Queen Victoria, located on the forecourt, was originally located in front of the Irish Parliament in Dublin until 1947. It was given to the people of Sydney as a gift from the people of Ireland and unveiled in 1987.
Relates to UNDP-supported GCF-funded project 'Strengthening the Resilience of Smallholder Farmers in the Dry Zone to Climate Variability and Extreme Events' (known locally as CRIWMP)
Resident Representative's field visit, Feb 2023. Credit: UNDP Sri Lanka
Kinetic: Relating to, caused by, or producing motion.
These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.
Most of these are shot outdoors where I have the room to literally spin and throw my little camera several feet up into the air, with some throws going as high as 15 feet or more!
None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.
Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.
To read more about Kinetic Photography click the Wikipedia link below:
en.wikipedia.org/wiki/Kinetic_photography
Albeit supremely risky this is one of my favorite ways to produce abstract photographs.
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If you'd like to see more please check out my set, "Vertigo:"
www.flickr.com/photos/motorpsiclist/sets/72157630591282642/
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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.
Historic documents relating to the German immigration to British Kaffraria in the 1850's, photographed in the Courtenay-Latimer Hall at the East London Museum, Eastern Cape, South Africa on July 7, 2008. Original Prospectus referring to the German Colony at the Cape of Good Hope giving details of eligibility, terms, regulations relating to baggage, allocation of water and meals to be served, etc. Dated 15 June 1858. I photographed the same document in the archive in Stettin (Szczecin), Poland in 2003.
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Relates to a site review on The Abyss (my Stumbleupon blog). Menu of posts on said blog can be found on this page.
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The Problems Relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as Reported in Foreign Press (1904-2002). [Prof. Amedeo Maiuri - War Damage] "Naples preserved Most of its Art." The N. Y. Times, Oct. 7, 1943. p. 5 [2/2].
Just wanted to relate to you all how important it is in life to cherish every moment God lets you live with your loved ones. For two weeks my father had asked me to take him to a special place he wanted to eat lunch and taste the shrimp in that area. At 81, and in a fairly good health after his last stroke, my father wanted to eat shrimp by the bay. I was busy, doing my every day things and took me two weeks to take him. Once there my father told me the story why he wanted to go to that special place. When he was very young, my grandfather had a factory in the city and shipped his goods all thru the country from that special shipping port. They lived close by and he remembered dearly those moments when his father used to take him there (fishers market down town) and he ate those same shrimps over 70 years ago. He was so happy there, he enjoyed every moment, ate slowly and remembered grandma and grandpa who have longed passed away. He felt close to them and just lived the moment second by second every bite he took was just like being there again 70 years before.
I write this with the deepest pain in my heart, so bad it hearts deeply, as I felt God was telling me he is getting ready to reunite my Dad with my grand parents, let him live again but now forever, those unforgettable moments he carries in his heart for all his life, let him have a well deserved peace and tranquility he has more than earned thru his 80 years of being the best Dad anyone can have, the most amazing example of a brave man, who never gave up to give us all the best any one can give and get.
As I sit here praying to God he lets me reimburse my Dad for all he has given us, I wanted to make it public, and ask any of you out there to take one minute and ask God to keep him with us for as much as he wishes so we can all enjoy him for the last days, months o years of his life he has left. We certainly can’t change the past but can absolutely change the future. God I made my deepest desire to you public in my most sincere hope you hear us all and have mercy upon us. God Bless you all.