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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.

Garuda, Belur, India

 

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

These representations of President Richard Nixon and Premier Zhou Enlai were just too much for one Museum of Flight visitor to resist :-)

This is a collection of buildings evoking Spain in miniature. Bullfights are held in its corrida on summer Sundays. There are representations of such famous structures as the Alhambra in Granada, Torre de Oro in Seville, and El Greco's House in Toledo.

Édouard Schuré was born in the old cathedral city of Strasbourg on January 21, 1841. As a young boy he experienced certain events which, as he described them many years later, "left traces upon my thoughts, to which my memory returns ever and again." The result of these events he called "inner vision, evoked by impressions of the external world." The first of these experiences occurred shortly after the death of his mother, when he and his father visited a resort in Alsace. On the walls of one of the buildings the ten-year-old boy saw a remarkable series of frescoes, depicting the world of undines, sylphs, gnomes and fire-spirits. Before these representations of what men of the Middle Ages called the Elemental Beings, here shown in vivid, wonderful artistic form, the boy was transported, as it were, into another world, the world of creative fantasy. Like a talisman, the pictures awakened the magic forces of wonder in the child’s soul. The artist’s creative fantasy called to the fantasy slumbering within the boy, and the result was a new perception. For, as Carlyle wrote, "Fantasy, being the organ of the Godlike, man thereby -- though based, to all seeming, on the small Visible, -- does nevertheless extend down into the infinite deeps of the Invisible, of which Invisible, indeed, his Life is properly the bodying." From this time, "the infinite deeps of the Invisible" seemed to draw the boy ever and again into the cathedral at Strasbourg. There, in the hush of the crypt, the majesty of the great nave, the glory of the music, the awe-inspiring mystery of the service, the holy calm of the candle-flames, the wreathing fragrance of incense smoke ascending into the dimness, he felt a kind of inner satisfaction, a longing fulfilled. Something of the spirit of the great mystics, Meister Eckhart and Johannes Tauler, whose lives were connected with this place, touched the soul of the boy, and he felt the transforming peace of the Friends of God of Strasbourg. Finally the moment came when the world of the spirit opened itself before his enraptured eyes. It is perhaps prophetic of his future activity that again it was a work of art that was the external cause of this second milestone on Édouard Schuré’s path to the spirit. One afternoon he was sitting in a corner of the lofty gallery of the cathedral, gazing in deep absorption at the light streaming through a great rose window. Like Dante when face to face with the Celestial Rose of the Paradise, the boy beheld the Figure of the Risen Christ, surrounded by an aureole of sublime glory. In that instant, cathedral, men, women -- all his earthly surroundings -- vanished, swallowed up in a heavenly influx. From that moment, for the rest of his long life, Édouard Schuré was convinced that his destiny was linked with the service of the divine world. Parallel with these experiences of soul and spirit, Schuré’s early years were devoted to formal education. Eventually he received his degree in law at the University of Strasbourg, but he never entered into practice. He visited Germany, remaining there for a few years, during which time he wrote Histoire du lied, published in 1868. In this book he expressed his love for music and poetry, which had been enhanced by his personal acquaintance with Richard Wagner, then living in Munich. Schuré counted his relationship with Wagner as one of the three most important friendships of his life. In his Richard Wagner, son oeuvre et son idee (1875), Schuré recorded his deep appreciation of Wagner’s efforts to reconstruct in modern times and in contemporary musical form pictures from the spiritual history of humanity. Because of this book and many articles he wrote on the same theme, Schuré is remembered as a pioneer in developing an appreciation of Wagner’s work on the part of the French public. Shortly after his return from his travels in Germany, Schuré married the sister of his friend, the composer Nessler. He and his wife moved to Paris, where Schuré continued his writing and studies, making friends with some of the most important men and women in the cultural life of France of his time. With the outbreak of the Franco-Prussian War of 1870, Schuré and his wife went to Italy. "What fascinated me in the history of Empedocles was the torturing riddle of the Beyond, as it presents itself to the individual man through his emotional life. But what terrifying vistas are produced by this enigma when stated for the whole of humanity! What is mankind’s origin? What is humanity’s destination? From what abyss has humanity escaped, only to plunge into what annihilation, or into what Eternity? What relation does mankind bear to the cosmic powers working behind the apparent chaos of the universe, in order to produce so marvelous a harmony? In the dense darkness where the alarming materialism of our age wallows, it is no longer a matter of merely restoring the link between the visible and the invisible for individuals, but of demonstrating how fruitful is the working of the omnipotent Beyond in the history of all humanity. "With these thoughts a new and ardent desire came to birth within me. I was filled with the impulse to trace the connection between the revelation of Eleusis and that of the Christ.

"In order to build a bridge between the lost Paradise and earth plunged in darkness, was it not necessary to reconstruct the living chain of the various religions, to restore to Hellenism and Christianity their original unity, to reconcile once again the whole tradition of East and West? At that instant, as in a flash I saw the Light that flows from one mighty founder of religion to another, from the Himalayas to the plateau of Iran, from Sinai to Tabor, from the crypts of Egypt to the sanctuary of Eleusis. Those great prophets, those powerful figures whom we call Rama, Krishna, Hermes, Moses, Orpheus, Pythagoras, Plato and Jesus, appeared before me in a homogeneous group. How diverse in form, appearance and color! Nevertheless, through them all moved the impulse of the eternal Word. To be in harmony with them is to hear the Word which was in the Beginning. It is to know and experience the continuity of inspiration in history as an historical fact. "Could not this lightning vision, this moment of consciousness become a new bridge to traverse the abyss separating earth from heaven? It was as if I had found my Novum Organum. This work, coming to me from the very center of things, was sufficient to last me for the rest of my life, and far more. A new life opened, filled with work on The Great Initiates and the inspiring help of Margherita Albana Mignaty." Today, when one reads page after page of fascinating details and vivid impressions drawn from the spiritual life of mankind, one may believe that the whole of The Great Initiates flowed easily and rapidly from the pen of the author. Nothing could be further from the truth. Though Schuré’s achievement ultimately brought him great joy, the writing of The Great Initiates was an arduous effort. His penetration into the spiritual world involved a constant inner struggle, and the entire task of writing the book required ten years of strenuous work." (...) Previous to the advent of Christianity man would exclaim: -- ‘My soul is indeed rooted in the Divine. It is the Divine quality alone which can extend the vision and bring unto me true enlightenment [through the powers of those who have a deeper knowledge of spiritual matters].’ But now he is learning to say: -- ‘If thou would’st truly know where thou canst unveil the profoundest depths of all that is Divine and active throughout the world; then look of thyself within thine Ego, for therein lieth the channel through which cometh unto thee the Word of God. His voice will break in upon thy conscious state if thou but rightly understandest that because of the Mystery of Golgatha, the powers which are of God have entered into mankind; and if thou wilt but realize that then indeed was a glorious initiation truly consummated -- to stand forth as a grand historical event. But especially does God speak unto thee, if thou but exaltest thyself and makest thy soul to be as an instrument, able and fitted, to apprehend that which is of the spiritual realms.’

Before that supreme act came to pass at Golgatha, the way of those who would enter upon the life of the spirit, lay through the deep mysteries of the Temple Sanctuaries. The actual awakening of the Divine consciousness which speaks through the Ego is the very essence of the Christ-Impulse; and the growth and development of the ancient Initiation-Principle paved the way and made it possible that this great impulse should come to humanity. During the whole future course of evolution, because of the Mystery of Golgatha, there will enter into men’s souls an ever-increasing clarity of understanding and discernment of the Divine Spirit to which man is so truly united. That same Holy Spirit which even now speaks through the Ego, when man has indeed freed himself from all earthly conditions and circumstances. He who can understand the Gospels from this point of view will realize the wonderful evidence of racial development and preparation for those coming events which were brought about in the past by the powers of the Spirit-World. It will be apparent that throughout the ancient Hebrew evolution, mankind was ever being made ready to hear the voice which would later speak through the deep centre of man’s being, the Ego-centre; even as the spirit of the old Hebrew race spoke to Judaism. The Christ had brought into the world that Principle of Divine Spirit which each individual man, because he is man, may find if he but seek steadfastly in the very centre of his being. It was because of this transcendent deed that, henceforth, mankind would enter into ever closer contact with the very heart of Christianity. Then would this most sacred principle rise up supreme, and while overcoming all diversity and error, bring about the realization of that universal quality which all may discern who but look deep within.

The Gods of old were national gods -- gods of the peoples -- and had relation to certain racial peculiarities. We still find something of this nature in the East among the Buddhists. But the God who stands revealed through Christianity is One who will raise mankind above all human discord and divergence, and lead him on to that which he truly is, because he is indeed MAN. He who would gain knowledge of the fundamental character of the Christian Doctrine must necessarily regard those spiritual powers and impulses which have guided supreme events in world history as realities [he cannot aver that all was begotten of mere chance actions and purely human mental activity]. He must break away from previous concepts of what is basic and of primary historic import; for happenings which have long been so regarded are in reality but upon the surface of the world’s actual growth. Underlying and controlling all human progress and development are beings far above man’s normal powers of sense-perception who are just as real as is the animal and the man in our material world. Supreme and preeminent among those spirit mentors who govern and direct the growth and development of mankind is THE CHRIST -- that Christ, who, according to the ancient gnosis, was active in the body of Jesus of Nazareth during a period of three years. (...)"

" (...) The prophet Elijah shines forth as one of the most resplendent stars in the firmament of man’s spiritual evolution, and that great illumination which he brought to humanity in olden times has endured even to the present day. The deeds, the characteristics, the greatness of this outstanding personality as portrayed in the ancient Biblical records, make the profoundest impression upon the hearts and feelings of mankind; but, nevertheless, this significant figure appears difficult of comprehension to external history. We are about to consider Elijah from the stand-point of Spiritual Science. Viewed in its light, we find in the very nature of his being an indication that the most important causes and motives underlying the circumstances connected with earthly existence during man’s evolution are not merely dependent upon those ideas that may be consciously apprehended, and the results of which can be recognized externally as forming a part of life’s history; for we learn that those very impulses which move us to actions of greatest import are born within the confines of the soul. In order that this truth which sheds so great a light upon the world’s history may become clearly apparent to our spiritual vision, we need only recall the fact that Christianity owes its foundation, for the most part, to that profound psychic incident experienced by St. Paul [Saul], which found outward expression in ‘The Vision near Damascus’ (‘Ereignis von Damaskus’), Acts. ix, 3. No matter how much we may argue concerning the reality and nature of this external happening, it cannot be denied that the true origin of Christianity is intimately connected with what then took place in the soul and spirit of that great Apostle and righteous founder of the Christian Faith; and the knowledge and enlightenment which came to him was passed on to mankind through the medium of his flaming words and self-sacrificing deeds. In many other cases it can be proved that primary causes and impulses underlying events which happen during the historical enfoldment of human existence, cannot be identified with normal external occurrences, for their inception may oft-times be traced to the hearts and souls of mankind. We are now about to consider an example of this very nature in connection with the personality of Elijah and the period in which he lived. Since, however, my lecture must of necessity be both brief and sketchy in character, although treating of a subject covering so wide a field, the question as to how far the matter presented will elucidate and provide new evidence concerning the progress of man’s historical evolution in this special instance must be left for your further consideration, but your thoughts should at all times be guided by the deep promptings of the soul. The object of my discourse is not merely to supply information concerning the personality and significance of the prophet Elijah, its true purport is at the same time to present an example of the manner in which Spiritual Science weighs and regards such matters and, in virtue of the means at its disposal, is enabled to shed fresh light upon facts connected with the growth and development of mankind, which have come to our knowledge through other sources. With this end in view, we shall employ a special method in dealing with our subject. In the first place, statements that are the result of the investigations of Spiritual Science, and have reference to the personality and significance of Elijah, will be as independent as possible of all connection with the Bible as a source, and such references will only occur when they seem essential in connection with names and descriptions. We shall therefore endeavour to portray all pertinent events first as they actually happened and later draw attention to the manner in which they are depicted in the ancient Biblical records. The occurrences will be set forth just as they are revealed by the researches of Spiritual Science, which researches have formed the basis of the various portrayals presented both in the lectures of this series and in others of previous years. A large number of my audience who, through long years of experience with the methods of Spiritual Science have gained confidence in its power and proved substantiality, will accept from the very first all that I propose to bring forward, and regard it as entirely trustworthy and as the result of conscientious investigation; and this will be the case, even though my subject must of necessity be treated in a somewhat sketchy manner, because an exposition involving detailed proofs would require many hours for its complete presentation. To those of my audience who have had no such experience as I have mentioned, I would suggest that they look upon all that is said concerning the authentic historical narrative that I am about to unfold, as if it were in the nature of an hypothesis, underlying which is a substratum of positive evidence; and I am certain that if they will but do this, and make a reasonable and understanding attempt, in moderation and without prejudice to obtain the required evidence, that all my statements will ultimately receive entire confirmation. What now has Spiritual Science to say concerning the personality and significance of the prophet Elijah and his period? To understand this we must go back in thought to those ancient Hebrew times when the brilliant epoch that marked the reign of Solomon was passed, and the kingdom of Palestine was enduring many and varied forms of privation.In olden times such manifestations were much more in evidence and more widely spread than is the case in these days. There were occasions when Ahab himself experienced visions and presentiments, but never to any marked extent, and they occurred only when he was confronted with some special matter connected with human destiny. At the time to which I refer, a rumour had spread throughout the land that a remarkable spirit was abroad. In reality, this was none other than he who, in the Bible records, bears the name of Elijah. Few there were among those living, as one might say, in the outer world, who knew precisely in what place the personality that bore this name might be found -- nor did they know in what way, or by what means, he exerted so powerful an influence upon contemporaneous people and events. We can perhaps best describe the situation by saying that throughout the widest circles any reference to this mysterious being, or even the mention of his name was accompanied by a thrill of awe, and because of this it was generally felt that this spirit must possess some singular and hidden attribute of greatest import. But no man knew rightly, or had indeed any idea, in what way this unusual quality might manifest, or where it might be sought. Only certain isolated persons, whom we might term initiates, had true knowledge of what was really taking place, and they alone knew where, in the physical world, they might find the outer reality of the actual individual who was the bearer of this mysterious spirit. There was still a belief in One God -- in One Great Spiritual Being in the cosmos, Who rules over the superperceptual realm, and Who by means of its forces makes His influence felt, and affects both the evolution and the history of mankind. It was further realized that the time was approaching when there would be an ever greater and more significant understanding of the Jahveh-Being, among those who were the most advanced and perfect of the descendants of the old Hebrew race. It was well known that in truth the religion of Moses contained the germ of all that one might term the Jehovah-Religion, but this fact had been grasped by the nation in a manner more or less after the fashion of a people yet in a stage of childhood or early youth. The old faith with its upturned vision toward a supersensible God may only be described by saying: -- ‘It can be likened to nought else than to an awareness of contact with that which is invisible and superperceptual, which comes to man when he indeed apprehends and realizes his own true Ego’ -- and it was this consciousness of the supersensible which had descended upon the people. But the concept which they had formed, as far as they could form any concept at all, was as we might put it, based upon an attempt to picture to themselves the workings of the God Jehovah, as conceived from their experiences of the external phenomena of life. In those days it was the custom to say that Jehovah acted with regard to humanity, in such a manner that when all nature was luxuriant and fruitful, it was a sign that He was rewarding mankind and showering benefits upon the nation. On the other hand, when the people suffered from want and distress brought about by war, scarcity of food, and other causes, they cried out that Jehovah had turned his face away and was consumed with anger. At that time about which we are speaking the nation was enduring the miseries caused by a period of dearth and starvation, and many turned aside from the God Jehovah, because they could no longer believe in His works when they saw how He treated mankind, for there was a terrible famine in the land. If, indeed, we can speak of progress in connection with the Jahveh-conception, then the progress destined to be made by these ancient Hebrew people can be characterized in the following manner: -- The nation must henceforth form a new Jehovah-concept embodying the old thoughts and ideas, through which must flow a fuller and a higher order of human understanding, so that all might say: -- ‘No matter what shall take place in the outer world, whether we live in happiness or are beset with sorrows and privations, we must ever realize that such external events are in no way an evidence of either the wrath or the benevolence of Jehovah. True devotion to God and a proper comprehension of the Jahveh-concept implies that mankind shall at all times gaze upward unswervingly toward the invisible Deity, uninfluenced by the contemplation of outer happenings and things, or the apparent reality of material impressions. And even though we meet with the direst want and affliction, nevertheless, through those inner forces alone which dominate the soul, man shall come to the sure conviction that -- HE IS.’ This great revolution in religious outlook was destined to be consummated and wrought through the power of the prophet Elijah [and, as will be seen later, his spiritual force operated at times through the medium of a chosen human personality]. When it is ordained that some great momentous change shall be brought about in the concepts of mankind, as was the case in Elijah’s day, it is necessary in the beginning that there be certain fitting personalities at hand in whose souls can be implanted the germ, so to speak, of those things which it is ordained shall later enter into the history of mankind. The manner in which the seed thus laid finds befitting expression, is ever that of a new impulse and a new force. If you will not misunderstand my meaning, I would say that it was decreed in accordance with the preordained fate of the nation, that the individuality known as the prophet Elijah should be the chosen one whose soul should first grasp the Jehovah-concept in the form which I have described. To this end it was essential that certain singular and very special forces be called up from the hidden depths of his soul – deep-seated powers as yet unknown to mankind, and unguessed at even by the teachers of that time. Something in the nature of an holy mystical initiation of the highest order, through which might come the revelation of such a God, must first take place in the innermost being of Elijah. It is therefore of the utmost importance, in order to describe in characteristic manner the way in which the Jahveh-concept was instilled into the minds of the people, that we should presently gaze into the soul of that particular human personality in whom the Spirit that was to impart the primary impulse was incarnated, or embodied -- that man, who through the nature of his Divine initiation became imbued with all the latent forces of his soul. Forces so vital to one who would strike that first deep fundamental note, which would call forth and make possible the coming Jehovah-conception. Such [great spiritual] personalities [as Elijah] who are chosen to experience within the soul the first stimulating impress of some momentous forward impulse, stand for the most part, isolated and alone. In olden days, however, there gathered around them certain followers who came from the great Religious Schools, or Schools of the Prophets as they were called in Palestine, and which by other nations have been termed Initiation or Mystery Sanctuaries. Thus we find the prophet Elijah, if we would use this name, also surrounded by a few earnest disciples, who looked up to him in reverence as one exalted far above them. These disciples realized to some extent the true nature and significance of Elijah’s mission, even though, because of their limited spiritual vision, they were unable to penetrate deeply into the soul of their great master. [Now at that time strange events had begun to take place in the land] the people, however, had no idea where the mysterious personality might be found who had brought them about. They could only say: -- ‘He must be here, or there, -- for something unusual is happening.’ Hence it was that there spread abroad what we might term a sort of rumour (if the word is not misused) to the effect that HE, a prophet, was actually at work, but no man knew rightly where. This uncertainty was due to the exercise of a definite and peculiar influence, which could be exerted by all such advanced spiritual beings as are found among outstanding seers. Viewed in the light of our modern times it is probable that such a statement may appear somewhat grotesque, but those who are acquainted with the singular characteristics of that by-gone age will find it in no way fanciful or extravagant.

All truly exalted spiritual personalities, such as Elijah, were endowed with this specific and highly penetrative quality which made itself felt now here, now there. Not only was the activity of this potent influence manifested in feelings of awe and dread, but there was also a direct positive action, through which it entered little by little into the souls of the people. It there operated in such manner as to cause them to be unable to tell, at times, just where the external form of some great spiritual personality might be found. But the true followers and disciples of Elijah knew well where to seek him, and were further quite aware that his outer individuality might perchance assume a wholly unpretentious character, and come to light in connection with some quite lowly station in earthly life. It is remarkable that at the time about which I am speaking, the actual bearer of the spirit of Elijah was a close neighbour of Ahab’s, King of Samaria, and the possessor of a small property in his immediate vicinity; but Ahab had no suspicion that such was the case. He sought everywhere for this singular being whose presence was felt so mysteriously throughout the community, and whom he regarded with feelings of awe and wonder, even as did his people. He entirely failed, however, to take into consideration the simple and unassuming land-owner who lived so near him, and gave no thought as to why he should, at times, absent himself, nor where he went on these occasions. But Jezebel [being clairvoyant] had discovered that this unobtrusive personality had actually become the external physical embodiment of the spirit of Elijah; now the knowledge she had thus acquired she did not impart to Ahab, she kept it to herself regarding it as a secret, for reasons which will become apparent later. In the Bible this particular character [upon whose innermost being Elijah’s spirit worked] is known by the name of Naboth. We thus see that according to the investigations of Spiritual Science we must recognize in the Naboth of the Bible, the physical bearer of the spiritual individuality of Elijah. It was in those days that a great famine came upon the land, and there were many who hungered. Naboth, in certain ways, also experienced want and distress. At times such as these, when not only does hunger prevail, as was assuredly the case in Palestine, but when on every side there is a feeling of infinite pity for those who suffer, the conditions are especially favourable for the entry of the latent soul-forces into one already prepared through destiny or karma. It is alone through these hidden powers of the soul that man may raise himself to the level of such a mission as we have outlined. Let us clearly picture what takes place deep within the being under such circumstances, and thus gain an understanding of the manner in which Naboth’s soul was affected. In the initial stage there is an inner progressive change or enfoldment, marked by an important period of self-education and self-development. It is most extremely difficult to describe those inner experiences of the soul which tend to raise it to greater spiritual heights, while the personality is becoming imbued with the forces by means of which it shall be enabled to look upon the world of spirit. The power of Divine spiritual vision must next be called into being, in order that there may come therefrom the wisdom necessary to the inception of all vital impulses destined to be implanted in the stream of human evolution. A verbal description is here the more difficult because never once have those who have undergone an experience of this nature, especially in olden times, come to such a state of apperception that they could outline their impressions in a precise and lucid manner. What actually happens may be stated to be somewhat as follows: -- The clairvoyant development of the soul is accomplished through different stages. In the case of a being such as Naboth, it would naturally occur that his first inner experience would be the clear apprehension of the following definite concept: -- ‘That spiritual power which it is ordained shall descend upon humanity, will now shine forth in me, and I am its appointed receptacle.’ Next would come this further thought: -- ‘I must henceforth do all that in me lies, in order that the force within my being may find true and proper expression; and that I may acquire those qualities that shall fit me to cope with every form of trial and experience that may come upon me. Thus shall I know how to impart the power of Divine-Impulse to my fellow men, in proper fashion.’ It is in this way that the spiritual and clairvoyant development of a personality such as I have described must go forward -- step by step. When a suitable predetermined stage has been reached, then follow certain definite signs which are noticeable and manifest within the soul. These are also of the nature of inner experiences; they are neither dreams nor visions, for they owe their origin to, and are dependent upon, the soul’s actual growth and unfoldment. Pictorial images appear; these indicate that inner progress has now so far advanced, that the particular personality in question may reasonably believe that his soul has indeed acquired new powers. These images, taken alone, have not necessarily much connection with the reality of those experiences through which the soul is passing. They are merely symbols, such as may come during the sleep state, but in a certain way they are typical symbols, similar to those which occur, under certain conditions, when we have very distinct and positive dreams. For instance, a person suffering from palpitation of the heart, may, during sleep, be under an illusion that heat is emanating from some glowing source, as, for instance, a hot stove. In like manner when the soul has gained this or that special clairvoyant power, then will come corresponding definite experiences in the form of visionary manifestations. Now, in the case of Naboth, the first event of the above nature brought with it a full realization of all that is implied in the following words: -- ‘Thou art the chosen one, through whom it shall be proclaimed that man may still believe in the ancient Jahveh-God; and that he must hold fast to this faith, even though it outwardly seemeth that because of the sore tribulation which has come upon the land, the current of life’s happenings be set against such trust. This state of profound meditation fraught with inner-life experiences, assumed the following form -- Naboth pondered thus: -- ’If thou wouldest indeed become worthy of that mission which shall shine in upon mankind because of this wholly new concept of God’s image, then must thou change utterly the nature of thine inner being, even to the most profound of its forces, so that thou art no more as thou hast been. Thou shalt subdue that soul which dwells in thee, and through those deeper powers which abide therein bring to thine inner Ego a new life, for it may no longer remain as it now is. [Thou must uplift its quality.]’ Under the influence of thoughts such as these [Naboth] worked intensively upon his soul -- ever striving within -- that he might bring about this essential transformation of his Ego, and thus become worthy to stand in the presence of that God who had revealed Himself before him. Then came to [Elijah-Naboth] yet another experience which was, however, only in part a vision. But because it was not entirely of the nature of an inner soul-happening, there being other content, it must be regarded as of less spiritual significance. It is ever the pure inner workings of the soul that are of truest and greatest import. In the vision, it appeared to him that his God, who had again manifested, set him upon a journey to Zarepath (I Kings, xvii, 9), and in that place he met a widow who had a son and he there saw represented, or personified, as it were, in the fate of this widow and her son, the manner and way in which he was now to live. It seemed to his spiritual sight that their food was well-nigh spent, and even that which they had was about to be consumed, after which they would die. Then it was that he spoke to the widow as in a dream, as in a vision, using in effect those same words which, day by day, and week by week, throughout his solitary meditations, he had repeated over and over again to his own soul: -- ‘Fear not, -- from that meal which remaineth, prepare the repast which must be made ready for you and your son, and for me also. In all that may yet come to pass trust alone in that God Who doth create both joy and sorrow, and in Whom we must ever abide in faith.’ In this dreamlike vision it was clearly impressed upon [Elijah-Naboth] that the barrel of meal would not become empty nor would the cruse of oil fail; for the oil and the meal would ever be renewed. It is worthy of note that at this point his whole soul-state which had become, so to speak, fully developed and perfected with regard to his individual character, expressed itself in the vision in such manner, that it seemed to him as if his personality went to live in the upper part of the house which belonged to the widow. But in reality the inner truth was that his own soul had, as one might say, risen to a higher level and achieved a more advanced stage of development. It next appeared to [Elijah-Naboth], again as in a vision, that the son of the widow lay dead. This we must regard as merely a symbolical representation of the fact that [Naboth] had overcome, and slain, as it were, the Ego which had been his up to that time. Then it was the subconscious forces in his soul cried out: -- ‘What wilt thou do now?’ For a while [Elijah-Naboth] stood helpless and perplexed; but he was able to regain his self-control through the medium of that power which had always lived and flowed within his innermost being, and to plunge even yet more profoundly into the consideration of those conditions which now called for such deep and earnest contemplation. It then happened that after the widow’s son was dead, she reproached him. This signifies that his subconscious spirit reproached him, in other words, aroused in him a misgiving of this nature: -- ‘My old Ego-consciousness has now left me -- what am I to do?’ In the description given of these events it is stated that he took the child unto himself and plunged unhesitatingly still further into the depths of his soul, and we are told that power was vouchsafed to him through which he brought the dead son once more to life. Then did he gain more courage to stimulate and quicken the new Ego, which was now his, by virtue of those qualities which were in the Ego that he had lost.

From that time on [Elijah-Naboth] continued to develop and mature the hidden forces of his soul, so that it might acquire that inner strength necessary to come before the outer world and utter those words which all must hear. But in the first place and above everything, to stand before King Ahab and bring to a crisis the matter which must now be decided, namely, the victory of the new Jehovah-concept as opposed to those beliefs that the King himself accepted, and which, owing to the weakness of the times had become generally acknowledged among the people. Now, it came about, that while Ahab was making a round of his empire, anxiously observing the signs of want and distress that the personality [whom we have called Elijah-Naboth] approached him; and no man knew from whence he came, certainly the King had no idea. And there was a strangeness in the manner of his speech which affected the soul of Ahab, who was not, however, aware that this man was his neighbour. More strongly than ever did the King experience that feeling of awe and dread which had always come upon him when reference was made to that great spirit known in the Bible as Elijah the prophet. Then it was that the King spoke and said: -- ‘Art thou he that troubleth Israel?’ And Elijah-Naboth replied: -- ‘No, not I, but thou thyself it is who bringeth misfortune and evil upon the people, and it must now be determined to which God they shall turn.’ So it came to pass that a great multitude of the tribe of Israel assembled upon Mount Carmel in order that final judgment should be made between the god of Ahab and the God of Elijah. The decision was to be brought about by means of an external sign; but such a sign as all might plainly discern and clearly understand. To enter into details concerning these matters at the present time would, however, take us too far. It was arranged that the priests and prophets of Baal, the name by which the god of King Ahab was known, should be the first to offer a sacrifice. The people would then wait and see if the performance of certain sacrificial rites (religious exercises in which the ecstatic priests, through the medium of music and dancing, worked themselves up into a state of singular ecstasy) would lead to any communication or influence being imparted to the multitude. In other words, the people were to judge whether or not, in virtue of inherent divine powers possessed by the priests any sign was vouchsafed of the might and potency of their god. The sacrificial beast is brought to the altar. It is to be decided if in truth the priests of Baal are endowed with an inner force, such as would stir the multitude. Then Elijah-Naboth raised up his voice and said: -- ‘This thing must now be determined -- I stand alone while opposed to me are the four hundred and fifty prophets of Baal. We shall see how strong is their hold upon the people, and how great is that power which is in me.’ The sacrifice is performed, and everything possible done in order to transmit to the multitude a potent influence from the priests -- that all should believe in the god Baal. The ecstatic exercises are carried to such lengths that the hands and other parts of the body are cut with knives until the blood flows, so as to increase still further the awesome character of the spectacle evoked by these followers of Baal, under the frenzied stimulus of the dancing and the music.

 

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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 ancient sculptors represent the myth of Phaedra in two variants. Both the representations are organized into two panels. The left panel shows the same scene where the main characters are represented in their house: Phaedra with her nurse surrounded by some handmaids, and Hippolytus ready for the hunt. The two versions differ for the subject carved on the right panel. This sarcophagus showing the arrival of the delegation sent to Athens to inform Theseus about the death of his son Hippolytus, is an example of the second and more recent variant dating from the end of 3rd Century AD.

The first variant of this myth assembles, beside the domestic scene, a heroic scene of wild boar hunting.

 

The garden.

Phaedra, sitting on a seat, turns her gaze far from her beloved son-in-law. A mirror under the seat emphasizes the beauty of Phaedra. A cupid leaning against her knees and staring at Phaedra is the iconographic symbol of her strong feeling for Hippolytus. The old nurse and a maid looking towards Hippolytus complete the scene. He is standing at the center of the scene, and holds in his hands the letter written by Phaedra to inform the youth about her resolution to commit suicide.Near Hippolytus, a dog, his horse and a young hunter.

 

Theseus’ Palace

The king Theseus is sitting on his throne in the right corner. In front of him a young attendant with a javelin in his left hand tells the sad fate of Hippolytus to his father. Theseus is depicted as a desperate man grabbing the thick beard with his right hand. A nurse with an infant and an old servant complete the scene.

This iconographic model was widespread mainly in Asia Minor. It was considered suitable for represent the paternal grief for the death of a son at the prime of his youth and physical vigor.

 

Source: Zanker P. et alt., “Vivere con i Miti. L’iconografia dei sarcogagi Romani”

 

Roman sarcophagus

About 290 AD

Paris, Musée du Louvre

  

English

en.wikipedia.org/wiki/Manueline

 

The Manueline, or Portuguese late Gothic, is the sumptuous, composite Portuguese style of architectural ornamentation of the first decades of the 16th century, incorporating maritime elements and representations of the discoveries brought from the voyages of Vasco da Gama and Pedro Álvares Cabral. This innovative style synthesizes aspects of Late Gothic architecture with influences of the Spanish Plateresque style, Italian urban architecture, and Flemish elements. It marks the transition from Late Gothic to Renaissance. The construction of churches and monasteries in Manueline was largely financed by proceeds of the lucrative spice trade with Africa and India.

 

The style was given its name, many years later, by Francisco Adolfo de Varnhagen, Viscount of Porto Seguro, in his 1842 book, Noticia historica e descriptiva do Mosteiro de Belem, com um glossario de varios termos respectivos principalmente a architectura gothica, in his description of the Jerónimos Monastery. Varnhagen named the style after King Manuel I, whose reign (1495–1521) coincided with its development. The style was much influenced by the astonishing successes of the voyages of discovery of Portuguese navigators, from the coastal areas of Africa to the discovery of Brazil and the ocean routes to the Far East, drawing heavily on the style and decorations of East Indian temples.

 

Although the period of this style did not last long (from 1490 to 1520), it played an important part in the development of Portuguese art. The influence of the style outlived the king. Celebrating the newly maritime power, it manifested itself in architecture (churches, monasteries, palaces, castles) and extended into other arts such as sculpture, painting, works of art made of precious metals, faience and furniture.

 

Português

pt.wikipedia.org/wiki/Estilo_manuelino

 

O Estilo manuelino, por vezes também chamado de gótico português tardio ou flamejante, é um estilo arquitectónico, escultórico e de arte móvel que se desenvolveu no reinado de D. Manuel I e prosseguiu após a sua morte, ainda que já existisse desde o reinado de D. João II. É uma variação portuguesa do Gótico final, bem como da arte luso-mourisca ou arte mudéjar, marcada por uma sistematização de motivos iconográficos próprios, de grande porte, simbolizando o poder régio. Incorporou, mais tarde, ornamentações do Renascimento italiano. O termo "Manuelino" foi criado por Francisco Adolfo Varnhagen na sua Notícia Histórica e Descriptiva do Mosteiro de Belém, de 1842. O Estilo desenvolveu-se numa época propícia da economia portuguesa e deixou marcas em todo o território nacional.

 

Esta tendência artística era conhecida, na época, como a variante portuguesa da arquitectura ad modum Yspaniae (ao modo hispânico) que, por sua vez, estava incluída na corrente arquitectónica "ao moderno" - expressão utilizada para o gótico tardio onde também havia a variante, por exemplo, do modo tudesco ou alemão na então nova arquitectura nórdica. Esta corrente opunha-se à arquitectura ao modo antigo ou ao romano.

 

No seu conjunto, pouco muda relativamente à estrutura formal do gótico alemão e plateresco. O alçado interior das igrejas mantém-se através da orientação este-oeste, da planta, dos sistemas de suporte e cobertura, do cálculo de proporções. As naves da mesma altura, influência das igrejas-salão alemãs, de cinco tramos, ausência de transepto e cabeceiras rectangulares são as principais características diferenciais. Apesar de ser essencialmente ornamental, o Manuelino caracteriza-se também pela aplicação de determinadas fórmulas técnicas da altura, como as abóbadas com nervuras polinervadas a partir de mísulas.

 

Na componente civil destacam-se os palácios, como o Paço de D. Manuel, em Évora, e solares rurais, como o Solar de Sempre Noiva, em Arraiolos, todos de planta rectangular. E na tipologia militar é referência maior o baluarte do Restelo, a Torre de Belém. Um dos primeiros baluartes de artilharia do país, a quebrar a tradição das torres de menagem, a sua planta rectangular sobrepõe-se a uma base poliédrica, que penetram Tejo adentro. A rectangularidade da planta opõe-se à curvilínea da decoração esculpida.

 

Escultura Manuelina

 

1.Árvores secas. Aparecem também no gótico final da Europa Central, usando-se o termo "astwerk" para descrever a sua utilização - são, portanto, um elemento característico do tardo-gótico e remetem para a estética franciscana, de cariz marcadamente naturalista e austera. Por outro lado, é um elemento que foi utilizado pelos detractores do gótico que consideravam o estilo bárbaro e primitivo - estéril como uma árvore seca. As suas raízes e troncos nodosos têm presença notável no Mosteiro de Alcobaça, na janela do Capítulo de Tomar, sobre o busto fundeiro; na Igreja de Vilar de Frades ou no Paço de Sintra.

2.Alcachofras (símbolo da regeneração e da ressurreição - sendo por isso queimada nos festejos de São João, esperando que volte a reverdecer);

3.Folhas de loureiro, como no Claustro de D. João I, no Mosteiro da Batalha;

4.Romãs (como nas portas laterais da Igreja Matriz de Golegã - símbolo de fertilidade, pela quantidade extraordinária de sementes que contêm)

5.Folhas de hera;

6.Pinhas (fertilidade e/ou imortalidade - por vezes interpretadas como sendo espigas de milho ou maçarocas) - são visíveis, por exemplo, sobre o portal da Igreja Matriz da Golegã;

7.Caracóis ou conchas de nautilus (como na Igreja da Vestiaria, em Alcobaça; ou na entrada das Capelas Imperfeitas, no Mosteiro da Batalha, simbolizando, talvez, a lentidão dos trabalhos);

8.Animais vários

9.Putti (crianças)

 

Principais Autores

 

No Norte de Portugal, os principais autores deste estilo, provenientes da Galiza ou de Biscaia, foram Tomé de Tolosa, Francisco Fial e Pêro Galego, que participaram na criação da Igreja Matriz de Caminha, bem como João de Vargas e João de Parmenes, que trabalharam juntamente com o português João Lopes na Sé de Lamego. O cantábrico João de Castilho, responsável pela galilé e pela capela-mor da Sé de Braga, também deixou a sua marca no Mosteiro dos Jerónimos, onde avulta a figura de Diogo Boitaca, criador do Mosteiro de Jesus de Setúbal. Além de Boitaca, o centro de Portugal conta também com a obra notável de Mateus Fernandes, bem representada no portal das Capelas Imperfeitas, no Mosteiro da Batalha.

 

Fala-se ainda de um "Manuelino de segunda geração", após o recrudescimento económico em Portugal, em consequência das Descobertas. Castilho, Boitaca e os irmãos Francisco e Diogo de Arruda, que desenharam a Torre de Belém, são os seus principais representantes.

 

Há ainda a referir os nomes de Manuel Pires, João Favacho, Pêro e Filipe Rodrigues, Álvaro Rodrigues, André Pires, João Dias, Diogo Pires, o Moço, entre outros.

  

Obras Principais

 

Entre as obras mais notáveis do manuelino, temos a referir:

No Norte de Portugal, onde está presente desde o início do século XVI e onde são características dominantes a decoração ao estilo "flamejante" e as Igrejas divididas em três naves: Igreja Matriz de Vila do Conde;

Igreja Matriz de Caminha;

Igreja Matriz de Freixo de Espada à Cinta;

Mosteiro de Leça do Balio (pia baptismal);

Pelourinho de Arcos de Valdevez;

 

No Centro de Portugal: Convento de Cristo, onde sobressai a magnífica janela do Capítulo;

Mosteiro dos Jerónimos;

Cruzeiro do Cartaxo;

Determinadas partes do Mosteiro de Santa Maria da Vitória (ou da Batalha);

Igreja Matriz da Golegã;

Igreja de São João Baptista de Tomar;

Igreja do Mosteiro de Santa Cruz de Coimbra; (túmulos, igreja, claustro);

Igreja do antigo Mosteiro de Jesus, em Setúbal;

A sala dos Brasões no Paço Real de Sintra;

Torre de Belém;

O arco triunfal da Igreja de Nossa Senhora do Pópulo, em Caldas da Rainha;

Sé Nova de Coimbra, (pia baptismal);

 

No Sul de Portugal: Igreja de São Francisco, em Évora;

Igreja Matriz de Monchique, num das mais características variantes locais do estilo.

Igreja Matriz de Odiáxere, bem característica do chamado Manuelino de Lagos.

Igreja da Misericórdia de Loulé;

 

O Estilo ainda se faz notar, mesmo fora de Portugal Continental Nas Regiões Autónomas: Sé do Funchal

Igreja Matriz de Ponta Delgada

 

Em Marrocos: Safim

Mazagão

 

Na Índia: Igreja do Priorado do Rosário

Igreja de São Francisco

 

Em Espanha:

  

Igreja de santa Maria Madalena, em Olivença

Em Moçambique:

 

Capela de Nossa Senhora do Baluarte, Ilha de Moçambique

 

Motivos Ornamentais

 

A característica dominante do Manuelino é a exuberância de formas e uma forte interpretação naturalista-simbólica de temas originais, eruditos ou tradicionais. O conjunto decorativo de um elemento escultórico manuelino apresenta-se quase sempre como um discurso de pedra, onde diversos elementos e referências se cruzam (pansemiose - ou "todos os significados"), como o simbilismo cristão, a alquimia, a tradição popular, etc. O contexto tanto pode ser moralizante, como alegórico, jocoso (quando se aponta o dedo aos defeitos humanos ou a pormenores obscenos, como a referência sexual numa gárgula exterior à capela de São Nicolau, em Guimarães), esotérico ou, simplesmente, propagandístico em relação ao poder imperial de D. Manuel I. Note-se que esta simbologia está também muito ligada à heráldica.

 

Os motivos mais importantes da arquitectura manuelina são:

Símbolos nacionais: A esfera armilar ("a esfera dos matemáticos" conferida como divisa por D. João II ao seu primo e cunhado, D. Manuel (futuro rei D. Manuel I), que, tendo escrito no meridiano "Spera Mundi" - Esfera do Mundo - foi, mais tarde, interpretada como sinal de um desígnio divino para o reinado de D. Manuel que se apresenta nos motivos artísticos do estilo como "Esperança do Mundo", como também poderia ser interpretada a expressão aí inscrita)

A Cruz da Ordem de Cristo;

Escudo nacional;

 

Elementos naturalistas: Corais;

Algas;

Guizeiras

Árvores secas. Aparecem também no gótico final da Europa Central, usando-se o termo "astwerk" para descrever a sua utilização - são, portanto, um elemento característico do tardo-gótico e remetem para a estética franciscana, de cariz marcadamente naturalista e austera. Por outro lado, é um elemento que foi utilizado pelos detractores do gótico que consideravam o estilo bárbaro e primitivo - estéril como uma árvore seca. As suas raízes e troncos nodosos têm presença notável no Mosteiro de Alcobaça, na janela do Capítulo de Tomar, sobre o busto fundeiro; na Igreja de Vilar de Frades ou no Paço de Sintra.

Alcachofras (símbolo da regeneração e da ressurreição - sendo por isso queimada nos festejos de São João, esperando que volte a reverdecer);

Folhas de loureiro, como no Claustro de D. João I, no Mosteiro da Batalha;

Romãs (como nas portas laterais da Igreja Matriz de Golegã - símbolo de fertilidade, pela quantidade extraordinária de sementes que contêm)

Folhas de hera;

Pinhas (fertilidade e/ou imortalidade - por vezes interpretadas como sendo espigas de milho ou maçarocas) - são visíveis, por exemplo, sobre o portal da Igreja Matriz da Golegã;

Caracóis ou conchas de nautilus (como na Igreja da Vestiaria, em Alcobaça; ou na entrada das Capelas Imperfeitas, no Mosteiro da Batalha, simbolizando, talvez, a lentidão dos trabalhos);

Animais vários

Putti (crianças)

 

Elementos fantásticos: Ouroboros (a serpente que morde a sua própria cauda: símbolo do Universo: a união do princípio e do fim)

Sereias (motivo de arte profana, talvez fossem uma referência a várias palavras semelhantes e ao simbolismo associado: serão, ou a altura em que o ciclo produtivo do cardar da lã se realizava; serenata, ritual de namoro ligado ao pecado da carne, tal como em serralho, etc);

Monstros (principalmente as gárgulas, mas também outros, como dragões e animais de boca aberta, devorando o seu próprio corpo)

Orelhudos (cabeças com orelhas descomunalmente grandes, como no cadeiral de Santa Cruz de Coimbra);

Animais realizando acções humanas, numa perspectiva carnavalesca, como a tocar instrumentos musicais.

 

Simbolismo cristão: Cachos de uvas e sarmentos (relacionado com a "Vinha do Senhor" e com a Eucaristia), como em Luz de Tavira;

Agnus Dei

Querubins

 

Outros motivos: As cordas entrelaçadas e cabos, fazendo muitas vezes nós, como na Sé de Viseu, na Torre de Belém ou na Casa dos Alpoins, em Coimbra.

Redes;

Cinturões com grandes fivelas, como no Coro do Convento de Cristo, em Tomar;

Meias esferas, como na Igreja da Conceição, em Beja;

Pináculos cónicos com cogulhos de formas diversas;

Colunas torsas (como no portal da Igreja Matriz da Golegã ou na Sé da Guarda)

Correntes, como na arquivolta do portal principal da Casa de Sub-Ripas, em Coimbra;

Bustos de personagens históricas;

Cabeças de infantes (crianças)

Desenhos finos, semelhantes aos das pratas espanholas, suas contemporâneas.

Referências à cestaria;

  

Note-se que estes mesmos motivos aparecem também noutras construções, como pelourinhos, túmulos ou mesmo peças artísticas, como em ourivesaria.

  

O Rei

 

O "discurso" artístico presente no estilo manuelino, ainda que tenha começado a ser construído ainda antes do reinado de D. Manuel, teve uma influência considerável da própria personalidade do monarca, das suas aspirações no contexto mundial, em especial o projecto de uma cruzada que unificaria o mundo cristão do ocidente com o mítico reino Cristão oriental do Preste João, tornando-o o "Rei dos Mares" (e foi, de facto, assim designado por diversos autores estrangeiros).

 

O estilo manuelino transmite em grande parte estas aspirações messiânicas de um rei cuja ascensão ao poder foi, no mínimo insólita, depois da morte seguida de outros herdeiros directos ao trono (como o príncipe D. Afonso e o seu irmão, D. Diogo, assassinado). No entanto, desde a interpretação dada à expressão "Spera Mundi", na esfera armilar, que lhe fora concedida como divisa, até à interpretação do seu próprio nome, Emanuel ("Deus connosco", em hebraico), dado por sua mãe quando este nasceu, após um trabalho de parto longo e doloroso que só terminou quando a procissão do Corpo de Deus passava na rua, vários foram os "sinais" que indicavam que este rei fora o "Escolhido" por Deus para grandes feitos. A própria concepção política deste rei, influenciada pelo seu perceptor Diogo Rebelo e pelo joaquimismo fá-lo-ia crer que estava destinado a fundar o Quinto Império da Profecia de Daniel.

 

Estas referências messiânicas e apocalípticas estão também presentes na pintura (como nos frescos das "Casas Pintadas", em Évora e na "Aparição de Cristo à Virgem" de Jorge Afonso). Um exemplo claro aparece também na representação do rei e da rainha D. Maria, em primeiro plano, no quadro "Fons Vitae", pertencente à Misericórdia do Porto, de pintor anónimo mas segundo alguns de Colijn de Coter, numa cena da crucificação e onde o sangue de Cristo escorre para dentro de um gigantesco Graal.

 

Apart from the many features of this dial, including accurate representations of the phases of the Moon, position of the Sun above the horizon, equinoxes, various time measurements, including Babylonian and Sidereal time, the four figures either side perform on each hour. The skeleton dates back to the completion of the clock in 1410 and rings a death toll each hour while the Turk to his right turns and the representation of Avarice on the other side of the dial shakes his bag of money and Vanity at the far left looks in his mirror.

 

Peter

St Oswald, Ashbourne, Derbyshire.

 

Detail: St Cecilia, St Monica, and St Dorothea.

  

The window contains representations of the Virgin Martyr Saints, St Cecilia, St Monica, and St Dorothea. It is a fine design by Christopher Whall, a pre-Raphaelite artist.

  

Christopher Whall window dated 1905.It was given to the church by Mr and Mrs.Peveril Turnbull of Sandybrook Hall and it commemorates their daughters who died in a local fire. The window consists of three lights and contains representations of the Martyr Saints, St Cecilia, St Monica and St Dorothea. St Cecilia is seen falling asleep to the sounds of celestial music; an exquisite symbol of death. Girls play the organ dressed in medieval clothes with flowers and crowns in their hair and the celestial city is visible in one panel, viewed through a thicket of thorns. Whall’s signature on this stained glass was his own thumbprint.

 

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Memorial Window by Christopher Whitworth Whall (1849-1924), 1905.

 

For Monica Peveril Turnbull aged 22 (1878-1901) and Dorothea Peveril Turnbull aged 20 (1880-1901).

 

These two girls were the only children of Mr & Mrs Peveril Turnbull, of Sandybrook Hall. As they were leaving the dining room, a light which their father was carrying burst into flames. Dorothea's dress caught fire and Monica, rushing to help her sister, was also engulfed by the flames. Sadly, both died of their multiple burns.

 

The three lights of the window show (l to r) representations of the Martyr Saints, St Barbara, St Cecilia and St Dorothea. St Cecilia is seen falling asleep to the sounds of celestial music, an exquisite symbol of death. Girls play the organ dressed in medieval clothes with flowers and crowns in their hair and the celestial city is visible in one panel, viewed through a thicket of thorns.

 

The faces of St Barbara and St Dorothea are those of Monica and Dorothy Turnbull respectively. The face of St Cecilia is in the image of Christopher Whall's wife whilst the angel rising from the flames is that of his daughter, Veronica.

 

Christopher Whitworth Whall (1849-1924) was the son of a clergyman and grew up in Thurning, Huntingdonshire. He studied painting at the Royal Academy Schools in London under Frederick Leighton but in the later 1880s decided to learn the processes of making stained glass. He designed for James Powell & Sons but was frustrated by the lack of control over the completed windows. In the field of stained glass he had a profound effect as a practitioner, teacher (at the Central School of Arts and Crafts in London) and writer. His book Stained Glass Work, published in 1905, remains profoundly influential to this day.

St Oswald, Ashbourne, Derbyshire.

  

Detail: St Dorothea is beautiful with her roses.

  

The window contains representations of the Virgin Martyr Saints, St Cecilia, St Monica, and St Dorothea. It is a fine design by Christopher Whall, a pre-Raphaelite artist.

  

Christopher Whall window dated 1905.It was given to the church by Mr and Mrs.Peveril Turnbull of Sandybrook Hall and it commemorates their daughters who died in a local fire. The window consists of three lights and contains representations of the Martyr Saints, St Cecilia, St Monica and St Dorothea. St Cecilia is seen falling asleep to the sounds of celestial music; an exquisite symbol of death. Girls play the organ dressed in medieval clothes with flowers and crowns in their hair and the celestial city is visible in one panel, viewed through a thicket of thorns. Whall’s signature on this stained glass was his own thumbprint.

 

--------------------------------------

 

Memorial Window by Christopher Whitworth Whall (1849-1924), 1905.

 

For Monica Peveril Turnbull aged 22 (1878-1901) and Dorothea Peveril Turnbull aged 20 (1880-1901).

 

These two girls were the only children of Mr & Mrs Peveril Turnbull, of Sandybrook Hall. As they were leaving the dining room, a light which their father was carrying burst into flames. Dorothea's dress caught fire and Monica, rushing to help her sister, was also engulfed by the flames. Sadly, both died of their multiple burns.

 

The three lights of the window show (l to r) representations of the Martyr Saints, St Barbara, St Cecilia and St Dorothea. St Cecilia is seen falling asleep to the sounds of celestial music, an exquisite symbol of death. Girls play the organ dressed in medieval clothes with flowers and crowns in their hair and the celestial city is visible in one panel, viewed through a thicket of thorns.

 

The faces of St Barbara and St Dorothea are those of Monica and Dorothy Turnbull respectively. The face of St Cecilia is in the image of Christopher Whall's wife whilst the angel rising from the flames is that of his daughter, Veronica.

 

Christopher Whitworth Whall (1849-1924) was the son of a clergyman and grew up in Thurning, Huntingdonshire. He studied painting at the Royal Academy Schools in London under Frederick Leighton but in the later 1880s decided to learn the processes of making stained glass. He designed for James Powell & Sons but was frustrated by the lack of control over the completed windows. In the field of stained glass he had a profound effect as a practitioner, teacher (at the Central School of Arts and Crafts in London) and writer. His book Stained Glass Work, published in 1905, remains profoundly influential to this day.

1600 is the estimated population of pandas in the wild in 2004.

 

The "1,600 Pandas" exhibition is a cooperative effort between Taipei City and French papier-mache artist Paulo Grangeon, who visited the city zoo on January 2014 to study the endangered Formosan black bear so that he could create vivid representations for inclusion in the display.

 

The exhibition was held at the plaza in front of National Chiang Kai-shek Memorial Hall in Taipei March 14-30, 2014.

 

focustaiwan.tw/news/asoc/201402280008.aspx

www.pandasworldtour.tw/intro.html

My most recent drawing. Scientific illustration of Cnidaria phylum, well my minds interpretation of what the most poisonous marine life would be... Fictional representations.

 

Drawn with various black ink microns on 20x30 artboard.

 

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 church's most notable feature, the Last Judgment or "Doom" mural, fills the wall above the chancel arch and greets you as you walk in. Pre-restoration drawings confirm that this composition is original to 1475 and the details are familiar from other 15th-century murals. The color has faded quite a bit, but the completeness of the work is remarkable, as is the detailed backdrop featuring buildings, trees and landscape.

 

As in other depictions of this scene, the Doom mural depicts Christ in judgment with the apostles in the center, with the blessed on the left and the damned on the right. A frightening Devil can be seen to the right of the arch, with an ale-wife beneath him. Interestingly, the demons lack the customary instruments of torture. This being a town church, bishops but no merchants are included among the damned! The two saints at the foot of the mural are St. James and St. Osmund.

 

The Church of St Thomas a Becket stands in its own square at the north end of the High Street, a few hundred metres from the Cathedral Close. Its site lays claim to the first active place of worship in New Sarum prior to the building of the Cathedral, but most of its fabric dates from the fifteenth century. It is a handsome, light building with a high roof, and a bell tower housing 8 bells, which are regularly rung before services. The building has nearly 250 representations of angels on the roofs, walls and pillars. www.stthomassalisbury.co.uk/buildings/

The Plaza de Mayo (May Square), bound by Hipólito Yrigoyen, Balcarce, Rivadavia and Bolívar, is the historic core and political heart of Buenos Aires. It is surrounded by representations of nearly every era of the city's history from the 18th-century colonial seat of power, El Cabildo, and Catedral Metropolitana to the 19th century executive offices of Casa Rosada and Gobierno de la Ciudad. The landscaped plaza has been the site of some of Argentina's fiercest internal battles from the 1810 revolution to the 1955 naval attacks as well as its greatest triumphs including the celebrations following World Cup victories in 1978 and 1986. And it still serves a forum for demonstrations--most famously the Madres de Plaza de Mayo, the mothers of the desaparecidos, leftists who "disappeared" during the Dirty War of the military dictatorship between 1976 and 1983--who continue to demonstrate every Thursday afternoon as they have since 1977.

 

While the modern plaza took its form in 1884, its origins trace back to the early foundation of the city in 1580 when Juan de Garay planned a never built central plaza. In 1608, Jesuit clergymen secured a title to the property where Gar. In 1661 the local governor purchased the eastern half, which soon became the Plaza de Armas or Plaza del Fuerte. In 1804, the colonial government built Recova Vieja, a north-south Romanesque colonnade, which would soon become the plaza's market and created Plaza de la Victoria to the west. The area continued mostly unchanged until 1884, with only minor modifications including the addition of 1811 addition of La Pirámide de Mayo, when Mayor Torcuato de Alvear ordered the demolition of the colonnade, creating the current landscape.

 

La Pirámide de Mayo (May Pyramid), is the oldest national monument in the City of Buenos Aires was inaugurated on May 25, 1811 in in Plaza de Mayo. Its construction was by the Primera Junta to celebrate the first anniversary of the la Revolución de Mayo. By 1856, the monument had begun to deteriorate, and, under the direction of painter and architect Prilidiano Pueyrredón, ist was reconstructed. The old monument was covered in brick and masonry and used as a foundation. A 3.6 meter tall allegorical statue of Liberty crowned with a Phrygian cap created by French sculptor Joseph Dubourdieu was added to the crown. Dubourdieu also created four other allegorical sculptures for the four corners of the pedestal. The eastern face of the obelisk was adorned with a golden sun facing Casa Rosada, and the remaining three sides were decorated with crowns of laurels in alto-relievo. The original pedestal and capital were increased in height and breadth, with each of the four sides adorned with the national arms. A new fence was constructed with a gaslight placed at each corner. From the ground to the peak of the statue's Phrygian cap, the Pyramid now measured 18.76 metres. In 1859, as the plaster began to deteriorate, the base was refaced in marble. In 1873, Dubourdieu's stucco and terracotta statues began to decay and were replaced with four marble statues from the first floor of Banco Provincia. In 1912, the marble statues were removed (and later installed in Plazoleta de San San Francisco) and the pyramid was moved 63 meters to the east as part of an unmaterialized plan to surround it with a larger, grander monument. Instead, the foundation was repainted, the arms were restored to their 1813 condition , and the original railing was restored.

 

La Casa Rosada (The Pink House), officially known as Casa de Gobierno, is the official executive mansion and office of the Presidente de la Nación Argentina (President of the Argentine Nation). Its balcony, which faces this large square, has famously served as a podium by many figures, including Eva Perón, who rallied the descamisados there, and Pope John Paul II, who visited Buenos Aires in 1998. Located at the east end of Plaza de Mayo, the Italian-style neoclassical building was built in phases, but dates back mostly to the late 19th century.

 

The site, originally at the shoreline of the Río de la Plata, was first occupied in 1594 by la Real Fortaleza de Don Juan Baltazar de Austria, and then its 1713 replacement, Castillo de San Miguel. In 1857, President Justo José de Urquiza largely replaced the fort with Edward Taylor's La Aduana Nueva, a new Italianate-style Custom house, but its administrative annex survived to be used as the Presidential offices of Bartolomé Mitre in the 1860s. President Domingo Sarmiento gave the building its characteristic pink hue--reportedly to defuse political tensions by mixing the red and white colors of the opposing political parties. An alternative explanation, though, suggests the original paint contained cow's blood to prevent damage from humidity. Sarmiento also commissioned Carl Kihlberg to build Casa de Correos, the Second Empire-style Central Post Office, next door in 1873. President Julio Roca commissioned Enrique Aberg to replace the cramped State House with one resembling the Central Post Office in 1882. In 1884, he commissioned Francesco Tamburini to unify the two with the now iconic Italianate archway. The resulting statehouse that stills stands today was completed in 1898 following an eastward expansion that included the demolition of Taylor's custom house.

  

Mosaic representations of a lion and a deer on the facade of the Sher Dor Medressa (1636) at the Registan in Samarkand, Uzbekistan. The Sun God harks back to pre-Islamic Zoroastrian times.

Tableau avec des représentations allégoriques

Friedrich Sustris (1540 - 1999), design

Jan Sadeler (1550 - 1600), gravure

Munich, autour de 1587-1590

Ivoire, ébène

 

Tableau mit allergorischen Darstellungen

Friedrich Sustris (um 1540 - 1999), Entwurf

Jan Sadeler (1550 - 1600), Gravur

München, um 1587/90

Elfenbein, Ebenholz

 

Tableau with Allegorical scenes

Friedrich Sustris (ca. 1540 - 1599), design

Jan Sadeler (1550 - 1600), engraving

Munich, ca. 1587/90

Ivory, ebony

 

Chamber of Art Vienna

The Chamber of Art of Vienna is a collection of the Kunsthistorisches Museum (Museum of Art History) in Vienna. It is the portrayal of the art and curiosities chambers of the late Middle Ages, the Renaissance and the Baroque period and it mainly goes back to the earlier collections of the Habsburgs.

Look into the Vienna Chamber of Art

Marble sculpture of the Giulia Albani degli Abati Olivieri by Camillo Rusconi (Rome, 1719 ) in the Chamber of Art of Vienna

Equipment for perspective drawing of Jost Bürgi (Kassel, 1604) in the Chamber of Art of Vienna

Ivory statuette "Apollo and Daphne" by Jakob Auer (Vienna, 1688/90) in the Chamber of Art of Vienna

Collection History

The Chamber of Art of Vienna grew out of several individual collections, which have been collected by various clients. The following collections are the foundation for today's Chamber of Art:

The Chamber of Art and Curiosities of Ferdinand II of Tyrol (1529-1595). It was originally housed at Schloss Ambras near Innsbruck. From this stems the larger part of the surviving pieces from older collections of Emperors Frederick III, Maximilian I and Ferdinand I.

The Kunstkammer of Rudolf II (1552-1612), which was compiled in Prague. Many of the treasures of Rudolph went lost in the Thirty Years War in the sack of the Prague Castle, but this were enriched from the previously to Vienna transported collections with works of the goldsmithing and gem carving art of the time around 1600 as well as to bronzes.

In the 17th century the collections from the Kunstkammer of Archduke Leopold Wilhelm (1614-1662) have been added. He is considered as one of the fathers of today in the Cultural History Museum housed paintings gallery, but also acquired Renaissance bronzes mostly of Italian origin and small sculptures made ​​of stone and wood.

Into the Treasury Chamber in the Swiss Wing of the Vienna Hofburg in the 17th century also came at that time popular works of semi-precious stones, fine works of ivory, rhinoceros horn carvings and miniature-like wax models.

The collection at Ambras Castle in 1806 in front of Napoleon's troops was brought to Vienna in safety, where it initially in the Lower Belvedere Palace kept its independence. Only the under the reign of Emperor Franz Joseph I from 1875 tackled major reform of the imperial collections finally united all the Treasure Chamber collections in the 1891 opened Kunsthistorisches Museum and left only the objects with insignia character and those that are reminiscent of members of the imperial family in the Treasury Chamber.

The newly formed collection found its place on the mezzanine floor of the building and was initially referred to as "collection of art industrial objects". In 1919, it was named "collection for sculpture and arts and crafts". Since this collection but only to a small extent contains large sculptures and objects for a specific purpose of arts and crafts, this name was considered to be inappropriate and in 1990 it was decided to return to the naming of "Kunstkammer".

After the collapse of the monarchy in 1918 the collections of the sideline Austria-Este was affiliated to the Viennese Kunstkammer, in 1921 the Tapisseriensammlung (collection of tapestries) consisting of 800 tapestries was added, which originally had served the design of the imperial palaces. This collection is in addition to the one in possession of the Spanish crown one of the most important of its kind. In 1938 Gustav von Benda with a bequest the collection donated more important works of the Florentine Early Renaissance. The Second World War the art collection survived with very low losses. Only parts of the Tapisseriensammlung, which had to be given as a loan to Berlin and to the the facilities of Goering's hunting lodge Carin Hall, since the end of war are considered to be lost.

Since 1963, all stores of the collection are reunited in the Kunsthistorisches Museum in Vienna. 2002 the structural and technical conditions required the temporary closure of the Kunstkammer. This was followed by a major renovation and expansion of the premises as well as the restructuring and up-to-date presentation of the objects. To the artistically significant exhibits belong gold works like the famous Saliera by Benvenuto Cellini, sculptures such as the Madonna of Krumlov, bronze figures, ivory objects and stone vessels, but also watches, mechanical machines, scientific instruments, gadgets and much more.

After in December 2012 in a public premiere presentation the first room of the museum could be visited, the as one of the most important art collections of the world considered Vienna Chamber of Art on 1 March 2013 was reopened. In the future, on an area of ​​around 2,700 m² more than 2,200 objects can be seen, which are presented in 20 theme rooms.

de.wikipedia.org/wiki/Kunstkammer_Wien

 

Austria Kunsthistorisches Museum

Federal Museum

Logo KHM

Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture

Founded 17 October 1891

Headquartered Castle Ring (Burgring), Vienna 1, Austria

Management Sabine Haag

www.khm.at website

Main building of the Kunsthistorisches Museum at Maria-Theresa-Square

The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.

The museum

The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.

History

Archduke Leopold Wilhelm in his Gallery

The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .

Architectural History

The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).

From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.

Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.

Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.

The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .

Kuppelhalle

Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)

Grand staircase

Hall

Empire

The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.

189, the farm museum was organized in seven collections with three directorates:

Directorate of coins, medals and antiquities collection

The Egyptian Collection

The Antique Collection

The coins and medals collection

Management of the collection of weapons, art and industrial objects

Weapons collection

Collection of industrial art objects

Directorate of Art Gallery and Restaurieranstalt (Restoration Office)

Collection of watercolors, drawings, sketches, etc.

Restoration Office

Library

Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.

1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.

The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.

Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.

First Republic

The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.

It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.

On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.

Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.

With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the

Egyptian and Near Eastern Collection (with the Oriental coins)

Collection of Classical Antiquities

Collection of ancient coins

Collection of modern coins and medals

Weapons collection

Collection of sculptures and crafts with the Collection of Ancient Musical Instruments

Picture Gallery

The Museum 1938-1945

Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.

With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.

After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.

The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.

The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.

The museum today

Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).

The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.

In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.

Management

1919-1923: Gustav Glück as the first chairman of the College of science officials

1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director

1933: Arpad Weixlgärtner first director

1934-1938: Alfred Stix first director

1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director

1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation

1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation

1949-1950: Hans Demel as administrative director

1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation

1951-1952: Fritz Eichler as administrative director

1953-1954: Ernst H. Buschbeck as administrative director

1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director

1967: Edward Holzmair as managing director

1968-1972: Erwin Auer first director

1973-1981: Friderike Klauner first director

1982-1990: Hermann Fillitz first director

1990: George Kugler as interim first director

1990-2008: Wilfried Seipel as general director

Since 2009: Sabine Haag as general director

Collections

To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.

Kunsthistorisches Museum (main building)

Picture Gallery

Egyptian and Near Eastern Collection

Collection of Classical Antiquities

Vienna Chamber of Art

Numismatic Collection

Library

New Castle

Ephesus Museum

Collection of Ancient Musical Instruments

Arms and Armour

Archive

Hofburg

The imperial crown in the Treasury

Imperial Treasury of Vienna

Insignia of the Austrian Hereditary Homage

Insignia of imperial Austria

Insignia of the Holy Roman Empire

Burgundian Inheritance and the Order of the Golden Fleece

Habsburg-Lorraine Household Treasure

Ecclesiastical Treasury

Schönbrunn Palace

Imperial Carriage Museum Vienna

Armory in Ambras Castle

Ambras Castle

Collections of Ambras Castle

Major exhibits

Among the most important exhibits of the Art Gallery rank inter alia:

Jan van Eyck: Cardinal Niccolò Albergati, 1438

Martin Schongauer: Holy Family, 1475-80

Albrecht Dürer : Trinity Altar, 1509-16

Portrait Johann Kleeberger, 1526

Parmigianino: Self Portrait in Convex Mirror, 1523/24

Giuseppe Arcimboldo: Summer 1563

Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07

Caravaggio: Madonna of the Rosary (1606-1607)

Titian: Nymph and Shepherd to 1570-75

Portrait of Jacopo de Strada, 1567/68

Raffaello Santi: Madonna of the Meadow, 1505 /06

Lorenzo Lotto: Portrait of a young man against white curtain, 1508

Peter Paul Rubens: The altar of St. Ildefonso, 1630-32

The Little Fur, about 1638

Jan Vermeer: The Art of Painting, 1665/66

Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559

Kids, 1560

Tower of Babel, 1563

Christ Carrying the Cross, 1564

Gloomy Day (Early Spring), 1565

Return of the Herd (Autumn), 1565

Hunters in the Snow (Winter) 1565

Bauer and bird thief, 1568

Peasant Wedding, 1568/69

Peasant Dance, 1568/69

Paul's conversion (Conversion of St Paul), 1567

Cabinet of Curiosities:

Saliera from Benvenuto Cellini 1539-1543

Egyptian-Oriental Collection:

Mastaba of Ka Ni Nisut

Collection of Classical Antiquities:

Gemma Augustea

Treasure of Nagyszentmiklós

Gallery: Major exhibits

de.wikipedia.org/wiki/Kunsthistorisches_Museum

 

ah man i love these ones together so much. good substitute while we wait for mpm representations.

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

Price of cake : ₹ 1100/-

  

Type of cake : Pinata

Flavour : Chocolate

Complementary : Hammer 🔨

 

100% Eggless

-------------------------------------------------

 

Call us for instant help : 8873005500

 

Note :

> The cake stand, cutlery and accessories used in the image are only for representations purposes. They are not delivered with the cake.

> The image displayed is indicative in nature. Cake being handmade may differ as per craftsmanship.

> The cake is hand delivered in a good quality box.

> The cake should be consumed within 1 hour unless refrigerate.

> Enjoy your cake!

  

BACK TO ALBUM LIST :

www.flickr.com/photos/monginis/albums/with/72157719664993176

St Oswald, Ashbourne, Derbyshire.

 

The window contains representations of the Virgin Martyr Saints, St Cecilia, St Monica, and St Dorothea. It is a fine design by Christopher Whall, a pre-Raphaelite artist.

  

Christopher Whall window dated 1905.It was given to the church by Mr and Mrs.Peveril Turnbull of Sandybrook Hall and it commemorates their daughters who died in a local fire. The window consists of three lights and contains representations of the Martyr Saints, St Cecilia, St Monica and St Dorothea. St Cecilia is seen falling asleep to the sounds of celestial music; an exquisite symbol of death. Girls play the organ dressed in medieval clothes with flowers and crowns in their hair and the celestial city is visible in one panel, viewed through a thicket of thorns. Whall’s signature on this stained glass was his own thumbprint.

 

--------------------------------------

 

Memorial Window by Christopher Whitworth Whall (1849-1924), 1905.

 

For Monica Peveril Turnbull aged 22 (1878-1901) and Dorothea Peveril Turnbull aged 20 (1880-1901).

 

These two girls were the only children of Mr & Mrs Peveril Turnbull, of Sandybrook Hall. As they were leaving the dining room, a light which their father was carrying burst into flames. Dorothea's dress caught fire and Monica, rushing to help her sister, was also engulfed by the flames. Sadly, both died of their multiple burns.

 

The three lights of the window show (l to r) representations of the Martyr Saints, St Barbara, St Cecilia and St Dorothea. St Cecilia is seen falling asleep to the sounds of celestial music, an exquisite symbol of death. Girls play the organ dressed in medieval clothes with flowers and crowns in their hair and the celestial city is visible in one panel, viewed through a thicket of thorns.

 

The faces of St Barbara and St Dorothea are those of Monica and Dorothy Turnbull respectively. The face of St Cecilia is in the image of Christopher Whall's wife whilst the angel rising from the flames is that of his daughter, Veronica.

 

Christopher Whitworth Whall (1849-1924) was the son of a clergyman and grew up in Thurning, Huntingdonshire. He studied painting at the Royal Academy Schools in London under Frederick Leighton but in the later 1880s decided to learn the processes of making stained glass. He designed for James Powell & Sons but was frustrated by the lack of control over the completed windows. In the field of stained glass he had a profound effect as a practitioner, teacher (at the Central School of Arts and Crafts in London) and writer. His book Stained Glass Work, published in 1905, remains profoundly influential to this day.

ODC = representations of people

Mike and I attended the Buccaneer Bash at Jamaica Beach this evening and while there I spotted this very handsome pirate who I could not resist sharing.

I use the term digital representation to describe digitally-modified images that are intended to represent real-life subjects. They are not exact representations, simply the best that I can achieve within the time and with the material and information available. These three United AEC recovery vehicles were created from the same source image. Matador number 66 (left) was modified only in terms of livery. Number 67 in the centre was modified from this to a (fictional) AEC Militant.

 

Matador No 40 (right) was substantially modified from number 66 to represent an earlier body style. I was fortunate in finding an excellent reference image on Flickr, which I was able to use as a template to modify my own image. Because there was a slight difference in perspective, I overlaid the front and nearside separately and then distored them to match the underlying image. As no modifications were needed to the wheels and crane, they were omitted from the overlays.This is where the challenging work began. Using the overlays as a guide, I created the new body panels on the main layer, cloning over panel lines and detail that needed to be removed; and adding new panel lines and highlights as appropriate. As the new body was built-up, the template was progressively erased. I decided to use the fleet name panel, window frames and interior detail from the template, but needed to open up the windows to allow the background layer to show through (after removing the original interior detail). I was also able to tidy-up and use the chrome bumper from the template. The radiator came from a Bristol Lodekka and the headlights are from my original image, repositioned using the template as a guide. The transformed image was beginning to emerge. The body parts were flattened into a single layer and any imperfections dealt with. Whilst not perfect, I'm pleased with the result (updated 06-Sep-15).

 

All rights reserved. Not to be posted on Facebook or anywhere else without my prior written permission. Please follow the link below for additional information about my Flickr images:

www.flickr.com/photos/northernblue109/6046035749/in/set-7....

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:

 

view from the “west”

view from the ”south”

 

 

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!

 

 

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.

 

 

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.

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:

 

view from the “west”

view from the ”south”

 

 

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!

 

 

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.

 

 

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.

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:

 

view from the “west”

view from the ”south”

 

 

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!

 

 

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.

 

 

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.

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:

 

view from the “west”

view from the ”south”

 

 

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!

 

 

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.

 

 

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.

English

en.wikipedia.org/wiki/Manueline

 

The Manueline, or Portuguese late Gothic, is the sumptuous, composite Portuguese style of architectural ornamentation of the first decades of the 16th century, incorporating maritime elements and representations of the discoveries brought from the voyages of Vasco da Gama and Pedro Álvares Cabral. This innovative style synthesizes aspects of Late Gothic architecture with influences of the Spanish Plateresque style, Italian urban architecture, and Flemish elements. It marks the transition from Late Gothic to Renaissance. The construction of churches and monasteries in Manueline was largely financed by proceeds of the lucrative spice trade with Africa and India.

 

The style was given its name, many years later, by Francisco Adolfo de Varnhagen, Viscount of Porto Seguro, in his 1842 book, Noticia historica e descriptiva do Mosteiro de Belem, com um glossario de varios termos respectivos principalmente a architectura gothica, in his description of the Jerónimos Monastery. Varnhagen named the style after King Manuel I, whose reign (1495–1521) coincided with its development. The style was much influenced by the astonishing successes of the voyages of discovery of Portuguese navigators, from the coastal areas of Africa to the discovery of Brazil and the ocean routes to the Far East, drawing heavily on the style and decorations of East Indian temples.

 

Although the period of this style did not last long (from 1490 to 1520), it played an important part in the development of Portuguese art. The influence of the style outlived the king. Celebrating the newly maritime power, it manifested itself in architecture (churches, monasteries, palaces, castles) and extended into other arts such as sculpture, painting, works of art made of precious metals, faience and furniture.

 

Português

pt.wikipedia.org/wiki/Estilo_manuelino

 

O Estilo manuelino, por vezes também chamado de gótico português tardio ou flamejante, é um estilo arquitectónico, escultórico e de arte móvel que se desenvolveu no reinado de D. Manuel I e prosseguiu após a sua morte, ainda que já existisse desde o reinado de D. João II. É uma variação portuguesa do Gótico final, bem como da arte luso-mourisca ou arte mudéjar, marcada por uma sistematização de motivos iconográficos próprios, de grande porte, simbolizando o poder régio. Incorporou, mais tarde, ornamentações do Renascimento italiano. O termo "Manuelino" foi criado por Francisco Adolfo Varnhagen na sua Notícia Histórica e Descriptiva do Mosteiro de Belém, de 1842. O Estilo desenvolveu-se numa época propícia da economia portuguesa e deixou marcas em todo o território nacional.

 

Esta tendência artística era conhecida, na época, como a variante portuguesa da arquitectura ad modum Yspaniae (ao modo hispânico) que, por sua vez, estava incluída na corrente arquitectónica "ao moderno" - expressão utilizada para o gótico tardio onde também havia a variante, por exemplo, do modo tudesco ou alemão na então nova arquitectura nórdica. Esta corrente opunha-se à arquitectura ao modo antigo ou ao romano.

 

No seu conjunto, pouco muda relativamente à estrutura formal do gótico alemão e plateresco. O alçado interior das igrejas mantém-se através da orientação este-oeste, da planta, dos sistemas de suporte e cobertura, do cálculo de proporções. As naves da mesma altura, influência das igrejas-salão alemãs, de cinco tramos, ausência de transepto e cabeceiras rectangulares são as principais características diferenciais. Apesar de ser essencialmente ornamental, o Manuelino caracteriza-se também pela aplicação de determinadas fórmulas técnicas da altura, como as abóbadas com nervuras polinervadas a partir de mísulas.

 

Na componente civil destacam-se os palácios, como o Paço de D. Manuel, em Évora, e solares rurais, como o Solar de Sempre Noiva, em Arraiolos, todos de planta rectangular. E na tipologia militar é referência maior o baluarte do Restelo, a Torre de Belém. Um dos primeiros baluartes de artilharia do país, a quebrar a tradição das torres de menagem, a sua planta rectangular sobrepõe-se a uma base poliédrica, que penetram Tejo adentro. A rectangularidade da planta opõe-se à curvilínea da decoração esculpida.

 

Escultura Manuelina

 

1.Árvores secas. Aparecem também no gótico final da Europa Central, usando-se o termo "astwerk" para descrever a sua utilização - são, portanto, um elemento característico do tardo-gótico e remetem para a estética franciscana, de cariz marcadamente naturalista e austera. Por outro lado, é um elemento que foi utilizado pelos detractores do gótico que consideravam o estilo bárbaro e primitivo - estéril como uma árvore seca. As suas raízes e troncos nodosos têm presença notável no Mosteiro de Alcobaça, na janela do Capítulo de Tomar, sobre o busto fundeiro; na Igreja de Vilar de Frades ou no Paço de Sintra.

2.Alcachofras (símbolo da regeneração e da ressurreição - sendo por isso queimada nos festejos de São João, esperando que volte a reverdecer);

3.Folhas de loureiro, como no Claustro de D. João I, no Mosteiro da Batalha;

4.Romãs (como nas portas laterais da Igreja Matriz de Golegã - símbolo de fertilidade, pela quantidade extraordinária de sementes que contêm)

5.Folhas de hera;

6.Pinhas (fertilidade e/ou imortalidade - por vezes interpretadas como sendo espigas de milho ou maçarocas) - são visíveis, por exemplo, sobre o portal da Igreja Matriz da Golegã;

7.Caracóis ou conchas de nautilus (como na Igreja da Vestiaria, em Alcobaça; ou na entrada das Capelas Imperfeitas, no Mosteiro da Batalha, simbolizando, talvez, a lentidão dos trabalhos);

8.Animais vários

9.Putti (crianças)

 

Principais Autores

 

No Norte de Portugal, os principais autores deste estilo, provenientes da Galiza ou de Biscaia, foram Tomé de Tolosa, Francisco Fial e Pêro Galego, que participaram na criação da Igreja Matriz de Caminha, bem como João de Vargas e João de Parmenes, que trabalharam juntamente com o português João Lopes na Sé de Lamego. O cantábrico João de Castilho, responsável pela galilé e pela capela-mor da Sé de Braga, também deixou a sua marca no Mosteiro dos Jerónimos, onde avulta a figura de Diogo Boitaca, criador do Mosteiro de Jesus de Setúbal. Além de Boitaca, o centro de Portugal conta também com a obra notável de Mateus Fernandes, bem representada no portal das Capelas Imperfeitas, no Mosteiro da Batalha.

 

Fala-se ainda de um "Manuelino de segunda geração", após o recrudescimento económico em Portugal, em consequência das Descobertas. Castilho, Boitaca e os irmãos Francisco e Diogo de Arruda, que desenharam a Torre de Belém, são os seus principais representantes.

 

Há ainda a referir os nomes de Manuel Pires, João Favacho, Pêro e Filipe Rodrigues, Álvaro Rodrigues, André Pires, João Dias, Diogo Pires, o Moço, entre outros.

  

Obras Principais

 

Entre as obras mais notáveis do manuelino, temos a referir:

No Norte de Portugal, onde está presente desde o início do século XVI e onde são características dominantes a decoração ao estilo "flamejante" e as Igrejas divididas em três naves: Igreja Matriz de Vila do Conde;

Igreja Matriz de Caminha;

Igreja Matriz de Freixo de Espada à Cinta;

Mosteiro de Leça do Balio (pia baptismal);

Pelourinho de Arcos de Valdevez;

 

No Centro de Portugal: Convento de Cristo, onde sobressai a magnífica janela do Capítulo;

Mosteiro dos Jerónimos;

Cruzeiro do Cartaxo;

Determinadas partes do Mosteiro de Santa Maria da Vitória (ou da Batalha);

Igreja Matriz da Golegã;

Igreja de São João Baptista de Tomar;

Igreja do Mosteiro de Santa Cruz de Coimbra; (túmulos, igreja, claustro);

Igreja do antigo Mosteiro de Jesus, em Setúbal;

A sala dos Brasões no Paço Real de Sintra;

Torre de Belém;

O arco triunfal da Igreja de Nossa Senhora do Pópulo, em Caldas da Rainha;

Sé Nova de Coimbra, (pia baptismal);

 

No Sul de Portugal: Igreja de São Francisco, em Évora;

Igreja Matriz de Monchique, num das mais características variantes locais do estilo.

Igreja Matriz de Odiáxere, bem característica do chamado Manuelino de Lagos.

Igreja da Misericórdia de Loulé;

 

O Estilo ainda se faz notar, mesmo fora de Portugal Continental Nas Regiões Autónomas: Sé do Funchal

Igreja Matriz de Ponta Delgada

 

Em Marrocos: Safim

Mazagão

 

Na Índia: Igreja do Priorado do Rosário

Igreja de São Francisco

 

Em Espanha:

  

Igreja de santa Maria Madalena, em Olivença

Em Moçambique:

 

Capela de Nossa Senhora do Baluarte, Ilha de Moçambique

 

Motivos Ornamentais

 

A característica dominante do Manuelino é a exuberância de formas e uma forte interpretação naturalista-simbólica de temas originais, eruditos ou tradicionais. O conjunto decorativo de um elemento escultórico manuelino apresenta-se quase sempre como um discurso de pedra, onde diversos elementos e referências se cruzam (pansemiose - ou "todos os significados"), como o simbilismo cristão, a alquimia, a tradição popular, etc. O contexto tanto pode ser moralizante, como alegórico, jocoso (quando se aponta o dedo aos defeitos humanos ou a pormenores obscenos, como a referência sexual numa gárgula exterior à capela de São Nicolau, em Guimarães), esotérico ou, simplesmente, propagandístico em relação ao poder imperial de D. Manuel I. Note-se que esta simbologia está também muito ligada à heráldica.

 

Os motivos mais importantes da arquitectura manuelina são:

Símbolos nacionais: A esfera armilar ("a esfera dos matemáticos" conferida como divisa por D. João II ao seu primo e cunhado, D. Manuel (futuro rei D. Manuel I), que, tendo escrito no meridiano "Spera Mundi" - Esfera do Mundo - foi, mais tarde, interpretada como sinal de um desígnio divino para o reinado de D. Manuel que se apresenta nos motivos artísticos do estilo como "Esperança do Mundo", como também poderia ser interpretada a expressão aí inscrita)

A Cruz da Ordem de Cristo;

Escudo nacional;

 

Elementos naturalistas: Corais;

Algas;

Guizeiras

Árvores secas. Aparecem também no gótico final da Europa Central, usando-se o termo "astwerk" para descrever a sua utilização - são, portanto, um elemento característico do tardo-gótico e remetem para a estética franciscana, de cariz marcadamente naturalista e austera. Por outro lado, é um elemento que foi utilizado pelos detractores do gótico que consideravam o estilo bárbaro e primitivo - estéril como uma árvore seca. As suas raízes e troncos nodosos têm presença notável no Mosteiro de Alcobaça, na janela do Capítulo de Tomar, sobre o busto fundeiro; na Igreja de Vilar de Frades ou no Paço de Sintra.

Alcachofras (símbolo da regeneração e da ressurreição - sendo por isso queimada nos festejos de São João, esperando que volte a reverdecer);

Folhas de loureiro, como no Claustro de D. João I, no Mosteiro da Batalha;

Romãs (como nas portas laterais da Igreja Matriz de Golegã - símbolo de fertilidade, pela quantidade extraordinária de sementes que contêm)

Folhas de hera;

Pinhas (fertilidade e/ou imortalidade - por vezes interpretadas como sendo espigas de milho ou maçarocas) - são visíveis, por exemplo, sobre o portal da Igreja Matriz da Golegã;

Caracóis ou conchas de nautilus (como na Igreja da Vestiaria, em Alcobaça; ou na entrada das Capelas Imperfeitas, no Mosteiro da Batalha, simbolizando, talvez, a lentidão dos trabalhos);

Animais vários

Putti (crianças)

 

Elementos fantásticos: Ouroboros (a serpente que morde a sua própria cauda: símbolo do Universo: a união do princípio e do fim)

Sereias (motivo de arte profana, talvez fossem uma referência a várias palavras semelhantes e ao simbolismo associado: serão, ou a altura em que o ciclo produtivo do cardar da lã se realizava; serenata, ritual de namoro ligado ao pecado da carne, tal como em serralho, etc);

Monstros (principalmente as gárgulas, mas também outros, como dragões e animais de boca aberta, devorando o seu próprio corpo)

Orelhudos (cabeças com orelhas descomunalmente grandes, como no cadeiral de Santa Cruz de Coimbra);

Animais realizando acções humanas, numa perspectiva carnavalesca, como a tocar instrumentos musicais.

 

Simbolismo cristão: Cachos de uvas e sarmentos (relacionado com a "Vinha do Senhor" e com a Eucaristia), como em Luz de Tavira;

Agnus Dei

Querubins

 

Outros motivos: As cordas entrelaçadas e cabos, fazendo muitas vezes nós, como na Sé de Viseu, na Torre de Belém ou na Casa dos Alpoins, em Coimbra.

Redes;

Cinturões com grandes fivelas, como no Coro do Convento de Cristo, em Tomar;

Meias esferas, como na Igreja da Conceição, em Beja;

Pináculos cónicos com cogulhos de formas diversas;

Colunas torsas (como no portal da Igreja Matriz da Golegã ou na Sé da Guarda)

Correntes, como na arquivolta do portal principal da Casa de Sub-Ripas, em Coimbra;

Bustos de personagens históricas;

Cabeças de infantes (crianças)

Desenhos finos, semelhantes aos das pratas espanholas, suas contemporâneas.

Referências à cestaria;

  

Note-se que estes mesmos motivos aparecem também noutras construções, como pelourinhos, túmulos ou mesmo peças artísticas, como em ourivesaria.

  

O Rei

 

O "discurso" artístico presente no estilo manuelino, ainda que tenha começado a ser construído ainda antes do reinado de D. Manuel, teve uma influência considerável da própria personalidade do monarca, das suas aspirações no contexto mundial, em especial o projecto de uma cruzada que unificaria o mundo cristão do ocidente com o mítico reino Cristão oriental do Preste João, tornando-o o "Rei dos Mares" (e foi, de facto, assim designado por diversos autores estrangeiros).

 

O estilo manuelino transmite em grande parte estas aspirações messiânicas de um rei cuja ascensão ao poder foi, no mínimo insólita, depois da morte seguida de outros herdeiros directos ao trono (como o príncipe D. Afonso e o seu irmão, D. Diogo, assassinado). No entanto, desde a interpretação dada à expressão "Spera Mundi", na esfera armilar, que lhe fora concedida como divisa, até à interpretação do seu próprio nome, Emanuel ("Deus connosco", em hebraico), dado por sua mãe quando este nasceu, após um trabalho de parto longo e doloroso que só terminou quando a procissão do Corpo de Deus passava na rua, vários foram os "sinais" que indicavam que este rei fora o "Escolhido" por Deus para grandes feitos. A própria concepção política deste rei, influenciada pelo seu perceptor Diogo Rebelo e pelo joaquimismo fá-lo-ia crer que estava destinado a fundar o Quinto Império da Profecia de Daniel.

 

Estas referências messiânicas e apocalípticas estão também presentes na pintura (como nos frescos das "Casas Pintadas", em Évora e na "Aparição de Cristo à Virgem" de Jorge Afonso). Um exemplo claro aparece também na representação do rei e da rainha D. Maria, em primeiro plano, no quadro "Fons Vitae", pertencente à Misericórdia do Porto, de pintor anónimo mas segundo alguns de Colijn de Coter, numa cena da crucificação e onde o sangue de Cristo escorre para dentro de um gigantesco Graal.

 

Bulletin board in teacher Shannon's math 8 classroom.

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:

 

view from the “west”

view from the ”south”

 

 

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!

 

 

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.

 

 

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.

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:

 

view from the “west”

view from the ”south”

 

 

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!

 

 

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.

 

 

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.

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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New York City, Manhattan Island, New York State, USA The United States of America country, North America continent

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.[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

On the neck are representations of actions relating to animal sacrifice, while the body represents the duel between Achilles and Memnon flanked by their mothers, Thetis and Eos, attending Zeus, who weighs their souls on a balance; and on the other side the introduction of Herakles to Olympos.

 

Found at Cerveteri, Banditaccia Necropolis, without context. Named for the archaeologist who discovered it.

 

(Etruscan/Ionian) Black Figure hydria of the 'Campana Group', attributed to the Ribbon Painter (aka the 'Painter of Louvre E 737-739' or the 'Painter of Louvre E 739', a painter of possibly North Ionian Greek (Phokaean?) origin), dated stylistically to ca. 530/525 BCE, perhaps produced at Cerveteri or Vulci.

(Caere/Cerveteri/Caisra/Cisra/Agylla: Pleiades; PECS (Perseus); Wikipedia).

 

In the collection of the Museo Nazionale Etrusco di Villa Giulia, Rome, Italy (MiBACT; en.wikipedia), inv. 80983.

 

This photo is made available under a Attribution-NonCommercial-ShareAlike 2.0 Generic (CC BY-NC-SA 2.0) license. You may not use the material for commercial purposes.

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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New York City, Manhattan Island, New York State, USA The United States of America country, North America continent

May 14th 2016‬

The Presidential Palace was originally white (03/05/2011, 12:50)

In 1992 have been divided the Czech and Slovak Federal Republic and Bratislava again became the capital of a sovereign state. There was a need to place many institutions, particularly domestic, but also representations of other states and international organizations. In Bratislava they were not sufficiently prepared.

This became especially at a time evident when the newly elected President of the Republic where did officiate. Residence, fortunately, did not need to, because there had their own house, but there could not officiate again and place all the staff of his office. The first area has received office of the President at the Castle. It was a temporary "accommodation" in poor areas, sometimes life-threatening. Especially when someone care so close to the president dropped a heavy chandelier.

The situation is partly solved by the then mayor, who under the pressure of the Slovak public with the president partially restored in just the town hall - at the Primate's Palace. Although it was clear that the town hall of the capital anywhere in the world is based head of state. Mr. President, the mayor is uskromnili, and despite the problems that have coexistence implies (guard, jointly used facilities, movement and site visitors in the city center, a demonstration in the square before the palace), this situation lasted for several years.

Despite the resistance of some groups of people are able to carry out the idea that the seat of the President and the office of President shall be the historical Presidential previously Grassalkovichov and Friedrich palace. But it was in a dilapidated condition. From the 50ties to 80ties years it housed the Communist youth organization, the palace was known as a pioneer, Pioneer House official Klement Gottwald. Before the revolution the palace was empty and for years afterwards. Consideration was given to even the demolition of its western part, containing the chapel, because it should enhance the defenders of peace Street (Štefánikova). After the revolution began with the restoration of the palace to the appropriate kind of unnecessary Gallery of Modern Art. Only be created small attic apartment accommodation for President of Czechoslovakia (!) during his visit to Bratislava.

Restoration of the palace for old-new features presidential residence took place between 1992 and 1995 with the greatest possible respect for the principles of historic preservation. The aim was to return to the palace and the accompanying park as close to its form after 1770. Meant to eliminate interference and remodeling, especially from the period after 1938 and a period of pioneers. In the forties overlaid the entire ground floor of the palace romantic rectangles of travertine that although there were visually quite spectacular, but causing excessive wetting of the ground floor rooms of the palace basement. The chapel was barred light rail, it was in storage. Some rooms have been divided into more areas. The vaulted rooms on the ground floor adjacent to the central garden rooms (towards Banskobystricka street ) was the central heating boiler. The huge depressions in the floor concrete tank used to supply coke imported through the park near the city gasworks (per square Kollar). Parquet and stone floors were destroyed maximum, wood paneling walls of 18 century damaged. From the original mobile device palace there were before reconstruction only chandeliers. For the entire building was only preserved box of 18th century!

Part of the reconstruction of the palace was the device state rooms or historicist historical furniture. According to the model interior presidential office in Vienna, Prague, Paris has sought and bought furniture stylistic corresponding reconstructed interior. Where appropriate furniture and carpets found, they were suitable to produce copies. Installed furniture of 17th to 19th century was harmonically aligned with the decoration of the walls and curtains on the windows. Into the drawing room of President shall be purchased as a quality historic seating forms of classicism in the late 18th century. Because it was similar, but not identical nest (in the past were made earlier "solo pieces"), they were reconstructed deliberately pulled two color mutations of the same (very high quality and very expensive) upholstery, imported from Paris. Today it some workers agents who have no concept of historical interiors criticize.

To state rooms they can produce replicas of historic tiled stoves with built-in devices to their electrical tempering. It was assumed that at the palace along these lines will continue. The main hall has been missing console tables with marble tops under the mirrors between the windows. Console tables amongst the drawing room windows are damaged because of the lack of other tables are sometimes used as a signature tables. The work of the panel, which then zariaďovala palace, often later tampering negated. The library appeared slushy "Globe" bar containing equipment. Wonder where they left off from Thonet chairs, made ​​for Palace, coated with a special non-flammable fabric, designed in the main hall for visitors to concerts.

The problem seemed to use white paint on the facade of the palace. Before reconstruction was used for each run of the mill yellow to brown color that if the facades of houses in the historic center of the city prevailed. Knew that in 18 century such color there, could not be produced. Historical images and analogies from other cities (Vienna, Ljubljana, Prague, Gödöllő) pointed out that the palace was originally white. This is confirmed by historical plaster pieces that survive from the 18th century in small pieces under modern stone cladding of ground floor (all other plaster around otĺkli in 1958 and replaced with a new cement). Today we know quite well that the palace was in the 18th century really white. This is confirmed by studies at the Royal Palace in the Castle, and the building of the Hungarian royal courtly chamber on Michalska Street (University Library), and research on other facades of 18 century in Bratislava, Trnava and other places.

Stephen Holčík

PHOTO - Archive

www.bratislavskenoviny.sk/najnovsie-spravy-z-bratislavy/p...

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

Portugal has some of the most impressing two storied cloisters I have ever seen ...

 

Portugal hat einige der schönsten zweigeschossigen Kreuzgänge, die ich je gesehen habe ...

 

The Manueline or Portuguese late Gothic, is the sumptuous, composite Portuguese style of architectural ornamentation of the first decades of the 16th century, incorporating maritime elements and representations of the discoveries brought from the voyages of Vasco da Gama and Pedro Álvares Cabral.

 

This innovative style synthesizes aspects of Late Gothic architecture with influences of the Spanish Plateresque style, Italian urban architecture, and Flemish elements. It marks the transition from Late Gothic to Renaissance. The construction of churches and monasteries in Manueline was largely financed by proceeds of the lucrative spice trade with Africa and India.

 

The style was given its name, many years later, by Francisco Adolfo de Varnhagen, Viscount of Porto Seguro, in his 1842 book, Noticia historica e descriptiva do Mosteiro de Belem, com um glossario de varios termos respectivos principalmente a architectura gothica, in his description of the Jerónimos Monastery.

 

Varnhagen named the style after King Manuel I, whose reign (1495–1521) coincided with its development.

 

The style was much influenced by the astonishing successes of the voyages of discovery of Portuguese navigators, from the coastal areas of Africa to the discovery of Brazil and the ocean routes to the Far East, drawing heavily on the style and decorations of East Indian temples.

 

Although the period of this style did not last long (from 1490 to 1520), it played an important part in the development of Portuguese art.

 

The influence of the style outlived the king. Celebrating the newly maritime power, it manifested itself in architecture (churches, monasteries, palaces, castles) and extended into other arts such as sculpture, painting, works of art made of precious metals, faience and furniture.

Buunt (Punt) Welcome back to the sacred homeland of HoRe ,the 'First' in ancient Egyptian and Somali languages ( Horus in greek version).

 

Historical details : « Again the representations of the early Puntites, or Somali people, on the Egyptian monuments, show striking resemblances to the Egyptians themselves. » By Brian Brown New York: Brentano's[1923]/ We can understand their ancestral history : "Encyclopædia Britannica located Punt as follows:“In ancient Egyptian and Greek geography, the southern coast of the Red Sea,corresponding to modern coastal Eritrea, Djibouti and Somalia ."/

In “The Making of Egypt” (1939). Petrie states that the Land of Punt was “sacred to the Egyptians as the source of their race"/

  

According to the historian Richard Pankhurst :"""The Egyptians sometimes called Punt land Ta-Netjeru, meaning "Land of the Gods," and considered it their place of origin ." (Richard Pankhurst, The Ethiopian Borderlands:) /

  

"In addition to the erection and endowments of many temples listed in the Palermo Stone, the Pharaohs of the Fifth Dynasty were active in expanding the existing trade relations with neighbouring countries , as the King Sahure (2458-2446 B.C.) from this Egyptian Old Kingdom, Dynasty V (2498-2491 B.C.), who made a trade expedition to the Land of Punt . Egyptian ships also reached the shores of the land of Punt on the Somali coast to procure highly valued cargoes of myrrh, ebony and animals, among other goods. " Text Reference: The UNESCO General History of Africa: Ancient Civilization of Africa, Vol, II, General History of Africa, G. Mokhtar, 1990, p 64-68

  

The greek historian Diodorus of Sicily in his book "Historical library "said that in 6th century before-J-Christ , because of a political crisis in Egypt and the euro-asiatics's infiltrations in Egypt , more than 200 thousands of ancient-egyptians migrated in the south of the Nile by crossing Nubia-Ethiopia with their ships ,in the direction of North- Eastern of Africa (Now, Somalia ,Djibouti,Ethiopia ...)./

This last historical fact can explain why the somali language is a survived ancient-egyptian language ,according to the british linguist :"The language of ancient Egypt belonged to the Hamitic group;today, of course, the language of

Egypt is a form of Arabic, but a descendant of the ancient Hamitic

language of Egypt, Coptic, survived until about the fifteenth

century, and is still used as the liturgical language of the Coptic

Church.Surviving Hamitic languages are spoken across a large part of North Africa and include Somali." (The english language ,A Historical Introduction," by Charles Barber .)

  

Short Research made by Abdisalam Mahamoud . Master II degree: History of Civilisations and Religions.

  

sajokal5@yahoo.fr

  

Thanks for sharing !

 

Af Soomaali :

"Boqoraddii Masar ee ku magacdheereyd 'Libaaxada Shaabuug Sita' ,marka la soo koobo 'Xadshaabsit' (Hatshepset ay gaaladu yidhaahdiin) in laga joogo 3509 gu' ,''ayaa soo ergeysey abbaanduule Naxsiiye inuu ka qaado 'Jaamuto' (Masartii hore ) cuntooyin heersare ah oo la kaydin karo inta jidka lagu jiro , si loo siiyo isla marka la gaadho boqortooyada Buun (Soomaalidii hore ) hibo hadhimo sharafeed ah ,qoyska (Boqor Baraxow iyo Boqoradiisa Xadiyo ) iyo mudaneyaasha boqortooyada .Arrintaasi wey fududeyd maxaa yeelay wada-hadalku wuxuu ku hirgalay af mid ah '' waxaan ka soo afnaqay (tarjumay) buugga taariikhda boqoradda 'Hatshepsout' ay qortay C.D. Noblecourt, aqoonyahanad faransiis ah oo ku xeeldheer sooyaalka faraaciinta . Walaalkiin Aar Nabad baa idin soo gudbiyey oo aqoonbaadhis ku sameeya sooyaalka Soomaalidii hore .Xidhiidh iyo faahfaahin rabto 'sajokal5@yahoo.fr' .

  

Comparaison anthropologique entre Fathi ,un jeune Pountite Somali de Djibouti et le pharaon Horé (Horus en version grecque) qui signifie 'le premier' en Égyptien ancien et en Somali, c’était l'un des premiers leaders pharaoniques ,originaires du Pays de Pount,l'actuelle péninsule des Somali de la Corne de l'Afrique .https://www.flickr.com/photos/anbessa2011/9512699885/in/photostream/

 

www.flickr.com/photos/anbessa2011/6529949591/in/photostream/

 

"Ordre avait été donné à ,Néhésy d’emporter (…)toutes les meilleures denrées d’Egypte susceptibles d’être conservées pendant le trajet ,afin d’offrir ,sitôt l’arrivée à Pount, un fastueux banquet à la famille princière et aux grands du royaume .La chose s’avérait sans difficulté puisque l’échange semblait s’être engagé dans la même langue . " (Égyptologue française C.D.Noblecourt, livre 'Hatshepsout' p. 221)

 

"Le pays de Pount était sacré pour les égyptiens en tant que source de leur race ».(Petrie 1939)

 

.« Des bateaux égyptiens ont atteint les rivages du Pays de Pount sur la côte Somalienne pour procurer les cargaisons fortement estimées de myrrhe, d'ébène et des animaux, parmi d'autres marchandises». (G.Mokhtar1990)

 

"La conviction entretenue chez les Egyptiens n’était pas seulement celle de liens étroits entre deux peuples mais d’une parenté biologique, originelle, celle d’avoir le même ancêtre que les Noirs qui habitaient alors le pays de Pount. C’est cet ancêtre commun qu’Egyptiens et Nubiens adoraient ensemble sous le nom du dieu Ammon,qui,est ,le dieu de toute l’Afrique Noire actuelle" .( Ch.A.Diop 222)

 

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. 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

Children's representations of their environment were often complex, particularly their representations of the seasons.

 

George changes with the seasons and each of its season bears advantages and challenges. The cold season brings upper-respiratory problems. In the hot season, people gain relief from frigid nights spent in houses with no heat and little insolation. However, the sun is unrelenting, drying up water supplies and limiting fresh produce in the markets.

 

The rainy season brings an array of fruits, vegetables, fish, and caterpillars, a seasonal delight that many children loved. Rainy season is also a time when environmental inequalities in George become particularly visible--diseases flourish, roads become impassable, and mud is everywhere. Children demonstrated both the positive and negative aspects of rainy season in their drawings. In this drawing, Floyd showed flowers coming out of the ground in front of flooded houses.

  

**This drawing is part of the Children as Caregivers art gallery.

Learn more about the Children as Caregivers project in Jean Hunleth's book, Children as Caregivers: The Global Fight against Tuberculosis and HIV in Zambia.

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> The cake stand, cutlery and accessories used in the image are only for representations purposes. They are not delivered with the cake.

> The image displayed is indicative in nature. The cake being handmade may differ as per craftsmanship.

> Sculptural elements and figurines may contain wire supports or toothpicks or wooden skewers for support, Please consume with caution.

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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.[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

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:

 

view from the “west”

view from the ”south”

 

 

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!

 

 

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.

 

 

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.

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:

 

view from the “west”

view from the ”south”

 

 

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!

 

 

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.

 

 

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.

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.[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

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