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I would check out this particular stall selling wooden Buddha representations at the markets in Beijing every time I visited. I was overwhelmed how an inanimate object could ooze such serenity and calm….
Taken September 26, 2010
Panjiayuan Markets, Beijing, China
If there is a trinket, however tacky, found anywhere in China, rest assured you will find it at beijing's Panjiayuan Markets. It used to be called the “dirt market” because originally peasants would cart in objects they supposedly unearthed themselves, squat in the market’s open field and hawk their wares.
Today, from Mao caps to Ming pottery, Yinxing teapots to military binoculars, Panjiayuan has everything, including Tibetan trunks, bronze door knobs, antique locks, wooden puppets, even actual kitchen sinks. Much of it of course is reproduction, mass produced, simply fake or of dubious origins and haggling on price is par for the course - a multitude of traps for the inexperienced. But it is an intrepid browser’s paradise. This marvelous mélange of miscellany is a major part of Panjiayuan’s particular charm.
For all of these reasons, it is also a photographer’s paradise. It must be said however, that with increasing tourist traffic, I regularly got the distinct impression that vendors would rather you buy their merchandise than photograph it, to the point that some obstructively maneuver themselves between your lens and object of fancy.
See comments for other captures from the colourful Beijing markets….
My Tumblr blog, SINOPHILE, features photo series and images from my China portfolio......
(The enforced hiatus from photo-taking due to the predictably unpredictable weather continues, so I intend to continue some reposts though this time of what I consider my favourite twenty images (in no particular order and in batches of five). I have now surpassed 10000 images in my photostream, so have plenty to choose from. Invariably, these will not be images that have been particularly well received on their initial appearance in my photostream, but have significance to me maybe because of the circumstances related to their capture, as images I have a sentimental, nostalgic and/or emotional connection to or perhaps just what I consider to be a good shot.)
BMW Art Car: 1989 BMW M3 Group A Race Version
What do BMW Art Cars 7 and 8 have in common? Both were created using the same model – a BMW M3 racing car – and both were adorned with the work of Australian artists. Anyone looking for visual similarities will do so in vain, as these contradictory models are representations of the two main antithetic cultures of the Australian continent.
As with the rest of his artwork, Done was not mean with his use of colors on this Art Car. The bright colors and powerful brush strokes are symbolic of modern Australia with its sunny beaches and semi-tropical landscapes. All these impressions of life and joy are embodied by BMW Art Car 8. The bodywork is emblazoned with an abstract portrayal of parrots and parrot fish. What do these animals symbolize? Explaining his creation, Done explained his work as follows:
“Both are beautiful and move a fantastic speeds. I wanted to express this with the BMW Art Car.”
Group A Race Version
Ken Done, born in Sydney in 1940, left school at the age of only 14 and commenced his art studies at the National Art School in Sydney. After working for 20 years as an advertising graphic designer in Sydney, New York and London, he quit this profession to devote more time to painting.
Since his first exhibition in 1980, he has rapidly gained a reputation as a leading Australian painter, to complement his established credentials as a top graphic designer. In 1988 he was commissioned to execute the exterior design of the Australian and United Nations pavilions at EXPO.
Highly talented, Done is often engaged on several projects simultaneously. The lively colors and brush strokes of his pictures reflect the typical face of Australia – landscapes, the animal kingdom, beaches and gardens. His works are on display at exhibitions and in museums and private galleries all over the world.
Technical Data: 1989 BMW M3 Group A Race Version
4-cylinder inline engine
4 valves per cylinder
Double overhead camshafts
Displacement: 2,332 cc
Power output: 300 bhp
Top speed: 281 km/h
Ken Done and his BMW Art Car
“I have painted parrots and parrot fish. Both are beautiful and able to move at fantastic speeds. I wanted my BMW Art Car to express the same qualities.”
After assessing the impressive series of works produced by his illustrious predecessors, Ken Done considered the task of painting a BMW racing car a huge challenge and a “great compliment.” He compared it to playing Jack Nicklaus at golf or having a car race against Nelson Piquet. During the creative process he was particularly conscious that the Art Car represented a linking together of artistic and technical modes of thought.
Done had definite ideas from the very first moment as to how to decorate the car. On the one hand it was to express something of the fascination which the swift, high-performance M3 held for him, and on the other it had to be typically Australian. The vitality and optimism of his home continent were to be as much in evidence as things which he particularly appreciates about Australia. He therefore decided to paint parrots and parrot fish, as he saw a strong affinity between them and the BMW M3. The result is as appealing as it is original: Done has indeed succeeded in representing speed and beauty in his own unmistakably Australian style.
Ken Done’s BMW Art Car originates from the Motorsport division of BMW Australia, formerly run by famous Australian racing driver Frank Gardner. The car took to the road in 1987 with the JPS-BMW Team, carrying Jim Richards to victory in the Australian Group A Driver’s Championship. The M3 only participated in one race in 1988, after which it was withdrawn from competition racing and earmarked for its ultimate destiny as a work of art.
[Text from BMWArtCar Collection]
www.bmwartcarcollection.com/2011/05/08-ken-done-bmw-art-car/
This Lego miniland-scale BMW M3 Racer - Art Car #8 (1989 - Ken Done), has been created for Flickr LUGNuts' 90th Build Challenge, - "Fools Rush In!", -
to the subtheme - "Art Car 2015!". The 90th build challenge presenting 13 different subthemes to choose to build to.
Representations of children at Zōjō-ji Buddhist Temple in Tokyo, Japan. In Japanese culture, it is a sin for the child to pass away before the parents. Therefore, the parents of these "cursed" children dress the statues with red hats and pinwheels to ward off evil spirits in hopes of giving the child a peaceful path to heaven.
The original inhabitants of this small cabin probably kept chickens and grew corn and cabbage.
Taken for Flickr's Our Daily Challenge: RUST
Hubert Robert, Paris 1733 - 1808
Die Ponte Salaria in Rom - The Ponte Salaria at Rome - Ponte Salaria a Roma (1775)
National Museum of Art, Washington DC
French landscape painter sometimes called "Robert des Ruines" because of his many romantic representations of Roman ruins set in idealized surroundings.
Robert went to Rome (1754), was elected to the French Academy there, and became a friend and associate of the renowned etcher of architectural subjects Giambattista Piranesi. In 1759 he joined Abbé de Sainte-Non and the French painter Jean-Honoré Fragonard in travels through southern Italy and Sicily. Each man influenced the other's style but not the other's choice of subjects. At the Villa d'Este, Tivoli, Robert produced a quantity of red chalk drawings of ancient buildings in ruined parks, animated with small figures.
Returning to Paris (1765), Robert became a member of the French Royal Academy in 1766. A gifted decorative artist, he based his paintings on his Italian drawings, and his popularity was enhanced by exhibitions at the Salons from 1767 on. In addition to Italian landscapes, he painted scenes of Ermenonville, Marly-le-Roi, and Versailles, near Paris, and of the south of France, with its ruined Roman monuments. He also directed the design of the English garden at Versailles.
Under Louis XVI he became Keeper of the King's Pictures and one of the first curators of the Louvre. Although imprisoned during the French Revolution, he continued to work. (He owed his life to an accident whereby another person with the same name was guillotined in his stead.) He collaborated with Fragonard on a commission for the Musée Français in the Louvre during the 1790s, but at the time of his death he was forgotten.
Petroglyphs created by Native Americans of the Fremont Culture. The meandering lines are probably representations of snakes. BLM Nine Mile Canyon. Duchesne Co., Utah.
Heidelberg UB Cod. Sal. X,16 - Liber scivias - Hildegard von Bingen fol-002v "Annus"
ultra high resolution photo (substituted in september 2018)
The personification of the year (“annus” = regens temporum) is seating like a king in the centre circle. Annus rex holds in his hands the moon (luna) and the sun (sol), and before him are kneeling the personifications of “light” (lux) and “darkness” (tenebre).
In the second circle are depicted four rhombi with the heads of the four directions of the compass: “oriens” (East), “auster” (South), “occidens” (West) and “aquilo” (North)
The third circle shows eight representations of different conditions of the weather or climate: beginning at 12 o’clock with “lightning” or “thunderbolt” (fulgura), followed clockwise by “thunderclap” (tonitrua) - “upgrowth” (auctus) – “cloudburst” or “shower” (imber) – “dew” (ros) – “daylight” (lux) – “freeze” or “frost” (gelu) and “hail” (grando).
The outer circle contains four allegorical representations beginning at 12 o’clock with the seminude female figure of “aurora” (dawning or sunrise) followed clockwise by the female and flowerbearing “serenitas” (serene sunshine) – the veiled female figure of “tempestas” (stormy weather) and finally the male figure with hat “pruina” (rime or hoarfrost). Between these allegorical figures are groups of three symbols each: the zodiac signs: beginning on the right to aurora with “sol in arietem” (Aries) and ending up with “sol in pisces” (Pisces) on the left to aurora.
Four winged and naked persons with their hair standing on end occupy the four corners, the four major winds. In their hands they bear the heads of the minor winds. They are called (top left) “subsolanus” (Eastwind) – (top right) “austrifer” (Southwind) – (bottom right) “favonius” (Westwind) and finally (bottom left) “septentrio” (Northwind).
This folio from the “Liber scivias” of Hildegard von Bingen is dated 1190 to 1220 and is based on a similar scheme from the “Zwiefaltener Handschrift”, dated about 1145:
www.flickr.com/photos/28433765@N07/3095760324/in/set-7215...
Reference: Johannes Zahlten (Braunschweig): Das Ende und der Anfang – Zum Zusammenhang von Weltalter-modellen, menschlichem Lebensalter und Sechstagewerk in der mittelalterlichen Kunst; S. 348-372 in
„Ende und Vollendung“ edited by Jan A. Aertsen, Martin Pickavé; Walter de Gruyter Verlag, 2002; ISBN-13: 978-3110172140
Ende und Vollendung
Eschatologische Perspektiven im Mittelalter (mit einem Beitrag zur Geschichte des Thomas-Instituts der Universität zu Köln anläßlich des 50. Jahrestages der Institutsgründung)
Hrsg. v. Aertsen, Jan A. / Pickavé, Martin
Reihe: Miscellanea Mediaevalia 29
page 359
Source:
flowers in a raised bed. the topcon 58mm f1.4's strengths on full display.
cameras, lenses, they are just tools. expensive, lovely tools. but this lens feels so special to me. i think it's the only lens i have an emotional attachment to. i love the way i see the world through it, and i love the way it renders things wide open. it is far from perfect; this lens is from the 1960s after all. at 1.4 it can be almost impossible to get anything in sharp focus. but that's alright, because for me, perfect focus is not the end-all-be-all. perfect focus is not the point.
beauty is the point of what i do--capturing it, documenting it, extracting it from files in post. perhaps you can relate. even the ugliness and grime of the of the city can be (and often is) represented beautifully, which is what i hope i'm accomplishing with my street photography. i think finding beauty despite the subject or setting is a challenge that i find extremely invigorating. it can often feel impossible. but i also take photos of flowers, which offer their gifts to us without the challenge of creative interpretation. they are living representations of the beauty of life on earth. photographing them makes me feel self-conscious.
it's easy to take a good picture of a beautiful thing, and i often think that very little is added to the collective human creative database with a flower picture. it feels a bit like having a slice of cake instead of a salad. but flowers still please me (as does cake), and i love creating interesting photos of them. when they are rendered like a painting through a lens this special, i think it does add something special to our shared experience. and that's the best argument i can make for acquiring and using something like a vintage lens. the qualities it can impart on your images add a layer of meaning, of imperfection, of delight, of weight, of fun. i think those qualities are worth celebrating.
Islamic art does not use representations of living beings, but heavily uses geometric patterns, especially symmetric (repeating) patterns.
Humayun's tomb (Hindi: हुमायूँ का मक़बरा, Urdu: ہمایون کا مقبره Humayun ka Maqbara) is a complex of buildings built as the Mughal Emperor Humayun's tomb, commissioned by Humayun's wife Hamida Banu Begum in 1562 CE, and designed by Mirak Mirza Ghiyath, a Persian architect. It was the first garden-tomb on the Indian subcontinent, and is located in Nizamuddin East, Delhi, India, close to the Dina-panah citadel also known as Purana Qila, that Humayun founded in 1533. It was also the first structure to use red sandstone at such a scale.
This is an anonymously published postcard of “British Manufacture Throughout” showing Piccadilly Circus looking north towards Shaftesbury Avenue. It is the summer of 1906 (but see below) and Miss Pansy Montague aka “La Milo” is appearing on a music hall bill at the London Pavilion. Miss Montague was an Australian artiste who posed barely clothed as pieces of classical statuary such as the Venus de Milo, Diana, Psyche, Dorothea, Venus de Medici and many more. She appeared with a man called Cruickshank who performed lightning sketches during the statuary changes, I think he may have drawn sketches, much in the same way as Rolf Harris used to do on TV, it must be an Australian thing. The London Pavilion advertised La Milo in this manner, “La Milo’s interpretations of classical statuary have been conceived in a reverent and soulful spirit. Her posing’s are intended to honour not to insult the genius of the past. Were the sculptors of old permitted to re-visit the earth, these modern representations of their immortal masterpieces would gratify and not pain them. La Milo has too deep and sincere an appreciation for the work of the Ancient Masters to lend herself to Burlesque. She is no caricaturist – this feature is wisely left in the capable hands of Cruickshank. La Milo the woman of the present with the figure of the past”.
Her performances were very popular to say the least and for one of her fans, his infatuation would prove fatal. At one of her performances in July a journalist named Richard Norman Lucas, a married man from Byfleet became enamoured of the lady and began to write to her. He was a Greek scholar and suggested changes to her poses to make them more historically accurate. They began a correspondence which would last until an eight-page letter overstepped the mark of their acquaintanceship, it appears that during this time Lucas would stalk Miss Montague wearing a disguise which included a red beard. On Monday 8th April 1907 he went to the Holborn Empire where she was appearing wearing the red beard disguise but was told that she was not there, later that evening he was seen staggering up the steps of Kingsway tube station where he collapsed, still wearing the red beard. He had apparently swallowed Prussic Acid.
Leonardo Da Vinci painted this woman at two ages is that he himself had a screenplay. The canvas is not only an aesthetic work but also an allegory of the myth of Isis.The whole composition of the painting, its decorations and tasks combine in an orderly and chronological way all the elements of the myth of Isis. Thierry Gallier zooms in on certain parts of the painting and shows us scenes, objects and characters. Thus the famous phallus of Osiris is found in the meanders of a path in the background of the painting. It's all there! We let ourselves be guided by the author, especially since in the preamble of the book, he had given us a quotation from Leonardo da Vinci which invited the observer to find realities in graphical representations that could have appeared at first glance as abstract or random. The Italian genius would have been a follower of the language of birds applied to painting. Mona Lisa is... Isis. The world's most famous painting chronologically tells the story of Isis and Osiris.
The woman depicted in the Mona Lisa might be both a Chinese slave, and Leonardo da Vinci's mother, according to a new theory from Angelo Paratico, a Hong Kong-based historian and novelist.
The identity of the sitter for the portrait hanging in Paris' Louvre museum has long been a matter of debate. If Paratico's theory is correct, it means the 15th-century polymath was half-Chinese.
However, the historian's claims are tenuous.
Paratico told the South China Morning Post: "I am sure up to a point that Leonardo's mother was from the Orient, but to make her an oriental Chinese, we need to use a deductive method.
"One wealthy client of Leonardo's father had a slave called Caterina. After 1452, Leonardo's date of birth, she disappeared from the documents. She was no longer working there. During the Renaissance, countries like Italy and Spain were full of oriental slaves."It is also necessary to rethink Western ethnocentrism in order to regain the invention of landscape painting in China and certainly to rediscover the contribution of Taoist alchemy in medieval alchemy with the important role of religious emissaries.
In support of his theory, Paratico, who is finishing a book entitled Leonardo da Vinci: a Chinese scholar lost in Renaissance Italy, also cited Austrian neurologist Sigmund Freud's 1910 assumption that the painting was inspired by the artist's mother, and claimed that certain aspects of Da Vinci's life and work suggest an oriental link.
Freud was the first to apply psychoanalysis to art, choosing for his subject the life and work of Leonardo da Vinci. Observing Leonardo's partly fused image of the Virgin and St. Anne, he inferred that the artist had depicted his two mothers, his biological mother and his stepmother. This very early analytic discourse on parent loss and adoption changed the course of the interpretation of art. Freud explored the psychology of art, the artist, and aesthetic appreciation. Confronting the age-old enigma of the Mona Lisa, he proposed a daring solution to the riddle of the sphinxlike smile of this icon of art. His paper prefigures concepts of narcissism, homosexuality, parenting, and sublimation. Lacking modern methodology and theory, Freud's pioneering insights overshadow his naive errors. In this fledgling inquiry, based on a childhood screen memory and limited knowledge of Leonardo's artistic and scientific contributions, Freud identified with this Renaissance genius in his own self-analytic and creative endeavor.
"For instance, the fact he was writing with his left hand from left to right... and he was also a vegetarian which was not common," he told the paper. "Mona Lisa is probably a portrait of his mother, as Sigmund Freud said in 1910. On the back of Mona Lisa, there is a Chinese landscape and even her face looks Chinese."
Users of China's Twitter-like Sina Weibo were quick to express their incredulity, posting dozens of parodies of the painting.
One user replaced her features with unlikely faces ranging from Chinese male comedian Zhao Benshan (pictured below) to British actor Rowan Atkinson, to a grimacing robot holding a Mona Lisa mask.
"I now understand why her smile looks so mysterious and concealed – it's typically Chinese," said another poster.
THE VULTURE phantasy of Leonardo still absorbs our interest. In words which only too plainly recall a sexual act (“and has many times struck against my lips with his tail”), Leonardo emphasizes the intensity of the erotic relations between the mother and the child. A second memory content of the phantasy can readily be conjectured from the association of the activity of the mother (of the vulture) with the accentuation of the mouth zone. We can translate it as follows: My mother has pressed on my mouth innumerable passionate kisses. The phantasy is composed of the memories of being nursed and of being kissed by the mother. 1
A kindly nature has bestowed upon the artist the capacity to express in artistic productions his most secret psychic feelings hidden even to himself, which powerfully affect outsiders who are strangers to the artist without their being able to state whence this emotivity comes. Should there be no evidence in Leonardo’s work of that which his memory retained as the strongest impression of his childhood? One would have to expect it. However, when one considers what profound transformations an impression of an artist has to experience before it can add its contribution to the work of art, one is obliged to moderate considerably his expectation of demonstrating something definite. This is especially true in the case of Leonardo. 2
He who thinks of Leonardo’s paintings will be reminded by the remarkably fascinating and puzzling smile which he enchanted on the lips of all his feminine figures. It is a fixed smile on elongated, sinuous lips which is considered characteristic of him and is preferentially designated as “Leonardesque.” In the singular and beautiful visage of the Florentine Monna Lisa del Giocondo it has produced the greatest effect on the spectators and even perplexed them. This smile was in need of an interpretation, and received many of the most varied kind but none of them was considered satisfactory. As Gruyer puts it: “It is almost four centuries since Monna Lisa causes all those to lose their heads who have looked upon her for some time.” 1 3
Muther states: 2 “What fascinates the spectator is the demoniacal charm of this smile. Hundreds of poets and writers have written about this woman, who now seems to smile upon us seductively and now to stare coldly and lifelessly into space, but nobody has solved the riddle of her smile, nobody has interpreted her thoughts. Everything, even the scenery is mysterious and dream-like, trembling as if in the sultriness of sensuality.” 4
The idea that two diverse elements were united in the smile of Monna Lisa has been felt by many critics. They therefore recognize in the play of features of the beautiful Florentine lady the most perfect representation of the contrasts dominating the love-life of the woman which is foreign to man, as that of reserve and seduction, and of most devoted tenderness and inconsiderateness in urgent and consuming sensuality. Müntz 3 expresses himself in this manner: “One knows what indecipherable and fascinating enigma Monna Lisa Gioconda has been putting for nearly four centuries to the admirers who crowd around her. No artist (I borrow the expression of the delicate writer who hides himself under the pseudonym of Pierre de Corlay) has ever translated in this manner the very essence of femininity: the tenderness and coquetry, the modesty and quiet voluptuousness, the whole mystery of the heart which holds itself aloof, of a brain which reflects, and of a personality who watches itself and yields nothing from herself except radiance….” The Italian Angelo Conti 4 saw the picture in the Louvre illumined by a ray of the sun and expressed himself as follows: “The woman smiled with a royal calmness, her instincts of conquest, of ferocity, the entire heredity of the species, the will of seduction and ensnaring, the charm of the deceiver, the kindness which conceals a cruel purpose, all that appears and disappears alternately behind the laughing veil and melts into the poem of her smile…. Good and evil, cruelty and compassion, graceful and catlike, she laughed….” 5
Leonardo painted this picture four years, perhaps from 1503 until 1507, during his second sojourn in Florence when he was about the age of fifty years. According to Vasari he applied the choicest artifices in order to divert the lady during the sittings and to hold that smile firmly on her features. Of all the gracefulness that his brush reproduced on the canvas at that time the picture preserves but very little in its present state. During its production it was considered the highest that art could accomplish; it is certain, however, that it did not satisfy Leonardo himself, that he pronounced it as unfinished and did not deliver it to the one who ordered it, but took it with him to France where his benefactor Francis I, acquired it for the Louvre. 6
Let us leave the physiognomic riddle of Monna Lisa unsolved, and let us note the unequivocal fact that her smile fascinated the artist no less than all the spectators for these 400 years. This captivating smile had thereafter returned in all of his pictures and in those of his pupils. As Leonardo’s Monna Lisa was a portrait we cannot assume that he has added to her face a trait of his own so difficult to express which she herself did not possess. It seems, we cannot help but believe, that he found this smile in his model and became so charmed by it that from now on he endowed it on all the free creations of his phantasy. This obvious conception is, e.g., expressed by A. Konstantinowa in the following manner: 5 7
“During the long period in which the master occupied himself with the portrait of Monna Lisa del Gioconda, he entered into the physiognomic delicacies of this feminine face with such sympathy of feeling that he transferred these creatures, especially the mysterious smile and the peculiar glance, to all faces which he later painted or drew. The mimic peculiarity of Gioconda can even be perceived in the picture of John the Baptist in the Louvre. But above all they are distinctly recognized in the features of Mary in the picture of St. Anne of the Louvre.” 8
But the case could have been different. The need for a deeper reason for the fascination which the smile of Gioconda exerted on the artist from which he could not rid himself has been felt by more than one of his biographers. W. Pater, who sees in the picture of Monna Lisa the embodiment of the entire erotic experience of modern man, and discourses so excellently on “that unfathomable smile always with a touch of something sinister in it, which plays over all Leonardo’s work,” leads us to another track when he says: 6 9
“Besides, the picture is a portrait. From childhood we see this image defining itself on the fabric of his dream; and but for express historical testimony, we might fancy that this was but his ideal lady, embodied and beheld at last.” 10
Herzfeld surely must have had something similar in mind when stating that in Monna Lisa Leonardo encountered himself and therefore found it possible to put so much of his own nature into the picture, “whose features from time immemorial have been imbedded with mysterious sympathy in Leonardo’s soul.” 7 11
Let us endeavor to clear up these intimations. It was quite possible that Leonardo was fascinated by the smile of Monna Lisa, because it had awakened something in him which had slumbered in his soul for a long time, in all probability an old memory. This memory was of sufficient importance to stick to him once it had been aroused; he was forced continually to provide it with new expression. The assurance of Pater that we can see an image like that of Monna Lisa defining itself from Leonardo’s childhood on the fabric of his dreams, seems worthy of belief and deserves to be taken literally. 12
Vasari mentions as Leonardo’s first artistic endeavors, “heads of women who laugh.” 8 The passage, which is beyond suspicion, as it is not meant to prove anything, reads more precisely as follows: 9 “He formed in his youth some laughing feminine heads out of lime, which have been reproduced in plaster, and some heads of children, which were as beautiful as if modeled by the hands of a master….” 13
Thus we discover that his practice of art began with the representation of two kinds of objects, which would perforce remind us of the two kinds of sexual objects which we have inferred from the analysis of his vulture phantasy. If the beautiful children’s heads were reproductions of his own childish person, then the laughing women were nothing else but reproductions of Caterina, his mother, and we are beginning to have an inkling of the possibility that his mother possessed that mysterious smile which he lost, and which fascinated him so much when he found it again in the Florentine lady. 10 14
The painting of Leonardo which in point of time stands nearest to the Monna Lisa is the so-called Saint Anne of the Louvre, representing Saint Anne, Mary and the Christ child. It shows the Leonardesque smile most beautifully portrayed in the two feminine heads. It is impossible to find out how much earlier or later than the portrait of Monna Lisa Leonardo began to paint this picture. As both works extended over years, we may well assume that they occupied the master simultaneously. But it would best harmonize with our expectation if precisely the absorption in the features of Monna Lisa would have instigated Leonardo to form the composition of Saint Anne from his phantasy. For if the smile of Gioconda had conjured up in him the memory of his mother, we would naturally understand that he was first urged to produce a glorification of motherhood, and to give back to her the smile he found in that prominent lady. We may thus allow our interest to glide over from the portrait of Monna Lisa to this other hardly less beautiful picture, now also in the Louvre. 15
Saint Anne with the daughter and grandchild is a subject seldom treated in the Italian art of painting; at all events Leonardo’s representation differs widely from all that is otherwise known. Muther states: 11 16
“Some masters like Hans Fries, the older Holbein, and Girolamo dei Libri, made Anne sit near Mary and placed the child between the two. Others like Jakob Cornelicz in his Berlin pictures, represented Saint Anne as holding in her arm the small figure of Mary upon which sits the still smaller figure of the Christ child.” In Leonardo’s picture Mary sits on her mother’s lap, bent forward and is stretching out both arms after the boy who plays with a little lamb, and must have slightly maltreated it. The grandmother has one of her unconcealed arms propped on her hip and looks down on both with a blissful smile. The grouping is certainly not quite unconstrained. But the smile which is playing on the lips of both women, although unmistakably the same as in the picture of Monna Lisa, has lost its sinister and mysterious character; it expresses a calm blissfulness. 12 17
On becoming somewhat engrossed in this picture it suddenly dawns upon the spectator that only Leonardo could have painted this picture, as only he could have formed the vulture phantasy. This picture contains the synthesis of the history of Leonardo’s childhood, the details of which are explainable by the most intimate impressions of his life. In his father’s home he found not only the kind step-mother Donna Albiera, but also the grandmother, his father’s mother, Monna Lucia, who we will assume was not less tender to him than grandmothers are wont to be. This circumstance must have furnished him with the facts for the representation of a childhood guarded by a mother and grandmother. Another striking feature of the picture assumes still greater significance. Saint Anne, the mother of Mary and the grandmother of the boy who must have been a matron, is formed here perhaps somewhat more mature and more serious than Saint Mary, but still as a young woman of unfaded beauty. As a matter of fact Leonardo gave the boy two mothers, the one who stretched out her arms after him and another who is seen in the background, both are represented with the blissful smile of maternal happiness. This peculiarity of the picture has not failed to excite the wonder of the authors. Muther, for instance, believes that Leonardo could not bring himself to paint old age, folds and wrinkles, and therefore formed also Anne as a woman of radiant beauty. Whether one can be satisfied with this explanation is a question. Other writers have taken occasion to deny generally the sameness of age of mother and daughter. 13 However, Muther’s tentative explanation is sufficient proof for the fact that the impression of Saint Anne’s youthful appearance was furnished by the picture and is not an imagination produced by a tendency. In 1910, after about a year from his trip to the US, Freud decided to write something on Leonardo da Vinci. The outcome of that decision was a novelette whose purpose was to expose a psychoanalytic study on Leonardo. Freud acknowledged that this endeavor was very tentative and his findings were based on a scarcity of biographical materials. Nevertheless, he established the framework of his book on a rumination about childhood that Leonardo left in one of his notebooks. Freud took that childhood contemplation and elaborated an artistic interpretation from it. First, here is Leo’s legacy to Freud:
It seems…that I was destined to occupy myself so thoroughly with a vulture, for it comes to my mind as a very early memory that, as I was in my cradle, a vulture came down to me, opened my mouth with its tails, and stuck me many times with its tail against my lips.
Freud, who was an erudite in religion and history, knew that the symbol for vulture was a hieroglyph for mother in ancient Egypt. Since Leonardo was an illegitimate child, Freud called him, romantically, the “vulture child.” Later on, Freud speculated that Leonardo had a very affectionate mother, and that passionate maternal love, coupled with the experience of not having a father, had an important influence on is early development. However, because of the over-protective and excessive love from her mother, Leonardo was subjected to too much femininity, which set the stage for his homosexuality. But that explained only the inception process of homosexuality. Full blown homosexual behavior comes later on in life, after the child finally becomes an adult and tends to repress his love for his mother and inadvertently identifies with her. Additionally, another important factor that plays a role in becoming a homosexual is anal eroticism. Anal eroticism comes from a fixation during the anal stage of psychosexual development.
This theory about the origins of homosexuality seems far-fetched. It was based on a vague account that Leonardo left behind, to which Freud found mainly an artistic interpretation. The book is replete with lyricism, so its appeal is understandable. Nevertheless, the conjectures Freud made are not entirely scientific.
The Evidence
In order to give some validity to Freud’s claims, we need to find if there is any evidence that support the fact that males from the homosexual community had (1) careless or missing fathers, (2) overly affective mothers, (3) strong maternal identification, and (4) some characteristics that relate to anal fixation.
Leonardo’s childhood was precisely as remarkable as this picture. He has had two mothers, the first his true mother, Caterina, from whom he was torn away between the age of three and five years, and a young tender step-mother, Donna Albiera, his father’s wife. By connecting this fact of his childhood with the one mentioned above and condensing them into a uniform fusion, the composition of Saint Anne, Mary and the Child, formed itself in him. The maternal form further away from the boy designated as grandmother, corresponds in appearance and in spatial relation to the boy, with the real first mother, Caterina. With the blissful smile of Saint Anne the artist actually disavowed and concealed the envy which the unfortunate mother felt when she was forced to give up her son to her more aristocratic rival, as once before her lover. 19
Our feeling that the smile of Monna Lisa del Gioconda awakened in the man the memory of the mother of his first years of childhood would thus be confirmed from another work of Leonardo. Following the production of Monna Lisa, Italian artists depicted in Madonnas and prominent ladies the humble dipping of the head and the peculiar blissful smile of the poor peasant girl Caterina, who brought to the world the noble son who was destined to paint, investigate, and suffer. 20
When Leonardo succeeded in reproducing in the face of Monna Lisa the double sense comprised in this smile, namely, the promise of unlimited tenderness, and sinister threat (in the words of Pater), he remained true even in this to the content of his earliest reminiscence. For the love of the mother became his destiny, it determined his fate and the privations which were in store for him. The impetuosity of the caressing to which the vulture phantasy points was only too natural. The poor forsaken mother had to give vent through mother’s love to all her memories of love enjoyed as well as to all her yearnings for more affection; she was forced to it, not only in order to compensate herself for not having a husband, but also the child for not having a father who wanted to love it. In the manner of all ungratified mothers she thus took her little son in place of her husband, and robbed him of a part of his virility by the too early maturing of his eroticism. The love of the mother for the suckling whom she nourishes and cares for is something far deeper reaching than her later affection for the growing child. It is of the nature of a fully gratified love affair, which fulfills not only all the psychic wishes but also all physical needs, and when it represents one of the forms of happiness attainable by man it is due, in no little measure, to the possibility of gratifying without reproach also wish feelings which were long repressed and designated as perverse. 14 Even in the happiest recent marriage the father feels that his child, especially the little boy has become his rival, and this gives origin to an antagonism against the favorite one which is deeply rooted in the unconscious. 21
When in the prime of his life Leonardo reencountered that blissful and ecstatic smile as it had once encircled his mother’s mouth in caressing, he had long been under the ban of an inhibition, forbidding him ever again to desire such tenderness from women’s lips. But as he had become a painter he endeavored to reproduce this smile with his brush and furnish all his pictures with it, whether he executed them himself or whether they were done by his pupils under his direction, as in Leda, John, and Bacchus. The latter two are variations of the same type. Muther says: “From the locust eater of the Bible Leonardo made a Bacchus, an Apollo, who with a mysterious smile on his lips, and with his soft thighs crossed, looks on us with infatuated eyes.” These pictures breathe a mysticism into the secret of which one dares not penetrate; at most one can make the effort to construct the connection to Leonardo’s earlier productions. The figures are again androgynous but no longer in the sense of the vulture phantasy, they are pretty boys of feminine tenderness with feminine forms; they do not cast down their eyes but gaze mysteriously triumphant, as if they knew of a great happy issue concerning which one must remain quiet; the familiar fascinating smile leads us to infer that it is a love secret. It is possible that in these forms Leonardo disavowed and artistically conquered the unhappiness of his love life, in that he represented the wish fulfillment of the boy infatuated with his mother in such blissful union of the male and female nature.
Model: Lilah
Set designer: Daisy Lang
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Butterflies are deep and powerful representations of life. Many cultures associate the butterfly with our souls. The Christian religion sees the butterfly as a symbol of resurrection. Around the world, people view the butterfly as representing endurance, change, hope, and life.
Museum Fünf Kontinente, Munich, Germany.
Moche portrait vessels are ceramic vessels featuring highly individualized and naturalistic representations of human faces that are unique to the Moche culture of Peru.
These portrait vessels are some of the few realistic portrayals of humans found in the Precolumbian Americas.[1]
The Moche culture thrived from 100—800 CE on the north coast of Peru. Their lands sat between the Pacific Ocean and the Andean cordillera. They were a stratified, agrarian society that also heavily relied on fishing.[1]
While most Moche portrait vessels feature heads, some portray full human figures. They are meant to hold liquids. Almost all of the portraits of are adult men.
In some rare instances, young boys are represented, but no portrait vessels of adult women have yet been found.
The portraits are not idealized, some feature abnormalities, such as harelips and missing eyes.[1]
The vessels range from 6–45 cm in height, with most being between 15–30 cm.[1]
Typically, Moche pottery features red slip painted on a pale cream background; however, white-on-red and black paint is also found.[2] While most portraits are three-dimensional portrayals of human, some have additional fineline paintings on their surface.[1]
Over 900 separate portrait vessels have been photographed by the University of California, Los Angeles.
An estimated 95% of these portrait vessels were collected by looters instead of archaeologists, so the initial provenance of the vessels are unknown. Mostly they have been retrieved from graves but were used during people's lives, as evidenced by wear marks[1] and repairs.[2]
One particularly famous Moche portrait vessel is known as the Huaco Retrato Mochica. The portrait was made during the Late Moche period (ca. 600 CE), according to the chronology made by Rafael Larco Hoyle in 1948.
The ceramic portrait is also an example of a stirrup spout vessel of a Moche ruler. The ruler is depicted wearing a material turban on which there is a headdress decorated by a two-headed bird with feathers on side. The effigy also wears tubular earrings that can be found in the "Gold and Silver Gallery" of the Larco Museum.
The exact archaeological context in which it was found in is unknown. Nonetheless, information gained from various archaeological discoveries in the North Coast over the past 20 years suggests that it belonged to the tomb of a member of the Moche elite.
Archaeologists found this type of headdress, made of reed, in the tomb of the warrior priest god in the Huaca de la Cruz, an archaeological site situated in the Virú Valley, 40 km (25 mi) south of Trujillo, explored by Strong and Evans in 1940. It may also have been excavated from within the Moche Valley in the southern Moche region.
Rafael Larco Hoyle received this piece from his father, Rafael Larco Herrera. It is said[by whom?] that this was the only ceramic piece Herrera kept when he bequeathed his private collection to the Museo del Prado in Madrid, Spain and that Herrera gave it to his son who later opened his private collection to the public at the Larco Museum.
When the painter Marc Chagall (1887-1985) agreed for the first time to create the stained glass windows of a cathedral, that of Metz in 1959, he was at the same time revealing a secret part of his art. Chagall also knew how to play admirably with the opposition of colors to bring out and oppose different worlds and stories. Each time, he knew how to use these strong oppositions by using different pigments to make us discover another reality. Thus, on the one hand, we discover the quasi-monochromy of yellow in the stained glass window of the Creation, this one corresponding more to solar representations.On the other hand, the midnight blue with the fiery red of the two bays of the interior ambulatory seem to be more associated with nocturnal, crepuscular, telluric but also lunar images. On the one hand, that of the stained glass window of the Creation which narrates the paradisiacal scenes where Eve and Adam evolve with the dominant yellow. And on the other hand, the other world, that of the aftermath of the fall, of the exit from Eden, according to the two bays of the interior ambulatory. These relate the history of the chosen people, with dark and violent colors such as night blue and fire red. All this to signify that we are no longer in the Edenic times but in those where humanity will know sin and death. At the same time, one will also notice that each stained glass window is crossed by an astonishing dynamism. This dynamism increases and always evolves in the same direction, from left to right. Thus we can follow the story of each representation always in the same direction.
The first stained glass window, that of the Creation, begins in the first lancet with the scene of the creation of the man Adam and finally ends in the last lancet with the expulsion of the couple Adam and Eve from paradise. At the same time, in the other two bays of the interior ambulatory, we see a long historical continuum that goes from the Sacrifice of Isaac to the deportation of the Jews to Babylon. It is worth noting that each time, the story told by the stained glass windows ends with a dramatic exit!
Finally, the deep source of this dynamism must be sought in Hasidism, a Jewish religious movement that strongly influenced Chagall. Most of the Israelites in Vitebsk were all Hasidim. For the Hasid, spontaneous emotion counts as much as the law or the rite. Hence the painter's insistence on often showing us festive scenes where everyone gives free rein to the expression of their spontaneous joy. Thus, often the Chagallian characters seem to be invaded by this enthusiasm inherited from Hasidism. This Russian painter succeeds in associating us with the vitality of the spectacle of human history to a more intense force that animates us. This mysterious divine energy, is it not ultimately what this artist wants to reveal to us with this other reality? To lead us in fact to fly always higher in the image of his Luftmensch?
This is not surprising, since the artist has always been a special case in modern painting. While abstraction appeared to many as the ultimate achievement of pictorial creation, he, on the contrary, always clung as fiercely to figuration. Not because of a concern for conformism or academicism, but rather because he considered it to be the most appropriate way to show another reality. Revealing notably by the magic of the representation and the color, the inaccessible, the unsuspected because this artist had always had the concern to reveal the most intimate and the most mysterious thing of the being. Father Couturier (1897-1954), who first encouraged him to work as a stained glass artist in the church of Assy in 1956-1957, had well grasped the soul of this painter by affirming that: "Chagall is not an explorer of the depths of the soul: he is a tree with deep roots whose fruits have the color of the Sun. But it is also thanks to his work on the Bible that the brush of this painter will allow other discoveries. The effect of the saving storm of the God of the Old Testament will indeed act powerfully on him. Hence the same impression that the visible reality of this painter becomes something else thanks to his palette. However, if his representations surprise by their sometimes irrational side, he is not for all that a surrealist painter, even if he makes us reach another world. Later, when he discovered at the age of 70 the possibilities offered by the technique of stained glass, it is also undeniable that this art of luminescence will stimulate his inspiration even more. The first cathedral of his career, the Cathedral of Saint-Etienne in Metz, will give him the opportunity to highlight certain facets of this other reality. First of all, to bring it out, he knew how to take advantage of a perfect use of the place. Indeed, his first stained glass windows often located in a relatively dark and secluded space will lead him to develop more than elsewhere his proximity to the painter Rembrandt, painter of the soul and chiaroscuro. Then, another complicity that we discover in this painter is that with Jacob, the patriarch of the Bible, with whom he will be able to emphasize his Luftmensch. Finally, he will play more than elsewhere with the partitions and polarities that underlie all his work. On this occasion also, he will be able to highlight with great mastery all the force that animates his stained glass work, which is totally subordinated to movement and dynamism. When he was offered to work for the cathedral of Metz, he was initially quite disappointed with the spaces he was given. Indeed, he was initially offered to practice his art in relatively secluded and dark areas of the cathedral, since they were located in the north apse, more precisely in the inner ambulatory. With the windows located at the beginning of the choir's perimeter and where the sun practically never appeared, his work might not benefit from maximum visibility and this had not escaped the painter. So he began with the window furthest back, the one with three lancets, and then the one further forward with four lancets. He called this three lancet window the "wounded stained glass window". Chagall called it that because the left side of the window was cut off when the turret was created, giving it a lame look. The median axis of the rose window is indeed off-center to the left of the current median axis of the lancets. As we will see later, Chagall knew perfectly how to illustrate his world by playing on partitions and polarities. Here, in these dark spaces, it will be the world of the night and the penumbra representing the lunar star opposed to the world of the day and the Sun. The solar world will be the one he will inaugurate some time later in the North transept with the stained glass window of the Creation. This is why, as a painter and to illuminate and "counterbalance" this world of night, he will use two dominant colors which are the dark blue associated with the aggressive red. He thus uses his proven technique of the preponderant color. This technique goes back to his very first years in painting, during his years spent in Saint Petersburg in 1906-1907. His master at the time, Leon Bakst, always advised him to limit the world of colors to better dominate them. During this same period, he also produced a number of paintings with scenes that took place mostly at night (The Birth, The Peasant Woman Eating, The Kermesse, The Procession, The Holy Family). His taste for tenebrism brings him closer to Caravaggio, but especially to Rembrandt. One can also explain his attraction for the half-light because, for lack of means, he worked at the time most often in a cramped room in St. Petersburg which was particularly dark. Thus, the affinities with the great Flemish painter will become more and more obvious. Firstly, in the use of chiaroscuro, which Chagall had to use in view of the places where he had to execute his work, in particular in the interior ambulatory of the cathedral in Metz. Then in the treatment itself of certain scenes. Indeed, we discover obvious similarities with a Rembrandt painting of 1635 when he tackles the first lancet of the four lancet stained glass window, in the scene of the Sacrifice of Isaac. We see the same strong chromatic opposition of contrasts between the dark blue in Chagall's work or the dark brown in Rembrandt's that invades the figure of Abraham and the whitish clarity of Isaac's body. We also detect an identical treatment in the softness and transparency of the half-tones. In these two painters, the same effects of light modulation are used to reveal the deep truth of the beings. Chagall, in this stained glass window, plays on the variation of blues, going from the most intense and darkest to the most luminous. In the same way, in these two artists, Isaac is violently illuminated while we never really see his eyes. We cannot see the victim's gaze because it is the gaze of God that we risk encountering. The work is here an unveiling. The artist then reveals another reality: the victim will be recognized by God and saved by him alone!.
www.blelorraine.fr/2021/05/des-vitraux-de-chagall-a-la-ca...
Bronze.
Le cheval, l'une des représentations daliniennes les plus connues, est sellé avec une montre molle : le temps contrôle tous les mouvements. L'Homme pense qu'il détient le contrôle sur sa vie mais c'est toujours le temps, au final, qui sera son guide. Le cheval représente la vie de l'homme accablée par la dureté du temps qui passe.
The horse, one of the most famous Dalinian representations, is saddled with a soft watch: time controls all movements. Man thinks that he has control over his life but it is always the time, ultimately, that will be his guide. The horse represents the life of the man overwhelmed by the hardness of time passing.
Joan Miró Sculptures = Museum Beelden aan Zee, The Hague - Scheveningen
Joan Miró (1893 - 1983) was one of the most influential artists of the twentieth century. The Catalan master broke artistic boundaries, by merging painting with poetry. His surrealistic representations are filled with mysterious signs and symbols. This unbound creativity also characterizes the sculptures which Miró created.
Time spent on the beach near his studio ultimately fostered Miró's love for sculpture. The natural objects the artist found there were a major influence on his sculptures. It is therefore particularly fitting that his three-dimensional work is now being exhibited in close proximity to the sea.
Thanks to close cooperation with leading museum partners and public and private collections, 55 large and small sculptures by Miró are on display. Joan Miró – Sculptures highlights his experiments with ceramics, studies in plaster, assemblages, and monumental public works. They represent his ongoing quest for new ideas, materials, and techniques.
The exhibition was organised in collaboration with the Fundació Joan Miró, Barcelona. An accompanying catalog explores Miró’s creative methods and the symbolism found in his sculptures.
A few years ago, I got to see a 1:1500 scale model of London at the Building Centre there. It is a large scale model of the heart of the city in three dimensions, with representations of most buildings, landmarks, parks, the Thames, and the (at the time yet to be built) Olympic Park.
It's extremely impressive.
And it is as nothing compared to The Panorama at the Queens Museum of Art.
Here's two panorama photos to give a sense of the scale:
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Quoting from the Museum’s page on the The Panorama of the City of New York:
The Panorama is the jewel in the crown of the collection of the Queens Museum of Art. Built by Robert Moses for the 1964 World’s Fair, in part as a celebration of the City’s municipal infrastructure, this 9,335 square foot architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures.
The Panorama was built by a team of 100 people working for the great architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. In planning the model, Lester Associates referred to aerial photographs, insurance maps, and a range of other City material; the Panorama had to be accurate, indeed the initial contract demanded less than one percent margin of error between reality and the model. The Panorama was one of the most successful attractions at the ‘64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City.
After the Fair the Panorama remained open to the public, its originally planned use as an urban planning tool seemingly forgotten. Until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates changed over 60,000 structures to bring it up-to-date.
In the Spring of 2009 the Museum launched its Adopt-A-Building program with the installation of the Panorama’s newest addition, Citi Field, to continue for the ongoing care and maintenance of this beloved treasure.
The Queens Museum of Art has a program giving you the opportunity to “purchase” NYC real estate on The Panorama of the City of New York for as low as $50. To learn how you can become involved click here.
We hope that you will take time to enjoy the Panorama of the City of New York.
The Panorama of the City of New York is sponsored by the New York City Department of Cultural Affairs and New York State Assembly members Mike Gianaris, Mark Weprin, Audrey Pheffer, Nettie Mayersohn and Ivan Lafayette, The New York Mets Foundation and the supporters of the Adopt-A-Building Program.
View the winning pictures from our Gala 2011 Panorama Picture Contest!
View pictures from our Gala 2011 Photo booth, May 12, 2011!
View pictures of the Panorama on its Flickr page
Add your own pictures to our Panorama Flickr Group!
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Quoting now from The Panorama section in Wikipedia’s Queens Museum of Art article:
The best known permanent exhibition at the Queens Museum is the Panorama of the City of New York which was commissioned by Robert Moses for the 1964 World’s Fair. A celebration of the City’s municipal infrastructure, this 9,335-square-foot (867.2 m2) architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures. The Panorama was built by a team of 100 people working for the architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. The Panorama was one of the most successful attractions at the ’64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City. After the Fair the Panorama remained open to the public and until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates was hired to update the model to coincide with the re-opening of the museum. The model makers changed over 60,000 structures to bring it up-to-date.
In March 2009 the museum announced the intention to update the panorama on an ongoing basis. To raise funds and draw public attention the museum will allow individuals and developers to have accurate models made of buildings newer than the 1992 update created and added in exchange for a donation. Accurate models of smaller apartment buildings and private homes, now represented by generic models, can also be added. The twin towers of the World Trade Center will be replaced when the new buildings are created, the museum has chosen to allow them to remain until construction is complete rather than representing an empty hole. The first new buildings to be added was the new Citi Field stadium of the New York Mets. The model of the old Shea Stadium will continue to be displayed elsewhere in the museum.
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Quoting now from the explanatory sign at the exhibit:
THE PANORAMA OF THE CITY OF NEW YORK
The Panorama of the City of New York, the world's largest scale model of its time, was the creation of Robert Moses and Raymond Lester. Presented in the New York City Pavilion as the city’s premiere exhibit at the 1964/65 New York World’s Fair, it was intended afterwards to serve as an urban planning tool. Visitors experienced the Panorama from a simulated “helicopter” ride that travelled around perimeter or from a glass-enclosed balcony on the second floor, while news commentator Lowell Thomas provided audio commentary on “The City of Opportunity.” One of the “helicopter” cars is now on view in the Museum’s permanent exhibition, A Panoramic View: A History of the New York City Building and Flushing Meadows Corona Park.
Constructed at the Lester Associates workshop in Westchester, New York, the Panorama contains 273 separate sections, many of which are four-by-ten-foot rectangular panels. They are composed of Formica flakeboard topped with urethane foam slabs from which the typography was carved. Lester Associates’ staff consulted geological survey maps, aerial photographs, and books of City insurance maps, to accurately render the City’s streets, highways, parks, and buildings. Once the Panorama’s modules were completed at Lester Associates’ workshop, they were assembled on site in the New York City Building. It took more than 100 workers, three years to complete the model.
Built on a sale of 1:1,200 (1 inch equals 100 feet), the Panorama occupies 9.335 square feet and accurately replicates New York City including all 320 square miles of its five boroughs and 771 miles of shoreline, as well as the built environment. It includes miniature cars, boats, and an airplane landing and taking off at LaGuardia Airport.
The majority of the City’s buildings are presented by standardized model units made from wood and acrylic. Of more than 895,000 individual structures, 25,000 are custom-made to approximate landmarks such as skyscrapers, large factories, colleges, museums, and major churches. The amount of detail possible on most buildings is limited; at a scale of 1 inch to 100 feet, the model of the Empire State Building measures only 15 inches. The most accurate structures on the Panorama are its 35 major bridges, which are finely made of brass and shaped by a chemical milling process.
The model is color coded to indicate various types of land use. The dark green areas are parks. Parkways are also edged in dark green. Mint green sections are related to transportation including train and bus terminals. The pink rectangles that dot the City show the locations of recreational areas including playgrounds and tennis and basketball courts. Clusters of red buildings are indicative of publicly subsidized housing.
Red, blue, green, yellow, and white colored lights were installed on the surface of the Panorama in 1964 to identify structures housing City agencies relating to protection, education, health, recreation, commerce, welfare, and transportation. Overhead lights have been designed to run in a dawn to dusk cycle, and the nighttime effect is enhanced by ultraviolet paint, illuminated by blacklight.
In 1992, the City began a renovation of the Queens Museum of Art and the Panorama. Using their original techniques, Lester Associates updated the Panorama with 60,000 changes. In the current instalation, designed by Rafael Viñoly Architects, visitors follow the course of the original “helicopter” ride on an ascending ramp that enables them to experience the Panorama of the City of New York from Multiple Perspectives.
Lincoln Memorial
The Lincoln Memorial is an American national monument built to honor the 16th President of the United States, Abraham Lincoln. It is located on the western end of the National Mall in Washington, D.C., across from the Washington Monument. The architect was Henry Bacon; the designer of the primary statue – Abraham Lincoln, 1920 – was Daniel Chester French; the Lincoln statue was carved by the Piccirilli Brothers; and the painter of the interior murals was Jules Guerin. Dedicated in 1922, it is one of several monuments built to honor an American president. It has always been a major tourist attraction and since the 1930s has been a symbolic center focused on race relations.
The building is in the form of a Greek Doric temple and contains a large seated sculpture of Abraham Lincoln and inscriptions of two well-known speeches by Lincoln, The Gettysburg Address and his Second Inaugural Address. The memorial has been the site of many famous speeches, including Martin Luther King's "I Have a Dream" speech, delivered on August 28, 1963, during the rally at the end of the March on Washington for Jobs and Freedom.
Like other monuments on the National Mall – including the nearby Vietnam Veterans Memorial, Korean War Veterans Memorial, and National World War II Memorial – the memorial is administered by the National Park Service under its National Mall and Memorial Parks group. It has been listed on the National Register of Historic Places since October 15, 1966. It is open to the public 24 hours a day. In 2007, it was ranked seventh on the List of America's Favorite Architecture by the American Institute of Architects. Approximately 6 million people visit the memorial annually.
Above the colonnade, inscribed on the frieze, are the names of the 36 states in the Union at the time of Lincoln's death and the dates in which they entered the Union. Their names are separated by double wreath medallions in bas-relief. The cornice is composed of a carved scroll regularly interspersed with projecting lions' heads and ornamented with palmetto cresting along the upper edge. Above this on the attic frieze are inscribed the names of the 48 states present at the time of the Memorial's dedication. A bit higher is a garland joined by ribbons and palm leaves, supported by the wings of eagles. All ornamentation on the friezes and cornices was done by Ernest C. Bairstow.
The Memorial is anchored in a concrete foundation, 44 to 66 feet (13 to 20 m) in depth, constructed by M. F. Comer and Company and the National Foundation and Engineering Company, and is encompassed by a 187-by-257-foot (57 by 78 m) rectangular granite retaining wall measuring 14 feet (4.3 m) in height.
Leading up to the shrine on the east side are the main steps. Beginning at the edge of the Reflecting Pool, the steps rise to the Lincoln Memorial Circle roadway surrounding the edifice, then to the main portal, intermittently spaced with a series of platforms. Flanking the steps as they approach the entrance are two buttresses each crowned with an 11-foot (3.4 m) tall tripod carved from pink Tennessee marble by the Piccirilli Brothers.
Interior
The area where the statue stands is 60 feet wide, 74 feet long, and 60 feet high. The interior of the Memorial is divided into three chambers by two rows of Ionic columns. These columns, four in each row, are 50 feet (15 m) tall and 5.5 feet (1.7 m) in diameter at their base. The north and south side chambers contain carved inscriptions of Lincoln's second inaugural address and his Gettysburg Address. Bordering these inscriptions are pilasters ornamented with fasces, eagles, and wreaths. The inscriptions and adjoining ornamentation were done by Evelyn Beatrice Longman.
The exterior of the Memorial echoes a classic Greek temple and features Yule marble from Colorado. The structure measures 189.7 by 118.5 feet (57.8 by 36.1 m) and is 99 feet (30 m) tall. It is surrounded by a peristyle of 36 fluted Doric columns, one for each of the 36 states in the Union at the time of Lincoln's death, and two columns in-antis at the entrance behind the colonnade. The columns stand 44 feet (13 m) tall with a base diameter of 7.5 feet (2.3 m). Each column is built from 12 drums including the capital. The columns, like the exterior walls and facades, are inclined slightly toward the building's interior. This is to compensate for perspective distortions which would otherwise make the memorial appear to bulge out at the top when compared with the bottom, a common feature of Ancient Greek architecture.
The Memorial is filled with symbolism: the 36 columns represent the states in the union at the time of Lincoln's death, the 48 stone festoons on the attic above the columns represent the 48 states in 1922. Above each of the inscriptions is a 60-by-12-foot (18.3 by 3.7 m) mural painted by Jules Guerin graphically portraying governing principles evident in Lincoln's life. On the south wall mural, Freedom, Liberty, Immortality, Justice, and the Law are pictured, while the north wall portrays Unity, Fraternity, and Charity. Both scenes contain a background of cypress trees, the emblem of Eternity. The murals were crafted with a special mixture of paint which included elements of kerosene and wax to protect the exposed artwork from fluctuations in temperature and moisture conditions.
The ceiling of the Memorial, 60 feet (18 m) above the floor, is composed of bronze girders, ornamented with laurel and oak leaves. Between the girders are panels of Alabama marble, saturated with paraffin to increase their translucency. Despite the increased light from this device, Bacon and French felt the statue required even more light. They decided upon an artificial lighting system in which a louvered lighting panel would be set in the ceiling with metal slats to conceal the great floodlights. Custodians could adjust the lights from a control room, varying them according to the outside light. Funds for this expensive system were appropriated by Congress in 1926, and in 1929, seven years after the dedication, the statue was properly lighted. Since that time, only one major alteration has taken place in the Memorial's design. This was the addition of an elevator within the structure to aid handicapped visitors, which was installed in the mid-1970s
Statue
Lying between the north and south chambers is the central hall containing the solitary figure of Lincoln sitting in contemplation. The statue was carved by the Piccirilli Brothers under the supervision of the sculptor, Daniel Chester French, and took four years to complete. The statue, originally intended to be only 10 feet (3.0 m) tall, was, on further consideration, enlarged so that it finally stood 19 feet (5.8 m) tall from head to foot, the scale being such that if Lincoln were standing, he would be 28 feet (8.5 m) tall. The extreme width of the statue is the same as its height. The Georgia white marble sculpture weighs 175 short tons (159 t) and had to be shipped in 28 separate pieces.
The statue rests upon an oblong pedestal of Tennessee marble 10 feet (3.0 m) high, 16 feet (4.9 m) wide, and 17 feet (5.2 m) deep. Directly beneath this lies a platform of Tennessee marble about 34.5 feet (10.5 m) long, 28 feet (8.5 m) wide, and 6.5 inches (0.17 m) high. Lincoln's arms rest on representations of Roman fasces, a subtle touch that associates the statue with the Augustan (and imperial) theme (obelisk and funerary monuments) of the Washington Mall. The statue is discretely bordered by two pilasters, one on each side. Between these pilasters and above Lincoln's head stands the engraved epitaph, composed by Royal Cortissoz, shown in the box to the left.
Sculptural features
The sculpture has been at the center of two urban legends. Some have claimed that the face of General Robert E. Lee was carved onto the back of Lincoln's head, and looks back across the Potomac toward his former home, Arlington House, now within the bounds of Arlington National Cemetery. Another popular legend is that Lincoln is shown using sign language to represent his initials, with his left hand shaped to form an "A" and his right hand to form an "L", the president's initials. The National Park Service denies both legends
However, historian Gerald Prokopowicz writes that, while it is not clear that sculptor Daniel Chester French intended Lincoln's hands to be formed into sign language versions of his initials, it is possible that French did intend it, because he was familiar with American Sign Language, and he would have had a reason to do so, that is, to pay tribute to Lincoln for having signed the federal legislation giving Gallaudet University, a university for the deaf, the authority to grant college degrees. The National Geographic Society's publication, "Pinpointing the Past in Washington, D.C." states that Daniel Chester French had a son who was deaf and that the sculptor was familiar with sign language. Historian James A. Percoco has observed that, although there are no extant documents showing that French had Lincoln's hands carved to represent the letters "A" and "L" in American Sign Language, "I think you can conclude that it's reasonable to have that kind of summation about the hands."
Sacred space
As Sandage (1993) demonstrates, the Memorial has become a symbolically sacred venue especially for the Civil Rights movement. In 1939, the Daughters of the American Revolution refused to allow the African-American contralto Marian Anderson to perform before an integrated audience at the organization's Constitution Hall. At the suggestion of Eleanor Roosevelt, the wife of President Franklin D. Roosevelt, Harold L. Ickes, the Secretary of the Interior, arranged for a performance on the steps of the Lincoln Memorial on Easter Sunday of that year, to a live audience of 70,000, and a nationwide radio audience.
On August 28, 1963, the memorial grounds were the site of the March on Washington for Jobs and Freedom, which proved to be a high point of the American Civil Rights Movement. It is estimated that approximately 250,000 people came to the event, where they heard Martin Luther King, Jr., deliver his historic speech, "I Have a Dream", before the memorial honoring the president who had issued the Emancipation Proclamation 100 years earlier. King's speech, with its language of patriotism and its evocation of Lincoln's Gettysburg Address, was meant to match the symbolism of the Lincoln Memorial as a monument to national unity. The D.C. police also appreciated the location because it was surrounded on three sides by water, so that any incident could be easily contained. Twenty years later, on August 28, 1983, crowds gathered again to mark the 20th Anniversary Mobilization for Jobs, Peace and Freedom, to reflect on progress in gaining civil rights for African Americans and to commit to correcting continuing injustices. The "I Have a Dream" speech is such a part of the Lincoln Memorial story, that the spot on which King stood, on the landing eighteen steps below Lincoln's statue, was engraved in 2003 in recognition of the 40th anniversary of the event.
At the memorial on May 9, 1970, President Richard Nixon had a middle-of-the-night impromptu, brief meeting with protesters who, just days after the Kent State shootings, were preparing to march against the Vietnam War.
from Wikipedia
Model: Lilah Flowers
Set Designer: Daisy Lang
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monday challenge is to come up with macro representations of "Simplicity"!!!
cant get much simpler than one of my first point and shoots. yep this baby took film..and ya pretty much just pushed a button and sent in the film when you finished the roll. id say shes about 20 years old, wish i could get her open, theres a roll in there?
happy macro Monday everyone
My D23 Elsa 11'' Doll is posed standing next to my newly acquired Singing Elsa 16'' Doll. They have very similar faces, hair and outfits, being representations of Elsa as the Snow Queen in the upcoming Disney animated movie Frozen. Since the D23 Elsa doll is identical to the currently available Classic Elsa doll (which is listed at 12'' H), I will refer to my doll as the Classic doll in the following comparative review. Following that are separate reviews and product information on the two dolls.
Comparative Review of the Classic Elsa vs. Singing Elsa Dolls
The Classic Elsa doll has a sweeter, more youthful looking face than Singing Elsa. Her eyes are glancing to her left, whereas the singing doll is glancing to her right. Her eyes are a lighter shade of blue, and the irises smaller, with much more of the whites of her eyes showing. But her eyes are opened wider. She has very densely packed black eyelashes above her eyes; the singing doll has separate thin eyelashes above and below her eyes. Her eyebrows are paler and thinner. They both have very thin lips in a closed mouth smile. But Classic Elsa's smile is symmetrical, whereas Singing Elsa has a smirk, with her mouth upturned on her right side. They both have deep red lips, but Singing Elsa has darker, blood red lips. Classic Elsa has no freckles, but Singing Elsa has a line of freckles going across her cheeks and nose. Classic Elsa's cheeks and nose are lightly rouged; Singing Elsa's rouge is heavier. Singing Elsa has a stronger chin than Classic Elsa. Overall, I like Classic Elsa's face better. It is more open, younger looking, and prettier. Classic Elsa looks like a curious elf; Singing Elsa like a confident diva.
Classic Elsa's skin is the same very, very pale pink as the singing doll. But there is a slight touch of purple in the face of Classic Elsa that is not apparent in the Singing Elsa. Classic Elsa's body is the same construction as the 2012 Classic Princess dolls, with fully articulated arms and legs. Singing Elsa has the same body construction as all previous 16-17'' singing dolls, with no wrist or ankle joints.
Classic Elsa has long light blonde braided hair. The hair over her forehead has been patterned into dramatic long flat curls streaming over her head, like a windswept crown of hair. Singing Elsa has the same color hair, and a very similar hairstyle. But her crown of hair is much closer to her head, looking more like a cap than a crown, so is much less dramatic.
Both of their outfits consist of a blue green dress with a glittering bodice, organza sleeves, and a glittering organza cape. But Classic Elsa's cape is much more movie accurate, with a blue snowflake and icicle glitter pattern that is applied in such a way that it doesn't shed. Singing Elsa's cape is covered uniformly with blue glitter that does shed, but not as profusely as in some other Disney Princess glittery gowns. Also Classic Elsa's cape is stiffer, and holds its shape better; it can also be held in her hands to hold open the cape. They are both wearing the same blue flats.
Overall, I like the look of the Classic Elsa doll better than the Singing Elsa. Her face is sweeter, her hair is more unique and dramatic, and her outfit is more detailed and movie accurate. On the other hand, Singing Elsa has the unique glowing arms, sings a beautiful song, and has a more movie accurate face. So I'm glad to have both dolls, and I'm actually happy that they have so many differences. It would be boring if the singing doll was an exact copy of the Classic doll in a larger size.
D23 Elsa 11'' Doll Review
Elsa, the Snow Queen, has been completely deboxed from the Frozen doll set, and is posing standing up, supported by a Kaiser doll stand (not included).
She has the legs that were introduced with the 2012 Disney Store Classic Princess 12'' dolls. They are hard plastic legs with ball jointed hips, external hinged knee joints, and ball jointed ankles. She is about 11 1/4'' high, about 1/4'' shorter than her sister Anna, since Elsa wears flats and Anna wears boots with heels. But to the top of their hairdos, they are both about 11 3/4'' tall.
Elsa has two layered gown. The lower layer consists of a blue green satin skirt with a slit in the front, and a dark blue green bodice that is covered in gold glitter. It has long pale sheer blue organza sleeves. Sewn to the bodice is a floor length robe that drapes around the front in an overlapping fashion. It is made of clear organza that is overlain with a blue green pattern of glitter depicting large snow flakes and icicles. All the glitter makes the robe rather stiff. She has blue green flat shoes that match her skirt.
Elsa has a small angular face, and a very pale complexion. Her skin is almost white in color, with a touch of pinkish purple in her face. Her hair is a very light blonde, and gelled into a dramatic series of large curls in swept back from her forehead, except for a single curl over her left forehead. Most of her hair is braided into a long ponytail that reaches her hips. She has large blue eyes glancing to her left. She has very densely packed black eyelashes, pinkish purple eyeshadow, and thin straight gray eyebrows. She has a small pointy nose, and a small mouth with very thin blood red lips in a closed mouth smile. Her cheeks are lightly rouged. Her face has an elfin appearance, although her ears are round, rather than narrow and pointed.
The D23 Elsa 11'' doll is an elegant, exotic, very beautiful and faithful rendering of the animated character from Frozen. She is identical to the currently available Classic Elsa doll, listed at 12'' H.
D23 Elsa 11'' Doll Purchase Information
Elsa and Anna 11'' Doll Set - Frozen
US Disney Store
$39.95 US
D23 Expo Exclusive
Released and purchased on Sunday, August 11, 2013
First Look
Elsa Classic Doll - Frozen - 12''
US Disney Store
Released September 16, 2013
$16.95
Item No. 6070040900918P
Elsa Singing 16'' Doll Review
The Elsa Singing Doll is a 16'' doll, with the same body as the other 16 - 17 inch singing and talking dolls by the Disney Store, except for her glowing forearms, and different sound mechanism. Her body has a ball jointed neck, shoulders and hips, and hinge jointed elbows and knees. Even though she wears flats, she has feet at a fixed angle, as if she was wearing high heeled shoes. Her head and body has a very, very pale pink skin tone, that is almost white.
Elsa's sound is motion activated instead of by touching a button on her hand. Also, when she sings, her forearms glow, which flickers slightly . The exact nature of the motion activation is a bit confusing to me. She starts sing when I pass my hand close to her chest, or when I move her up or down, but neither method is activates the sound consistently. Also, I can't make her sing in the dark. I've found that the most effective means of making her sing is to start with your fingers at her chest, and then quickly move them away. It works almost every time in a well lit area. The motion detector is hidden inside of her body. The sound box's opening is a heart shaped figure with holes in her upper back, as with the other 16-17'' singing dolls. There is a battery compartment containing 3 AG13 batteries. There is an On/Off switch on her left side (on the right when she is facing you).
Update: I've discovered what the exact method is for activating Elsa's sound. It's detecting a dimming of light right above her chest. But the change has to be above a certain threshold, so it doesn't work in a dark or dimly lit area. In a brightly lit area, passing any object over her chest will make her sing. Also passing a flashlight (or other bright light) over on her chest will work, as well as turning it off. So a flashlight can be used as a remote control device. Really cool! I haven't disrobed Elsa yet, but when I do, I'll see if I can see any hint of the mechanism on her chest.
She sings the song ''Let It Go'' in the powerful and emotional voice of the American Broadway and TV star Idina Menzel. The song is in one segment 30 seconds long. The lyrics are:
It's time to see what I can do
To test the limits and break through
No right no wrong, no rules for me
I'm free
Let it go, let it go
I'm one with the wind and sky
Let it go, let it go
You'll never see me cry
She has long braided light blonde hair, with stiff flat curls draped over her head, a solitary curl over her left forehead, and a mild widow's peak. She has an angular face, with pronounced cheekbones, small flat nose, thin blood red lips in a slight smirk, dark brown freckles across her cheeks and nose, and her cheeks are lightly rouged. She has wide narrow deep blue eyes glancing to her right, many small thin eyelashes above and below her eyes, purple eye shadow, and thin brown eyebrows. Her face and hair are very accurate depictions of the movie character.
Her outfit consists of a blue green satin dress with a glittering bodice, and a slit in the skirt, light blue sheer organza sleeves, and a glittering light blue sheer organza cape that is sewn to the top of the bodice. The dress almost reaches the floor, and the cape is longer than floor length, and can wrap around to completely cover the skirt.
There is apparently some sort of lubricant in her knee joints that can escape to stain her skirt. I was warned about it by my Flickr friend fallconary615, but it has stained my dolls skirt already, over her left knee.
She is a beautiful and wonderful doll, with a new and effective sound mechanism, a great sounding song. Her face and hair are very movie accurate, but her outfit is less so. She is $10 more than the usual price for a 16-17'' singing doll, but I think the new sound activation mechanism and her glowing arms are worth it. She is a good substitute for the upcoming LE Elsa doll, for those who can't afford, or can't get that doll.
Elsa Singing 16'' Doll Purchase Information
I just got the Elsa Singing Doll at my local Disney Store! She is 16'' tall, and her price is $39.95 US. She sings and her forearms glow, and is motion activated. As soon as I pulled a plastic strip in the back of the box, she started singing, in the powerful and emotional voice of Idina Menzel, and her arms glowed with an icy blue color. The song is in one segment 30 seconds long, and is motion activated. I will show her boxed, during the deboxing, and fully deboxed.
The Elsa Singing Doll has already been released in some US Disney Stores, but is not yet available online in the US Disney Store website. In the UK, she was released in some stores two weeks ago, and online last week (Oct 18). Below is the UK product information.
UK Disney Store
Release - 2013-10-18
£25.00
Item No. 411047408603P
Bring home the magic, and music, from Frozen with this Elsa singing doll. It's beautifully detailed with an ornate dress and plaited hair, and she also lights up and sings 'Let It Go' from the film.
Magic in the details...
•Singing character doll
•Elsa from Frozen
•Satin dress with sparkly mesh sleeves and overlayer
•Realistic blonde hair in a plait
•She sings and lights up
•Motion activated
•Sings 'Let It Go' from Frozen
•H41 x W15cm approx
•Requires 3x AG13 batteries, included
•Suitable for children aged 3 years+
•Created for Disney Store
Koziar's Christmas Village is a seasonal attraction located in Jefferson Township, near Bernville, Berks County, Pennsylvania, U.S.A., approximately 15 miles (24 km) northwest of Reading. Christmas Village utilizes approximately one half million Christmas lights and other decorative effects in a presentation that has repeatedly been listed among the top tourist attractions in Pennsylvania and the top Christmas displays in the United States.
The Christmas Village property was originally known as Spring Lake Dairy Farm, a working dairy farm. William M. Koziar began decorating his rural property for Christmas in 1948. The display was created for the enjoyment of Koziar's wife, Grace, and four children and initially centered on the house and barn. However, the display became increasingly elaborate and grew to incorporate the lake, walkways, trees, and fences. Over time the private display became a popular local attraction, known as "The Christmas House," and traffic on the nearby road was sometimes snarled by passersby stopping to view the display. Eventually, visitors were admitted to the premises and Koziar paved a former wheat field to provide parking. Initially, the dairy farm remained active, and the Koziars had to wait until after the cows were milked to turn on the lights, as there was not enough power for the milking machines and the lights to operate simultaneously. Many of the dioramas are housed in former chicken coops and display toys, clothes and other belongs of the Koziars' children and grandchildren. In 2008 Koziar's Christmas Village celebrated its sixtieth anniversary. It remains a family-owned attraction, currently operated by the Koziars' daughters, and several current employees are second- and third-generation associates.
Christmas Village features the elaborately illuminated home and barn of the Koziar family, as well as numerous smaller buildings. Upon entrance, visitors are greeted by costumed characters Rudolph, Frosty, and the Village's own Buddy the Bear. A marked pathway leads visitors among the illuminated buildings and other displays. Children may visit Santa Claus at his headquarters on Santa Claus Lane. There are several large dioramas depicting scenes such as Christmas Beneath the Sea, Christmas in the Jungle, Santa's Post Office, and Christmas in Other Lands. There are a number of displays featuring cut-out representations of characters from popular comic strips, animated films and fairy tales, as well as manger scenes, presentations of the biblical story of the Nativity, and tellings of seasonal stories such as A Christmas Carol and The Nutcracker. The Village also includes a recreation of the Valley Forge encampment and a G gauge outdoor train layout that encompasses most of the barnyard. The "Kissing Bridge" has been the site of several marriage proposals, engagements and weddings. In addition, there are several indoor features, including an extensive H0 scale model train layout and sales area, as well as shops selling souvenirs, Christmas decorations, refreshments, and other seasonal items.
Perhaps the most dramatic feature of the Village is the first glimpse one sees of the display. Most visitors approach the property from the east, via Christmas Village Road. Being farm country the surrounding area is sparsely inhabited and, after dark, sparsely lit. The terrain blocks the view of the Village until the road crests a hill just a few hundred feet to the east of the display, at which point the entire Village is suddenly visible, reflected in the lake. As of late 2010 the Christmas Village website features a virtual recreation of this experience as a part of its home page.
Christmas Village has been named Best Outdoor Christmas Display in the World by Display World magazine. It has also been given the "Award of Excellence" by the Pennsylvania Travel Council as a top travel attraction in the state. A twilight image of Christmas Village was used as jacket art for the book Christmas in America: A Photographic Celebration of the Holiday Season by Peter Guttman, published in 2007 by Skyhorse Publishing and now in its second edition. Christmas Village has been featured frequently by local media, as well as by national and international outlets.
Information from: en.wikipedia.org/wiki/Koziar%27s_Christmas_Village
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
The GLAAD Media Awards at the Waldorf Astoria Hotel in New York City
The GLAAD Media Awards recognize and honor media for their fair, accurate and inclusive representations of the lesbian, gay, bisexual and transgender community and the issues that affect their lives.
GLAAD, the world's lesbian, gay, bisexual, and transgender (LGBT) media advocacy organization, honored Robert De Niro, Mariah Carey, and the best in film, television, and journalism at the 27th Annual GLAAD Media Awards at the Waldorf Astoria New York on Saturday May 14th 2016. Jennifer Lawrence, Aziz Ansari, Connie Britton, Diane Sawyer, Caitlyn Jenner, Tamron Hall, Noah Galvin, Andrew Rannells, Andreja Pejić, and Jason Biggs were among the special guests. Recording artists Alex Newell and Bebe Rexha, as well as the Tony Award-winning Broadway musical Fun Home performed at the event hosted by Emmy Award-winning actress Laverne Cox. The 27th Annual GLAAD Media Awards were presented by Delta Air Lines, Hilton, Ketel One Vodka, and Wells Fargo.
GLAAD Media Award recipients announced Saturday in New York. Additional awards were presented in Los Angeles at the Beverly Hilton on April 2.
Excellence in Media Award: Robert De Niro (presented by Jennifer Lawrence)
Ally Award: Mariah Carey (presented by Lee Daniels)
· Outstanding TV Journalism – Newsmagazine: “Bruce Jenner: The Interview" 20/20 (ABC) [accepted by: Diane Sawyer, Caitlyn Jenner, and David Sloan, senior executive producer]
· Outstanding TV Journalism Segment: "Interview with Jim Obergefell" Anderson Cooper 360 (CNN) [accepted by: U.S. Supreme Court plaintiff Jim Obergefell]
· Outstanding Magazine Overall Coverage: Cosmopolitan [accepted by: Laura Brounstein, special projects director]
· Outstanding Film – Limited Release: Tangerine (Magnolia Pictures)
· Outstanding Individual Episode: "The Prince of Nucleotides" Royal Pains (USA Network)
· Outstanding Digital Journalism – Multimedia: "Stopping HIV? The Truvada Revolution" Vice Reports (Vice.com)
· Outstanding Newspaper Article: "Cold Case: The Murders of Cosby and Jackson" by Dianna Wray (Houston Press)
· Outstanding Magazine Article: "Behind Brazil's Gay Pride Parades, a Struggle with Homophobic Violence" by Oscar Lopez (Newsweek)
· Outstanding Digital Journalism Article: "This Is What It’s Like To Be An LGBT Syrian Fleeing For Your Life" by J. Lester Feder (Buzzfeed.com)
SPANISH-LANGUAGE NOMINEES
· Outstanding Daytime Program Episode: "¿El marido de mi padre o yo?" Caso Cerrado (Telemundo)
· Outstanding TV Journalism – Newsmagazine: TIE: "Amor que rompe barreras" Un Nuevo Día (Telemundo) and "En cuerpo ajeno" Aquí y Ahora (Univision)
· Outstanding TV Journalism Segment: "Víctimas de abusos" Noticiero Univision (Univision)
· Outstanding Digital Journalism – Multimedia: "Campeones de la igualdad" (Univision.com)
GLAAD (formerly the Gay & Lesbian Alliance Against Defamation) is a U.S. non-governmental media monitoring organization founded by LGBT people in the media.
Motto - to promote understanding, increase acceptance, and advance equality.
Founded - 1985
Founder
Vito Russo
Jewelle Gomez
Lauren Hinds
GLAAD 2016 President and CEO Sarah Kate Ellis
GLAAD
104 W 29th St #4,
New York, NY 10001
USA
(212) 629-3322
Waldorf Astoria Hotel
301 Park Ave,
New York, NY 10022
USA
(212) 355-3000
Hashtag metadata tag
#GMA @glaad #glaadawards #GLAAD #GLAADMediaAwards #GLAADMedia #GLAADAwards #LGBT #GLBT #LGBTQ #GLBTQ #Lesbian #gay #gays #gaymen #gaywomen #bi #Bisexual #Trans #Transman #TransWoman #Transidentity #Transgender #Gender #GenderFluid #GenderIdentity #Queer #Media #TV #Television #Press #WaldorfAstoria #WaldorfAstoriaHotel #NY #NYC #NYS #NewYork #NewYorkCity #NewYorkState #USA #Equality #Pride #celebrity #fashion #famous #style #RedCarpet #RedCarpetEvent
Photo
New York City, Manhattan Island, New York State, USA The United States of America country, North America continent
May 14th 2016
Norwich is a fine city. Or so the signs say on every road into it. But, and there can be no denying it, it is a jewel in the Norfolk countryside.
For me it is “just” Norwich Where used to go for our important shopping, for football and later for concerts. We, and I, would take for granted its cobbled streets, Norman cathedral and medieval churches by the dozen. Also it’s a pub for every day, the ramshackle market, and the Norman castle keep looking down on the city sprawled around.
Just Norwich.
Later, it also became where I bought new records from Backs in Swan Lane, and searched for punk classics in the Record and Tape Exchange.
Norwich is lucky that the industrial revolution passed by the city leaving few changes, the character and history intact. World War II did damage, some churches were abandoned, some rebuilt, but many survived.
And Norwich is a friendly city. It sees warm and colourful, and on a hot summer’s day when the locals were in shorts and t-shirts, much white flesh was on display. I also take the football club for granted. I have supported it from nearly 49 years, and being away from the city means I get my news and views largely second hand, but I also forget how central the club is to the people.
Other cities would have children dressed in any one of a dozen Premier League club’s replica shirts. In Norwich yellow and green was the dominant colour, even after a chastening season that saw us finish rock bottom of the league. The local sports “superstore” has a Norwich Fan’s fanzone, and a third of the window is given to the home city club.
I knew the city like the back of my hand, so knew the route I wanted to take to provide me with views that would refresh those in my mind. I didn’t dally, pressed on to my two targets, the Anglican Cathedral and St Peter Mancroft.
This wasn’t the original plan; that was to meet two friends I used to go to the football with, Ian and Ali, but they both caught a bug in Manchester watching the women’s Euros, so couldn’t meet with me. But I had an alternative plan, maybe with a pub stop or two.
The trip happened as I got a mail offering a tempting 20% off the trip that had been selling poorly, I checked with Ian and Alison, they said they were free, but had yet to fall ill. So seats were booked, as Jools liked the sound of an afternoon in Norwich and meeting my friends.
Up at quarter to five so we could catch the first High Speed service out of Dover, so to be in London in time to catch the railtour to Norwich.
Sun had yet to light up Dover Priory when we arrived, but a few people milling around, including two still at the end of their night out.
Folkestone was light by the warm light of the rising sun, and well worth a shot as we passed over Foord Viaduct.
Later, I was hoping the calm morning meant the Medway would be a mirror, but a breeze disturbed the surface ruining the reflections I had hoped for.
Finally, emerging into Essex, the line climbs as the go over the Dartford Crossing, just enough time to grab a shot.
It was already hot in London, so we stayed in the shade of the undercroft at St Pancras, had a coffee and a pasty from Greggs before walking over to Kings Cross to see if our tour was already at the buffers.
We walked across the road to King's Cross, and find the station packed with milling passengers, all eyes trained on the departure boards waiting for platform confirmations.
Ours was due to be platform 3, and the rake of carriages was indeed there, top and tailed by class 66 freight locomotives.
We get on the train and find we had been allocated a pair of seats nearest the vestibule. This meant that they were a few inches less wide than others, meaning Jools and I were jammed in.
Almost straight away, Jools's back and Achilles began to ache, and the thought of four hours of this in the morning and another four in the evening was too much, and so she decided to get off at the first stop at Potters Bar.
In the end, a wise choice I think.
The guy in the seat opposite to us talked the whole journey. I mean filling any silence with anything: how much he paid for the components of his lunch, his cameras and then his job. In great detail. He also collected train numbers. I didn't know that was really a thin in the days of EMUs, but I helped out from time to time telling him units he had missed.
We had a twenty minute break at Peterborough because of pathing issues, so we all got out to stretch our legs and do some extra trainspotting.
An Azuma left from the next platform, and another came in on the fast line. I snapped them both.
From Peterborough, the train reversed, and after the 20 minute wait, we went out of the station southwards, taking the line towards Ely.
Now that we had done our last stop, the train could open up and we cruised across the Fens at 70mph, the flat landscape botted with wind turbines and church towers slipped by.
Instead of going into Ely station, we took the rarely used (for passenger trains) freight avoiding line, now a single track. Emerging crossing the main line, taking the line eastwards towards Thetford.
Again, the regulator was opened, and we rattled along. Even so, the journey was entering its fourth hour, and with my travelling colleague and without Jools, time was dragging.
We were now back in Norfolk, passing the STANTA training area, all warning signs on the fences telling the trainee soldiers that that was where the area ended. I saw no soldiers or tanks. My only thought was of the rare flowers that would be growing there, unseen.
And so for the final run into Norwich, familiar countryside now.
Under the southern bypass and the main line from London, slowing down where the two lines merged at Trowse before crossing the River Wensum, before the final bend into Norwich Thorpe.
At last I could get off the train and stretch my legs.
Many others were also getting off to board coaches to take them to Wroxham for a cruise on the Broads, or a ride on the Bure Valley Railway, while the rest would head to Yarmouth for four hours at the seaside.
I got off the train and walked through the station, out into the forecourt and over the main road, so I could walk down Riverside Road to the Bishop’s Bridge, then from there into the Cathedral Close.
The hustle and bustle of the station and roadworks were soon left behind, as the only noise was from a family messing about in a rowing boat in front of Pulls Ferry and a swan chasing an Egyptian Goose, so the occasional splash of water.
I reached the bridge and passed by the first pub, with already many folks sitting out in the beer garden, sipping wines and/or summer beers. I was already hot and would loved to have joined them, but I was on a mission.
In the meantime, Jools had texted me and said if I fancied getting a regular service back home, then I should. And a seed grew in my brain. Because, on the way back, departing at just gone five, the tour had to have a 50 minute layover in a goods siding at Peterborough, and would not get back to Kings Cross until half nine, and then I had to get back to Dover.
I could go to the cathedral the church, walk back to the station. Or get a taxi, and get a train back to London at four and still be home by eight.
Yes.
I walked past the Great Hospital, then into the Close via the swing gate, round to the entrance where there was no charge for entry and now no charge for photography. But I would make a donation, I said. And I did, a tenner.
I have been to the cathedral a few times, but not as a churchcrawler. So, I made my way round, taking shots, drinking in the details. But the walk up had got me hot and bothered, I always run with a hot engine, but in summer it can be pretty damp. I struggled to keep my glasses on my nose, and as I went round I knew I was in no mood to go round again with the wide angle, that could wait for another visit.
The church is pretty much as built by the Normans, roof excepted which has been replaced at least twice, but is poetry in stone. And for a cathedral, not many people around also enjoying the building and its history.
At one, bells chimed, and I think The Lord’s Prayer was read out, we were asked to be quiet. I always am when snapping.
In half an hour I was done, so walked out through the west door, through the gate and into Tombland. I was heading for the Market and St Peter which site on the opposite side to the Guildhall.
I powered on, ignoring how warm I felt, in fact not that warm at all. The heat and sweats would come when I stopped, I found out.
I walk up the side of the market and into the church, and into the middle of an organ recital.
Should I turn round and do something else, or should I stop and listen. I stopped and listened.
Everyone should hear an organ recital in a large church. There is nothing quite like it. The organ can make the most beautiful sounds, but at the same time, the bass pipes making noises so deep you can only feel it in your bones.
Tony Pinel knew his way round the organ, and via a video link we could see his hands and feet making the noises we could hear. It was wonderful, but quite how someone can play one tune with their feet and another with their hands, and pulling and pushing knobs and stoppers, is beyond me. But glad some people can.
It finished at quarter to two, and I photograph the font canopy and the 15th century glass in the south chapel. Font canopies are rare, there is only four in England, and one of the others is in Trunch 20 miles to the north. Much is a restoration, but it is an impressive sight when paired with the seven-sacrament font under it.
The glass is no-less spectacular, panels three feet by two, five wide and stretching to the vaulted roof. I can’t photograph them all, but I do over 50%.
I go to the market for a lunch of chips, for old times sake. I mean that was the treat whenever we went either to Norwich or Yarmouth; chips on the market. I was told they no longer did battered sausage, so had an un-battered one, and a can of pop. I stood and ate in the alleyway between stalls, people passing by and people buying chips and mushy peas of their own.
Once done, I had thought of getting a taxi back to the station, but the rank that has always been rammed with black cabs was empty, and two couples were shouting at each other as to who should have the one that was there. So I walked to the station, across Gentleman’s Walk, along to Back of the Inns, then up London Street to the top of Prince of Wales Road and then an easy time to the station across the bridge.
I got my ticket and saw a train to Liverpool Street was due to depart at 14:32. In three minutes.
I went through the barrier and got on the train, it was almost empty in the new, swish electric inter-city unit. I was sweating buckets, and needed a drink, but there appeared to be no buffet, instead just electric efficiency and silence as the train slid out of the station and went round past the football ground to the river, then taking the main line south.
In front of me, two oriental ladies talked for the whole journey. I listened to them, no idea what they talked about to fill 105 minutes.
I thought it would be nearly five when the train got in, but helped by only stopping at Diss, Ipswich, Manningtree and Colchester we got in, on time, at quarter past four.
I walked to the main concourse and down into the Circle Line platforms, getting a train in a couple of minutes the four stops to St Pancras. I knew there was a train soon leaving, and after checking the board and my watch I saw I had five minutes to get along the length of the station and up to the Southeastern platforms.
I tried. I did, but I reached the steps up to the platforms and I saw I had 45 seconds, no time to go up as they would have locked the doors. So, instead I went to the nearby pub and had a large, ice-cold bottle of Weiss beer.
That was better.
I was all hot and bothered again, but would have an hour to cool down, and the beer helped.
At ten past five, I went up and found the Dover train already in, I went through the barriers and took a seat in a carriage I thought would stop near the exit at Dover Priory. I called Jools to let her know I would be back at quarter to seven, and she confirmed she would pick me up.
She was there, people got off all out on a night on the town, dressed in shiny random pieces of fabric covering boobs and bottoms. I was young once, I thought.
Jools was there, she started the car and drove us home via Jubilee Way. Across the Channel France was a clear as anything, and four ferries were plying between the two shores. Take us home.
Once home, Jools had prepared Caprese. I sliced some bread and poured wine. On the wireless, Craig spun funk and soul. We ate.
Tired.
It was going to be a hot night, but I was tired enough to sleep through it. Or so I thought.
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Norwich has everything. Thus, the normally dry and undemonstrative Nikolaus Pevsner began his survey of the capital of Norfolk in his 1962 volume Buildings of England: Norwich and north-east Norfolk. And there is no doubt that this is one of the best cities of its size in northern Europe. Living in Ipswich as I do, I hear plenty of grumbles about Norwich; but really, although the two places have roughly the same population, Ipswich cannot even begin to compare with regard to its townscape. The only features which the capital of Suffolk can claim to hold above its beautiful northern neighbour are a large central park (Norwich's Chapelfield gardens is not a patch on Ipswich's Christchurch Park) and a large body of water in the heart of the town, perhaps Ipswich's most endearing feature and greatest saving grace.
But Norwich has everything else - to continue Pevsner's eulogy, a cathedral, a castle on a mound right in the middle, walls and towers, a medieval centre with winding streets and alleys, thirty-five medieval parish churches and a river with steamships. It even has hills...
I think it would be possible to visit Norwich and not even know this cathedral was there. The centre of the city is dominated by the castle, and the most familiar feature to visitors is the great market square widened by the clearances of the 1930s, and the fine City Hall built at that time which towers above it. In comparison, Norwich Cathedral sits down in a dip beside the river, walled in by its close, and is visible best from outside the city walls, especially from the east on the riverside, and to the north from Mousehold Heath. If you arrive by road from the south or west, you may not even catch a glimpse of it. The great spire is hidden by those winding streets and alleys, and many of the city's churches are more visible, especially St Giles, St Peter Mancroft in the Market Place, and the vast Catholic Cathedral of St John the Baptist, on Grapes Hill. It is said that the nave floor of St John the Baptist is at the same height above sea level as the top of the crossing of the Anglican cathedral.
With the possible exception of Lincoln Cathedral, I think that Norwich Cathedral is my favourite cathedral in all England. Call this East of England chauvinism if you like, But Norwich Cathedral has everything you could possible want from a great medieval building. But there is more to it than that. It is also one of the most welcoming cathedrals in England. There is no charge for admission, and they positively encourage you to wander around through the daily business of the cathedral, in the continental manner. No boards saying Silence Please - Service in Progress here. Because of this, the Cathedral becomes an act of witness in itself, and you step into what feels like it probably really is the house of God on Earth. They even used to say the Lord's Prayer over the PA system once an hour, and invite you to stop and join in - I wish they'd go back to doing that. The three pounds you pay for a photography permit must be one of the bargains of the century so far.
Norwich Cathedral is unusual, in that this is the original building. It has been augmented over the centuries of course, but this is still essentially the very first cathedral on this site. This is because the see was only moved to Norwich after the Norman invasion. The Normans saw the wisdom of drawing together ecclesiastical and civil power, and one way in which this might be achieved was by siting the cathedrals in the hearts of important towns. At the time of the conquest, Bishop Herfast had his seat at Thetford, and it was decided to move the see to Bury St Edmunds in Suffolk. It had moved several times during the previous four centuries, from Walton in Suffolk to North Elmham in Norfolk before Thetford, where the first proper but simple stone building had been raised. But as well as an eye for efficient administration, the Normans brought the idea that Cathedrals should be glorified; already, vast edifices were being raised in Durham, London and Ely. and Bury St Edmunds, with its famous Abbey, was the obvious place for the Diocese of East Anglia to sit.
However, such a move would have removed the Abbey's independent direct line with Rome, and placed it under the jurisdiction of the Province of Canterbury. The Abbey community was determined that this would not happen, and Abbot Baldwin sent representations to the Pope that ensured the survival of St Edmundsbury Abbey's independence. Bishop Herfast would not be allowed to glorify his position in East Anglia in the way his colleagues were doing elsewhere. But his successor, Herbert de Losinga, was more determined - and, perhaps, steeled by his conscience. A Norman, he had bought the Bishopric from the King in 1091, an act of simony that required penance. Building a great cathedral could be seen as that act of penance. But where? Bury was a lost cause; instead, he chose to move the see to a thriving market town in the north-east of his Diocese; a smaller, more remote place than Bury, to be sure, but proximity to the Abbey of St Edmund was perhaps not such a good thing anyway. It tended to cast a rather heavy shadow. And so it was that the great medieval cathedral of the East Anglian bishops came to be built, instead, at Norwich.
Work began in 1094, and seems to have been complete by 1145. It is one of the great Romanesque buildings of northern Europe, its special character a result of responses to fires and collapses over the course of the next few centuries. At the Reformation in the sixteenth century, it became a protestant cathedral of the new Church of England, losing its role as a setting for ancient sacraments and devotions, but being maintained as the administrative seat of a Diocese which covered all of Norfolk and Suffolk, and the ceremonial church of its great city. In the 19th Century, the western part of the Norwich Diocese was transferred into that of Ely, and at the start of the 20th Century the southern parishes became part of the new Diocese of St Edmundsbury and Ipswich. Today, the Diocese of Norwich consists of north, south and east Norfolk, and the north-eastern tip of Suffolk.
The absence of this great church from the Norfolk Churches site has long been the elephant in the room, so to speak. And having it here at last is, I feel, a mark of how things have changed. When I first started the Norfolk and Suffolk sites back in 1999, I did not have a decent camera, and the earliest entries did not have any photographs at all. How the wheel has turned. Now, the photographs have become the sites, and with no apologies I don't intend to make this a wordy entry.
The perfection of Norwich is of distant views, the cloisters, and the interior. The exterior is hemmed in, and the most familiar part of the building, the west front, is a poor thing, the victim of barbarous restorations in the 18th and 19th centuries. It is almost a surprise to step through its mundanity into the soaring glory of the nave. Above, the famous vaulting is home to one of the largest collections of medieval bosses in the world. There are more in the beautiful cloisters.
The view to the east is of the great organ, looking very 17th Century but actually the work of Stephen Dykes Bower in the 1950s. Beyond is the intimacy of the quire and ambulatory with its radial chapels, the best of which is St Luke's chapel, containing the Despenser retable. Bishop Despenser is one of history's villains, putting down the Peasants Revolt in East Anglia with some enthusiasm. It is likely that this retable was made for the cathedral's high altar, possibly even to give thanks for the end of the Revolt. It was discovered upside down in use as a table in the 1840s. This chapel is, unusually, also a parish church; the parish of St Mary in the Marsh, the church of which was demolished at the Reformation, moved into the cathedral. They brought their seven sacrament font with them, and here it remains.
In the ambulatory there are many traces of medieval paint, almost certainly from the original building of the Cathedral. Two curiosities: at the back of the apse is the original Bishop's chair, and rising across the north side of the ambulatory like a bridge is a relic screen.
There is a good range of glass dating from the 14th to the 21st centuries. Highlights include the medieval panels in the north side of the ambulatory, Edward Burne-Jones's bold figures in the north transept, Moira Forsyth's spectacular Benedictine window of 1964 in a south chapel, and the millennium glass high in the north transept, which I think will in time become one of the defining features of the Cathedral. The figure of the Blessed Virgin with the Christ Child seated on her lap is the work of Norfolk-based artist John Hayward, who died recently, but the glass above is Hayward's reworking of Keith New's 1960s glass for St Stephen Walbrook in London, removed from there in the 1980s, and now reset here. Towards the west end of the nave are two sets of Stuart royal arms in glass, a rare survival.
I grew up in a city some sixty miles away from Norwich, but I didn't come here until I was in my mid-teens. I remember wandering around this building and being blown away by it, and I still get that feeling today. There is always something new to find here. My favourite time here is first thing in the morning on a winter Saturday. Often, I can be the only visitor, which only increases the awe. Another time I like to be here in winter is on a Saturday afternoon for choral evensong. Perhaps best of all, though, is to wander and wonder in the cloisters on a bright sunny day, gazing at fabulous bosses almost within arm's reach.
Several English cathedrals have good closes, but Norwich's is the only one in a major city, I think. It creates the sense of an ecclesiastical village at the heart of the city; and then, beyond, the lanes and alleys spread out, still hanging on despite German bombing and asinine redevelopment. And now I think perhaps it is part of the beauty of this building that it is tucked away by the river, a place to seek out and explore. Norwich has everything, says Pevsner. But really, I think this is the very best thing of all.
www.norfolkchurches.co.uk/norwichcathedral/norwichcathedr...
Belshotmuir Depot/Yard.
Two modern representations of Intercity coach services in Scotland. Both of these 1/76 scale (OO Gauge) model coaches are Code 3 repaints. Whilst I cannot take credit for this particular Megabus model, the Citylink Gold Irizar is my own work.
Shown here in offside view are a Caetano Levante in Megabus livery including the mascot “Sid”. The Megabus brand is owned by Stagecoach Group, frequently utilising other operators whose coaches bear the Megabus livery whilst on contracted services.
Behind is a Scania Irizar PB, repainted in maroon and gold and representing the Scottish Citylink “Citylink Gold” luxury express service. Citylink first began operating in March of 1985, having undergone many changes throughout the years, they are now operated under a joint venture between Stagecoach and ComfortDelGro.
The Phrygian cap is a soft conical cap with the top pulled forward, associated in antiquity with several peoples in Eastern Europe and Anatolia, including Phrygia, Dacia and the Balkans. In early modern Europe it came to signify freedom and the pursuit of liberty through a confusion with the pileus, the felt cap of manumitted (emancipated) slaves of ancient Rome. Accordingly, the Phrygian cap is sometimes called a liberty cap; in artistic representations it signifies freedom and the pursuit of liberty.By the 4th century BC (early Hellenistic period) the Phrygian cap was associated with Phrygian Attis, the consort of Cybele, the cult of which had by then become graecified. At around the same time, the cap appears in depictions of the legendary king Midas and other Phrygians in Greek vase-paintings and sculpture.Such images predate the earliest surviving literary references to the cap.By extension, the Phrygian cap came to be applied to several other non-Greek-speaking peoples ("barbarians" in the classical sense) as well. Most notable of these extended senses of "Phrygian" were the Trojans and other western Anatolian peoples, who in Greek perception were synonymous with the Phrygians, and whose heroes Paris, Aeneas, and Ganymede were all regularly depicted with a Phrygian cap. Other Greek earthenware of antiquity also depict Amazons and so-called "Scythian" archers with Phrygian caps. Although these are military depictions, the headgear is distinguished from "Phrygian helmets" by long ear flaps, and the figures are also identified as "barbarians" by their trousers. The headgear also appears in 2nd-century BC Boeotian Tanagra figurines of an effeminate Eros, and in various 1st-century BC statuary of the Commagene, in eastern Anatolia. Greek representations of Thracians also regularly appear with Phrygian caps, most notably Bendis, the Thracian goddess of the moon and the hunt, and Orpheus, a legendary Thracian poet and musician.
While the Phrygian cap was of wool or soft leather, in pre-Hellenistic times the Greeks had already developed a military helmet that had a similarly characteristic flipped-over tip. These so-called "Phrygian helmets" (named in modern times after the cap) were usually of bronze and in prominent use in Thrace, Dacia, Magna Graecia and the rest of the Hellenistic world from the 5th century BC up to Roman times. Due to their superficial similarity, the cap and helmet are often difficult to distinguish in Greek art (especially in black-figure or red-figure earthenware) unless the headgear is identified as a soft flexible cap by long earflaps or a long neck flap. Also confusingly similar are the depictions of the helmets used by cavalry and light infantry (cf. Peltasts of Thrace and Paeonia), whose headgear – aside from the traditional alopekis caps of fox skin – also included stiff leather helmets in imitation of the bronze ones.The Greek concept passed to the Romans in its extended sense, and thus encompassed not only to Phrygians or Trojans (which the Romans also generally associated with the term "Phrygian"), but also the other near-neighbours of the Greeks. On Trajan's Column, which commemorated Trajan's epic wars with the Dacians (101–102 and 105–106 AD), the Phrygian cap adorns the heads of Trajan's Dacian prisoners. Parthians appear with Phrygian caps in the 2nd-century Arch of Septimius Severus, which commemorates Roman victories over the Parthian empire. Likewise with Phrygians caps, but for Gauls, appear in 2nd-century friezes built into the 4th-century Arch of Constantine.The Phrygian cap reappears in figures related to the 1st-4th century Roman Mithraic Mysteries. This astrology-centric mystery cult (cultus) projected itself with pseudo-oriental trappings (known as perserie in scholarship) in order to distinguish itself from both traditional Roman religion and from the other mystery cults. In the artwork of the cult (e.g. in the so-called "tauroctony" cult images), the figures of the god Mithras as well as those of his helpers Cautes and Cautopates are routinely depicted with a Phrygian cap. The function of the Phrygian cap in the cult are unknown, but it is conventionally identified as an accessory of its perserie.
Early Christian art (and continuing well into the Middle Ages) build on the same Greco-Roman perceptions of (Pseudo-)Zoroaster and his "Magi" as experts in the arts of astrology and magic, and routinely depict the "three wise men" (that follow a star) with Phrygian caps.In late Republican Rome, a soft felt cap called the pileus served as a symbol of freemen (i.e. non-slaves), and was symbolically given to slaves upon manumission, thereby granting them not only their personal liberty, but also libertas— freedom as citizens, with the right to vote (if male). Following the assassination of Julius Caesar in 44 BC, Brutus and his co-conspirators instrumentalized this symbolism of the pileus to signify the end of Caesar's dictatorship and a return to the (Roman) republican system.[2][not in citation given]. These Roman associations of the pileus with liberty and republicanism were carried forward to the 18th-century, when the pileus was confused with the Phrygian cap, with the Phrygian cap then becoming a symbol of those values.
France's bonnet rouge.French revolutionaries wearing bonnets rouges and tricolor cockades.In revolutionary France.In 1675, the anti-tax and anti-nobility Stamp-Paper revolt erupted in Brittany and north-western France, where it became known as the bonnets rouges uprising after the blue or red caps worn by the insurgents. Although the insurgents are not known to have preferred any particular style of cap, the name and color stuck as a symbol of revolt against the nobility and establishment. Robespierre would later object to the color, but was ignored.
The use of a Phrygian-style cap as a symbol of revolutionary France is first documented in May 1790, at a festival in Troyes adorning a statue representing the nation, and at Lyon, on a lance carried by the goddess Libertas.[4] To this day the national allegory of France, Marianne, is shown wearing a red Phrygian cap.By wearing the bonnet rouge and sans-culottes ("without silk breeches"), the Parisian working class made their revolutionary ardour and plebeian solidarity immediately recognizable. By mid-1791, these mocking fashion statements included the bonnet rouge as Parisian hairstyle, proclaimed by the Marquis de Villette (12 July 1791) as "the civic crown of the free man and French regeneration." On 15 July 1792, seeking to suppress the frivolity, François Christophe Kellermann, 1st Duc de Valmy, published an essay in which the Duke sought to establish the bonnet rouge as a sacred symbol that could only be worn by those with merit. The symbolic hairstyle became a rallying point and a way to mock the elaborate wigs of the aristocrats and the red caps of the bishops. On 6 November 1793, the Paris city council declared it the official hairstyle of all its members.The bonnet rouge on a spear was proposed as a component of the national seal on 22 September 1792 during the third session of the National Convention. Following a suggestion by Gaan Coulon, the Convention decreed that convicts would not be permitted to wear the red cap, as it was consecrated as the badge of citizenship and freedom. In 1792, when Louis XVI was induced to sign a constitution, popular prints of the king were doctored to show him wearing the bonnet rouge.[6] The bust of Voltaire was crowned with the red bonnet of liberty after a performance of his Brutus at the Comédie-Française in March 1792.During the period of the Reign of Terror (September 1793–July 1794), the cap was adopted defensively even by those who might be denounced as moderates or aristocrats and were especially keen to advertise their adherence to the new regime. The caps were often knitted by women known as Tricoteuse, who sat beside the guillotine during public executions in Paris and supposedly continued knitting in between executions.[2][not in citation given] The spire of Strasbourg Cathedral was crowned with a bonnet rouge in order to prevent it from being torn down in 1794.In 1814, the Acte de déchéance de l'Empereur decision formally deposed the Bonapartes and restored the Bourbon regime, who in turn proscribed the bonnet rouge, La Marseillaise and Bastille Day celebrations. The symbols reappeared briefly in March–July 1815 during "Napoleon's Hundred Days", but were immediately suppressed again following the second restoration of Louis XVIII on 8 July 1815.The symbols resurfaced again during the July Revolution of 1830, after which they were re-instated by the liberal July Monarchy of Louis Philippe I, and the revolutionary symbols—anthem, holiday, and bonnet rouge—became "constituent parts of a national heritage consecrated by the state and embraced by the public."Mariannes with bonnets rouges demonstrate against same-sex marriage in Paris on 13 January 2013, organised by the group "Manif pour tous”In modern France?The republican associations with the bonnet rouge were adopted as the name and emblem of a French satirical republican and anarchist periodical published between 1913 and 1922 by Miguel Almereyda that targeted the Action française, a royalist, counter-revolutionary movement on the extreme right.
The anti-tax associations with the bonnet rouge were revived in October 2013, when a French tax-protest movement called the bonnets rouges used the red revolution-era Phrygian cap as a protest symbol. By means of large demonstrations and direct action, which included the destruction of many highway tax portals, the movement successfully forced the French government to rescind the tax.
In the United States: A Phrygian cap on the Seal of the U.S. Senate.In the years just prior to the American Revolutionary War of independence from Great Britain, the symbol of republicanism and anti-monarchial sentiment reappeared in the United States as headgear of Columbia,[8] who in turn was visualized as a goddess-like female national personification of the United States and of Liberty herself. The cap reappears in association with Columbia in the early years of the republic, for example on the obverse of the 1785 Immune Columbia pattern coin, which shows the goddess with a helmet seated on a globe holding in a right hand a furled American flag topped by the liberty cap.Starting in 1793, U.S. coinage frequently showed Columbia/Liberty wearing the cap. The anti-federalist movement likewise instrumentalized the figure, as in a cartoon from 1796 in which Columbia is overwhelmed by a huge American eagle holding a Liberty Pole under its wings.[8] The cap's last appearance on circulating coinage was the Walking Liberty Half Dollar, which was minted through 1947 (and reused on the current bullion American Silver Eagle).The U.S. Army has, since 1778, utilized a "War Office Seal" in which the motto "This We'll Defend" is displayed directly over a Phrygian cap on an upturned sword. It also appears on the state flags of West Virginia (as part of its official seal), New Jersey, and New York, as well as the official seal of the United States Senate, the state of Iowa, the state of North Carolina (as well as the arms of its Senate,[9]) and on the reverse side of the Seal of Virginia.In 1854, when sculptor Thomas Crawford was preparing models for sculpture for the United States Capitol, Secretary of War Jefferson Davis (later to be the President of the Confederate States of America) insisted that a Phrygian cap not be included on a Statue of Freedom, on the grounds that "American liberty is original and not the liberty of the freed slave". The cap was not included in the final bronze version that is now in the building.
In Latin America: The coat of arms of Haiti includes a Phrygian cap on top of a palm tree, commemorating that country's foundation in a slave revolt.Many of the anti-colonial revolutions in Latin America were heavily inspired by the imagery and slogans of the American and French Revolutions. As a result, the cap has appeared on the coats of arms of many Latin American nations. The coat of arms of Haiti includes a Phrygian cap to commemorate that country's foundation by rebellious slaves.The cap had also been displayed on certain Mexican coins (most notably the old 8-reales coin) through the late 19th century into the mid-20th century. Today, it is featured on the coats of arms or national flags of Argentina, Bolivia, Colombia, Cuba, El Salvador, Haiti, Nicaragua and Paraguay.
en.wikipedia.org/wiki/Phrygian_cap
The revolutionaries are wearing a Phrygian cap. In this article we will be interested in the origin of this bonnet. The cap was worn for the first time in France at the Procope, a coffee shop where revolutionaries used to gather. It resembles the cap worn by freed slaves in the Roman Empire; slaves whose masters had endowed them with freedom and whose descendants became fully-fledged Roman citizens. The Phrygian cap was thus a symbol of freedom as early as Antiquity already. The oldest traces of this bonnet date back to Mithra, the Iranian divinity of the Sun, of friendship, oath, and contracts. Mithraism was the most widespread religion in Europe before Christianity. The statues of Mithra, which have survived to present day, represent Mithra wearing a Phrygian cap and a floating cape; he is kneeling on the primordial bull, holding a dagger in the right hand and drawing the bull's head towards the back with the left.
After preparing several digital representations of actual buses, it is refreshing to return to the fictional world for this last image in this current run of Scottish buses. Graham's of Paisley tweaked its livery and introduced a new logo at or about the time of deregulation; and updated its fleet at the same time., most notably with Plaxton Derwent 2 single-deckers. The Derwent's contemporary at the time was the Duple 300, favoured by Hutchinson's of Overton on Volvo B10M chassis. This fictional image depicts a former Hutchinson's bus in GBS livery; in reality, this bus passed to A1 Service and later to the Stagecoach Group (14-Jan-18).
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Photo.
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In: FOUR - A Rediscovery of the 'Tetragonus mundus'
Marten KUILMAN (1996/2011). Falcon Press, Heemstede.
ISBN 978-90-814420-1-5
4.9. The quadriga
The representations of a quadriga on Corinthian, Chalkidic and Attic vases marked the beginning of a stock motif. A variety in style was clear from the early days of the evolution in the Corinthian vases (600 - 500 BC). Quadrigae without a guide, one guide or a guide in association with the rider can be noted. The portrayals on Chalkidic vases showed a typical curvature of the breast of the horses. Often there was only one driver, with his head in an oblique position. The vases were presumably made in a relatively short period of time between 550 and 510 BC.
Representations of quadrigae were made on reliefs of bronze and clay and as on adornments and coins. The elaboration of forms was closely related to the painting on vases. Many coins minted in Chalkis - from the end of the six and the early fifth century BC - featured a quadriga. Chalkis and, a century later, Syracuse were colonial cities with a predilection for the quadriga.
The city of Syracuse, on the isle of Sicily, had a close alliance with the motif. The stamp cutters Euainetos, Eukleidas, Kimon and others shaped, around 400 BC, many medallions and coins with depictions of a quadriga. Around one and a half million dekadrachm were minted, of which some four hundred are still known to exist. LUNSINGH SCHEURLEER (1992) reported twenty-four varieties of the quadriga and at least forty-four stamps were used for the imprinting of 'La Bella' (the nimph Arethusa) on the backside of the coin. The water nymph Arethusa, often associated with dolphins, was a symbol of the city of Syracuse. The city, which was founded by the seafarers and merchants from Corinthe in 733 BC, kept a strong Greek character over the years.
This exceptional issue of money was probably connected with the autocratic government of Dionysios (405 - 367 BC), who needed much money to pay his soldiers. The mercenaries were recruited from Celtic tribes. They were called 'Gaesatae', a name derived from their spear (gaesa). It is obvious that the symbolism of the quadriga and the goddess Victory appealed to these hired soldiers with their cultural background rooted in central Europe. These people were part of the large migration movement, which started in the fifth century in the northern part of Europe (NASH, 1987; CUNLIFFE (1997), p. 68). Rome was plundered in 390 BC by the Celts and the oracle of Delphi was desecrated some hundred years later (279 BC) by Celtic war parties headed by Brennus.
HAFNER (1938), in his quest to find the roots of the motif, dated a cutted stone with a frontal quadriga from the 'transitory period between the mycenian and archaic-greek style period' (Furtwängler) and reckoned this specimen to be the oldest representation of the motif. He concluded that the scheme must have been known in the geometric art. The actual change from an agrarian/utility vehicle to a heroic/symbolic use of the quadriga was difficult to establish and both forms probably existed simultaneous in time.
Many Attic vases featured a quadriga in frontal view. A point of distinction was the person besides the quadriga, giving an explanation and commentary in captions. Furthermore, the breast of the horses was different from the Chalcidic and Corinthian representations. The oldest group was dated between 580 and 540 BC and had Corinthian influences. The younger group (of 540 - 130 BC) did not show further development of the breast musculature of the horses.
Bibl.:
CUNLIFFE, Barry (1997). The Ancient Celts. Oxford University Press, Oxford. ISBN 0-19-815010-5
HAFNER, German (1938). Viergespanne in Vorderansicht: die repräsentative Darstellung der Quadriga in der griechischen und der späteren Kunst. Neue Deutsche Forschungen Ab. Archäologie, Band 2, Junker und Dünnhaupt Verlag, Berlin.
LUNSINGH SCHEURLEER, Robert A. (1992). Euainetos in Amsterdam. Vereniging van Vrienden Allard Pierson Museum, Amsterdam. Mede-delingenblad nr. 53, april 1992. ISSN 09-159 X
NASH, Daphne (1987). Coinage in the Celtic World. B.A. Seaby Ltd., London. ISBN 0 900652 85 3
Model: Lilah
Set designer: Daisy Lang
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Aizanoi Antique City.
UNESCO Tentative Lists
whc.unesco.org/en/tentativelists/5724/
Description
The Aizanoi ancient city is located in the inner Western Anatolia Region, 48 km Southwest of the Kütahya Province, and within the boundaries of the Çavdarhisar district. Today, it is approximately at a 1000-1050 m altitude in the flat treeless plateau which is known as Örencik Plain. The City was located approximately 40 km Southwest of the Cotiaeum, 25 km Northeast of Cadi, 40 km Northwest of Appia, West of Alia and on the edge of the River Rhyndakos.
The city was re-discovered by the European travellers in 1824 and surveyed and identified between the years of 1830 and 1840. The scientific excavations within Aizanoi were launched in 1926 by D. Krencker and M.Schede on behalf of the German Archeological Institute and presently the excavations works are being carried out by the Pamukkale University.
Aizanoi was the capital of Aizanitis, who belonged to Phrigia. There was less information about Pre-Roman period for Aizanoi. It is said that the early settlement in the region dates back to the second millennium BC. During the excavations carried out around the Zeus Temple, settlement layers dated to the third millennium were unearthed. Aizanoi acquired importance in the political sense, during the conflict between the Bithyniaand PergamonKingdoms. During the Hellenistic Period, Aizanoi was alternated between the hegemonies of the Pergamon and Bithynia Kingdoms and then came under Roman control in 133 BC. Phrygia Epictetos which consists of Aizanoi, Nacoleia, Cotiation, Midaion, Doryleion, Cadoi minted their own coins after 133 BC. This case shows that Aizanoi was in metropolis statue in the first century BC. However, big monumental public buildings and urban infrastructure in the city were constructed during the early imperial period. During the Roman Period Aizanoi was not only one of the most important cities in the Phrgyia Region but also had an important status as a commercial road network. Through its production of cereals, wine and sheep's wool the city was to rise to prosperity during the period of the Roman Empire.Since the intensive architectural development activities were realized especially in the 2nd and 3rd centuries AD., the local stone workshops gained importance during that period. Because of the religious and political power of Aizanoi, Rome provided an important relationship with the communities in the region. During the early Byzantine Period, the city was the seat of a bishopric and it had lost its importance after the 7th century. In medieval times the hill upon which the temple stands was transformed into a fortified citadel which subsequently served a group of the Çavdar Tatars as a fort of Seljuk dynasties, thus giving the community its present name, Çavdarhisar.
The visible remains of the city are mostly derived from the period of the Roman Empire. The city has significant remains such as the Zeus Temple, the Complex of Stadium-Theatre, Macellum, Portico Street, the bridges and dam, two necropolises, odeon, the Roman Baths
Justification of Outstanding Universal Value
Aizanoi is one of the most significant cities of the Roman Period with the Zeus Temple, the Complex of Stadium-Theatre and the Macellum.
The structure of the Temple which is one of the best preserved Zeus Temples in the world. The Temple of Zeus, situated upon a hill, was the city's main sanctuary.There is an area covered with vaults under the temple. The temple has an unusual feature in Anatolia with this plan. The temple is composed of pronoas, naos, opisthodomos and a vaulted room under the basement. The distance between the columns and the walls of the inner rooms is twice as much as the distance between the columns; that means the building is a pseudodipteros. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. Covering the ancient inscriptions and ashlar masonry of the temple are simple representations of riders, combat scenes and horses. These engraved images depict episodes from the life of the Çavdar Tatars in the 13th century, who lived within the citadel walls surrounding the temple plateau. The magnificent Temple of Zeus contributed much to the city's prominence in antiquity and it is among the rarest ancient buildings in Anatolia which have survived till today by preserving its original form.
The Complex of Stadium-Theatre is located in the north part of the city and was one of the most intensive development activities in the city during the Roman Period. The stadium with a capacity of 13500 people and the theatre with the capacity of 20.000 people were constructed adjacently and as such it is unique in the ancient world.
One of the first stock exchange markets of the world was established in Aizanoi. The Macellum (Round Building) is dated to the midst of the 2nd century AD., probably serving as a food market. Inscriptions on the walls of this building show the prices of all goods sold in the markets of the Imperial that were controlled by an edict issued in 301 A.D. by the Roman Emperor Diocletianus in order to fight the inflation in that period. The inscriptions survived till today and can be read completely at present. It can be understood that Aizanoi was a cradle of trade with such as the most significant inscription.
Criterion (ii): The Macellum in Aizanoi dated to the midst of 2nd century AD is one of the first exchange stock markets in the world. Inscriptions on the Macellum showing the prices of all goods sold in the markets of the Imperial survived till today and can be read completely. These inscriptions have been used as a reference source for the other similar inscriptions unearthed during the excavations.
Criterion (iv): The Stadium with a capacity of 13500 people and the theatre with a capacity of 20.000 people were constructed adjacently and as such it is unique in the ancient world. The form of the complex erected in Aizanoi is not seen elsewhere in the ancient times.
The structure of the Temple is one of the best preserved Zeus Temples in the world. There is an area covered with vaults under the temple. The temple has an unusual feature in Anatolia with this plan. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. The temple is among the rarest ancient buildings in Anatolia which have survived till today by preserving its original form.
Statements of authenticity and/or integrity
Aizanoi Ancient City was first registered as an archaeological site with the decision of the Superior Council of Immovable Antiquities and Monuments dated 20th December 1975 numbered 8854. By the decision of the related Conservation Council dated 1989 numbered 488, the borders of the 1st and 3rd degree archaeological site were determined. Afterwards, by the decision of the Conservation Council taken in 2011, the rural settlement area located within the first degree archeological site was registered as an urban archeological site.
The conservation plan prepared for the 3rd degree archeological site was approved by the related Conservation Council in 1993. Its revision was approved in 2000. Also, the conservation plan prepared for the 1st archeological site and the urban archeological site was approved by the related conservation council in 2011.
The scientific excavations within Aizanoi were launched in 1926 by D. Krencker and M. Schede on behalf of the German Archeological Institute and today the excavation works are being carried out by the Pamukkale University.
Comparison with other similar properties
When compared to the other Zeus Temples in the World, the Zeus Temple in Aizanoi is one of the best preserved. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. The temple is among the rarest religious buildings in Anatolia which have survived till today by preserving its form.
The Complex of Stadium-Theatre which was constructed adjacently is unique in the ancient world. The Macellum in Aizanoi dated to the midst of 2nd century AD is one of the first exchange stock markets in the world. Inscriptions on the Macellum showing the prices of all goods sold in the markets of the Imperial are survived till today and can be read completely at present.
Penkalas Bridge
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Penkalas Bridge
Penkalas Bridge in 1992
Coordinates
39.200833°N 29.612222°E
Coordinates: 39.200833°N 29.612222°E
Crosses
Penkalas (Kocaçay)
Locale
Aezani, Turkey
Characteristics
Design
Arch bridge
Material
Stone
No. of spans
5
History
Construction end
2nd century AD
Penkalas Bridge
Location in Turkey
The Penkalas Bridge is a Roman bridge over the Penkalas (today Kocaçay), a small tributary of the Rhyndakos (Adırnas Çayı), in Aezani, Asia Minor (Çavdarhisar in present-day Turkey).
The 2nd-century AD structure was once one of four ancient bridges in Aezani and is assumed to have been the most important crossing-point due to its central location in the vicinity of the Zeus temple and the direct access it provided to the Roman road to Cotyaeum (Kütahya).[1] According to reports by European travellers, the ancient parapet remained in use as late as 1829, having been replaced today by an unsightly iron railing.[1]
Around 290 m upstream, another well-preserved, almost identical five-arched Roman bridge leads across the Penkalas.[
On the long sides representations of characters and symbols of religious nature. On this face an imaginary hybrid creature, similar to a sphinx, and a male figure are standing on either side of a sacred pillar supporting a cushion capital. In Minoan Crete, these pillars were stone columns having a sacred and religious meaning.
The column is the focal point of the scene, where the male figure approaching from the right and wearing an elaborate bordered robe is met by a large sphinx coming from the left. The standing figure without weapons and wearing a long robe could be regarded as a priest, rather than a priestess, engaged in some funeral ritual of blessing the house of the deceased. The sphinx is wingless, and equipped with human arms (as well as four legs!); both figures touch the column, and both wear the flat cap characteristic of sphinxes; the sphinx’s one has the usual floating plume. Two animals (bulls and/or horses) are floating over and under the sphinx body.
The association of the sphinx with death in the iconography of the larnakes is not limited to this example, which is, however, the most compelling in its suggestion of the sphinx as guardian of the house and tomb, a role it was destined to play also in Archaic Greece.
The Pillar cult, and its dual version in association with the “Sacred Tree” cult, was so widespread that it may be said to mark a definite early stage of religious evolution. These primitive cults of trees and pillars, or rude stones, could be regarded as an identical form of worship. The group is indeed inseparable, and a special feature of the Mycenaean cult scenes which we have to deal is the constant combination of the sacred tree with pillar or dolmen. The same religious idea - the possession of the material object by the “numen” of the divinity - is common to both. No doubt, as compared with the pillar-form, the living tree was in some way a more realistic impersonation of the godhead, as a depositary of the divine life manifested by its fruits and foliage. In the whispering of its leaves and the melancholy soughing of the breeze it was possible to hear, as in Dodona, the actual voice of the divinity.
Monsters are often associated with these pillars as guardians. The griffins, sphinxes and lions that we see before the sacred pillars were, probably, all taken from the Egypt.
Source: Immerwahr S., “Death and the Tanagra Larnakes” in “The Ages of Homer: A Tribute to Emily Townsend Vermeule”
Clay Larnax
Height 51.0 cm, width 69.0 cm
14th - 13th century BC
From Tanagra, Boeotia
Thebes, Archaeological Museum
In various Mithraic temples there have been found representations of a monstrous figure (according to Hieronymus a monstruosum portentum), generally with a lion's head and a human body entwined by a snake. On none of these, however, is there an inscription to tell us precisely which deity is portrayed. Several attempts have been made, particularly in more recent years, to equate this figure with Ahriman, the god of evil, a suggestion made by Prof. R. Zaehner of Oxford and accepted, with reservation, by the Belgian scholar of Persian, Duchesne-Guillemin. There are, it is true, some dedicatory inscriptions to Ahriman, but they are carved on altars and only three of them are recorded, one each in Rome, England and Austria. They were obviously intended to placate the god of evil and to implore him to avert his magic force, and they must have been inscribed by sorely troubled followers of Mithras who preferred to invoke Ahriman himself rather than place complete trust in their own god who, ultimately and inevitably, was to conquer evil. To us it would seem odd to find an altar dedicated to the devil in a Christian church, but to the ancient way of thinking this was not unusual and even sacrifices of wild boars were made to pacify the malicious Ahriman.
The lion-headed figure is the Time-god called Aion by the Greeks and Zervan in Persian literature. As far as the Persian texts are concerned, three different aspects of the Time-god must be distinguished. According to the orthodox teaching of Zarathushtra, Zervan is a creature of Ahura-Mazda, the God of Good. According to a second theory, however, there were originally two archetypes, that of Good and that of Evil. A separate Sassanid sect regarded Zervan Akarana, Infinite Time, as the cause and the source of all things. Ahura-Mazda and Ahriman both sprang from Zervan and were subject to him, and the followers of this cult called themselves Zervanists. It seems plausible that the same Zervan, after having undergone all kinds of foreign influences, was admitted into the Mithraic pantheon and that the figure with the lion's head is none other than Zervan who, by means of a put on Chronos (Time), was identified in the Greek texts with Kronos and, in the Roman world, with Saturn. This god is mostly portrayed in a stiff hieratic pose, with legs close together. Sometimes he is shown nude, though often his sex is disguised by a loin-cloth or by an enveloping snake, as if it were intended either to leave the deity's sex vague or to convey that both sexes were united in him, and that he was capable of self procreation. In between the coils of the snake, which often winds itself, significantly, seven times round the god, are sometimes seen the signs of the zodiac. The horrifying figure usually has a lion's head with flowing mane and wide-open mouth showing threatening protruding teeth. For even greater effect the mouth is sometimes painted red and the gullet is hollowed out. A statue from Saida in Africa has an opening made in its head, and it is highly likely that this was intended to take a burning torch. The statue would thus appear to breathe fire and so inspire even more respect for the god than his dread visage alone could evoke. In one example he is holding two torches, while a long-pointed flame shoots out of his mouth and fuses with the flames of the burning altar beside him. An unknown author records in an essay on Saturn that he 'is sometimes represented with the appearance of a snake because of excessive cold, and at other times with a wide open lion's mouth on account of scorching heat'. Sometimes this strange creature is carrying a key in both hands, a pointer to a connection with Janus, the ruler of the ianus, the gateway to the underworld of which he possessed the keys. Finally, parallels have been drawn between Saturn and Sarapis, the Egyptian deity of the realm of the dead, and he is in some way related to certain Syrian figures who are found entwined by snakes.
Tripod leg, cast, with representations in six relief panels:
1.A male figure holding a horse by the bridle.
2.A lion and on top of it a scorpion.
3.Odysseus escapes from the Cyclops’ cave hiding under the ram’s belly. On top of the ram, a bird.
4.A goat and a bird.
5. Two opposed birds are fighting.
6. The Gorgon with her child, Pegasus. Beside her head a lizard, an underworld being symbolizing the Gorgon’s death.
Tripod leg
Ca. 600 BC.
Corinthian workshop
Olympia, Archaeological Museum
Nazca Vessel with Women's Heads (100 AD-700 AD)
South coast, Peru.
Museum Fünf Kontinente, Munich
Nasca religion . . . seems more closely related to animatism and nature worship than to the supplication cation of specific deities. Therefore I have avoided using the term "deity" in referring to the images in the iconography, preferring to call them "mythical beings."
The spirit world of the Nasca included the most powerful creatures of the air (condor and falcon), earth (jaguar and puma), and water (killer whale).
Although naturalistic representations of all these animals and birds appear in the art, they are more often represented in a sacred symbolic form - killer whale jaws and fins; falcon tails, wings, and eye markings; feline whiskers and body markings -in a myriad of combinations that often include human or anthropomorphic
elements.
These mythical beings (including ing the Horrible Bird, the Mythical Killer Whale, the Anthropomorphic Mythical Being, and the Mythical Spotted Cat) should be viewed as symbolic visualizations of either the nature spirits themselves or the spiritual power (huaca or mana) that they emit. Most are combinations of several powerful elements.
While there is some archaeological cal evidence suggesting that shamans may have dressed in the trappings of the spirits for certain ritual occasions, I have argued above that the iconographic representations of mythical creatures in Nasca ceramic art were purely symbolic bolic and were not meant to portray masked impersonators or ritual performers.
Donald A. Proulx. A Sourcebook of Nasca Ceramic Iconography: Reading a Culture through Its Art (Kindle Locations 4050-4051).
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
Representations of a crocodile chained to a palm tree can be seen across Nîmes. The palm tree is an old Roman symbol for victory, while the crocodile represents Egypt. Roman soldiers who had fought in the campaign that defeated Cleopatra and Marc Antony were awarded plots of land around Nimes by Caesar Augustus.
The use of she for I (also for you and he) is common in literary representations of Highland English.
" 'And here she comes,' said Donald, as Captain Dalgetty entered the hall." — Walter Scott, The Legend of Montrose iv (1819).
She is also used instead of it for things to which feminine gender is conventionally attributed: a ship or boat (especially in colloquial and dialect use), often said of a carriage, a cannon or gun, a tool or utensil of any kind, and occasionally of other things.
She refers to abstractions personified as feminine, and also for the soul, a city, a country, an army, the Church, and others.
"Stanley had been ridiculing the habit of personifying the Church as a woman, and speaking of it tenderly as she." — George C. Brodrick, Memory and Impressions (1900) 252
"With all the pompous titles ... bestowed upon France, she is not more than half so powerful as she might be." — The Annual Register III. Miscellaneous Essays (1760) 203
"[He] told the Ambassadour, that the Turkes army was at Malta, and that she had saccaged the towne." — Thomas Washington tr. Nicholay’s Voyages i. xiii. (1585) 14 b
Rarely and archaically, she referred to an immaterial thing without personification. Also of natural objects considered to be feminine, as the moon, or the planets that are named after goddesses; also of a river (now rare), formerly of the sea, a tree, etc. William Caxton in 1483 (The Golden Legende 112 b/2) and Robert Parke in 1588 (tr. Mendoza’s Historie of the great and mightie kingdome of China, 340) used she for the sun, but this may possibly be due to misprint; survival of the Old English grammatical gender can hardly be supposed, but Caxton may have been influenced by the fact that the sun is feminine in Dutch.
She has been used for her, as an object or governed by a preposition, both in literary use (now rare), or vulgarly, as an emphatic oblique (object) case.
"I want no angel, only she." — Olive Schreiner Story African Farm ii. xiii. (1889) 284
" 'I hope—our presence did not inconvenience—the young lady?' 'Bless your heart, sir! nothing ever inconveniences she'." — Miss Dinah Mulock Craik, John Halifax, gentleman x (1856).
She is also used attributively, applied to female animals, as in: she-ass, -ape, -bear, -dog, -dragon, -sheep, -wolf, -lion [really a punning distortion of shilling], -stock, and -stuff [in the U.S. = cattle]. When applied to persons, it is now somewhat contemptuous, as in she-being, -cousin, -dancer, -thief, and others. She-friend meant a female friend, often in bad sense, that is, a mistress; but she-saint, was simply a female saint. Rarely she was also prefixed to masculine nouns in place of the (later frequent) feminine suffix -ess.
"They took her for their Patroness, and consequently for their she God." — Daniel Brevint, Saul and Samuel at Endor, vii. (1674) 161.
It has also been prefixed to nouns with the sense "that is a woman", often in disparaging use but also with intensive force, as she-woman. Now it is somewhat rare:
"Some she-malady, some unhealthy wanton, Fires thee verily." — Robinson Ellis, The poems and fragments of Catullus, vi. (1871)
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Georges de Feure or Georges Joseph Van Sluÿters (1868-1943) was a French painter, theatrical designer and industrial art designer in the Symbolism and Art Nouveau movement. Living a Bohemian lifestyle at Montmartre in Paris, his circle of friends included composers, Claude Debussy and Maurice Ravel. Feure was recognized as an important symbolist painter. His pictorial work was inspired by the poems of Charles Baudelaire, with various representations of the femme fatale. He also worked as an illustrator for “Courrier Français” and “Le Figaro Illustré”. We have digitally enhanced some of his artworks, including his poster design for “Les Maîtres de l’affiche” and “Jeanne d’Arc magazine”. They are free to download under the CC0 licence.
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The Yule goat is a Scandinavian and Northern European Yule and Christmas symbol and tradition. Its origin is from Germanic paganism and has existed in many variants during Scandinavian history. Modern representations of the Yule goat are typically made of straw.[1]
The Yule goat's origins go back to ancient Pagan festivals. This event clearly marks the Sun's annual re-entry into the astrological sign of Capricornus, and a kid goat sacrifice was made in honour of the Norse god Njord or Saturn; the god of agriculture and plenitude who rules this particular sign. The 'cornus' element in Capricorn's name refers to the cornucopia or 'horn of plenty' with its promise of a bountiful harvest to come. While its origins are unclear, a popular theory is that the celebration of the goat is connected to worship of the Norse god Thor, who rode the sky in a chariot drawn by two goats, Tanngrisnir and Tanngnjóstr; it goes back to common Indo-European beliefs. The last sheaf of grain bundled in the harvest was credited with magical properties as the spirit of the harvest and saved for the Yule celebrations, called among other things Yule goat (Julbocken).[2]
This connects to ancient proto-Slavic beliefs where the Koliada (Yule) festival honors the god of the fertile sun and the harvest. This god, Devac (also known as Dazbog or Dažbog), was represented by a white goat,[3] consequently the Koliada festivals always had a person dressed as a goat, often demanding offerings in the form of presents.[4] A man-sized goat figure is known from 11th-century remembrances of Childermas, where it was led by a man dressed as Saint Nicholas, symbolizing his control over the Devil.[2]
Other traditions are possibly related to the sheaf of corn called the Yule goat. In Sweden, people regarded the Yule goat as an invisible spirit that would appear some time before Christmas to make sure that the Yule preparations were done right.[2] Objects made out of straw or roughly-hewn wood could also be called the Yule goat, and in older Scandinavian society a popular Christmas prank was to place this Yule goat in a neighbour's house without them noticing; the family successfully pranked had to get rid of it in the same way.
The function of the Yule goat has differed throughout the ages. In a Scandinavian custom similar to the English tradition of wassailing, held at either Christmas or Epiphany, young men in costumes would walk between houses singing songs, enacting plays and performing pranks. This tradition is known from the 17th century and still continues in certain areas. The group of Christmas characters would often include the Yule goat, a rowdy and sometimes scary creature demanding gifts.[2][5][6]
During the 19th century the Yule goat's role all over Scandinavia shifted towards becoming the Christmas gift-bringer, with one of the men in the family dressing up as the Yule goat.[7] In this, there might be a relation to Santa Claus and the Yule goat's origin in the medieval celebrations of Saint Nicholas.[2] The goat was then replaced by the jultomte (Father Christmas/Santa Claus) or julenisse during the second half of the 19th century and early 20th century, although he is still called the Joulupukki (Yule goat) in Finland, and the tradition of the man-sized goat disappeared.
The Yule goat in Nordic countries today is best known as a Christmas ornament. This modern version of the Yule goat figure is a decorative goat made out of straw and bound with red ribbons, a popular Christmas ornament often found under or on the Christmas tree. Large versions of this ornament are frequently erected in towns and cities around Christmas time; a tradition started with the Gävle goat in the 1960s.
Julebukking is a Christmas tradition of Scandinavian origin.[8] Between Christmas and New Year's Day, people wearing masks and costumes (Julebukkers) go door to door, where neighbors receiving them attempt to identify who is under the disguise. In one version of Julebukking, people go door to door singing Christmas songs. After they have sung, they are usually rewarded with candy. Another tradition requires that at least one person from the visited household join the band of Julebukkers and continue to the next household.[9]
In certain aspects, the custom resembled the modern-day tradition of Halloween trick-or-treating.[10][11] Julebukkers will often disguise their voices and body language to further the masquerade. Offering people holiday treats and something to drink is customary. Once identities are known and the food is eaten, the Julebukkers continue to the next home.[12]
The Christmas goat is mentioned in many older Christmas songs dated back to the late 19th and early 20th century, when the Santa Claus tradition had not been fully established throughout Sweden. Among the songs are Julbocken, Julpolska and Raska fötter springa tripp, tripp, tripp.
The GLAAD Media Awards at the Waldorf Astoria Hotel in New York City
The GLAAD Media Awards recognize and honor media for their fair, accurate and inclusive representations of the lesbian, gay, bisexual and transgender community and the issues that affect their lives.
GLAAD, the world's lesbian, gay, bisexual, and transgender (LGBT) media advocacy organization, honored Robert De Niro, Mariah Carey, and the best in film, television, and journalism at the 27th Annual GLAAD Media Awards at the Waldorf Astoria New York on Saturday May 14th 2016. Jennifer Lawrence, Aziz Ansari, Connie Britton, Diane Sawyer, Caitlyn Jenner, Tamron Hall, Noah Galvin, Andrew Rannells, Andreja Pejić, and Jason Biggs were among the special guests. Recording artists Alex Newell and Bebe Rexha, as well as the Tony Award-winning Broadway musical Fun Home performed at the event hosted by Emmy Award-winning actress Laverne Cox. The 27th Annual GLAAD Media Awards were presented by Delta Air Lines, Hilton, Ketel One Vodka, and Wells Fargo.
GLAAD Media Award recipients announced Saturday in New York. Additional awards were presented in Los Angeles at the Beverly Hilton on April 2.
Excellence in Media Award: Robert De Niro (presented by Jennifer Lawrence)
Ally Award: Mariah Carey (presented by Lee Daniels)
· Outstanding TV Journalism – Newsmagazine: “Bruce Jenner: The Interview" 20/20 (ABC) [accepted by: Diane Sawyer, Caitlyn Jenner, and David Sloan, senior executive producer]
· Outstanding TV Journalism Segment: "Interview with Jim Obergefell" Anderson Cooper 360 (CNN) [accepted by: U.S. Supreme Court plaintiff Jim Obergefell]
· Outstanding Magazine Overall Coverage: Cosmopolitan [accepted by: Laura Brounstein, special projects director]
· Outstanding Film – Limited Release: Tangerine (Magnolia Pictures)
· Outstanding Individual Episode: "The Prince of Nucleotides" Royal Pains (USA Network)
· Outstanding Digital Journalism – Multimedia: "Stopping HIV? The Truvada Revolution" Vice Reports (Vice.com)
· Outstanding Newspaper Article: "Cold Case: The Murders of Cosby and Jackson" by Dianna Wray (Houston Press)
· Outstanding Magazine Article: "Behind Brazil's Gay Pride Parades, a Struggle with Homophobic Violence" by Oscar Lopez (Newsweek)
· Outstanding Digital Journalism Article: "This Is What It’s Like To Be An LGBT Syrian Fleeing For Your Life" by J. Lester Feder (Buzzfeed.com)
SPANISH-LANGUAGE NOMINEES
· Outstanding Daytime Program Episode: "¿El marido de mi padre o yo?" Caso Cerrado (Telemundo)
· Outstanding TV Journalism – Newsmagazine: TIE: "Amor que rompe barreras" Un Nuevo Día (Telemundo) and "En cuerpo ajeno" Aquí y Ahora (Univision)
· Outstanding TV Journalism Segment: "Víctimas de abusos" Noticiero Univision (Univision)
· Outstanding Digital Journalism – Multimedia: "Campeones de la igualdad" (Univision.com)
GLAAD (formerly the Gay & Lesbian Alliance Against Defamation) is a U.S. non-governmental media monitoring organization founded by LGBT people in the media.
Motto - to promote understanding, increase acceptance, and advance equality.
Founded - 1985
Founder
Vito Russo
Jewelle Gomez
Lauren Hinds
GLAAD 2016 President and CEO Sarah Kate Ellis
GLAAD
104 W 29th St #4,
New York, NY 10001
USA
(212) 629-3322
Waldorf Astoria Hotel
301 Park Ave,
New York, NY 10022
USA
(212) 355-3000
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May 14th 2016
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
As a cultural and national symbol
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
Brigade of the Guards of the Indian Army uses Garuda as their symbol
Elite bodyguards of the medieval Hoysala kings were called Garudas
Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
Indonesian national airline is Garuda Indonesia.
Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
The bird also gives its name to Hangard Aviation
Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata. According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings : Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc.[15] Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
AS A CULTURAL AND NATIONAL SYMBOL
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
- Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
- Brigade of the Guards of the Indian Army uses Garuda as their symbol
- Elite bodyguards of the medieval Hoysala kings were called Garudas
- Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
- Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
- 13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
- Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection
- Indonesian national airline is Garuda Indonesia.
- Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
- Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
- In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
- In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
- Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
- The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
- The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
- One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
- The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
- The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator.[17] According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
- The bird also gives its name to Hangard Aviation
- Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
- Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
- State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname there is a TV channel called Garuda. Suriname has a lot o people from Indonesia and Java. It is a multicultural country.
WIKIPEDIA
Robert De Niro applause at the GLAAD Media Awards at the Waldorf Astoria Hotel in New York City
The GLAAD Media Awards recognize and honor media for their fair, accurate and inclusive representations of the lesbian, gay, bisexual and transgender community and the issues that affect their lives.
GLAAD, the world's lesbian, gay, bisexual, and transgender (LGBT) media advocacy organization, honored Robert De Niro, Mariah Carey, and the best in film, television, and journalism at the 27th Annual GLAAD Media Awards at the Waldorf Astoria New York on Saturday May 14th 2016. Jennifer Lawrence, Aziz Ansari, Connie Britton, Diane Sawyer, Caitlyn Jenner, Tamron Hall, Noah Galvin, Andrew Rannells, Andreja Pejić, and Jason Biggs were among the special guests. Recording artists Alex Newell and Bebe Rexha, as well as the Tony Award-winning Broadway musical Fun Home performed at the event hosted by Emmy Award-winning actress Laverne Cox. The 27th Annual GLAAD Media Awards were presented by Delta Air Lines, Hilton, Ketel One Vodka, and Wells Fargo.
GLAAD Media Award recipients announced Saturday in New York. Additional awards were presented in Los Angeles at the Beverly Hilton on April 2.
Excellence in Media Award: Robert De Niro (presented by Jennifer Lawrence)
Ally Award: Mariah Carey (presented by Lee Daniels)
· Outstanding TV Journalism – Newsmagazine: “Bruce Jenner: The Interview" 20/20 (ABC) [accepted by: Diane Sawyer, Caitlyn Jenner, and David Sloan, senior executive producer]
· Outstanding TV Journalism Segment: "Interview with Jim Obergefell" Anderson Cooper 360 (CNN) [accepted by: U.S. Supreme Court plaintiff Jim Obergefell]
· Outstanding Magazine Overall Coverage: Cosmopolitan [accepted by: Laura Brounstein, special projects director]
· Outstanding Film – Limited Release: Tangerine (Magnolia Pictures)
· Outstanding Individual Episode: "The Prince of Nucleotides" Royal Pains (USA Network)
· Outstanding Digital Journalism – Multimedia: "Stopping HIV? The Truvada Revolution" Vice Reports (Vice.com)
· Outstanding Newspaper Article: "Cold Case: The Murders of Cosby and Jackson" by Dianna Wray (Houston Press)
· Outstanding Magazine Article: "Behind Brazil's Gay Pride Parades, a Struggle with Homophobic Violence" by Oscar Lopez (Newsweek)
· Outstanding Digital Journalism Article: "This Is What It’s Like To Be An LGBT Syrian Fleeing For Your Life" by J. Lester Feder (Buzzfeed.com)
SPANISH-LANGUAGE NOMINEES
· Outstanding Daytime Program Episode: "¿El marido de mi padre o yo?" Caso Cerrado (Telemundo)
· Outstanding TV Journalism – Newsmagazine: TIE: "Amor que rompe barreras" Un Nuevo Día (Telemundo) and "En cuerpo ajeno" Aquí y Ahora (Univision)
· Outstanding TV Journalism Segment: "Víctimas de abusos" Noticiero Univision (Univision)
· Outstanding Digital Journalism – Multimedia: "Campeones de la igualdad" (Univision.com)
GLAAD (formerly the Gay & Lesbian Alliance Against Defamation) is a U.S. non-governmental media monitoring organization founded by LGBT people in the media.
Motto - to promote understanding, increase acceptance, and advance equality.
Founded - 1985
Founder
Vito Russo
Jewelle Gomez
Lauren Hinds
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May 14th 2016
The caduceus (☤; /kəˈduːsiːəs/ or /kəˈdjuːʃəs/; from Greek κηρύκειον kērúkeion "herald's wand, or staff") is the staff carried by Hermes in Greek mythology and consequently by Hermes Trismegistus in Greco-Egyptian mythology. The same staff was also borne by heralds in general, for example by Iris, the messenger of Hera. It is a short staff entwined by two serpents, sometimes surmounted by wings. In Roman iconography, it was often depicted being carried in the left hand of Mercury, the messenger of the gods, guide of the dead and protector of merchants, shepherds, gamblers, liars, and thieves.
Some accounts suggest that the oldest known imagery of the caduceus have their roots in a Mesopotamian origin with the Sumerian god Ningishzida whose symbol, a staff with two snakes intertwined around it, dates back to 4000 B.C. to 3000 B.C.
As a symbolic object, it represents Hermes (or the Roman Mercury), and by extension trades, occupations, or undertakings associated with the god. In later Antiquity, the caduceus provided the basis for the astrological symbol representing the planet Mercury. Thus, through its use in astrology and alchemy, it has come to denote the elemental metal of the same name. It is said the wand would wake the sleeping and send the awake to sleep. If applied to the dying, their death was gentle; if applied to the dead, they returned to life.
By extension of its association with Mercury and Hermes, the caduceus is also a recognized symbol of commerce and negotiation, two realms in which balanced exchange and reciprocity are recognized as ideals.This association is ancient, and consistent from the Classical period to modern times. The caduceus is also used as a symbol representing printing, again by extension of the attributes of Mercury (in this case associated with writing and eloquence).
The caduceus is often incorrectly used, particularly in North America, as a symbol of healthcare organizations and medical practice, due to confusion with the traditional medical symbol, the rod of Asclepius, which has only one snake and is never depicted with wings.
Hermes hastens bearing his kerukeion, on an Attic lekythos, c. 475 BC, attributed to the Tithonos Painter
Iris with the caduceus in detail from an Attic red-figure pelike, middle of fifth century BC (Agrigento, Sicily)
It is thought that this symbol's long lasting association with the medical profession stems from early use of twigs to draw out long bodied inter muscular parasitic worms by wrapping them slowly around the twig as to not break them or allow them to escape back into the body, a successful treatment still in use today, see Dracunculiasis.
The term kerukeion denoted any herald's staff, not necessarily associated with Hermes in particular.
In his study of the cult of Hermes, Lewis Richard Farnell (1909) assumed that the two snakes had simply developed out of ornaments of the shepherd's crook used by heralds as their staff. This view has been rejected by later authors pointing to parallel iconography in the Ancient Near East. It has been argued that the staff or wand entwined by two snakes was itself representing a god in the pre-anthropomorphic era. Like the herm or priapus, it would thus be a predecessor of the anthropomorphic Hermes of the classical era.
Ancient Near East
Caduceus symbol on a punch-marked coin of king Ashoka in India, third to second century BC
William Hayes Ward (1910) discovered that symbols similar to the classical caduceus sometimes appeared on Mesopotamian cylinder seals. He suggested the symbol originated some time between 3000 and 4000 BC, and that it might have been the source of the Greek caduceus.A.L. Frothingham incorporated Dr. Ward's research into his own work, published in 1916, in which he suggested that the prototype of Hermes was an "Oriental deity of Babylonian extraction" represented in his earliest form as a snake god. From this perspective, the caduceus was originally representative of Hermes himself, in his early form as the Underworld god Ningishzida, "messenger" of the "Earth Mother". The caduceus is mentioned in passing by Walter Burkert as "really the image of copulating snakes taken over from Ancient Near Eastern tradition".
In Egyptian iconography, the Djed pillar is depicted as containing a snake in a frieze of the Dendera Temple complex.
India
The caduceus also appears as a symbol of the punch-marked coins of the Maurya Empire in India, in the third or second century BC. Numismatic research suggest that this symbol was the symbol of the Buddhist king Ashoka, his personal "Mudra". This symbol was not used on the pre-Mauryan punch-marked coins, but only on coins of the Maurya period, together with the three arched-hill symbol, the "peacock on the hill", the triskelis and the Taxila mark.
Classical antiquity
Mythology
Punishment of Ixion: in the center is Mercury holding the caduceus and on the right Juno sits on her throne. Behind her Iris stands and gestures. On the left is Vulcan (blond figure) standing behind the wheel, manning it, with Ixion already tied to it. Nephele sits at Mercury's feet; a Roman fresco from the eastern wall of the triclinium in the House of the Vettii, Pompeii, Fourth Style (60-79 AD).
The Homeric hymn to Hermes relates how Hermes offered his lyre fashioned from a tortoise shell as compensation for the cattle he stole from his half brother Apollo. Apollo in return gave Hermes the caduceus as a gesture of friendship. The association with the serpent thus connects Hermes to Apollo, as later the serpent was associated with Asclepius, the "son of Apollo".
The association of Apollo with the serpent is a continuation of the older Indo-European dragon-slayer motif. Wilhelm Heinrich Roscher (1913) pointed out that the serpent as an attribute of both Hermes and Asclepius is a variant of the "pre-historic semi-chthonic serpent hero known at Delphi as Python", who in classical mythology is slain by Apollo.
One Greek myth of origin of the caduceus is part of the story of Tiresias, who found two snakes copulating and killed the female with his staff. Tiresias was immediately turned into a woman, and so remained until he was able to repeat the act with the male snake seven years later. This staff later came into the possession of the god Hermes, along with its transformative powers.
Another myth suggests that Hermes (or Mercury) saw two serpents entwined in mortal combat. Separating them with his wand he brought about peace between them, and as a result the wand with two serpents came to be seen as a sign of peace.
In Rome, Livy refers to the caduceator who negotiated peace arrangements under the diplomatic protection of the caduceus he carried.
Iconography
In some vase paintings ancient depictions of the Greek kerukeion are somewhat different from the commonly seen modern representation. These representations feature the two snakes atop the staff (or rod), crossed to create a circle with the heads of the snakes resembling horns. This old graphic form, with an additional crossbar to the staff, seems to have provided the basis for the graphical sign of Mercury (☿) used in Greek astrology from Late Antiquity.
Modern used
Caduceus on the coat of arms of Jyväskylä, Finland
The Caduceus as an astrological symbol
Caduceus is encoded in Unicode at code point U+2624: ☤.
Symbol of commerce
A simplified variant of the caduceus is to be found in dictionaries, indicating a “commercial term” entirely in keeping with the association of Hermes with commerce. In this form the staff is often depicted with two winglets attached and the snakes are omitted (or reduced to a small ring in the middle). The Customs Service of the former German Democratic Republic employed the caduceus, bringing its implied associations with thresholds, translators, and commerce, in the service medals they issued their staff. The caduceus is also the symbol of the Customs Agency of Bulgaria.
Confusion with Rod of Asclepius
Main article: Caduceus as a symbol of medicine
The US Army Medical Corps Branch Plaque. The adoption, in 1902, of the caduceus for US Army medical officer uniforms popularized the use of the symbol throughout the medical field in the United States.
Rod of Asclepius
It is relatively common, especially in the United States, to find the caduceus, with its two snakes and wings, used as a symbol of medicine instead of the Rod of Asclepius, with only a single snake. This usage was popularised largely as a result of the adoption of the caduceus as its insignia by the U.S. Army Medical Corps in 1902 at the insistence of a single officer (though there are conflicting claims as to whether this was Capt. Frederick P. Reynolds or Col. John R. van Hoff).
The Rod of Asclepius is the dominant symbol for professional healthcare associations in the United States. One survey found that 62% of professional healthcare associations used the rod of Asclepius as their symbol. The same survey found that 76% of commercial healthcare organizations used the Caduceus symbol. The author of the study suggests the difference exists because professional associations are more likely to have a real understanding of the two symbols, whereas commercial organizations are more likely to be concerned with the visual impact a symbol will have in selling their products.
The long-standing and abundantly attested historical associations of the caduceus with commerce are considered by many to be inappropriate in a symbol used by those engaged in the healing arts. This has occasioned significant criticism of the use of the caduceus in a medical context.
“As god of the high-road and the market-place Hermes was perhaps above all else the patron of commerce and the fat purse: as a corollary, he was the special protector of the traveling salesman. As spokesman for the gods, he not only brought peace on earth (occasionally even the peace of death), but his silver-tongued eloquence could always make the worse appear the better cause. From this latter point of view, would not his symbol be suitable for certain Congressmen, all medical quacks, book agents and purveyors of vacuum cleaners, rather than for the straight-thinking, straight-speaking therapeutist? As conductor of the dead to their subterranean abode, his emblem would seem more appropriate on a hearse than on a physician's car.”
— Stuart L. Tyson, "The Caduceus", in The Scientific Monthly
The gardens of the Grade I Listed Bishop's Palace, Wells, Somerset.
Construction began around 1210 by Bishop Jocelin of Wells but principally dates from 1230. Bishop Jocelin continued the cathedral building campaign begun by Bishop Reginald Fitz Jocelin, and was responsible for building the Bishop's Palace, as well as the choristers' school, a grammar school, a hospital for travellers and a chapel within the liberty of the cathedral. The chapel and great hall were built between 1275 and 1292 for Bishop Robert Burnell. Stone bosses where the supporting ribs meet on the ceiling are covered with representations of oak leaves and the Green Man. The building is seen as a fine example of the Early English architectural style.
In the 14th century, Bishop Ralph of Shrewsbury continued the building. He had an uneasy relationship with the citizens of Wells, partly because of his imposition of taxes, and surrounded his palace with crenellated walls, a moat, and a drawbridge. The entrance was protected by a heavy gate, portcullis, and drawbridge, operated by machinery above the entrance, and spouts through which defenders could pour scalding liquids onto any attacker. The drawbridge was still operational in 1831 when it was closed after word was received that the Palace of the Bishop of Bristol was subject to an arson attack during the Bristol riots. The proposal had aimed to get rid of some of the rotten boroughs and give Britain's fast growing industrial towns such as Bristol, Manchester, Birmingham, Bradford, and Leeds greater representation in the House of Commons; however, there was no rioting in Wells. The water which filled the moat flowed from the springs in the grounds which had previously chosen its own course as a small stream separating the cathedral and the palace and causing marshy ground around the site. The moat acted as a reservoir, controlled by sluice gates, which powered watermills in the town.
The north wing (now the Bishop's House) was added in the 15th century by Bishop Beckington, with further modifications in the 18th century, and in 1810 by Bishop Beadon. It was restored, divided, and the upper storey added by Benjamin Ferrey between 1846 and 1854. Following the Dissolution of the Monasteries in 1548, Bishop Barlow sold Edward Seymour, 1st Duke of Somerset the palace and grounds. These were recovered after the Duke's execution in 1552.
In the 1550s, Bishop Barlow sold the lead from the roofs of the great hall. This resulted in it falling into a ruined state. It can be seen in an engraving of 1733 but was largely demolished around 1830 by Bishop Law. He created a "more picturesque ruin" by removing the south and east walls and laying out and planting the area previously occupied by the great hall. The palace was used as a garrison for troops in both the English Civil War and Monmouth Rebellion after which it was used as a prison for rebels after the Battle of Sedgemoor.
Bishop Kidder was killed during the Great Storm of 1703, when two chimney stacks in the palace fell on him and his wife, while they were asleep in bed. A central porch was added around 1824 and, in the 1840s and 1850s, Benjamin Ferrey restored the palace and added an upper storey.
The palace now belongs to the Church Commissioners and is managed and run by The Palace Trust. The main palace is open to the public, including the medieval vaulted undercroft, chapel and a long gallery, although the Bishops House is still used as a residence and offices.
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