Representations photos on Flickr

Nepal - Kathmandu - Garuda Statue - 435bb by Manfred Sommer

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

Firinka Nabadda :The Unique Cultural Source of the Ancient Pharaonic Kingdoms of Africa .Kamit,Nubia,Buun . by AAR Midnimo

2

History :

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

« 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 theses Similarities through their ancestral history :

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:1997) /

"Encyclopædia Britannica describes Punt as follows: “in ancient Egyptian and Greek geography, the southern coast of the Red Sea and adjacent coasts of the Gulf of Aden, corresponding to modern coastal Eritrea, Somalia and Djibouti ."

"In addition to the erection and endowments of many temples listed in the Palermo Stone, the Pharaohs of the Fifth Dynasty were active, as the King Sahure (2458-2446 B.C.) from this Egyptian Old Kingdom, Dynasty V (2498-2491 B.C.). 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 Queen and Female Pharaoh of Egypt sent a trade expedition to the Land of Punt , the Ancient kingdom of the Somalis , in the 15th century B-C. The Famous French Egyptologist Christiane D.Noblecourt , in his book "Hatshepsout ,the Mysterious Queen" said that the Ancient-Egyptians and The Puntites used to speak and communicate with the same language . Hatshepsut got also many products from the Land of Punt ,surnamed also , the Land of gods , ancestors ,"Ta - An- Jirnay "; as the frankincense , myrrh, ebony, gold , and exotic animals ,Cheetahs, giraffes, baboons, etc .Also ,in order to reinforce the mutual relationships, a Puntite delegation was sent to the Ancient Egypt during the reign of Hatshepsut .

" According to the Ancient Egyptians themselves , the egyptians came from the Land of Punt, the land of gods,ancestors and even , Queen Hatshepsout of Egypt (15th century B-C) said that Hathor The mistress of Punt ,her mother was from the land of Punt ,from "Buun" the ancient name of Somalia ! To conclude ,"Buun" means in Somali "Horn" and the Land of "Buun" (or Punt in european language) is located in the the Horn of Africa, in the Somali territories, " by Abdisalam Mahamoud . Master II degree: History of Civilisations and Religions.

Today, the frankincense-yielding areas in Somalia are still extensive, but the trees are confined to mountain areas, which makes collection difficult; the stands on the coast have long since been destroyed. The trees introduced into Egypt have like wise vanished, and only the bas-reliefs in Thebes are left to tell the story of the wonderland of Punt. -- [forestry department]

Punt and Aksum: Egypt and the Horn of Africa, Jacke Phillips,The Journal of African History, Vo. 38, No. 3 (1997), 423-457

The greek historian Diodorus of Sicily in his book "Universal history "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 .)

Even, the genetic research prove that the somali DNA is originally from Egypt => Haplogroup E1b1b1a (V68) :19th century before J-Christ => Place of origin : Egypt and northern Soudan . Extract of the genetic research :( More recently, Tillmar et al. (2009) typed 147 males from Somalia for 12 Y-STR loci, and observed that 77% (113/147) had typical E1b1b1a1b haplotypes. This is currently the highest frequency of E1b1b1a1b found in any single sample population. Similarly, Hassan et al. (2008) in their study observed this to be the most common of the sub-clades of E-M78 found in Sudan, especially among the Beja, Masalit and Fur. The Beja, like Somalis and Oromos, speak an Afro-Asiatic language and live along the "corridor" from Egypt to the Horn of Africa.)

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

sajokal5@yahoo.fr

Thanks for sharing !

Statue / Estátuas e pormenores da Janela Manuelina by Hugo Carriço

2

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.

Wien, 1. Bezirk, Burgring, Kunsthistorisches Museum, Museo di Storia dell'Arte, Museo de Historia del Arte de Viena, Musée d'Art Historique de Vienne, Museum of Art History, Muzeum Historii Sztuki w Wiedniu (Burgring/Maria-Theresien-Platz) by alfred lex

Maestro del Bambino Vispo (1st half 15th century, active in Florence)

Mary with the Child, c. 1430/40

The painter, perhaps Gherardo Starnina, owes his name to vivid (Italian "vispo") representations of the Jesus child. Mary, who sits on pillows on the floor, corresponds to the type of the "Madonna dell'umiltà" which is linked here to that of the breastfeeding Mother of God. Franciscan religiousness this concept of the Madonna might have favored. The gold ground Mary and Child carries away in a sacral sphere, which is also appropriate to the Trinity.

Maestro del Bambino Vispo (1. Hälfte 15. Jahrhundert, tätig in Florenz)

Maria mit Kind, um 1430/40

Der Maler, vielleicht Gherardo Starnina, verdankt seinen Namen lebhaften (italienisch "vispo") Darstellungen des Jesuskindes. Maria, die auf Kissen am Boden sitzt, entspricht dem Typus der "Madonna dell'umiltà, der hier mit dem der stillenden Gottesmutter verknüpft wird. Franziskanische Frömmigkeit mochte diese demütige Madonnenauffassung des späteren Mittelalters begünstigt haben. Der Goldgrund entrückt Mutter und Kind in eine sakrale Sphäre, die auch der Dreifaltigkeit angemessen ist.

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

Kendall Kay, Samara Riviera, Teresa Rodríguez from Aquí y Ahora on Univision at the GLAAD Media Awards at the Waldorf Astoria Hotel in New York City by RyanReporting

2

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)

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"HOYDADO-DHAANTO" Somali Ancient Egyptian-Puntite Culture and Folk Dance by Rageedi Arts . by AAR Midnimo

3 2

History of Somali Antiquity :

« 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 theses Similarities through their ancestral history :

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:1997) /

"Encyclopædia Britannica describes Punt as follows: “in ancient Egyptian and Greek geography, the southern coast of the Red Sea and adjacent coasts of the Gulf of Aden, corresponding to modern coastal Eritrea, Somalia and Djibouti ."/ In “The Making of Egypt” (1939). Petrie states that the Land of Punt was “sacred to the Egyptians as the source of their race.”

"In addition to the erection and endowments of many temples listed in the Palermo Stone, the Pharaohs of the Fifth Dynasty were active, as the King Sahure (2458-2446 B.C.) from this Egyptian Old Kingdom, Dynasty V (2498-2491 B.C.). 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 Queen and Female Pharaoh of Egypt sent a trade expedition to the Land of Punt , the Ancient kingdom of the Somalis , in the 15th century B-C. The Famous French Egyptologist Christiane D.Noblecourt , in his book "Hatshepsout ,the Mysterious Queen" said that the Ancient-Egyptians and The Puntites used to speak and communicate with the same language . Hatshepsut got also many products from the Land of Punt ,surnamed also , the Land of gods , ancestors ,"Ta - An- Jirnay "; as the frankincense , myrrh, ebony, gold , and exotic animals ,Cheetahs, giraffes, baboons, etc .Also ,in order to reinforce the mutual relationships, a Puntite delegation was sent to the Ancient Egypt during the reign of Hatshepsut .

Today, the frankincense-yielding areas in Somalia are still extensive, but the trees are confined to mountain areas, which makes collection difficult; the stands on the coast have long since been destroyed. The trees introduced into Egypt have like wise vanished, and only the bas-reliefs in Thebes are left to tell the story of the wonderland of Punt. -- [forestry department]

Punt and Aksum: Egypt and the Horn of Africa, Jacke Phillips,The Journal of African History, Vo. 38, No. 3 (1997), 423-457

The greek historian Diodorus of Sicily in his book "Universal history "said that in 6th century before-J-Christ , because of the euro-asiatics invasions in Egypt , more than 200 thousands of Ancient-egyptians migrated in the south of the Nile ,by crossing with their Boats Nubia-Ethiopia, in the direction ,East Africa (Now,Somalia ,Ethiopia,Djibouti... ) ./ 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 .)

Even, the genetic research prove that the somali DNA is originally from Egypt => Haplogroup E1b1b1a (V68) :19th century before J-Christ => Place of origin : Egypt and northern Soudan . Extract of the genetic research :( More recently, Tillmar et al. (2009) typed 147 males from Somalia for 12 Y-STR loci, and observed that 77% (113/147) had typical E1b1b1a1b haplotypes. This is currently the highest frequency of E1b1b1a1b found in any single sample population. Similarly, Hassan et al. (2008) in their study observed this to be the most common of the sub-clades of E-M78 found in Sudan, especially among the Beja, Masalit and Fur. The Beja, like Somalis and Oromos, speak an Afro-Asiatic language and live along the "corridor" from Egypt to the Horn of Africa.)

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

sajokal5@yahoo.fr

Thanks for sharing !

Hidde iyo Dhaqan,Somali Cultural Clothes . Ancient Egypt -Punt 's Heritage . Hooywaykaa ! by AAR Midnimo

History :

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

« 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 theses Similarities through their ancestral history :

"Encyclopædia Britannica describes Punt as follows: “in ancient Egyptian and Greek geography, the southern coast of the Red Sea and adjacent coasts of the Gulf of Aden, corresponding to modern coastal Eritrea, Somalia and Djibouti ."/