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Water & Light at Sassi Mazar Balochistan May30, 2015
SUN SHINES IN THE NIGHT
Sassi punnu mausoleum got Solar Energy
Every year thousands of peoples from various parts of Sindh, Baluchistan and Punjab gather at the shrine of Sassi and Punnu in Singher village to attend a 3 days carnival. Singher village is , 52 Kilometers away from Hub town. Singher means chain, as the village is surrounded by the chain of hills where it is believed that Sassi and Punnu were buried under a landslide.
Before the monsoon a carnival organizing committee receives donation from the Baloch tribal chiefs of Sindh and Balochistan to bear the expenditures of the event. Collected funds are mostly used for providing food, water and accommodation to all the devotees there. Sufi Faqirs (singers) from Sindh, Balochistan and Punjab travel to perform songs on the occasion to pay homage to Sassi Punnu, the popular tragic romance of Sindh and Balochistan. Besides folk songs, a traditional Sindhi game malakhro similar to Japanese wrestling sumo also attracts a large number of the people to come there.
Lands from mountains with old graves scattered in the area and rainy water ways are quite difficult to cross for the travellers. Despite this, devotees, males and females, travel long distance to visit the site the entire year. For the local people, camel is the only means of transport and people gather there during the occasion.
There is only one well, which is useful for the communities otherwise the entire area underground water level is unsafe for human consumption. In case the area receives monsoon rains the people use rainy water from ponds.
For the benefit of peoples living in surroundings as well as devotees who visit during carnival and over the year, Masood Lohar, country Manager UNDP, GEF small grant program decided to use solar energy for providing clean and safe water and lighting on the mausoleum.
On 30th May 2015, Shaan Technologies Private Limited installed a 3 HP Solar Powered pump on a 250 ft deep well that is located near the tomb. Operating on a 3 kilowatt solar panel bank this pump provide 30 Gallon water per minutes & eliminates requirement of diesel generator operated pump that organizing committee previously used to supply water during the festival.
Now solar pump serves as a continuous source of clean water without any additional cost. A water tank is provided to store pumped water. This tank helped as a 24 hours ready source of water for the local people.
In addition to that 2 solar powered floodlights were also installed in front yard of tomb. These 14 watt LED lights runs on a 35 watt solar panel that provide sufficient power to run LED lamps up to 12 hours. Dusk to Dawn photo sensors is also used in the system that automatically turns on the light just before the sunset and turns off at dawn. This project was financed by the UNDP GEF Small grant program. Lodhie foundation contributed 10% cost of the project under its poverty alleviation initiative.
Project Summary
Location: Sassi Punnu Moseleum, Singher Village, Near Hub Dam, Baluchistan
Coordinates: 25°18'41"N 66°53'21"E
Nearby cities: Karachi, Hub City, Sonmiani / Winder city
Initiated By: UNDP, GEF Small Grant Program in association of Lodhie Foundation
Implemented by: Shaan Technologies Private Limited Karachi
Implantation Date: 30Th May 2015
Equipment installed:
(1) One 3HP DC Submersible water pump with 3KW Solar panels and Pump Controller
(2) Two Solar Powered LED Floodlights
Beneficiaries: Up to 2500 people living in the Singher village and surroundings
Folktale of Sassi & Punnu
Sassi Punnu is a famous folktale of love told in the length and breadth of Sindh, Pakistan. The story is about a faithful wife who is ready to undergo all kinds of troubles that would come her way while seeking her beloved husband who was separated from her by the rivals
Sassi was the daughter of a Brahman Hindu Rajah from Rohri . Upon Sassui's birth, astrologers predicted that she was a curse for the royal family’s prestige. The Raja ordered that the child be put in a wooden box and thrown in the Sindhu, present day’s river Indus. However, she was saved by a washer-man belonging to Bhanbhor, near Gharo district, Thatta . The washer-man raised her as his own daughter.
When Sassui became a young girl, she was as beautiful as the fairies of heaven. Stories of her beauty reached Punhun a prince from Kech Makran Balochistan and he became desperate to meet Sassi. The handsome young Prince therefore travelled to Bhambore. He sent his clothes to Sassi's father (a washerman) so that he could catch a glimpse of Sassi. When he visited the washerman's house, they fell in love at first sight. Sassui's father was dispirited, hoping that Sassi would marry a washerman and no one else. He asked Punnhun to prove that he was worthy of Sassui by passing the test as a washerman. Punnhun agreed to prove his love. While washing, he tore all the clothes as, being a prince, he had never washed any clothes; he thus failed the agreement. But before he returned those clothes, he hid gold coins in the pockets of all the clothes, hoping this would keep the villagers quiet. The trick worked, and Sassui's father agreed to the marriage.
At last Punnu (Punhoon) married her. However, his father, Ari, the King of Ketch, did not like his son getting married to a low-caste girl, so he instructed his other sons to go to Bhanbhor and bring back Punnu at any cost. They visited Punnu as his guests and during the night they intoxicated him and his wife. Later, they put their brother on one of the camels and left. When Sassi woke up in the morning, she was shocked to find Punnu missing and all his brothers gone. She understood their trickery. She left Bhambhor immediately to Kech Makran on foot in search of him. The Kech Makran is located along the Makran Coastal Highway in Baluchistan, Pakistan.
After crossing Pab Mountain, she reached the Harho range. She could not proceed further when her path was blocked by the Phor River. So she started retracing her steps. Soon she was accosted by a beastly goatherd who intended to molest her. Sassi prayed to God for protection. Immediately the ground below her feet started caving in like quicksand and she disappeared within seconds. Seeing the miracle, the goatherd repented sincerely, and to make amends for his misconduct, he made a grave in the site and became its custodian.
Punnu found no peace of mind at Kech. He languished and soon became an invalid. Under the circumstances, his father allowed him to return to Bhambhor.
During his return journey, Punnu happened to pass by the site where Sassi had met her death. When the goatherd came to know his story, he told him as to what had happened to Sassi. Punnu was beside himself on hearing the horrible news.
He prayed to God to unite him with Sassi. Again the ground became quicksand and he soon disappeared into the bowels of the earth. So came to an end the tragic love story of Sassi and Punnu. The legendary grave still exists in this valley.
The famous Sufi saint and poet Shah Abdul Latif Bhittai sings this historic tale in his sufi poetry “Shah jo Risalo” as an example of eternal love and union with Divine.
Sassi’s resting place is said to be about 45 miles away in the Pub range to the west of Karachi. A local man of some importance constructed a simple mausoleum in 1980 over the joint grave of Sassi and Punnu. It is often visited by tourists.
Y de repente.........., a uno se le viene encima todo lo que tiene al rededor. Todo, pero todo. Es como cuando se nubla el cielo, se pone gris y ya no se ve mas nada. Todo colapsa y sigue colapsando.
La soledad es enorme cuando ya tu vida se terminó y seguis vivo. Es a veces una simple tontería eso de que "todo se temrina" hasta que por fin te das cuenta de que si, que todo se termina.Nos damos cuenta que el otro era una mala persona, egoísta, malintencionada y que no nos quería bien. Nosotros para el otro somos lo mismo, ojo. Se rompen los vidrios, se golpean las puertas y nos convertimos en fieras.
Aquel tan tierno que te decía para siempre, "te lo juro", "a mi no me va a pasar", "jamás me separaría de vos", "nunca te haría daño", "con vos es distinto", "siempre te voy a cuidar", está a punto de destruirte, de matarte. Ya no se acuerda de lo bueno. Sufre una amnesia repentina y aguda. Es como si de golpe el otro fuera otro, y aquel que te dijo todo eso es otro tambien. En esos minutos los dos se preguntan seriamente con quien habrán compartido sus vidas hasta ahora. La persona a la cual habías elegido, que es el otro, se convirtió en alguien extremandamente peligroso, lleno de odio e ira y uno quiere irse con mamá.
Es tristísimo y muy ingrato el desamor, nadie lo quiere pero llega. Y uno lo ve venir, eh?, fijate bien, a veces lo ves después de la neblina, con su impermeable oscuro avanzando de espaldas. Tambien pasa por el costado, y no lo viste. Pero hasta que un día lo ves. Era aquel desamor, y lo sabés. Sabés que tu relacion está totalmente fuera de fecha.
Lo que pasa es que separarse siempre duele.
El dolor se hace más cuando uno se imagina al otro con otro. Al otro que sigue su vida sin uno. Al otro que ve gente, va al cine, al supermercado, que camina, que va al gimnnasio, que tiene un cumpleaños...y todo esto sin el otro que eras vos.
El dolor es inaguantable cuando pensamos que hubiera habido formas de hablarlo, de no dejarlo hundirse, de sacarlo del agua y que no se pegoteara. El dolor es peor cuando llegamos al espacio de los dos, el nuestro, y están las marcas.
El dolor es enorme.
La relación está precintada y sellada. Es hora de despacharla y verla irse por la cinta deslizadora.
11/16/10 cblog REPENT & LET JESUS TAKE AWAY YOUR STRESS borromeo 8a m:
"dear bros & sis in Christ..recently..survey said 75% of people in LA feel
very stressed..todays reading re man stressed..zaccheus repents..Jesus heals
him...says Z is a descndnt of abraham..today 2 saints..st. margaret of
scotland..many Virtues..st. gertrude..prayer & contemplation.."
Rv 3:1-6, 14-22 I, John, heard the Lord saying to me:“To the angel of the
Church in Sardis, write this:“‘The one who has the seven spirits of God and
the seven stars says this: “I know your works, that you have the reputation
of being alive, but you are dead. Be watchful and strengthen what is left,
which is going to die for I have not found your works complete in the sight
of my God. Remember then how you accepted and heard; keep it, and repent. If
you are not watchful, I will come like a thief, and you will never know at
what hour I will come upon you. However, you have a few people in Sardis who
have not soiled their garments; they will walk with me dressed in white,
because they are worthy.“‘The victor will thus be dressed in white, and I
will never erase his name from the book of life but will acknowledge his
name in the presence of my Father and of his angels.“‘Whoever has ears ought
to hear what the Spirit says to the churches “To the angel of the Church in
Laodicea, write this:“‘The Amen, the faithful and true witness the source of
God’s creation, says this:“I know your works; I know that you are neither
cold nor hot. I wish you were either cold or hot. So, because you are
lukewarm, neither hot nor cold, I will spit you out of my mouth For you say,
‘I am rich and affluent and have no need of anything,’ and yet do not
realize that you are wretched, pitiable, poor, blind, and naked. I advise
you to buy from me gold refined by fire so that you may be rich, and white
garments to put on so that your shameful nakedness may not be exposed and
buy ointment to smear on your eyes so that you may see Those whom I love, I
reprove and chastise. Be earnest, therefore, and repent.“‘Behold, I stand at
the door and knock. If anyone hears my voice and opens the door then I will
enter his house and dine with him, and he with me. I will give the victor
the right to sit with me on my throne, as I myself first won the victory and
sit with my Father on his throne.“‘Whoever has ears ought to hear what the
Spirit says to the churches.
’” Ps 15:2-3a, 3bc-4ab, 5 R. (Rev. 3: 21) I will seat the victor beside me
on my throne. He who walks blamelessly and does justice; who thinks the
truth in his heart and slanders not with his tongue R. I will seat the
victor beside me on my throne. Who harms not his fellow man, nor takes up a
reproach against his neighbor; By whom the reprobate is despised, while he
honors those who fear the LORD R. I will seat the victor beside me on my
throne. Who lends not his money at usury
Luke 19.1-10 "At that time Jesus came to Jericho and intended to pass
through the town Now a man there named Zacchaeus, who was a chief tax
collector and also a wealthy man, was seeking to see who Jesus was; but he
could not see him because of the crowd, for he was short in stature. So he
ran ahead and climbed a sycamore tree in order to see Jesus, who was about
to pass that way. When he reached the place, Jesus looked up and
said“Zacchaeus, come down quickly, for today I must stay at your house.” And
he came down quickly and received him with joy. When they saw this, they
began to grumble, saying,“He has gone to stay at the house of a sinner.” But
Zacchaeus stood there and said to the Lord,“Behold, half of my possessions,
Lord, I shall give to the poor and if I have extorted anything from anyone I
shall repay it four times over.” And Jesus said to him,“Today salvation has
come to this house because this man too is a descendant of Abraham. For the
Son of Man has come to seek and to save what was lost.”
De repente un día, se dio cuenta de que había cambiado su forma de ver las cosas. Ahora quedarse sola en casa, sin padres y con los amigos aún por llegar, ya no era una liberación. Era una cárcel. Se sentía tan sola, que necesitaba ponerse tres capas de ropa, a pesar de estar en mayo. Era tal frío -no físico sino del alma-, el que sentía, que se pasaba el día durmiendo. Y un día, mirándose en el espejo y pensando en lo que tenía que hacer durante la mañana, no quiso ducharse. Se dio cuenta de que odiaba meterse en la ducha no porque le diese igual su higiene o por pereza al desvestirse, sino porque era el único momento en que estaba sola en su vida diaria. Era cuando no podía refugiarse ni en los libros ni en las películas, estaba realmente sola. En aquel momento le tocaba enfrentarse contra su soledad, y entonces la soledad ganaba. Y ella comenzaba a tener frío, y se sentía pequeña, triste y sola. Se encogía y se abrazaba su cuerpecito desnudo, mientras menguaba, sentada en el frío y mojado metal de la bañera. Y dejaba que pasase el tiempo. Hasta que llegaba un momento en que se sentía un poco mejor, y decidía salir y continuar con su vida, guardando aquel momento como quien guarda un secreto, muy oculto, dentro del corazón.
Water & Light at Sassi Mazar Balochistan May30, 2015
SUN SHINES IN THE NIGHT
Sassi punnu mausoleum got Solar Energy
Every year thousands of peoples from various parts of Sindh, Baluchistan and Punjab gather at the shrine of Sassi and Punnu in Singher village to attend a 3 days carnival. Singher village is , 52 Kilometers away from Hub town. Singher means chain, as the village is surrounded by the chain of hills where it is believed that Sassi and Punnu were buried under a landslide.
Before the monsoon a carnival organizing committee receives donation from the Baloch tribal chiefs of Sindh and Balochistan to bear the expenditures of the event. Collected funds are mostly used for providing food, water and accommodation to all the devotees there. Sufi Faqirs (singers) from Sindh, Balochistan and Punjab travel to perform songs on the occasion to pay homage to Sassi Punnu, the popular tragic romance of Sindh and Balochistan. Besides folk songs, a traditional Sindhi game malakhro similar to Japanese wrestling sumo also attracts a large number of the people to come there.
Lands from mountains with old graves scattered in the area and rainy water ways are quite difficult to cross for the travellers. Despite this, devotees, males and females, travel long distance to visit the site the entire year. For the local people, camel is the only means of transport and people gather there during the occasion.
There is only one well, which is useful for the communities otherwise the entire area underground water level is unsafe for human consumption. In case the area receives monsoon rains the people use rainy water from ponds.
For the benefit of peoples living in surroundings as well as devotees who visit during carnival and over the year, Masood Lohar, country Manager UNDP, GEF small grant program decided to use solar energy for providing clean and safe water and lighting on the mausoleum.
On 30th May 2015, Shaan Technologies Private Limited installed a 3 HP Solar Powered pump on a 250 ft deep well that is located near the tomb. Operating on a 3 kilowatt solar panel bank this pump provide 30 Gallon water per minutes & eliminates requirement of diesel generator operated pump that organizing committee previously used to supply water during the festival.
Now solar pump serves as a continuous source of clean water without any additional cost. A water tank is provided to store pumped water. This tank helped as a 24 hours ready source of water for the local people.
In addition to that 2 solar powered floodlights were also installed in front yard of tomb. These 14 watt LED lights runs on a 35 watt solar panel that provide sufficient power to run LED lamps up to 12 hours. Dusk to Dawn photo sensors is also used in the system that automatically turns on the light just before the sunset and turns off at dawn. This project was financed by the UNDP GEF Small grant program. Lodhie foundation contributed 10% cost of the project under its poverty alleviation initiative.
Project Summary
Location: Sassi Punnu Moseleum, Singher Village, Near Hub Dam, Baluchistan
Coordinates: 25°18'41"N 66°53'21"E
Nearby cities: Karachi, Hub City, Sonmiani / Winder city
Initiated By: UNDP, GEF Small Grant Program in association of Lodhie Foundation
Implemented by: Shaan Technologies Private Limited Karachi
Implantation Date: 30Th May 2015
Equipment installed:
(1) One 3HP DC Submersible water pump with 3KW Solar panels and Pump Controller
(2) Two Solar Powered LED Floodlights
Beneficiaries: Up to 2500 people living in the Singher village and surroundings
Folktale of Sassi & Punnu
Sassi Punnu is a famous folktale of love told in the length and breadth of Sindh, Pakistan. The story is about a faithful wife who is ready to undergo all kinds of troubles that would come her way while seeking her beloved husband who was separated from her by the rivals
Sassi was the daughter of a Brahman Hindu Rajah from Rohri . Upon Sassui's birth, astrologers predicted that she was a curse for the royal family’s prestige. The Raja ordered that the child be put in a wooden box and thrown in the Sindhu, present day’s river Indus. However, she was saved by a washer-man belonging to Bhanbhor, near Gharo district, Thatta . The washer-man raised her as his own daughter.
When Sassui became a young girl, she was as beautiful as the fairies of heaven. Stories of her beauty reached Punhun a prince from Kech Makran Balochistan and he became desperate to meet Sassi. The handsome young Prince therefore travelled to Bhambore. He sent his clothes to Sassi's father (a washerman) so that he could catch a glimpse of Sassi. When he visited the washerman's house, they fell in love at first sight. Sassui's father was dispirited, hoping that Sassi would marry a washerman and no one else. He asked Punnhun to prove that he was worthy of Sassui by passing the test as a washerman. Punnhun agreed to prove his love. While washing, he tore all the clothes as, being a prince, he had never washed any clothes; he thus failed the agreement. But before he returned those clothes, he hid gold coins in the pockets of all the clothes, hoping this would keep the villagers quiet. The trick worked, and Sassui's father agreed to the marriage.
At last Punnu (Punhoon) married her. However, his father, Ari, the King of Ketch, did not like his son getting married to a low-caste girl, so he instructed his other sons to go to Bhanbhor and bring back Punnu at any cost. They visited Punnu as his guests and during the night they intoxicated him and his wife. Later, they put their brother on one of the camels and left. When Sassi woke up in the morning, she was shocked to find Punnu missing and all his brothers gone. She understood their trickery. She left Bhambhor immediately to Kech Makran on foot in search of him. The Kech Makran is located along the Makran Coastal Highway in Baluchistan, Pakistan.
After crossing Pab Mountain, she reached the Harho range. She could not proceed further when her path was blocked by the Phor River. So she started retracing her steps. Soon she was accosted by a beastly goatherd who intended to molest her. Sassi prayed to God for protection. Immediately the ground below her feet started caving in like quicksand and she disappeared within seconds. Seeing the miracle, the goatherd repented sincerely, and to make amends for his misconduct, he made a grave in the site and became its custodian.
Punnu found no peace of mind at Kech. He languished and soon became an invalid. Under the circumstances, his father allowed him to return to Bhambhor.
During his return journey, Punnu happened to pass by the site where Sassi had met her death. When the goatherd came to know his story, he told him as to what had happened to Sassi. Punnu was beside himself on hearing the horrible news.
He prayed to God to unite him with Sassi. Again the ground became quicksand and he soon disappeared into the bowels of the earth. So came to an end the tragic love story of Sassi and Punnu. The legendary grave still exists in this valley.
The famous Sufi saint and poet Shah Abdul Latif Bhittai sings this historic tale in his sufi poetry “Shah jo Risalo” as an example of eternal love and union with Divine.
Sassi’s resting place is said to be about 45 miles away in the Pub range to the west of Karachi. A local man of some importance constructed a simple mausoleum in 1980 over the joint grave of Sassi and Punnu. It is often visited by tourists.
Water & Light at Sassi Mazar Balochistan May30, 2015
SUN SHINES IN THE NIGHT
Sassi punnu mausoleum got Solar Energy
Every year thousands of peoples from various parts of Sindh, Baluchistan and Punjab gather at the shrine of Sassi and Punnu in Singher village to attend a 3 days carnival. Singher village is , 52 Kilometers away from Hub town. Singher means chain, as the village is surrounded by the chain of hills where it is believed that Sassi and Punnu were buried under a landslide.
Before the monsoon a carnival organizing committee receives donation from the Baloch tribal chiefs of Sindh and Balochistan to bear the expenditures of the event. Collected funds are mostly used for providing food, water and accommodation to all the devotees there. Sufi Faqirs (singers) from Sindh, Balochistan and Punjab travel to perform songs on the occasion to pay homage to Sassi Punnu, the popular tragic romance of Sindh and Balochistan. Besides folk songs, a traditional Sindhi game malakhro similar to Japanese wrestling sumo also attracts a large number of the people to come there.
Lands from mountains with old graves scattered in the area and rainy water ways are quite difficult to cross for the travellers. Despite this, devotees, males and females, travel long distance to visit the site the entire year. For the local people, camel is the only means of transport and people gather there during the occasion.
There is only one well, which is useful for the communities otherwise the entire area underground water level is unsafe for human consumption. In case the area receives monsoon rains the people use rainy water from ponds.
For the benefit of peoples living in surroundings as well as devotees who visit during carnival and over the year, Masood Lohar, country Manager UNDP, GEF small grant program decided to use solar energy for providing clean and safe water and lighting on the mausoleum.
On 30th May 2015, Shaan Technologies Private Limited installed a 3 HP Solar Powered pump on a 250 ft deep well that is located near the tomb. Operating on a 3 kilowatt solar panel bank this pump provide 30 Gallon water per minutes & eliminates requirement of diesel generator operated pump that organizing committee previously used to supply water during the festival.
Now solar pump serves as a continuous source of clean water without any additional cost. A water tank is provided to store pumped water. This tank helped as a 24 hours ready source of water for the local people.
In addition to that 2 solar powered floodlights were also installed in front yard of tomb. These 14 watt LED lights runs on a 35 watt solar panel that provide sufficient power to run LED lamps up to 12 hours. Dusk to Dawn photo sensors is also used in the system that automatically turns on the light just before the sunset and turns off at dawn. This project was financed by the UNDP GEF Small grant program. Lodhie foundation contributed 10% cost of the project under its poverty alleviation initiative.
Project Summary
Location: Sassi Punnu Moseleum, Singher Village, Near Hub Dam, Baluchistan
Coordinates: 25°18'41"N 66°53'21"E
Nearby cities: Karachi, Hub City, Sonmiani / Winder city
Initiated By: UNDP, GEF Small Grant Program in association of Lodhie Foundation
Implemented by: Shaan Technologies Private Limited Karachi
Implantation Date: 30Th May 2015
Equipment installed:
(1) One 3HP DC Submersible water pump with 3KW Solar panels and Pump Controller
(2) Two Solar Powered LED Floodlights
Beneficiaries: Up to 2500 people living in the Singher village and surroundings
Folktale of Sassi & Punnu
Sassi Punnu is a famous folktale of love told in the length and breadth of Sindh, Pakistan. The story is about a faithful wife who is ready to undergo all kinds of troubles that would come her way while seeking her beloved husband who was separated from her by the rivals
Sassi was the daughter of a Brahman Hindu Rajah from Rohri . Upon Sassui's birth, astrologers predicted that she was a curse for the royal family’s prestige. The Raja ordered that the child be put in a wooden box and thrown in the Sindhu, present day’s river Indus. However, she was saved by a washer-man belonging to Bhanbhor, near Gharo district, Thatta . The washer-man raised her as his own daughter.
When Sassui became a young girl, she was as beautiful as the fairies of heaven. Stories of her beauty reached Punhun a prince from Kech Makran Balochistan and he became desperate to meet Sassi. The handsome young Prince therefore travelled to Bhambore. He sent his clothes to Sassi's father (a washerman) so that he could catch a glimpse of Sassi. When he visited the washerman's house, they fell in love at first sight. Sassui's father was dispirited, hoping that Sassi would marry a washerman and no one else. He asked Punnhun to prove that he was worthy of Sassui by passing the test as a washerman. Punnhun agreed to prove his love. While washing, he tore all the clothes as, being a prince, he had never washed any clothes; he thus failed the agreement. But before he returned those clothes, he hid gold coins in the pockets of all the clothes, hoping this would keep the villagers quiet. The trick worked, and Sassui's father agreed to the marriage.
At last Punnu (Punhoon) married her. However, his father, Ari, the King of Ketch, did not like his son getting married to a low-caste girl, so he instructed his other sons to go to Bhanbhor and bring back Punnu at any cost. They visited Punnu as his guests and during the night they intoxicated him and his wife. Later, they put their brother on one of the camels and left. When Sassi woke up in the morning, she was shocked to find Punnu missing and all his brothers gone. She understood their trickery. She left Bhambhor immediately to Kech Makran on foot in search of him. The Kech Makran is located along the Makran Coastal Highway in Baluchistan, Pakistan.
After crossing Pab Mountain, she reached the Harho range. She could not proceed further when her path was blocked by the Phor River. So she started retracing her steps. Soon she was accosted by a beastly goatherd who intended to molest her. Sassi prayed to God for protection. Immediately the ground below her feet started caving in like quicksand and she disappeared within seconds. Seeing the miracle, the goatherd repented sincerely, and to make amends for his misconduct, he made a grave in the site and became its custodian.
Punnu found no peace of mind at Kech. He languished and soon became an invalid. Under the circumstances, his father allowed him to return to Bhambhor.
During his return journey, Punnu happened to pass by the site where Sassi had met her death. When the goatherd came to know his story, he told him as to what had happened to Sassi. Punnu was beside himself on hearing the horrible news.
He prayed to God to unite him with Sassi. Again the ground became quicksand and he soon disappeared into the bowels of the earth. So came to an end the tragic love story of Sassi and Punnu. The legendary grave still exists in this valley.
The famous Sufi saint and poet Shah Abdul Latif Bhittai sings this historic tale in his sufi poetry “Shah jo Risalo” as an example of eternal love and union with Divine.
Sassi’s resting place is said to be about 45 miles away in the Pub range to the west of Karachi. A local man of some importance constructed a simple mausoleum in 1980 over the joint grave of Sassi and Punnu. It is often visited by tourists.
Water & Light at Sassi Mazar Balochistan May30, 2015
SUN SHINES IN THE NIGHT
Sassi punnu mausoleum got Solar Energy
Every year thousands of peoples from various parts of Sindh, Baluchistan and Punjab gather at the shrine of Sassi and Punnu in Singher village to attend a 3 days carnival. Singher village is , 52 Kilometers away from Hub town. Singher means chain, as the village is surrounded by the chain of hills where it is believed that Sassi and Punnu were buried under a landslide.
Before the monsoon a carnival organizing committee receives donation from the Baloch tribal chiefs of Sindh and Balochistan to bear the expenditures of the event. Collected funds are mostly used for providing food, water and accommodation to all the devotees there. Sufi Faqirs (singers) from Sindh, Balochistan and Punjab travel to perform songs on the occasion to pay homage to Sassi Punnu, the popular tragic romance of Sindh and Balochistan. Besides folk songs, a traditional Sindhi game malakhro similar to Japanese wrestling sumo also attracts a large number of the people to come there.
Lands from mountains with old graves scattered in the area and rainy water ways are quite difficult to cross for the travellers. Despite this, devotees, males and females, travel long distance to visit the site the entire year. For the local people, camel is the only means of transport and people gather there during the occasion.
There is only one well, which is useful for the communities otherwise the entire area underground water level is unsafe for human consumption. In case the area receives monsoon rains the people use rainy water from ponds.
For the benefit of peoples living in surroundings as well as devotees who visit during carnival and over the year, Masood Lohar, country Manager UNDP, GEF small grant program decided to use solar energy for providing clean and safe water and lighting on the mausoleum.
On 30th May 2015, Shaan Technologies Private Limited installed a 3 HP Solar Powered pump on a 250 ft deep well that is located near the tomb. Operating on a 3 kilowatt solar panel bank this pump provide 30 Gallon water per minutes & eliminates requirement of diesel generator operated pump that organizing committee previously used to supply water during the festival.
Now solar pump serves as a continuous source of clean water without any additional cost. A water tank is provided to store pumped water. This tank helped as a 24 hours ready source of water for the local people.
In addition to that 2 solar powered floodlights were also installed in front yard of tomb. These 14 watt LED lights runs on a 35 watt solar panel that provide sufficient power to run LED lamps up to 12 hours. Dusk to Dawn photo sensors is also used in the system that automatically turns on the light just before the sunset and turns off at dawn. This project was financed by the UNDP GEF Small grant program. Lodhie foundation contributed 10% cost of the project under its poverty alleviation initiative.
Project Summary
Location: Sassi Punnu Moseleum, Singher Village, Near Hub Dam, Baluchistan
Coordinates: 25°18'41"N 66°53'21"E
Nearby cities: Karachi, Hub City, Sonmiani / Winder city
Initiated By: UNDP, GEF Small Grant Program in association of Lodhie Foundation
Implemented by: Shaan Technologies Private Limited Karachi
Implantation Date: 30Th May 2015
Equipment installed:
(1) One 3HP DC Submersible water pump with 3KW Solar panels and Pump Controller
(2) Two Solar Powered LED Floodlights
Beneficiaries: Up to 2500 people living in the Singher village and surroundings
Folktale of Sassi & Punnu
Sassi Punnu is a famous folktale of love told in the length and breadth of Sindh, Pakistan. The story is about a faithful wife who is ready to undergo all kinds of troubles that would come her way while seeking her beloved husband who was separated from her by the rivals
Sassi was the daughter of a Brahman Hindu Rajah from Rohri . Upon Sassui's birth, astrologers predicted that she was a curse for the royal family’s prestige. The Raja ordered that the child be put in a wooden box and thrown in the Sindhu, present day’s river Indus. However, she was saved by a washer-man belonging to Bhanbhor, near Gharo district, Thatta . The washer-man raised her as his own daughter.
When Sassui became a young girl, she was as beautiful as the fairies of heaven. Stories of her beauty reached Punhun a prince from Kech Makran Balochistan and he became desperate to meet Sassi. The handsome young Prince therefore travelled to Bhambore. He sent his clothes to Sassi's father (a washerman) so that he could catch a glimpse of Sassi. When he visited the washerman's house, they fell in love at first sight. Sassui's father was dispirited, hoping that Sassi would marry a washerman and no one else. He asked Punnhun to prove that he was worthy of Sassui by passing the test as a washerman. Punnhun agreed to prove his love. While washing, he tore all the clothes as, being a prince, he had never washed any clothes; he thus failed the agreement. But before he returned those clothes, he hid gold coins in the pockets of all the clothes, hoping this would keep the villagers quiet. The trick worked, and Sassui's father agreed to the marriage.
At last Punnu (Punhoon) married her. However, his father, Ari, the King of Ketch, did not like his son getting married to a low-caste girl, so he instructed his other sons to go to Bhanbhor and bring back Punnu at any cost. They visited Punnu as his guests and during the night they intoxicated him and his wife. Later, they put their brother on one of the camels and left. When Sassi woke up in the morning, she was shocked to find Punnu missing and all his brothers gone. She understood their trickery. She left Bhambhor immediately to Kech Makran on foot in search of him. The Kech Makran is located along the Makran Coastal Highway in Baluchistan, Pakistan.
After crossing Pab Mountain, she reached the Harho range. She could not proceed further when her path was blocked by the Phor River. So she started retracing her steps. Soon she was accosted by a beastly goatherd who intended to molest her. Sassi prayed to God for protection. Immediately the ground below her feet started caving in like quicksand and she disappeared within seconds. Seeing the miracle, the goatherd repented sincerely, and to make amends for his misconduct, he made a grave in the site and became its custodian.
Punnu found no peace of mind at Kech. He languished and soon became an invalid. Under the circumstances, his father allowed him to return to Bhambhor.
During his return journey, Punnu happened to pass by the site where Sassi had met her death. When the goatherd came to know his story, he told him as to what had happened to Sassi. Punnu was beside himself on hearing the horrible news.
He prayed to God to unite him with Sassi. Again the ground became quicksand and he soon disappeared into the bowels of the earth. So came to an end the tragic love story of Sassi and Punnu. The legendary grave still exists in this valley.
The famous Sufi saint and poet Shah Abdul Latif Bhittai sings this historic tale in his sufi poetry “Shah jo Risalo” as an example of eternal love and union with Divine.
Sassi’s resting place is said to be about 45 miles away in the Pub range to the west of Karachi. A local man of some importance constructed a simple mausoleum in 1980 over the joint grave of Sassi and Punnu. It is often visited by tourists.
Water & Light at Sassi Mazar Balochistan May30, 2015
SUN SHINES IN THE NIGHT
Sassi punnu mausoleum got Solar Energy
Every year thousands of peoples from various parts of Sindh, Baluchistan and Punjab gather at the shrine of Sassi and Punnu in Singher village to attend a 3 days carnival. Singher village is , 52 Kilometers away from Hub town. Singher means chain, as the village is surrounded by the chain of hills where it is believed that Sassi and Punnu were buried under a landslide.
Before the monsoon a carnival organizing committee receives donation from the Baloch tribal chiefs of Sindh and Balochistan to bear the expenditures of the event. Collected funds are mostly used for providing food, water and accommodation to all the devotees there. Sufi Faqirs (singers) from Sindh, Balochistan and Punjab travel to perform songs on the occasion to pay homage to Sassi Punnu, the popular tragic romance of Sindh and Balochistan. Besides folk songs, a traditional Sindhi game malakhro similar to Japanese wrestling sumo also attracts a large number of the people to come there.
Lands from mountains with old graves scattered in the area and rainy water ways are quite difficult to cross for the travellers. Despite this, devotees, males and females, travel long distance to visit the site the entire year. For the local people, camel is the only means of transport and people gather there during the occasion.
There is only one well, which is useful for the communities otherwise the entire area underground water level is unsafe for human consumption. In case the area receives monsoon rains the people use rainy water from ponds.
For the benefit of peoples living in surroundings as well as devotees who visit during carnival and over the year, Masood Lohar, country Manager UNDP, GEF small grant program decided to use solar energy for providing clean and safe water and lighting on the mausoleum.
On 30th May 2015, Shaan Technologies Private Limited installed a 3 HP Solar Powered pump on a 250 ft deep well that is located near the tomb. Operating on a 3 kilowatt solar panel bank this pump provide 30 Gallon water per minutes & eliminates requirement of diesel generator operated pump that organizing committee previously used to supply water during the festival.
Now solar pump serves as a continuous source of clean water without any additional cost. A water tank is provided to store pumped water. This tank helped as a 24 hours ready source of water for the local people.
In addition to that 2 solar powered floodlights were also installed in front yard of tomb. These 14 watt LED lights runs on a 35 watt solar panel that provide sufficient power to run LED lamps up to 12 hours. Dusk to Dawn photo sensors is also used in the system that automatically turns on the light just before the sunset and turns off at dawn. This project was financed by the UNDP GEF Small grant program. Lodhie foundation contributed 10% cost of the project under its poverty alleviation initiative.
Project Summary
Location: Sassi Punnu Moseleum, Singher Village, Near Hub Dam, Baluchistan
Coordinates: 25°18'41"N 66°53'21"E
Nearby cities: Karachi, Hub City, Sonmiani / Winder city
Initiated By: UNDP, GEF Small Grant Program in association of Lodhie Foundation
Implemented by: Shaan Technologies Private Limited Karachi
Implantation Date: 30Th May 2015
Equipment installed:
(1) One 3HP DC Submersible water pump with 3KW Solar panels and Pump Controller
(2) Two Solar Powered LED Floodlights
Beneficiaries: Up to 2500 people living in the Singher village and surroundings
Folktale of Sassi & Punnu
Sassi Punnu is a famous folktale of love told in the length and breadth of Sindh, Pakistan. The story is about a faithful wife who is ready to undergo all kinds of troubles that would come her way while seeking her beloved husband who was separated from her by the rivals
Sassi was the daughter of a Brahman Hindu Rajah from Rohri . Upon Sassui's birth, astrologers predicted that she was a curse for the royal family’s prestige. The Raja ordered that the child be put in a wooden box and thrown in the Sindhu, present day’s river Indus. However, she was saved by a washer-man belonging to Bhanbhor, near Gharo district, Thatta . The washer-man raised her as his own daughter.
When Sassui became a young girl, she was as beautiful as the fairies of heaven. Stories of her beauty reached Punhun a prince from Kech Makran Balochistan and he became desperate to meet Sassi. The handsome young Prince therefore travelled to Bhambore. He sent his clothes to Sassi's father (a washerman) so that he could catch a glimpse of Sassi. When he visited the washerman's house, they fell in love at first sight. Sassui's father was dispirited, hoping that Sassi would marry a washerman and no one else. He asked Punnhun to prove that he was worthy of Sassui by passing the test as a washerman. Punnhun agreed to prove his love. While washing, he tore all the clothes as, being a prince, he had never washed any clothes; he thus failed the agreement. But before he returned those clothes, he hid gold coins in the pockets of all the clothes, hoping this would keep the villagers quiet. The trick worked, and Sassui's father agreed to the marriage.
At last Punnu (Punhoon) married her. However, his father, Ari, the King of Ketch, did not like his son getting married to a low-caste girl, so he instructed his other sons to go to Bhanbhor and bring back Punnu at any cost. They visited Punnu as his guests and during the night they intoxicated him and his wife. Later, they put their brother on one of the camels and left. When Sassi woke up in the morning, she was shocked to find Punnu missing and all his brothers gone. She understood their trickery. She left Bhambhor immediately to Kech Makran on foot in search of him. The Kech Makran is located along the Makran Coastal Highway in Baluchistan, Pakistan.
After crossing Pab Mountain, she reached the Harho range. She could not proceed further when her path was blocked by the Phor River. So she started retracing her steps. Soon she was accosted by a beastly goatherd who intended to molest her. Sassi prayed to God for protection. Immediately the ground below her feet started caving in like quicksand and she disappeared within seconds. Seeing the miracle, the goatherd repented sincerely, and to make amends for his misconduct, he made a grave in the site and became its custodian.
Punnu found no peace of mind at Kech. He languished and soon became an invalid. Under the circumstances, his father allowed him to return to Bhambhor.
During his return journey, Punnu happened to pass by the site where Sassi had met her death. When the goatherd came to know his story, he told him as to what had happened to Sassi. Punnu was beside himself on hearing the horrible news.
He prayed to God to unite him with Sassi. Again the ground became quicksand and he soon disappeared into the bowels of the earth. So came to an end the tragic love story of Sassi and Punnu. The legendary grave still exists in this valley.
The famous Sufi saint and poet Shah Abdul Latif Bhittai sings this historic tale in his sufi poetry “Shah jo Risalo” as an example of eternal love and union with Divine.
Sassi’s resting place is said to be about 45 miles away in the Pub range to the west of Karachi. A local man of some importance constructed a simple mausoleum in 1980 over the joint grave of Sassi and Punnu. It is often visited by tourists.
E de repente alguém chega e diz:
_ Estou me sentindo nas nuvens!
Sensação danada de boa essa! Sentir-se leve, ter a alma livre, plena de felicidades simples e poderosas.
Sensação ligada ao amor. Aos carinhos. Às dádivas. Às entregas. Às trocas felizes. Às realizações afetivas.
Parece simples, e deve até ser. Coisa de escolha. Coisa de prioridades. Priorizar o que nos faz sentir sem peso a ponto de flutuar. Atitude. Atitudes amorosas. Amáveis. Acolhedoras. Deve ser simples, sim! Simples feito olhar os desenhos que elas formam no céu. Tem que olhar para o alto com os olhos de criança e acreditar que aquela nuvem é um coelho, e que aquele coelho tem uma cartola, e que dentro da cartola saiu um pombo correio com um bilhete de amor escritinho para mim:
Seja feliz a partir de você!
Simples, não?!…
imagem e texto blog papel e tudo.
Giovanni Francesco Barbieri, called Il Guercino (1591-1666), active in Bologna and Rome
John the Baptist, 1641
Unhinged from the context of the narrative of the Gospel, is the young John represented as a voice calling in the desert and asks the faithful: "Repent, for heaven is near." In this for Emperor Ferdinand III painted image, Guercino has come to a formally particularly clear solution, which - unlike the early ones - represents the figure clear-cut, transparent, monumental and symmetrical.
Giovanni Francesco Barbieri, genannt Il Guercino (1591-1666), tätig in Bologna und Rom
Johannes der Täufer, 1641
Herausgelöst aus dem Zusammenhang der Erzählung des Evangeliums ist der jugendliche Johannes als Rufer in der Wüste dargestellt und fordert die Gläubigen auf: "Tut Buße, denn das Himmelreich ist nahe." In diesem für Kaiser Ferdinand III. gemalten Bild ist Guercino zu einer formal besonders klaren Lösung gelangt, die - im Gegensatz zu den Frühwerken - die Figur fest umrissen, durchschaubar, monumental und symmetrisch platziert vor Augen stellt.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
The return of last year's REPENT poster. Which I don't remember from last year.
Bunny Day, Hunter S. Thompson, Amber Sweet.
cocksucker, fag bag, handwriting, octopus, pipe, prarie squid, purse, repent poster, writing.
movie: Repo! The Genetic Opera. music: Devo.
repent.
Brushwood Folklore Center, Sherman, New York.
July 2, 2010.
... Read my blog at ClintJCL.wordpress.com
For my reports on past X-Days, check out my blog at clintjcl.wordpress.com/?s=%22Journal%3A+subgenius%3A+x-da...
Pray for the USA that we might repent of our sins and turn back to God. The sin of abortion,the sin of adultery,the sin of divorce,the sin of homosexual marriage...
Capitulo 37'
3/?
{narra Liam}
Y de repente yo soy el cretino y un idiota ¿Cierto? ¿Y ella que? ¿Cree que puede hacer conmigo lo que le de su gana? Primero me besa y... Lo peor de todo el maldito caso es que no eran besos vacíos; si yo no hubiera sentido que ella ponía un poco de amor de su parte no la hubiera besado de nuevo ¿Y ahora me salía con que no quería que la volviera a besar? No se que mierda paso, en verdad no lo entiendo, todo fue muy rápido y al final no supe ni que fue todo lo que pasó; dije e hice cosas muy estupidas y después mejor salí de ahí antes de que metiera la pata aun mas profundamente.
Estaba mas furioso que nunca por cosas que no me habían pasado desde hace tiempo, por sentimientos que hasta hace poco estaban escondidos, por razones obvias, y necesitaba golpear algo con urgencia o gritar por lo menos.
No podía soportar tanto sin explotar de coraje y todo por culpa de esa... De esa chica bonita que de repente entro a mi vida y se volvió muy importante, quizás demasiado mas de lo que debía. Y ¡Demonios! Estaba tan tranquila, como si le importara un cuerno lo que paso ¿Es que no siente nada por mi? ¿Ni siquiera un poquito de... No se, amor? Y yo no puedo ser mas imbécil, en verdad, ella me estaba rechazando y justo en ese momento, después de muchos que pasamos perfectos para la situación y que por imbecil no dije nada, ahora en el peor momento se me ocurrió decirle lo que siento, pero solo se me ocurrió y gracias a dios no lo dije, seria demasiada la humillación y luego ¡Aggh! Demonios, ella esta sintiendo cosas por Kevin, ni siquiera podía ser otro idiota al que le pudiera romper la cara con mucho gusto.
¿Que jodidos tiene el que no tenga yo? ¡Yo eh pasado muchas cosas con ella! ¡Le ayude con la jodida lista mas extraña que la mierda! ¿A caso no la trato bien? ¿No le doy cariño? ¡Al idiota de Kevin apenas lo conoce, por dios! La eh besado varias veces ¿No pudo empezar a sentir algo por mi?
Patee una botella de vidrio que estaba tirada por la banqueta, voló por la calle y se estrello con un estrepitoso sonido en el suelo. Me senté en una banca de por ahí, me había alejado un poco del departamento, solo quería estar alejado de ella, de su cara que me desconcentraba
Y por mas que quise no pude enojarme con ____, en realidad me era imposible; pase mis manos por mi cabello mientras suspire, y de repente era dolor lo que sentía, de repente me sentí patéticamente perdido por no tenerla como quisiera, por que mis celos eran sin sentido y yo no tenia ningún derecho de ponerme así, como ella había dicho, no era mía. Y siendo honestos jamas lo seria ¿Para que engañarme a mi mismo? Esa mas que obvio que no pasaría nada mas entre nosotros.
Ella no tenia la culpa por no sentir nada por mi, tampoco la podía culpar por sus sentimientos. ____ me quiere y confía en mi como su mejor amigo, solo eso, y no la podía abandonar ni dejarla sola por una rabieta.
No podía estar mas jodida mi vida.
De tantas chicas que conozco, lindas, simpáticas y totalmente alcanzables ¿Por que diablos me tuve que enamorar de _____? No era como si no fuera linda, ella era preciosa, la mujer mas preciosa que yo hubiera visto; no era solo simpática, ella era la alegría, simpatía y ternura andando, nadie que la conocía lo podía negar, era imposible no contagiarte con su risa rara o que no te saliera una sonrisa al contemplar la suya, pero no era alcanzable, todo lo contrario, era la única mujer completamente inalcanzable, no sentía nada por mi y... Tampoco le quedaba mucho tiempo, como para poder cambiar sus sentimientos.
Hay veces que lo olvido, solamente bloqueo mis pensamientos para no tener que asimilar la cruel verdad, para no crear mas lío en mi mente y tratar de pasar el tiempo que me quedaba con ella como si nada pasara, como si nada fuera a pasar nunca, y como si nosotros fuésemos a estar juntos siempre.
Y me sentía un maricón cursi pensando en esas cosas.
Hoy el día empezó tan perfectamente estupendo, todo estaba saliendo a las mil maravillas. Cuando estábamos acostados en la cama fue genial, en verdad no hubiera podido estar con otra persona de esa manera, me hubiera aburrido y cansado de estar en hablando de cualquier cosa, pero fue especial, hubo momentos en que ni siquiera decíamos nada, pero ella me miraba a los ojos y yo sentía como si me estuviera diciendo mil cosas.
Después la pude besar de nuevo y me deje llevar, demasiado, si con solo recordar las caricias me pongo duro de nuevo, cuando por fin la tuve así fue tan irreal que hice todo mal, en lugar de hacerlo todo calmado, enseñarle que podía ser especial y lindo, me puse como toro excitado y me apresure mucho, la espante y la toque de mas, ella estaba asustada y era obvio que nunca había hecho algo así en su vida. A lo mejor hasta le deje un trauma.
Y cuando se fue, aunque ella dijo que no estaba enojada y que todo estaba bien, yo aun seguía pateando mi propio trasero mentalmente, y entonces llamo Trisha, yo aun estaba caliente y le dije que fuera a mi casa, bueno, en ese momento no pensé mucho en como ____ se iba a sentir si sabia que había ido.
El caso es que fue muy idiota dejar que Trisha fuera mientras ella vivía conmigo, pero no me arrepentía.
¿Por que iba a hacerlo? ____ no se notaba muy dolida cuando estaba besando a Mi mejor amigo.
¿Y Kevin que demonios pensaba? No era muy de "amigos" lo que había hecho, y lo sabia, se estaba muriendo cuando los descubrí, porque nunca antes habíamos tenido un problema por chicas, nunca antes nos gusto la misma y menos nos peleamos por alguna.
Pero tenia que llegar ____ a poner todo de cabeza, como si fuera la única mujer del mundo.
Aun así, sentía como si ambos nos hubiésemos engañado, yo con Trisha y ella con Kevin.
Al final pase casi una hora sentado como ****o en la banca pensando en cosas estúpidas que terminaron por hacerme sentir mal, muy mal, casi triste, hasta que decidí volver, no sabia que decir, no sabia como pedirle perdón a ___, aparte de llamarla zorra, tratarla mal, casi violarla, le dije que no me importaba, cuando en verdad en este momento es lo mas importante para mi.
Me levante y camine de nuevo con paso lento al departamento, pensando en como le iba a pedir disculpas por mis idioteces.
Saque la llave de mi pantalón al momento que salía del ascensor y tome aire, dándome ánimos para ir a disculparme, cosa que nunca me gusto hacer, porque no se me daba
Entre con cautela, esperando que ella estuviera… ni siquiera se como debería de estar, si como si nada hubiera pasado o... enojada; de todos modos le tenia que pedir perdón.
____ estaba tumbada en el sillón con su pijama puesta, su pijama de verdad, el pantalón y la camisa, ni siquiera se había puesto mis boxers como las noches anteriores, y no estaba acostada en la cama, las cuales eran malas señales.
Cerré la puerta y suspire, por lo menos tendría mas tiempo para planear bien lo que diría.
Camine a la cocina y mis entrañas se retorcieron de dolor cuando vi en la mesa un plato con comida; ella lo dijo antes de salir, estaba haciendo la cena y yo salí diciendo que no me importaba, pero si lo hacia y mucho; no era la cena, era el significado, era todo lo que implicaba.
Mi mama siempre cocinaba para mi, para ella y para mi papa, ponía tres platos en la mesa y lo esperábamos un rato, comíamos cuando estábamos seguros que no llegaría y su plato se quedaba ahí para cuando el llegaba de ver a alguna de sus amantes.
Cuando yo iba a dormir con alguno de mis amigos, o con mis tíos –lo cual era muy seguido- ella se quedaba ahí y seguía cocinando para el. Comía sola, pensando en todo lo que le lastimaba estar con un hombre así. Y yo lo sabia aunque ella me dijera lo contrario.
_____ comió sola, ella cocino para mi y yo solo me fui. Era un tanto tonto ponerse a pensar en eso, pero era algo que no podía simplemente ignorar.
Yo siempre quise ser un hombre atento y no se, bueno al menos, no como mi padre, no quería ser ni un poco parecido a el. Pero conforme voy creciendo, cada vez hago mas tonterias que me están llevando a la misma forma de vida que el.
Giovanni Francesco Barbieri, called Il Guercino (1591-1666), active in Bologna and Rome
John the Baptist, 1641
Unhinged from the context of the narrative of the Gospel, is the young John represented as a voice calling in the desert and asks the faithful: "Repent, for heaven is near." In this for Emperor Ferdinand III painted image, Guercino has come to a formally particularly clear solution, which - unlike the early ones - represents the figure clear-cut, transparent, monumental and symmetrical.
Giovanni Francesco Barbieri, genannt Il Guercino (1591-1666), tätig in Bologna und Rom
Johannes der Täufer, 1641
Herausgelöst aus dem Zusammenhang der Erzählung des Evangeliums ist der jugendliche Johannes als Rufer in der Wüste dargestellt und fordert die Gläubigen auf: "Tut Buße, denn das Himmelreich ist nahe." In diesem für Kaiser Ferdinand III. gemalten Bild ist Guercino zu einer formal besonders klaren Lösung gelangt, die - im Gegensatz zu den Frühwerken - die Figur fest umrissen, durchschaubar, monumental und symmetrisch platziert vor Augen stellt.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
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Definitely scarier than any zombie!!!
Water & Light at Sassi Mazar Balochistan May30, 2015
SUN SHINES IN THE NIGHT
Sassi punnu mausoleum got Solar Energy
Every year thousands of peoples from various parts of Sindh, Baluchistan and Punjab gather at the shrine of Sassi and Punnu in Singher village to attend a 3 days carnival. Singher village is , 52 Kilometers away from Hub town. Singher means chain, as the village is surrounded by the chain of hills where it is believed that Sassi and Punnu were buried under a landslide.
Before the monsoon a carnival organizing committee receives donation from the Baloch tribal chiefs of Sindh and Balochistan to bear the expenditures of the event. Collected funds are mostly used for providing food, water and accommodation to all the devotees there. Sufi Faqirs (singers) from Sindh, Balochistan and Punjab travel to perform songs on the occasion to pay homage to Sassi Punnu, the popular tragic romance of Sindh and Balochistan. Besides folk songs, a traditional Sindhi game malakhro similar to Japanese wrestling sumo also attracts a large number of the people to come there.
Lands from mountains with old graves scattered in the area and rainy water ways are quite difficult to cross for the travellers. Despite this, devotees, males and females, travel long distance to visit the site the entire year. For the local people, camel is the only means of transport and people gather there during the occasion.
There is only one well, which is useful for the communities otherwise the entire area underground water level is unsafe for human consumption. In case the area receives monsoon rains the people use rainy water from ponds.
For the benefit of peoples living in surroundings as well as devotees who visit during carnival and over the year, Masood Lohar, country Manager UNDP, GEF small grant program decided to use solar energy for providing clean and safe water and lighting on the mausoleum.
On 30th May 2015, Shaan Technologies Private Limited installed a 3 HP Solar Powered pump on a 250 ft deep well that is located near the tomb. Operating on a 3 kilowatt solar panel bank this pump provide 30 Gallon water per minutes & eliminates requirement of diesel generator operated pump that organizing committee previously used to supply water during the festival.
Now solar pump serves as a continuous source of clean water without any additional cost. A water tank is provided to store pumped water. This tank helped as a 24 hours ready source of water for the local people.
In addition to that 2 solar powered floodlights were also installed in front yard of tomb. These 14 watt LED lights runs on a 35 watt solar panel that provide sufficient power to run LED lamps up to 12 hours. Dusk to Dawn photo sensors is also used in the system that automatically turns on the light just before the sunset and turns off at dawn. This project was financed by the UNDP GEF Small grant program. Lodhie foundation contributed 10% cost of the project under its poverty alleviation initiative.
Project Summary
Location: Sassi Punnu Moseleum, Singher Village, Near Hub Dam, Baluchistan
Coordinates: 25°18'41"N 66°53'21"E
Nearby cities: Karachi, Hub City, Sonmiani / Winder city
Initiated By: UNDP, GEF Small Grant Program in association of Lodhie Foundation
Implemented by: Shaan Technologies Private Limited Karachi
Implantation Date: 30Th May 2015
Equipment installed:
(1) One 3HP DC Submersible water pump with 3KW Solar panels and Pump Controller
(2) Two Solar Powered LED Floodlights
Beneficiaries: Up to 2500 people living in the Singher village and surroundings
Folktale of Sassi & Punnu
Sassi Punnu is a famous folktale of love told in the length and breadth of Sindh, Pakistan. The story is about a faithful wife who is ready to undergo all kinds of troubles that would come her way while seeking her beloved husband who was separated from her by the rivals
Sassi was the daughter of a Brahman Hindu Rajah from Rohri . Upon Sassui's birth, astrologers predicted that she was a curse for the royal family’s prestige. The Raja ordered that the child be put in a wooden box and thrown in the Sindhu, present day’s river Indus. However, she was saved by a washer-man belonging to Bhanbhor, near Gharo district, Thatta . The washer-man raised her as his own daughter.
When Sassui became a young girl, she was as beautiful as the fairies of heaven. Stories of her beauty reached Punhun a prince from Kech Makran Balochistan and he became desperate to meet Sassi. The handsome young Prince therefore travelled to Bhambore. He sent his clothes to Sassi's father (a washerman) so that he could catch a glimpse of Sassi. When he visited the washerman's house, they fell in love at first sight. Sassui's father was dispirited, hoping that Sassi would marry a washerman and no one else. He asked Punnhun to prove that he was worthy of Sassui by passing the test as a washerman. Punnhun agreed to prove his love. While washing, he tore all the clothes as, being a prince, he had never washed any clothes; he thus failed the agreement. But before he returned those clothes, he hid gold coins in the pockets of all the clothes, hoping this would keep the villagers quiet. The trick worked, and Sassui's father agreed to the marriage.
At last Punnu (Punhoon) married her. However, his father, Ari, the King of Ketch, did not like his son getting married to a low-caste girl, so he instructed his other sons to go to Bhanbhor and bring back Punnu at any cost. They visited Punnu as his guests and during the night they intoxicated him and his wife. Later, they put their brother on one of the camels and left. When Sassi woke up in the morning, she was shocked to find Punnu missing and all his brothers gone. She understood their trickery. She left Bhambhor immediately to Kech Makran on foot in search of him. The Kech Makran is located along the Makran Coastal Highway in Baluchistan, Pakistan.
After crossing Pab Mountain, she reached the Harho range. She could not proceed further when her path was blocked by the Phor River. So she started retracing her steps. Soon she was accosted by a beastly goatherd who intended to molest her. Sassi prayed to God for protection. Immediately the ground below her feet started caving in like quicksand and she disappeared within seconds. Seeing the miracle, the goatherd repented sincerely, and to make amends for his misconduct, he made a grave in the site and became its custodian.
Punnu found no peace of mind at Kech. He languished and soon became an invalid. Under the circumstances, his father allowed him to return to Bhambhor.
During his return journey, Punnu happened to pass by the site where Sassi had met her death. When the goatherd came to know his story, he told him as to what had happened to Sassi. Punnu was beside himself on hearing the horrible news.
He prayed to God to unite him with Sassi. Again the ground became quicksand and he soon disappeared into the bowels of the earth. So came to an end the tragic love story of Sassi and Punnu. The legendary grave still exists in this valley.
The famous Sufi saint and poet Shah Abdul Latif Bhittai sings this historic tale in his sufi poetry “Shah jo Risalo” as an example of eternal love and union with Divine.
Sassi’s resting place is said to be about 45 miles away in the Pub range to the west of Karachi. A local man of some importance constructed a simple mausoleum in 1980 over the joint grave of Sassi and Punnu. It is often visited by tourists.
Para los romei o el sencillo visitador que anda a lo largo del Tiber, surcado lentamente por los barcos cargados de mercancías, encontrarse de repente con la poderosa silueta en forma de barco de la isla Tiberina es una experiencia fuera de costumbre sin duda; no es lo mismo para los romanos, quienes conoces este lugar desde hace tiempo y le aman y temen al mismo tiempo, porque está destinado a acoger y cuidar a los enfermos desde hace un tiempo inmemorable.
La Isla de Roma se ha llamado de muchas maneras desde la antigüedad. Originariamente se llamaba "Insula Tiberis", en la Edad Media tuvo la denominación de "Insula inter duos pontes", porque está conectada con las dos orillas del Tiber a través de los igualmente antiguos puentes Fabricio y Cestio.
En Roma todos están convencidos que la origen de la isla sea legendaria por lo menos como fue la fundación del Urbe; en efecto Tito Livio cuenta que en el verano en el que fue echado Tarquinio el Superbo el pueblo lanzó su cosecha en el Tiber, así que en el punto donde se había depositado el trigo se acumularon los detritos que el río arrastraba hasta formar la isla. Desde entonces es uno de los lugares más sugestivos y misteriosos de Roma, con todos los cultos paganos y luego cristianos que si siguieron y de los que quedan las huellas arqueológicas, como el templo de Júpiter Jurario sobre el que ha sido construida en el siglo IX la iglesia de tres naves de "San Juan Calibita", con el bonito campanario destinado a ser abatido. La historia del Santo eremita del siglo V al que está dedicada es muy conmovedora: el joven romano se retiró a vida solitaria y ascética y después de unos años volvió cerca de la casa del padre, encontrando refugio en un tugurio, palabra que se deriva del griego "Kalybe", haciéndose conocer por su madre solamente a la hora de morir.
Entre los cultos más encantadores que se recuerdan conectados con la isla, está aquello famoso de Esculapio, del que deriva el nombre de "Insula Aesculapii": en 293 a.C. Roma había sido investida por una terrible pestes, así que después de dos años de sufrimientos se consultaron lo Libros Sibilinos: para encontrar un remedio a la epidemia una delegación romana tenía que ir a Epidauro en Grecia donde el famoso santuario de Asclepio que tenía en el templo la serpiente viva que le había sido consagrada, símbolo de la facultad curandera conectada con su origen ctonia, pero también con las virtudes positivas de su veneno. Se cuenta que la serpiente fue transportada a Roma navegando el mar y luego el Tiber, hasta que, llegados cerca de la isla, la serpiente se escapó y se arenó, indicando así el lugar donde tenía que surgir el santuario para el culto de Esculapio; en aquel momento la pestes terminó e inmediatamente se decidió construir el templo para la nueva divinidad griega.
El santuario se convirtió en seguida también en una especie de hospital donde, después de la purificación del cuerpo, por la noche en el enfermo tenía lugar la "incubatio", o sea un sueño profético que a menudo conllevaba una curación milagrosa.
Con el cristianismo, Esculapio fue sustituido por los santos taumaturgos de la nueva religión y donde hacía tiempo surgían las columnas del templo, nació en el siglo XI la iglesia de "S. Bartolomé de la Isla"; los enfermos que se dirigen a la isla, se quedan rezando por la noche en la iglesia, como hacían en sus tiempos los adeptos de Esculapio en el templo, quizá esperando en un milagro de otra naturaleza, pero igualmente eficaz.
La iglesia de S. Bartolomé ha sido edificada por el emperador Onorio III, para recordar el mártir Adalberto y sigue visible la fachada decorada con mosaico y al interior la originaria bóveda de cruz, los capiteles con el águila imperial y el hermoso suelo cosmatesco que, compartiendo la misma suerte de los mosaicos medievales, no sobrevivirà a las inundaciones del Tiber; sucesivamente la iglesia ha sido dedicada al apóstol Bartolomé, aquí especialmente venerado por sus poderes de exorcista. Entonces desde la antigüedad en la isla se acogen los enfermos y esta tradición continua a través de los siglos: en la Edad Media con una asistencia sanitaria efectuada por las órdenes de los monjes que intentaban aliviar las penas de los enfermos proporcionando más hospitalidad y compasión que verdaderas intervenciones terapéuticas; ahora en 1500 con un verdadero lugar de curación, donde al lado de los monjes trabajan también médicos y laicos. Entre la ruina y las epidemias sembradas por el Sacco di Roma de 1527, cuyos efectos siguen siendo visibles, aparece un hombre nuevo que ha conocido las penas de la prisión y de la enfermedad; anda por las calles pidiendo limosna y exhortando a los hombres con la frase "hagan bien hermanos, por el amor de Dios" (Fate bene fratelli), todo lleno del deseo de llevar consuelo y alivio a las penas de los enfermos: se trata del español San Juan de Dios fundador de la congregación de los "Hermanos Hospitalarios", luego llamada "Fatebenefratelli" que se ocupará con amoroso cuidado de los pacientes ingresados en la Isla de Esculapio.
YouTube: Keith Olbermann on Proposition 8
“We shall have to repent in this generation, not so much for the evil deeds of the wicked people, but for the appalling silence of the good people.”
~ Martin Luther King, Jr.
MSNBC, Monday, November 10, 2008
Keith Olbermann's Proposition 8 Special Comment: It's "About The Human Heart"
Finally tonight as promised, a Special Comment on the passage, last week, of Proposition Eight in California, which rescinded the right of same-sex couples to marry, and tilted the balance on this issue, from coast to coast.
Some parameters, as preface. This isn't about yelling, and this isn't about politics, and this isn't really just about Prop-8. And I don't have a personal investment in this: I'm not gay, I had to strain to think of one member of even my very extended family who is, I have no personal stories of close friends or colleagues fighting the prejudice that still pervades their lives.
And yet to me this vote is horrible. Horrible. Because this isn't about yelling, and this isn't about politics.
This is about the... human heart, and if that sounds corny, so be it.
If you voted for this Proposition or support those who did or the sentiment they expressed, I have some questions, because, truly, I do not... understand. Why does this matter to you? What is it to you? In a time of impermanence and fly-by-night relationships, these people over here want the same chance at permanence and happiness that is your option. They don't want to deny you yours. They don't want to take anything away from you. They want what you want -- a chance to be a little less alone in the world.
Only now you are saying to them -- no. You can't have it on these terms. Maybe something similar. If they behave. If they don't cause too much trouble. You'll even give them all the same legal rights -- even as you're taking away the legal right, which they already had. A world around them, still anchored in love and marriage, and you are saying, no, you can't marry. What if somebody passed a law that said you couldn't marry?
I keep hearing this term "re-defining" marriage.
If this country hadn't re-defined marriage, black people still couldn't marry white people. Sixteen states had laws on the books which made that illegal... in 1967. 1967.
The parents of the President-Elect of the United States couldn't have married in nearly one third of the states of the country their son grew up to lead. But it's worse than that. If this country had not "re-defined" marriage, some black people still couldn't marry...black people. It is one of the most overlooked and cruelest parts of our sad story of slavery. Marriages were not legally recognized, if the people were slaves. Since slaves were property, they could not legally be husband and wife, or mother and child. Their marriage vows were different: not "Until Death, Do You Part," but "Until Death or Distance, Do You Part." Marriages among slaves were not legally recognized.
You know, just like marriages today in California are not legally recognized, if the people are... gay.
And uncountable in our history are the number of men and women, forced by society into marrying the opposite sex, in sham marriages, or marriages of convenience, or just marriages of not knowing -- centuries of men and women who have lived their lives in shame and unhappiness, and who have, through a lie to themselves or others, broken countless other lives, of spouses and children... All because we said a man couldn't marry another man, or a woman couldn't marry another woman. The sanctity of marriage. How many marriages like that have there been and how on earth do they increase the "sanctity" of marriage rather than render the term, meaningless?
What is this, to you? Nobody is asking you to embrace their expression of love. But don't you, as human beings, have to embrace... that love? The world is barren enough.
It is stacked against love, and against hope, and against those very few and precious emotions that enable us to go forward. Your marriage only stands a 50-50 chance of lasting, no matter how much you feel and how hard you work.
And here are people overjoyed at the prospect of just that chance, and that work, just for the hope of having that feeling. With so much hate in the world, with so much meaningless division, and people pitted against people for no good reason, this is what your religion tells you to do? With your experience of life and this world and all its sadnesses, this is what your conscience tells you to do?
With your knowledge that life, with endless vigor, seems to tilt the playing field on which we all live, in favor of unhappiness and hate... this is what your heart tells you to do? You want to sanctify marriage? You want to honor your God and the universal love you believe he represents? Then Spread happiness -- this tiny, symbolic, semantical grain of happiness -- share it with all those who seek it. Quote me anything from your religious leader or book of choice telling you to stand against this. And then tell me how you can believe both that statement and another statement, another one which reads only "do unto others as you would have them do unto you."
You are asked now, by your country, and perhaps by your creator, to stand on one side or another. You are asked now to stand, not on a question of politics, not on a question of religion, not on a question of gay or straight. You are asked now to stand, on a question of...love. All you need do is stand, and let the tiny ember of love meet its own fate. You don't have to help it, you don't have it applaud it, you don't have to fight for it. Just don't put it out. Just don't extinguish it. Because while it may at first look like that love is between two people you don't know and you don't understand and maybe you don't even want to know...It is, in fact, the ember of your love, for your fellow **person...
Just because this is the only world we have. And the other guy counts, too.
This is the second time in ten days I find myself concluding by turning to, of all things, the closing plea for mercy by Clarence Darrow in a murder trial.
But what he said, fits what is really at the heart of this:
"I was reading last night of the aspiration of the old Persian poet, Omar-Khayyam," he told the judge.
"It appealed to me as the highest that I can vision. I wish it was in my heart, and I wish it was in the hearts of all:
"So I be written in the Book of Love;
"I do not care about that Book above.
"Erase my name, or write it as you will,
"So I be written in the Book of Love."
Good night, and good luck.
Water & Light at Sassi Mazar Balochistan May30, 2015
SUN SHINES IN THE NIGHT
Sassi punnu mausoleum got Solar Energy
Every year thousands of peoples from various parts of Sindh, Baluchistan and Punjab gather at the shrine of Sassi and Punnu in Singher village to attend a 3 days carnival. Singher village is , 52 Kilometers away from Hub town. Singher means chain, as the village is surrounded by the chain of hills where it is believed that Sassi and Punnu were buried under a landslide.
Before the monsoon a carnival organizing committee receives donation from the Baloch tribal chiefs of Sindh and Balochistan to bear the expenditures of the event. Collected funds are mostly used for providing food, water and accommodation to all the devotees there. Sufi Faqirs (singers) from Sindh, Balochistan and Punjab travel to perform songs on the occasion to pay homage to Sassi Punnu, the popular tragic romance of Sindh and Balochistan. Besides folk songs, a traditional Sindhi game malakhro similar to Japanese wrestling sumo also attracts a large number of the people to come there.
Lands from mountains with old graves scattered in the area and rainy water ways are quite difficult to cross for the travellers. Despite this, devotees, males and females, travel long distance to visit the site the entire year. For the local people, camel is the only means of transport and people gather there during the occasion.
There is only one well, which is useful for the communities otherwise the entire area underground water level is unsafe for human consumption. In case the area receives monsoon rains the people use rainy water from ponds.
For the benefit of peoples living in surroundings as well as devotees who visit during carnival and over the year, Masood Lohar, country Manager UNDP, GEF small grant program decided to use solar energy for providing clean and safe water and lighting on the mausoleum.
On 30th May 2015, Shaan Technologies Private Limited installed a 3 HP Solar Powered pump on a 250 ft deep well that is located near the tomb. Operating on a 3 kilowatt solar panel bank this pump provide 30 Gallon water per minutes & eliminates requirement of diesel generator operated pump that organizing committee previously used to supply water during the festival.
Now solar pump serves as a continuous source of clean water without any additional cost. A water tank is provided to store pumped water. This tank helped as a 24 hours ready source of water for the local people.
In addition to that 2 solar powered floodlights were also installed in front yard of tomb. These 14 watt LED lights runs on a 35 watt solar panel that provide sufficient power to run LED lamps up to 12 hours. Dusk to Dawn photo sensors is also used in the system that automatically turns on the light just before the sunset and turns off at dawn. This project was financed by the UNDP GEF Small grant program. Lodhie foundation contributed 10% cost of the project under its poverty alleviation initiative.
Project Summary
Location: Sassi Punnu Moseleum, Singher Village, Near Hub Dam, Baluchistan
Coordinates: 25°18'41"N 66°53'21"E
Nearby cities: Karachi, Hub City, Sonmiani / Winder city
Initiated By: UNDP, GEF Small Grant Program in association of Lodhie Foundation
Implemented by: Shaan Technologies Private Limited Karachi
Implantation Date: 30Th May 2015
Equipment installed:
(1) One 3HP DC Submersible water pump with 3KW Solar panels and Pump Controller
(2) Two Solar Powered LED Floodlights
Beneficiaries: Up to 2500 people living in the Singher village and surroundings
Folktale of Sassi & Punnu
Sassi Punnu is a famous folktale of love told in the length and breadth of Sindh, Pakistan. The story is about a faithful wife who is ready to undergo all kinds of troubles that would come her way while seeking her beloved husband who was separated from her by the rivals
Sassi was the daughter of a Brahman Hindu Rajah from Rohri . Upon Sassui's birth, astrologers predicted that she was a curse for the royal family’s prestige. The Raja ordered that the child be put in a wooden box and thrown in the Sindhu, present day’s river Indus. However, she was saved by a washer-man belonging to Bhanbhor, near Gharo district, Thatta . The washer-man raised her as his own daughter.
When Sassui became a young girl, she was as beautiful as the fairies of heaven. Stories of her beauty reached Punhun a prince from Kech Makran Balochistan and he became desperate to meet Sassi. The handsome young Prince therefore travelled to Bhambore. He sent his clothes to Sassi's father (a washerman) so that he could catch a glimpse of Sassi. When he visited the washerman's house, they fell in love at first sight. Sassui's father was dispirited, hoping that Sassi would marry a washerman and no one else. He asked Punnhun to prove that he was worthy of Sassui by passing the test as a washerman. Punnhun agreed to prove his love. While washing, he tore all the clothes as, being a prince, he had never washed any clothes; he thus failed the agreement. But before he returned those clothes, he hid gold coins in the pockets of all the clothes, hoping this would keep the villagers quiet. The trick worked, and Sassui's father agreed to the marriage.
At last Punnu (Punhoon) married her. However, his father, Ari, the King of Ketch, did not like his son getting married to a low-caste girl, so he instructed his other sons to go to Bhanbhor and bring back Punnu at any cost. They visited Punnu as his guests and during the night they intoxicated him and his wife. Later, they put their brother on one of the camels and left. When Sassi woke up in the morning, she was shocked to find Punnu missing and all his brothers gone. She understood their trickery. She left Bhambhor immediately to Kech Makran on foot in search of him. The Kech Makran is located along the Makran Coastal Highway in Baluchistan, Pakistan.
After crossing Pab Mountain, she reached the Harho range. She could not proceed further when her path was blocked by the Phor River. So she started retracing her steps. Soon she was accosted by a beastly goatherd who intended to molest her. Sassi prayed to God for protection. Immediately the ground below her feet started caving in like quicksand and she disappeared within seconds. Seeing the miracle, the goatherd repented sincerely, and to make amends for his misconduct, he made a grave in the site and became its custodian.
Punnu found no peace of mind at Kech. He languished and soon became an invalid. Under the circumstances, his father allowed him to return to Bhambhor.
During his return journey, Punnu happened to pass by the site where Sassi had met her death. When the goatherd came to know his story, he told him as to what had happened to Sassi. Punnu was beside himself on hearing the horrible news.
He prayed to God to unite him with Sassi. Again the ground became quicksand and he soon disappeared into the bowels of the earth. So came to an end the tragic love story of Sassi and Punnu. The legendary grave still exists in this valley.
The famous Sufi saint and poet Shah Abdul Latif Bhittai sings this historic tale in his sufi poetry “Shah jo Risalo” as an example of eternal love and union with Divine.
Sassi’s resting place is said to be about 45 miles away in the Pub range to the west of Karachi. A local man of some importance constructed a simple mausoleum in 1980 over the joint grave of Sassi and Punnu. It is often visited by tourists.
Belgique, Belgie, Belgica, Belgium, Verviers-Paleis, Cristo Crucificado,1912-1927, El Cristo abandonado de Verviers-Palais, LE CRUCIFIX, RUE DE LA CITÉ,
This bastard people!
—decía entre dientes el coronel Hamilton, abriéndose paso entre la muchedumbre. — ¿Por qué dices eso, Jack? Llegados a la altura del Augusteo nos metíamos de repente, cada día, por la Via Santa Brígida, donde la multitud era menos espesa, y nos deteníamos un instante para tomar aliento. —
This bastard people
—repetía Jack, componiéndose el uniforme arrugado por los apretujones de la muchedumbre. —No digas eso, Jack,
don't say that.
—
Why not? This bastard, dirty people.
— ¡Oh, Jack! También yo soy un bastardo, también yo soy un puerco italiano. Pero me siento orgulloso de ser un cerdo italiano. No es culpa nuestra no haber nacido en América. Estoy seguro de que seríamos un
bastard dirty people
aunque hubiésemos nacido en América.
Don't you think so,
Jack? —
Don't worry,
Malaparte — me decía Jack —; no te lo tomes a mal.
Life is wonderful.
—Sí, la vida es una cosa magnífica, Jack, ya lo sé. Pero no digas eso,
don't say that.
—Perdóname —decía Jack, dándome golpecitos en la espalda—, no quería ofenderte. Es una manera de hablar. Me gusta el pueblo italiano.
I like this bastard, dirty wonderful people.
—Lo sé, Jack; sé que quieres a este pueblo infeliz, pobre y maravilloso. Ningún pueblo sobre la Tierra ha sufrido tanto como el pueblo napolitano. Sufre el hambre y la esclavitud desde hace veinte siglos, y no sequeja. No maldice a nadie, no odia a nadie; ni aun su miseria. Cristo era napolitano. —No digas tonterías —decía Jack. —No es una tontería. Cristo era napolitano. —¿Qué tienes hoy, Malaparte? —decía Jack, mirándome con sus bondadosos ojos. —Nada. ¿Qué quieres que tenga? —Estás de un humor negro —decía Jack. —¿Por qué quieres que esté de mal humor? —
know you,
Malaparte. Hoy estás de un humor negro. —Estoy disgustado por lo de Cassino, Jack. —¡Al diablo Montecassino;
The hell with Cassino!
—Estoy disgustado, verdaderamente disgustado por lo que le pasa a Montecassino. —
The hell with you
— decía Jack. —Es verdaderamente un pecado lo que estáis haciendo en Cassino. —
Shut up,
Malaparte. —Perdón, no quería ofenderte, Jack. Me gustan los americanos.
I like the pure, the clean, the wonderful American people.
—Lo sé, Malaparte. Sé que quieres a los americanos.
But, take it easy, Malaparte. Life is wonderful.
—¡Al diablo Montecassino, Jack! —
Oh, yes!
¡Al diablo Nápoles, Malaparte,
the hell with Naples!
Un extraño olor flotaba en el aire. No era el olor que, hacia el crepúsculo, baja por las callejuelas de Toledo, Piazza delle Carrette, de Santa Teresella degli Spagnoli, No era el olor de las freidurías, de las hospederías, de los urinarios, anidados en los fétidos y oscuros callejones del barrio, que desde la Via Toledo trepan hacia San Martino. No era ese hedor amarillo, opaco, viscoso, hecho de mil efluvios, de mil turbias exhalaciones, de
mille délicates puanteurs,
como decía Jack, que las flores marchitas, amontonadas a los pies de la Virgen en los tabernáculos de las esquinas de los callejones trascendían a ciertas horas del día por toda la ciudad. No era el olor del
sirocco,
que sabe a queso de oveja y pescado podrido. No era ni siquiera olor de carne cocida que, hacia el caer de la tarde, se difunde por Nápoles saliendo de los burdeles, ese olor en el cual Jean Paul Sartre, caminando un día por Via Toledo,
sombre comme una aisselle, pleine d'une ombre chandevaguement obscene,
husmeaba
la parenté inmonde de l'amour et de la nourriture.
No, no era ese olor de carne cocida, que se esparcía por Nápoles durante el crepúsculo, cuando la
chair des femmes à l’air bouillie sous lacrasse.
Era un olor de una pureza y de ingravidez extraordinarias; un olor ligero, leve, transparente, un olor de mar polvoriento, de noche salada, el olor de una antigua floresta de árboles de papel.Una turbamulta de mujeres despeinadas y rostros compuestos, seguidas de multitudes de soldados negros de manos pálidas, subían y bajaban por Via Toledo, hendiendo el gentío con agudos gritos de «¡Eh, Joe! ¡Eh,Joe!» A la entrada de los callejones había una larga hilera de mujeres, cada una de pie detrás del respaldo de una silla; eran las peinadoras públicas, las
capere.
Sobre las sillas, con la cabeza apoyada sobre el respaldo y los ojos cerrados, o reclinada sobre el pecho, estaban sentados atletas negros de cabeza pequeña y zapatos amarillos y relucientes como los pies de las estatuas doradas de los ángeles de la iglesia de Santa Chiara. Las
capere,
aullando, llamandose unas a otras con extraños gritos guturales, o cantando o peleando hasta enloquecerse con las comadres asomadas a las ventanas y balcones como al palco de un teatro, hundían sus peines en el lanudo cabello de los negros, tirando del pelo con ambas manos, escupiendo entre los dientes del peine para hacerlo más escurridizo, vertiéndose ríos de brillantina en la palma de la mano, restregando y alisando como masajistas las selváticas cabelleras de los pacientes.Bandadas de chiquillos andrajosos, arrodillados delante de sus cajas de madera incrustadas de trozos de madreperla y de conchas marinas, de fragmentos de espejo, golpeaban con el dorso de sus cepillos la superficie de la caja gritando: «¡Limpio, limpio!
shoe shine! shoe shine!
»
,
mientras con sus manos ávidas agarraban al vuelo por el borde de los pantalones a los soldados negros que pasaban contoneándose. Grupos de soldados marroquíes estaban agazapados a lo largo de los muros, envueltos en sus oscuras capas, el rostro picado por la viruela, los ojos amarillos reluciendo en el fondo de sus órbitas rodeadas de arrugas, aspirando con las narices encendidas el olor graso y vagabundo en el aire polvoriento.Mujeres lívidas, deshechas, con los labios pintados, los rostros desencajados y cubiertos de afeites,horribles y lamentables, estaban paradas en las esquinas de los callejones ofreciendo a los pasantes su miserable mercancía; chiquillas y muchachos de ocho, de diez años, que los soldados marroquíes, hindúes,argelinos, malgaches, palpaban levantándoles las faldas o metiendo las manos por entre los botones de los calzones. Las mujeres gritaban:
«Two dollars the boys, three dollars the girls!
» —¿Te gustaría, di la verdad, una chiquilla de tres dólares? — le pregunté a Jack.
—Shut up,
Malaparte. —No es cara una chiquilla por tres dólares; cuesta mucho más un kilo de carne de cordero. Estoy seguro deque en Londres o en Nueva York una chiquilla cuesta más que aquí, ¿no es verdad, Jack?
—Tu me dégoutes
— decía Jack. —Tres dólares son apenas trescientas liras. ¿Cuánto puede pesar una chiquilla de ocho o diez años?¿Veinte kilos? Piensa que un kilo de cordero, en el mercado negro, cuesta quinientas liras; es decir, cinco dólares y cincuenta centavos. —
Shut up
—gritaba Jack. Desde hacía algunos días los precios de las chiquillas y los muchachos estaban en baja y continuaban bajando. Mientras el precio del azúcar, del aceite, de la harina, de la carne y del pan subían y continuaban
aumentando, el precio de la carne humana bajaba de día en día. Una muchacha de veinte o veinticinco años que una semana antes costaba hasta diez dólares, ahora apenas valía cuatro, huesos comprendidos. La razón de tal baja de la carne humana en el mercado de Nápoles era quizá debida a que acudían a la ciudad las mujeres de toda la Italia meridional. Durante las últimas semanas, los mayoristas habían lanzado al mercado una fuerte partida de mujeres sicilianas. No todo era carne fresca, pero los especuladores sabían que los soldados negros tienen gustos refinados y prefieren la carne no demasiado fresca. Sin embargo, la carne siciliana no tenía mucha demanda y por fin los negros acabaron rechazándola; a los negros no les gustaban las mujeres blancas demasiado negras. De la Calabria, de las Apulias, de la Basilicata, del Molise llegan todos los días a Nápoles en carretas tiradas por pobres borriquillos, en autocares aliados, y la mayor parte a pie, chiquillas fuertes y robustas, casi todas ellas campesinas, atraídas por el espejuelo del oro. Y así el precio de la carne humana en el mercado napolitano iba descendiendo precipitadamente, y se temía que esto pudiese traer consecuencias graves para toda la economía de la ciudad. No se había visto jamás una cosa semejante en Nápoles. Era una vergüenza de la cual la mayor parte del buen pueblo napolitano se sonrojaba. Pero, ¿por qué las autoridades aliadas, que eran los dueños de Nápoles, no se sonrojaban? Como compensación, la carne de negro subía de precio y este hecho contribuía, por fortuna, a restablecer un cierto equilibrio en el mercado. —¿Cuánto cuesta hoy la carne de negro? — le preguntaba a Jack. —Shut up
—me contestaba. —¿Es verdad que la carne de un americano negro cuesta más que la de un americano blanco? —
Tu m'agaces
— me respondía Jack. No tenía ciertamente intención de ofenderlo, ni de burlarme de él, ni aún de faltar al respeto al ejército americano,
the most lovely, the most kind, the most respetable Army of the world.
¿Qué me importaba a mí que la carne de un americano negro costase, o no, más que la de un americano blanco? Yo quiero a los americanos cualquiera que sea el color de su piel y lo he demostrado cien veces durante la guerra. Blancos o negros, tienen el alma clara, mucho más clara que la nuestra. Quiero a los americanos porque son buenos cristianos,sinceramente cristianos. Porque creen que Cristo está siempre de parte de los que tienen razón. Porque creen que es una culpa no tener razón, que es inmoral no tenerla. Porque creen que sólo ellos son honrados y que todos los pueblos de Europa son, más o menos, deshonestos. Porque creen que un pueblo vencido es un pueblo culpable, que la derrota es una condena moral, un acto de justicia divina. Quiero a los americanos por estas razones y por muchas otras que no digo. Su sentido de humanidad, su generosidad, la honradez y pura simplicidad de sus ideas, durante aquel terrible otoño de 1943, tan lleno de humillaciones y de luchas para mi pueblo, me hicieron concebir la ilusión de que los hombres odian el mal, me hicieron creer en la esperanza de una Humanidad mejor y en la certeza de que tan sólo la bondad (la bondad y la inocencia de aquellos magníficos muchachos del otro lado del Atlántico, desembarcados en Europa para castigar a los malvados y premiar a los buenos) hubiera podido rescatar de sus pecados a los pueblos y a los individuos.
- fragmento -
- La Piel
- Curzio Malaparte -
- ITALIA
will i confess to you,
will i repent?
will i beg for forgiveness,
for what i've willingly done?
how can i unburden my soul?
i'll give my sins to someone else,
let them carry my weight.
let them taste my pain.
me being an idiot with ghostbones' "wall of confusion" and Trish's "Bottom of Palm Tree Texture".
Repent in Haste; US currency, canvas, maple;
An image of the infamous Pepper Spray Cop made from dollar bill collage.
For more images of money art visit my portfolio.
- money art from currency artist Chad Person
De repente mis pupilas fueron dilatas y mi corazón seguirá chillando como motor cuando escucho el delicado paso de tú caminar. Son tan avivantes como el color rojo pasión de mis labios que aclaman a gritos un pequeño roce con los tuyos.
Eagle on saw blade painted in acrylics. I love America, the USA, my country but I am grieved to see the laws in the land that no longer honor God. Pray for America!
2 Chronicles 7:14
"If my people, which are called by my name, shall humble themselves, and pray, and seek my face, and turn from their wicked ways; then will I hear from heaven, and will forgive their sin, and will heal their land. "
Water & Light at Sassi Mazar Balochistan May30, 2015
SUN SHINES IN THE NIGHT
Sassi punnu mausoleum got Solar Energy
Every year thousands of peoples from various parts of Sindh, Baluchistan and Punjab gather at the shrine of Sassi and Punnu in Singher village to attend a 3 days carnival. Singher village is , 52 Kilometers away from Hub town. Singher means chain, as the village is surrounded by the chain of hills where it is believed that Sassi and Punnu were buried under a landslide.
Before the monsoon a carnival organizing committee receives donation from the Baloch tribal chiefs of Sindh and Balochistan to bear the expenditures of the event. Collected funds are mostly used for providing food, water and accommodation to all the devotees there. Sufi Faqirs (singers) from Sindh, Balochistan and Punjab travel to perform songs on the occasion to pay homage to Sassi Punnu, the popular tragic romance of Sindh and Balochistan. Besides folk songs, a traditional Sindhi game malakhro similar to Japanese wrestling sumo also attracts a large number of the people to come there.
Lands from mountains with old graves scattered in the area and rainy water ways are quite difficult to cross for the travellers. Despite this, devotees, males and females, travel long distance to visit the site the entire year. For the local people, camel is the only means of transport and people gather there during the occasion.
There is only one well, which is useful for the communities otherwise the entire area underground water level is unsafe for human consumption. In case the area receives monsoon rains the people use rainy water from ponds.
For the benefit of peoples living in surroundings as well as devotees who visit during carnival and over the year, Masood Lohar, country Manager UNDP, GEF small grant program decided to use solar energy for providing clean and safe water and lighting on the mausoleum.
On 30th May 2015, Shaan Technologies Private Limited installed a 3 HP Solar Powered pump on a 250 ft deep well that is located near the tomb. Operating on a 3 kilowatt solar panel bank this pump provide 30 Gallon water per minutes & eliminates requirement of diesel generator operated pump that organizing committee previously used to supply water during the festival.
Now solar pump serves as a continuous source of clean water without any additional cost. A water tank is provided to store pumped water. This tank helped as a 24 hours ready source of water for the local people.
In addition to that 2 solar powered floodlights were also installed in front yard of tomb. These 14 watt LED lights runs on a 35 watt solar panel that provide sufficient power to run LED lamps up to 12 hours. Dusk to Dawn photo sensors is also used in the system that automatically turns on the light just before the sunset and turns off at dawn. This project was financed by the UNDP GEF Small grant program. Lodhie foundation contributed 10% cost of the project under its poverty alleviation initiative.
Project Summary
Location: Sassi Punnu Moseleum, Singher Village, Near Hub Dam, Baluchistan
Coordinates: 25°18'41"N 66°53'21"E
Nearby cities: Karachi, Hub City, Sonmiani / Winder city
Initiated By: UNDP, GEF Small Grant Program in association of Lodhie Foundation
Implemented by: Shaan Technologies Private Limited Karachi
Implantation Date: 30Th May 2015
Equipment installed:
(1) One 3HP DC Submersible water pump with 3KW Solar panels and Pump Controller
(2) Two Solar Powered LED Floodlights
Beneficiaries: Up to 2500 people living in the Singher village and surroundings
Folktale of Sassi & Punnu
Sassi Punnu is a famous folktale of love told in the length and breadth of Sindh, Pakistan. The story is about a faithful wife who is ready to undergo all kinds of troubles that would come her way while seeking her beloved husband who was separated from her by the rivals
Sassi was the daughter of a Brahman Hindu Rajah from Rohri . Upon Sassui's birth, astrologers predicted that she was a curse for the royal family’s prestige. The Raja ordered that the child be put in a wooden box and thrown in the Sindhu, present day’s river Indus. However, she was saved by a washer-man belonging to Bhanbhor, near Gharo district, Thatta . The washer-man raised her as his own daughter.
When Sassui became a young girl, she was as beautiful as the fairies of heaven. Stories of her beauty reached Punhun a prince from Kech Makran Balochistan and he became desperate to meet Sassi. The handsome young Prince therefore travelled to Bhambore. He sent his clothes to Sassi's father (a washerman) so that he could catch a glimpse of Sassi. When he visited the washerman's house, they fell in love at first sight. Sassui's father was dispirited, hoping that Sassi would marry a washerman and no one else. He asked Punnhun to prove that he was worthy of Sassui by passing the test as a washerman. Punnhun agreed to prove his love. While washing, he tore all the clothes as, being a prince, he had never washed any clothes; he thus failed the agreement. But before he returned those clothes, he hid gold coins in the pockets of all the clothes, hoping this would keep the villagers quiet. The trick worked, and Sassui's father agreed to the marriage.
At last Punnu (Punhoon) married her. However, his father, Ari, the King of Ketch, did not like his son getting married to a low-caste girl, so he instructed his other sons to go to Bhanbhor and bring back Punnu at any cost. They visited Punnu as his guests and during the night they intoxicated him and his wife. Later, they put their brother on one of the camels and left. When Sassi woke up in the morning, she was shocked to find Punnu missing and all his brothers gone. She understood their trickery. She left Bhambhor immediately to Kech Makran on foot in search of him. The Kech Makran is located along the Makran Coastal Highway in Baluchistan, Pakistan.
After crossing Pab Mountain, she reached the Harho range. She could not proceed further when her path was blocked by the Phor River. So she started retracing her steps. Soon she was accosted by a beastly goatherd who intended to molest her. Sassi prayed to God for protection. Immediately the ground below her feet started caving in like quicksand and she disappeared within seconds. Seeing the miracle, the goatherd repented sincerely, and to make amends for his misconduct, he made a grave in the site and became its custodian.
Punnu found no peace of mind at Kech. He languished and soon became an invalid. Under the circumstances, his father allowed him to return to Bhambhor.
During his return journey, Punnu happened to pass by the site where Sassi had met her death. When the goatherd came to know his story, he told him as to what had happened to Sassi. Punnu was beside himself on hearing the horrible news.
He prayed to God to unite him with Sassi. Again the ground became quicksand and he soon disappeared into the bowels of the earth. So came to an end the tragic love story of Sassi and Punnu. The legendary grave still exists in this valley.
The famous Sufi saint and poet Shah Abdul Latif Bhittai sings this historic tale in his sufi poetry “Shah jo Risalo” as an example of eternal love and union with Divine.
Sassi’s resting place is said to be about 45 miles away in the Pub range to the west of Karachi. A local man of some importance constructed a simple mausoleum in 1980 over the joint grave of Sassi and Punnu. It is often visited by tourists.
- y de repente me entran estas ganas, brillantes, claras y perceptibles - le decía, mientras observávamos la luz del sol esconderse entre las fachadas - estas ganas de hacer cosas preciosas con los demás, de enloquecer y vivir aventuras sencillas, como si cualquier vulgaridad de la vida fuera maravillosa... ¿sabes? -suspiro. me mira. una larga pausa - así es como debería estar ideado el ser humano... cómo ignoto, como si cada vez que notaramos el frío en la nariz, o cada vez que besáramos a alguien, cada vez que el chocolate se nos fundiera en la lengua pudiésemos ver el mundo lleno de colores, como un ligero síndrome de Stendhal viviendo en cada segundo de nuestra corta eternidad.
"I live cement
I hate this street
Give dirt to me
I bite lament
This human form
Where I was born
I now repent –
Caribou, caribou, caribou
Repent."
- The Pixies
'Caribou'
A veces de repente siento que ya nadie me entiende, que todo se vuelve en mi contra, todo me agobia, pago con la gente que mas quiero lo que noto sin motivo entonces ni siquiera siento lo que digo, camino triste y caviz bajo serio, no necesito nada, déjame estar solo enserio, cuando estoy a solas pienso en quitarme de en medio, me juro a mi mismo sonreír pero no hay remedio, a veces no consigo deshacerme de esta culpa, trato de seguir luchando pero a veces paso, es tan duro despertar y ver que nada cambia, que en todo lo que hagas tan solo es un fracaso, a veces miro todo en cuanto tengo y no me basta, me da miedo seguir avanzando,creciendo, & sufriendo cada día por el amor y la pasta, que se que nada es para siempre y que todo se gasta,intento mejorar como persona cada día, hablo conmigo siempre y digo "reacciona" me propongo demasiadas metas en mi vida pero, nada cambia todo sigue igual nada funciona, me pregunto absurdamente cosas que no entiendo, cual es mi lugar a donde voy que estoy haciendo siguen pasando los años y voy comprendiendo que lo único que se larga & no vuelve nunca es el tiempo.
La habia subido antes, pero la borre porque no tenia visitas ni comentarios :C
.
Hace unos días iba corriendo junto al río. Helaba. Brillaba un sol luminoso y el agua se encontraba cubierta por una gruesa capa de hielo y nieve. Sólo se veían a algunas personas patinando sobre hielo. Pasé junto al pequeño café. En el cruce junto al río unos barquitos cubiertos por lonas de colores descansaban sobre el agua helada. En la orilla, unos juncos cubiertos de estrellitas blancas lo separaban del camino. Formaban líneas geométricas y parecían salidos de un grabado japonés. Seguí mi camino.
De repente, sobre el hielo del río, vi sentada en una silla a una anciana, disfrutando de los rayos de sol. El cuerpo inclinado, los ojos cerrados. Demoré el paso para no interrumpir ese momento. Al principio me arrepentí de no llevar la cámara y no poder plasmar ese instante. Pero luego me di cuenta que eso era justamente lo que le confería otra dimensión a nuestro encuentro fortuito.
Al cabo de dos días pasé de nuevo en bicicleta por la misma ruta. La capa de hielo del río seguía brillando bajo el sol. Junto al pequeño embarcadero, sobre el agua congelada, ahora se distinguían tres sillas vacías. Una era la de la anciana. Bajé de la bicicleta, y ahora sí usé la cámara. Dos momentos diferentes, unos segundos. Dos días. Parecía que el tiempo se hubiera detenido y abierto la puerta hacia otra dimensión. Al fondo, las diminutas siluetas oscuras de unos patinadores se deslizaban por el río helado. Miré hacia la lejanía. Los edificios de la gran ciudad parecían cajitas de lego. Sus habitantes se encontraban en el trabajo, era un lunes cualquiera.
Me monté de nuevo en la bicicleta. Y sonreí.
.
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Hoy ha sido otro de los días que hacen viaje. Estoy en Will’s hut (la cabaña de Will), tremendamente a gusto, escribiendo estas líneas bajo la luz de una vela y el calor de una chimenea. Pero el día ha sido… intenso
(Pasaje de mi diario)
Un día escalando en Nueva Zelanda me llegó de repente: ¿había estado alguna vez 24 horas solo? ¿Y 24 horas solo en la naturaleza, alejado de la civilización? La idea me encantaba. Qué idea tan sencilla pero cuan poderosa. La respuesta era no, en 26 años nunca había pasado ni unas míseras 24 horas solo. Desde que me llegó la idea a la cabeza sabía que era algo que tenía que hacer, ya no había más remedio. Estando en Wanaka, le pregunté a mi amiga Kristen (a la que ya presenté en “24 horas en Nueva Zelanda”) por un sitio bonito y tranquilo donde pasar algún tiempo solo. Sin dudarlo cogió un mapa y me señaló con el dedo “Will’s hut, this is your place”.
El día estaba gris, lloviznaba. El camino era relativamente llano, pero difícil. Fueron 4 horas y media de tramping por el bosque más denso por el que yo haya caminado nunca. Aunque el lugar era precioso, el suelo estaba mojado y resbaladizo. A veces tenía que escalar o desescalar paredes pequeñitas, de un metro o un metro y medio; cara mirando a la pendiente, sujetándome a raíces mojadas y con pies inciertos. Al principio disfrutaba. Luego me empezó a doler la rodilla y la mochila empezaba a pesar. La mentalidad cambió y ya sólo pensaba en llegar al sitio prometido. Por fin, 4 horas más tarde, cansado y cojeando, intuyo el final del bosque y de repente se abre un valle precioso delante de mi.
Por fin veo la cabaña, pegada al lateral derecho del valle, donde empiezan los arboles y el frondoso bosque verde. Es sencillamente perfecta. Unos 4 metros de largo por tres de ancho, dos literas a la izquierda, en frente de la puerta una mesa alargada, una estantería pequeña a la altura de la cabeza, y al lado de la puerta una mesita cuadrada con dos banquetas. En frente de las camas, una chimenea antigua. No podía ser mejor. Me cambio de ropa inmediatamente y enciendo un fuego. ¡No existe mayor placer que un buen fuego! Le calienta a uno la casa y el alma. Y allí estoy, en una cabaña de ensueño, en medio de la naturaleza más profunda, con la mochila llena de comida, buena lectura y el sonido de nada. Inmejorable.
Y así paso tres días. El primero amanece lloviendo, no me importa. Tengo que descansar la rodilla. Otro buen fuego mañanero, un te caliente, un buen desayuno y me siento a devorar uno de las mejores novelas que he leído últimamente, Shinue el egipcio. Salgo a media tarde a coger un poco de agua al rio y ver el atardecer. Ahí me quedo 20 minutos, pasmado, observando, mimetizándome. Los colores son increíbles y la paz que se respira indescriptible. Solo se oye el sonido del rio, que recorre todo el valle, hay algunas nubes bajas que le dan un toque místico al ambiente, el sol se pone detrás de las montañas inundando el cielo de colores naranjas, rosas y azules. Todavía hay luz, pero la luna brilla como si fuese media noche.
El día siguiente el cielo amanece despejado, hay un sol radiante y aire es fresco. Me cojo mi caña de pescar, un poco de agua y me voy a investigar rio arriba. El enclave es precioso, estoy en un sitio mágico. El rio corre haciendo eses pequeñas a lo largo del valle, que tendrá unos 300 metros de ancho. Esta cubierto por una alfombra de plantas bajas, amarillentas y verdosas. Aunque de vez en cuando aparecen “ferns” verdes (planta característica de Nueva Zelanda) y arboles pequeños. Las laderas de las montañas que flanquean el valle son empinadas, de un verde oscuro muy intenso, vivo. Y a lo largo de estas laderas: cascadas. Muchas, finas como alfileres. Cuento unas 20, distribuidas a lo largo el valle. El sitio es precioso, como sacado de la paisajes Avatar.
El agua de las cascadas baja agitada, muy vertical, y es de un blanco brillante, puro. El rio es color azul hielo, limpio cristalino. Todos los colores son muy intensos, excepto el amarillo de las plantas que cubren todo el suelo, un poco más apagado. Los contrastes son increíblemente bonitos. Y entre este mar de colores limpios y vivos he caminado hasta que ha oscurecido.
(Pasaje de mi diario)
Llego de vuelta a la cabaña, te caliente, hoguera, escribo un poco, ceno, Shinue el egipcio, la madera cruje, escucho el rio… podría estar así semanas, pienso.
Al día siguiente pongo rumbo de vuelta al coche, cruzo el rio, miro la ladera verde del bosque por donde salí 2 días antes… y no sé que camino coger. Pruebo con uno que me suena familiar, ando hasta que desaparece entre la espesura del bosque. Doy media vuelta y cojo otro camino. Se acaba. Así continuamente. Me empiezo a poner nervioso. Barajo mis opciones. A las malas siempre tengo una cabaña con fuego y comida, pienso. Entonces tomo la decisión más estúpida del viaje. Saco el mapa que me había dejado Kristen; recuerdo que el camino que tengo que coger cruza perpendicularmente un riachuelo. Decido andar hasta llegar al riachuelo y recorrer todo su lateral, sin cruzarlo, hasta que así de con el camino. Qué error. Todo esta húmedo, embarrado, y cada paso es un reto en si. Conforme la densidad del bosque aumentaba y el camino se hacía más difícil, mi mente se paralizaba y se negaba a dar un paso más. Me obligo a seguir, ando y desando varias veces, resbalo, me caigo, barro, ando, desando. Metido en esa rutina por fin llego al riachuelo, ando por sus alrededores ladera arriba, no encuentro nada, no hay camino. Desesperado vuelvo al sitio de partida, convencido que hoy no encontraré el camino, hay algo que falla, y no se el qué.
Salgo al valle, cruzo el río sin quitarme los zapatos, ni los calcetines, ni nada. Total, más desarmado ya no puedo ir. Pongo rumbo a la cabaña. Zapatos y calcetines empapados, la ropa calada, las manos frías. Me sentía miserable. Una sensación de incomodidad me llenaba todo el cuerpo. Si hoy no había encontrado el camino, ¿quién me dice que lo encontraría mañana?
Llego a la cabaña, enciendo un fuego sin fuerzas ni ganas, pongo los zapatos a secar. Pasa un rato […] mmmhhhh… huele a quemado… ¡los zapatos están ardiendo! Los había puesto muy cerca del fuego y ahora lo que quedaba eran zapatos sin cordoneras y con media lengüeta (siendo generoso). Me meto en el saco, son las 21:00. Cuanto antes acabe el día mejor.
Me levanto al día siguiente un poco nervioso, como cuando vas a un examen y hay cosas que no te sabes. Le hago un apaño a los zapatos con una cuerdecilla que tenía y llego al sitio temido. Cruzo el rio, entro en el bosque y en seguida pienso, “si no encuentro el camino es que a lo mejor, sencillamente no está aquí”. Doy media vuelta, vuelvo a cruzar el rio, y ando un poco más hacia abajo. Donde parecía que ya no había valle y todo es rio y montaña, se abre otro claro a la derecha del rio, como de la nada, casi idéntico al claro anterior. No sabía si alegrarme o pegarme con una piedra en la cabeza. Veo el camino claramente. El bosque se vuelve familiar. Vuelvo a casa.
Ando tranquilo, relajado, disfrutando. Pienso en lo estúpido que he sido por no buscar la solución más sencilla en primer lugar. Pero también pienso en el paraíso en el que he estado inmerso. Estos días de solitud he estado increíblemente a gusto. Leyendo, escribiendo, paseando. Metido en el ritmo tranquilo pero vivo de la naturaleza. Después de 4 días solo me apetece volver al coche, mirar el whats app y tener contacto humano. No creo que haya cambiado nada en mi, ni haya vivido una experiencia religiosa. Me afirmo un poco más en mi teoría de que en el equilibrio está la clave. Y por supuesto me ayuda a darme un poco más de cuenta que vivimos, literalmente, en un paraíso, y que mi deber moral es protegerlo.
P.D. Si alguien va a viajar a Nueva Zelanda y le gustaría conocer este sitio, u otros, que no dude en contactarme!
- viajar.ml/a-solas-con-la-naturaleza-en-nueva-zelanda-la-c...
http://viajar.ml/a-solas-con-la-naturaleza-en-nueva-zelanda-la-cabana-de-will/
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