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It's what the traffic sign on top says, but in downtown Sao Paulo, we, both drivers and pedestrians, are too busy to mind this kind of stuff like traffic light, crosswalk and own safety...
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It's Christmas eve, Friday December 24th 2021 and the weather is a sombre grey with a touch of rain in the air, much the norm for Christmas in the UK for as many years as I can remember.
Photograph taken at an altitude of One hundred and three metres at 12:29pm on Wednesday December 22nd 2021 off Church Lane close to Bay Pond in the heart of Godstone, a village and civil parish in the county of Surrey in England.
Local school children had hand painted Christmas decorations and placed them in the trees and on fence panels and hanging branches in the lane leading beside Bay Pond and onwards to St Nicholas Church and St Mary's Chapel. A lovely festive sight on a cold winter afternoon in Godstone.
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Nikon D850 Focal length 170mm Shutter speed: 1/50s Aperture f/13.0 iso640 Hand held with Tamron VC Vibration control set to ON in position 1 Image area FX (36 x 24) NEF RAW Size L (8256 x 5504) 14 bit uncompressed file AF-C Priority Selection: Release. Nikon Back button focusing enabled. Focus mode: AF-C AF-Area mode: 3D -Tracking watch area: Normal 55 Tracking points Exposure mode: Manual exposure mode Metering mode: Matrix metering White balance on: Auto1, 0, 0 (4750K) Colour space: Adobe RGB Picture control: (NL) Neutral (Sharpening +2) Active D-Lighting: Low
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
LATITUDE: N 51d 14m 48.78s
LONGITUDE: E 0d 3m 46.33s
ALTITUDE: 103.0m
RAW (TIFF) FILE: 130.00MB NEF FILE: 94.6MB
PROCESSED (JPeg) FILE: 50.30MB
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Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
Nomadic Monks: Spiritual Dyads and Triads in Rituals - Structures, Meanings, and Practices in the Rovingian Journey by Daniel Arrhakis (2026)
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Nomadic Monks: Spiritual Dyads and Triads in Rituals
Structures, Meanings, and Practices in the Rovingian Journey
The Triad of Colors in Ritual Practices
The cultural and ritual diversity among nomadic monks is respected, but there is an ancestral triad of colors that stands out in ritual practices: black, white, and red. Black represents mystery and emptiness, white symbolizes the balance between light and shadow, while red expresses vital energy and ancestry. This chromatic combination is fundamental for facing the unknown and, at the same time, positions the monk as a diplomat between the physical and spiritual worlds.
The Trio of Wise Monks: Origin and Symbolism
The triad of monks, often called the "Trio of Wise Monks" or "Trio of Wisdom Buddhas," has Eastern origins, especially in Buddhism and Japanese folklore. This trio represents ethical principles of conduct, protection, and wisdom, becoming a popular symbol of righteousness and balance.
Meaning of the Three Monks
Each monk in the triad symbolizes an essential rule of conduct for maintaining inner peace:
Blind Monk (Mizaru): Covers his eyes to ignore the negativity or evil of the world.
Deaf Monk (Kikazaru): Covers his ears, closing himself off to slander or destructive words that contaminate the mind.
Mute Monk (Iwazaru): Covers his mouth and is careful with his words, avoiding lies, gossip, and aggression.
Rovingian Spiritual Ritual Dyads and Triads
The concept of spiritual dyads, especially twins, refers to two beings linked by a transcendental bond, surpassing biology to represent unity of destiny, redemption, or affinity. In traditions like Kabbalah, twins symbolize the balance between complementary forces, forming a dyad that seeks spiritual harmony.
The dyad can be seen as the union of sympathetic spirits, with timeless ancestral affinity, who walk together to enhance mutual growth. In the case of Rovingian spiritual dyads and triads, they are partners, siblings, or couples who decide to evolve and learn together, something common among nomadic monks.
Practical Function of Dyads and Triads
Beyond the mutualistic component, Rovingian spiritual dyads and triads often unite for practical purposes, such as rituals that require greater effort and collaboration in the face of adverse spiritual environments or powerful stagnant forces. These partnerships are essential to confront disturbed Genius Loci or situations of high spiritual risk.
Preparation is crucial: members must have experience working together, resilience, and mutual trust. In complex rituals, they are arranged in circular or triangular shapes, allowing everyone to physically connect, creating an unbreakable bond during the practice.
Structures in the Rovingian Context
Dyads (The Mirror): The union of two sympathetic spirits is not mere companionship, but resonance. The partner acts as a catalyst, compensating for vulnerabilities and ensuring ontological security on the journey through the unknown.
Triads (The Vertex): Applying the concepts of Mizaru, Kikazaru, and Iwazaru, the group forms an ethical shield. In spiritual nomadism, ritualistic blindness, deafness, and muteness protect the group, allowing them to maintain diplomacy between the physical and the spiritual without being contaminated by the shadows of the path.
Conclusion
The vision of Rovingian spiritual dyads and triads integrates ancient ethics with nomadic pragmatism. By adopting the chromatic triad — black (mystery/emptiness), white (purity/balance), and red (blood/vitality) — the monk not only protects himself but also affirms his presence as a living bridge between planes.
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Monges Nómadas: Díades e Tríades Espirituais Ritualísticas
Estruturas, Significados e Práticas na Jornada Rovingiana
Tríade de Cores nas Práticas Ritualistas
A diversidade cultural e ritual entre os monges nómadas é respeitada, mas existe uma tríade de cores ancestral que se destaca nas práticas ritualistas: preto, branco e vermelho. O preto representa o mistério e o vazio, o branco simboliza o equilíbrio entre luz e sombra, enquanto o vermelho expressa a energia vital e a ancestralidade. Esta combinação cromática é fundamental para enfrentar o desconhecido e, ao mesmo tempo, posiciona o monge como um diplomata entre o mundo físico e espiritual.
O Trio de Monges Sábios: Origem e Simbolismo
A tríade de monges, frequentemente denominada "Trio de Monges Sábios" ou "Trio de Budas Sabedoria", tem origem oriental, especialmente no budismo e no folclore japonês. Este trio representa princípios éticos de conduta, proteção e sabedoria, tornando-se um símbolo popular de retidão e equilíbrio.
Significado dos Três Monges
Cada monge da tríade simboliza uma regra de conduta essencial para manter a paz interior:
Monge Cego (Mizaru): Cobre os olhos para ignorar as negatividades ou o mal do mundo.
Monge Surdo (Kikazaru): Cobre os ouvidos, fechando-se a calúnias ou palavras destrutivas que contaminam a mente.
Monge Mudo (Iwazaru): Cobre a boca e cuida das próprias palavras, evitando mentiras, maledicência e agressividade.
Díades e Tríades Espirituais Ritualísticas Rovingianas
O conceito de díades espirituais, especialmente gêmeos, refere-se a dois seres ligados por um vínculo transcendental, ultrapassando a biologia para representar unidade de destino, resgate ou afinidade. Em tradições como a Cabala, os gêmeos simbolizam o equilíbrio entre forças complementares, formando uma díade que busca a harmonia espiritual.
A díade pode ser vista como a união de espíritos simpáticos, com afinidade ancestral intemporal, que caminham juntos para potencializar o crescimento mútuo. No caso das díades e tríades espirituais rovingianas, trata-se de parceiros, irmãos ou casais que decidem evoluir e aprender em conjunto, algo comum entre os monges nómadas.
Função Prática das Díades e Tríades
Para além da componente mutualista, as díades e tríades espirituais rovingianas frequentemente se unem para objetivos práticos, como rituais que exigem maior esforço e colaboração diante de ambientes espirituais adversos ou forças de estagnação poderosas. Essas parcerias são essenciais para enfrentar Génius Loci perturbados ou situações de risco espiritual elevado.
A preparação é crucial: os integrantes devem ter experiência em trabalhar juntos, resiliência e confiança mútua. Em rituais complexos, dispõem-se em formas circulares ou triangulares, de modo a permitir que todos se conectem fisicamente, criando uma ligação inquebrável durante a prática.
Estruturas no Contexto Rovingiano
Díades (O Espelho): A união de dois espíritos simpáticos não é mera companhia, mas ressonância. O parceiro atua como catalisador, compensando vulnerabilidades e garantindo segurança ontológica na jornada pelo desconhecido.
Tríades (O Vértice): Aplicando os conceitos de Mizaru, Kikazaru e Iwazaru, o grupo forma um escudo ético. No nomadismo espiritual, a cegueira, surdez e mudez ritualística protegem o grupo, permitindo manter a diplomacia entre o físico e o espiritual sem se contaminar pelas sombras do caminho.
Conclusão
A visão das díades e tríades espirituais rovingianas integra ética milenar com pragmatismo nómada. Ao adotar a tríade cromática — preto (mistério/vazio), branco (pureza/equilíbrio) e vermelho (sangue/vitalidade) — o monge não só se protege, mas também afirma sua presença como ponte viva entre planos.
Recently, I have heard or read about several people pondering the paucity of gulls and other shorebirds on the beaches of New Jersey. A little curious paddling helped to bolster my theory that these birds of the beaches are simply busy taking care of growing children. This Herring Gull nestles with its growing chick along the shore of High Island, just off Brant Beach Yacht Club. Unfortunately, even some of the small bay islets that they have chosen as nesting areas are not safe, as boaters and yacht clubs have invaded the last remaining wild spaces that these birds have to nest on. It’s not enough that we have used up almost every square inch of our barrier islands, but boaters with beers, barbecues, and boisterous bambinos invade the tiny isles in our bays and turn them into party places. A lack of knowledge or a complete lack of respect for wildlife is to blame, but the end result may someday be a permanent lack of shorebirds where we most expect them. #HerringGulls
I don't even pretend to understand the science behind lighting and so this weeks Low Key photos will follow the same method as those I took in High Key week, that is fingers crossed & hope for the best!
One thing I learned from taking todays photo is that I am really not designed to photograph others. I'm no good at translating to a model what it is I want from them. Apparently "Oh, y'know" is open to interpretation. I just sort of expect them to psychically know, and then, when they don't, they find themselves on the receiving end of an awful lot of tutting, swearing and exasperated sighing. (As poor Lydia will testify after being good enough to spare me an hour of her time)
I have a new found respect for portrait photographers!
©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
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Photograph taken at an altitude of Fifty eight metres at 07:18am just as the light broke through the dawn on an Autumn morning, Saturday Octyober 22nd 2022 off Hythe Avenue and Chessington Avenue in Bexleyheath, Kent.
Here we see an adult male Carrion crow (Corvus corone), one of a pair who I have fed for three years now. Nicknamed Russell, he sits on an aerial opposite my front door, calling to Sheryl his wife, and Baboo, thier young'en from this year.
AN IN DEPTH LOOK AT CORVUS CORONE
LEGEND AND MYTHOLOGY
By Paul Williams
Crows appear in the Bible where Noah uses one to search for dry land and to check on the recession of the flood. Crows supposedly saved the prophet, Elijah, from famine and are an Inuit deity. Legend has it that England and its monarchy will end when there are no more crows in the Tower of London. And some believe that the crows went to the Tower attracted by the regular corpses following executions with written accounts of their presence at the executions of Anne Boleyn and Jane Gray.
In Welsh mythology, unfortunately Crows are seen as symbolic of evilness and black magic thanks to many references to witches transforming into crows or ravens and escaping. Indian legend tells of Kakabhusandi, a crow who sits on the branches of a wish-fulfilling tree called Kalpataru and a crow in Ramayana where Lord Rama blessed the crow with the power to foresee future events and communicate with the souls.
In Native American first nation legend the crow is sometimes considered to be something of a trickster, though they are also viewed positively by some tribes as messengers between this world and the next where they carry messages from the living to those deceased, and even carry healing medicines between both worlds. There is a belief that crows can foresee the future. The Klamath tribe in Oregon believe that when we die, we fly up to heaven as a crow. The Crow can also signify wisdom to some tribes who believe crows had the power to talk and were therefore considered to be one of the wisest of birds. Tribes with Crow Clans include the Chippewa (whose Crow Clan and its totem are called Aandeg), the Hopi (whose Crow Clan is called Angwusngyam or Ungwish-wungwa), the Menominee, the Caddo, the Tlingit, and the Pueblo tribes of New Mexico.
The crow features in the Nanissáanah (Ghost dance), popularized by Jerome Crow Dog, a Brulé Lakota sub-chief and warrior born at Horse Stealing Creek in Montana Territory in 1833, the crow symbolizing wisdom and the past, when the crow had became a guide and acted as a pathfinder during hunting. The Ghost dance movement was originally created in 1870 by Wodziwob, or Gray Hair, a prophet and medicine man of the Paiute tribe in an area that became known as Nevada. Ghost dancers wore crow and eagle feathers in their clothes and hair, and the fact that the Crow could talk placed it as one of the sages of the animal kingdom. The five day dances seeking trance,prophecy and exhortations would eventually play a major part in the pathway towards the white man's broken treaties, the infamous battle at Wounded knee and the surrender of Matȟó Wanáȟtaka (Kicking Bear), after officials began to fear the ghost dancers and rituals which seemed to occur prior to battle.
Historically the Vikings are the group who made so many references to the crow, and Ragnarr Loðbrók and his sons used this species in his banner as well as appearances in many flags and coats of arms. Also, it had some kind of association with Odin, one of their main deities. Norse legend tells us that Odin is accompanied by two crows. Hugin, who symbolizes thought, and Munin, who represents a memory. These two crows were sent out each dawn to fly the entire world, returning at breakfast where they informed the Lord of the Nordic gods of everything that went on in their kingdoms. Odin was also referred to as Rafnagud (raven-god). The raven appears in almost every skaldic poem describing warfare.Coins dating back to 940's minted by Olaf Cuaran depict the Viking war standard, the Raven and Viking war banners (Gonfalon) depicted the bird also.
In Scandinavian legends, crows are a representative of the Goddess of Death, known as Valkyrie (from old Norse 'Valkyrja'), one of the group of maidens who served the Norse deity Odin, visiting battlefields and sending him the souls of the slain worthy of a place in Valhalla. Odin ( also called Wodan, Woden, or Wotan), preferred that heroes be killed in battle and that the most valiant of souls be taken to Valhöll, the hall of slain warriors. It is the crow that provides the Valkyries with important information on who should go. In Hindu ceremonies that are associated to ancestors, the crow has an important place in Vedic rituals. They are seen as messengers of death in Indian culture too.
In Germanic legend, Crows are seen as psychonomes, meaning the act of guiding spirits to their final destination, and that the feathers of a crow could cure a victim who had been cursed. And yet, a lone black crow could symbolize impending death, whilst a group symbolizes a lucky omen! Vikings also saw good omens in the crow and would leave offerings of meat as a token.
The crow also has sacred and prophetic meaning within the Celtic civilization, where it stood for flesh ripped off due to combat and Morrighan, the warrior goddess, often appears in Celtic mythology as a raven or crow, or else is found to be in the company of the birds. Crow is sacred to Lugdnum, the Celtic god of creation who gave his name to the city of Lug
In Greek mythology according to Appolodorus, Apollo is supposedly responsible for the black feathers of the crow, turning them forever black from their pristine white original plumage as a punishment after they brought news that Κορωνις (Coronis) a princess of the Thessalian kingdom of Phlegyantis, Apollo's pregnant lover had left him to marry a mortal, Ischys. In one legend, Apollo burned the crows feathers and then burned Coronis to death, in another Coronis herself was turned into a black crow, and another that she was slain by the arrows of Αρτεμις (Artemis - twin to Apollo). Koronis was later set amongst the stars as the constellation Corvus ("the Crow"). Her name means "Curved One" from the Greek word korônis or "Crow" from the word korônê.A similar Muslim legend allegedly tells of Muhammad, founder of Islam and the last prophet sent by God to Earth, who's secret location was given away by a white crow to his seekers, as he hid in caves. The crow shouted 'Ghar Ghar' (Cave, cave) and thus as punishment, Muhammad turned the crow black and cursed it for eternity to utter only one phrase, 'Ghar, ghar). Native Indian legend where the once rainbow coloured crows became forever black after shedding their colourful plumage over the other animals of the world.
In China the Crow is represented in art as a three legged bird on a solar disk, being a creature that helps the sun in its journey. In Japan there are myths of Crow Tengu who were priests who became vain, and turned into this spirit to serve as messengers until they learn the lesson of humility as well as a great Crow who takes part in Shinto creation stories.
In animal spirit guides there are general perceptions of what sightings of numbers of crows actually mean:
1 Crow Meaning: To carry a message from your near one who died recently.
2 Crows Meaning: Two crows sitting near your home signifies some good news is on your way.
3 Crows Meaning: An upcoming wedding in your family.
4 Crows Meaning: Symbolizes wealth and prosperity.
5 Crows Meaning: Diseases or pain.
6 Crows Meaning: A theft in your house!
7 Crows Meaning: Denotes travel or moving from your house.
8 Crows Meaning: Sorrowful events
Crows are generally seen as the symbolism when alive for doom bringing, misfortune and bad omens, and yet a dead crow symbolises potentially bringing good news and positive change to those who see it. This wonderful bird certainly gets a mixed bag of contradictory mythology and legend over the centuries and in modern days is often seen as a bit of a nuisance, attacking and killing the babies of other birds such as Starlings, Pigeons and House Sparrows as well as plucking the eyes out of lambs in the field, being loud and noisy and violently attacking poor victims in a 'crow court'....
There is even a classic horror film called 'THE CROW' released in 1994 by Miramax Films, directed by Alex Proyas and starring Brandon Lee in his final film appearance as Eric Draven, who is revived by a Crow tapping on his gravestone a year after he and his fiancée are murdered in Detroit by a street gang. The crow becomes his guide as he sets out to avenge the murders. The only son of martial arts expert Bruce Lee, Brandon lee suffered fatal injuries on the set of the film when the crew failed to remove the primer from a cartridge that hit Lee in the abdomen with the same force as a normal bullet. Lee died that day, March 31st 1993 aged 28.
The symbolism of the Crow resurrecting the dead star and accompanying him on his quest for revenge was powerful, and in some part based on the history of the carrion crow itself and the original film grossed more than $94 Million dollars with three subsequent sequels following.
TAKING A CLOSER LOOK
So let's move away from legend, mythology and stories passed down from our parents and grandparents and look at these amazing birds in isolation.
Carrion crow are passerines in the family Corvidae a group of Oscine passerine birds including Crows, Ravens, Rooks, Jackdaws, Jays, Magpies, Treepies, Choughs and Nutcrackers. Technically they are classed as Corvids, and the largest of passerine birds. Carrion crows are medium to large in size with rictal bristles and a single moult per year (most passerines moult twice). Carrion crow was one of the many species originally described by Swedish naturalist Carl Linnaeus (Carl Von Linne after his ennoblement) in his 1758 and 1759 editions of 'SYSTEMA NATURAE', and it still bears its original name of Corvus corone, derived from the Latin of Corvus, meaning Raven and the Greek κορώνη (korōnē), meaning crow.
Carrion crow are of the Animalia kingdom Phylum: Chordata Class: Aves Order: Passeriformes Family: Corvidae Genus: Corvus and Species: Corvus corone
Corvus corone can reach 45-47cm in length with a 93-104cm wingspan and weigh between 370-650g. They are protected under The Wildlife and Countryside Act 1981 in the United Kingdom with a Green UK conservation status which means they are of least concern with more than 1,000,000 territories. Breeding occurs in April with fledging of the chicks taking around twenty nine days following an incubation period of around twenty days with 3 to 4 eggs being the average norm. They are abundant in the UK apart from Northwest Scotland and Ireland where the Hooded crow (Corvus cornix) was considered the same species until 2002. They have a lifespan of around four years, whilst Crow species can live to the age of Twenty years old, and the oldest known American crow in the wild was almost Thirty years old. The oldest documented captive crow died at age Fifty nine. They are smaller and have a shorter lifespan than the Raven, which again is used as a symbol in history to live life to the full and not waste a moment!
They are often mistaken for the Rook (Corvus frugilegus), a similar bird, though in the UK, the Rook is actually technically smaller than the Carrion crow averaging 44-46cm in length, 81-99cm wingspan and weighing up to 340g. Rooks have white beaks compared to the black beaks of Carrion crow, a more steeply raked ratio from head to beak, and longer straighter beaks as well as a different plumage pattern. There are documented cases in the UK of singular and grouped Rooks attacking and killing Carrion crows in their territory. Rooks nest in colonies unlike Carrion crows. Carrion crows have only a few natural enemies including powerful raptors such as the northern goshawk, the peregrine falcon, the Eurasian eagle-owl and the golden eagle which will all readily hunt them.
Regarded as one of the most intelligent birds, indeed creatures on the planet, studies suggest that Corvids cognitive abilities can rival that of primates such as chimpanzees and gorillas and even provide clues to understanding human intelligence. Crows have relatively large brains for their body size, compared to other animals. Their encephalization quotient (EQ) a ratio of brain to body size, adjusted for size because there isn’t a linear relationship is 4.1. That is remarkably close to chimps at 4.2 whilst humans are 8.1. Corvids also have a very high neuronal density, the number of neurons per gram of brain, factoring in the number of cortical neurons, neuron packing density, interneuronal distance and axonal conduction velocity shows that Corvids score high on this measure as well, with humans scoring the highest.
A corvid's pallium is packed with more neurons than a great ape's. Corvids have demonstrated the ability to use a combination of mental tools such as imagination, and anticipation of future events. They can craft tools from twigs and branches to hook grubs from deep recesses, they can solve puzzles and intricate methods of gaining access to food set by humans., and have even bent pieces of wire into hooks to obtain food. They have been proven to have a higher cognitive ability level than seven year old humans. Communications wise, their repertoire of wraw-wraw's is not fully understood, but the intensity, rhythm, and duration of caws seems to form the basis of a possible language. They also remember the faces of humans who have hindered or hurt them and pass that information on to their offspring.
Aesop's fable of 'The Crow and the Pitcher, tells of a thirsty crow which drops stones into a water pitcher to raise the water level and enable it to take a drink. Scientists have conducted tests to see whether crows really are this intelligent. They placed floating treats in a deep tube and observed the crows indeed dropping dense objects carefully selected into the water until the treat floated within reach. They had the intelligence to pick up, weigh and discount objects that would float in the water, they also did not select ones that were too large for the container.
Pet crows develop a unique call for their owners, in effect actually naming them. They also know to sunbathe for a dose of vitamin D, regularly settling on wooden garden fences, opening their mouths and wings and raising their heads to the sun. In groups they warn of danger and communicate vocally. They store a cache of food for later if in abundance and are clever enough to move it if they feel it has been discovered. They leave markers for their cache. They have even learned to place walnuts and similar hard food items under car tyres at traffic lights as a means of cracking them!
Crows regularly gather around a dead fellow corvid, almost like a funeral, and it is thought they somehow learn from each death. They can even remember human faces for decades.Crows group together to attack larger predators and even steal their food, and they have different dialects in different areas, with the ability to mimic the dialect of the alpha males when they enter their territory!
They have a twenty year life span, the oldest on record reaching the age of Fifty nine. Crows can leave gifts for those who feed them such as buttons or bright shiny objects as a thank you, and they even kiss and make up after an argument, having mated for life.
In mythology they are associated with good and bad luck, being the bringers of omens and even witchcraft and are generally reviled for their attacks on baby birds and small mammals. They have an attack method of to stunning smaller birds before consuming them, tearing violently at smaller, less aggressive birds, which is simply down to the fact that they are so highly intelligent, and also the top of the food chain. Their diet includes over a thousand different items: Dead animals (as their name suggests), invertebrates, grain, as well as stealing eggs and chicks from other birds' nests, worms, insects, fruit, seeds, kitchen scraps. They are highly adaptable when food sources grow scarce. I absolutely love them, they are magnificent, bold, beautiful and incredibly interesting to watch and though at times it is hard to witness attacks made by them, I cannot help but adore them for so many other and more important reasons.
OBSERVATIONS ON THE PAIR IN MY GARDEN
Crows have been in the area for a while, but rarely had strayed into my garden, leaving the Magpies to own the territory. Things changed towards the end of May when a beautiful female Carrion crow appeared and began to take some of the food that I put down for the other birds. Within a few days she began to appear regularly, on occasions stocking up on food, whilst other times placing pieces in the birdbath to soften them. She would stand on the birdbath and eat and drink and come back over the course of the day to eat the softened food.
Shortly afterwards she brought along her mate, a tall and handsome fella, much larger than her who was also very vocal if he felt she was getting a little too close to me. By now I had moved from a seated position from the patio as an observer, to laying on a mat just five feet from the birdbath with my Nikon so that I could photograph the pair as they landed, scavenged and fed. She was now confident enough to let me be very close, and she even tolerated and recognized the clicking of the camera. At first I used silent mode to reduce the noise but this only allowed two shooting frame rates of single frame or continuous low frame which meant I was missing shots. I reverted back to normal continuous high frames and she soon got used to the whirring of the mechanisms as the mirror slapped back and forth.
The big fella would bark orders at her from the safety of the fence or the rear of the garden, whilst she rarely made a sound. That was until one day when in the sweltering heat she kept opening her beak and sunning on the grass, panting slightly in the heat. I placed the circular water sprayer nearby and had it rotating so that the birdbath and grass was bathed in gentle water droplets and she soon came back, landed and seemed to really like the cooling effect on offer. She then climbed onto the birdbath and opened her wings slightly and made some gentle purring, cooing noises....
I swear she was expressing happiness, joy....
On another blisteringly hot day when the sprayer was on, she came down, walked towards it and opened her wings up running into the water spray. Not once, but many times.
A further revelation into the unseen sides to these beautiful birds came with the male and female on the rear garden fence. They sat together, locked beaks like a kiss and then the male took his time gently preening her head feathers and the back of her neck as she made tiny happy sounds. They stayed together like that for several minutes, showing a gentle, softer side to their nature and demonstrating the deep bond between them. Into July and the pair started to bring their three youngsters to my garden, the nippers learning to use the birdbath for bathing and dipping food, the parents attentive as ever. Two of the youngsters headed off once large enough and strong enough.
I was privileged to be in close attendance as the last juvenile was brought down by the pair, taught to take food and then on a night in July, to soar and fly with it's mother in the evening sky as the light faded. She would swoop and twirl, and at regular intervals just touch the juvenile in flight with her wing tip feathers, as if to reassure it that she was close in attendance. What an amazing experience to view. A few days later, the juvenile, though now gaining independence and more than capable of tackling food scraps in the garden, was still on occasions demand feeding from it's mother who was now teaching him to take chicken breast, hotdogs or digestive biscuits and bury them in the garden beds for later delectation. The juvenile also liked to gather up peanuts and bury them in the grass. On one occasion I witnessed a pair of rumbunctious Pica Pica (Magpies), chasing the young crow on rooftops, leaping at him no matter how hard he tried to get away. He defended himself well and survived the attacks, much to my relief.
Into August and the last youngster remained with the adults, though now was very independent even though he still spent time with his parents on rooftops, and shared food gathering duties with his mum.Hotdog sausages were their favourite choice, followed by fish fingers and digestive biscuits which the adult male would gather up three at a time. In October, the three Crows were still kings of the area, but my time observing them was pretty much over as I will only put food out now for the birds in the winter months. The two adults are still here in December and now taking the food that I put out to help all birds survive in the winter months. They also have a pair of Magpies to compete with now.
Late February 2022 and Cheryl and Russell and their youngster are still with me, still dominant in the area and still taking raw chicken, hotdogs, biscuits and fatballs that I put out for them. Today I saw them mating for the first time this year in the tree and the cycle continues.
By October 2022 the pair had successfully reared a new baby who we nicknamed Baboo, and the other youngster flew the coup. The three no recognised our car returning from weekends away, and were enjoying sausages, hotdogs, raw chicken, fish and especially cheese, but life was hard as they aged with daily morning and evening tustles in the air with invaders and intruders hoping to take their land.
Corvus Corone.... magnificently misunderstood by some!
Paul Williams June 4th 2021 (Updated in October 2022)
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At Arcadia Farm in Charlotte Court House, Charlotte County, Virginia. Pink dogwood, fences, a dirt road and well-spaced trees which give the impression of a park.
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Coastal Caves and Rocky Outcrops in Rovingian Animist Spirituality by Daniel Arrhakis (2026)
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Coastal Caves and Rocky Outcrops in Rovingian Animist Spirituality
The sacredness of nature and respect for the process of transformation
Symbolism of Coastal Caves and Rocky Outcrops
In the Rovingian animist tradition, coastal caves and rocky outcrops found on the surface of beaches take on a sacred meaning. They are seen as the womb of the earth, portals to the underworld, and points of connection between the sea, the land, and the sky. These places are considered to harbor spirits, ancestors, or deities, reinforcing their central role in local spirituality.
Entrances to the Sacred
Coastal caves, such as those of São Lourenço in Madeira, often function as thresholds between worlds. They represent the womb of Mother Earth, a symbol of rejuvenation, or the passage to the world of the dead, evoking the concept of ancestry.
Veneration of Stone and Cultural Memory
The rocky outcrops located on the coastline, often revealed by erosion, are considered "alive" or bearers of guardian spirits. There is a belief that both the know-how and the stone itself possess memory, making these places points of worship where cultural identity and the sacred are deposited. Small outcrops that emerge on the beaches are frequently used for ritualistic practices.
Elemental Connection and Environment of Power
The interaction between the rock (earth) and the sea (water) creates a special environment where the spirits of water and earth converge, intensifying the spiritual power of the place.
Places of Transformation
The coastline is seen as a transition zone between sea and land. For animism, this space is especially sacred, making it conducive to rites of passage due to its liminal nature.
Landscape Markers and Place Worship
Granite or limestone outcrops on the coast serve as geographical landmarks and are frequently associated with the sacralization of the landscape, serving as a basis for place worship.
Ethics of Respect and Non-Intervention
These coastal sites, due to their imperishable nature and the constant changes caused by erosion, embody the eternal cycle of life, death, and renewal in animistic spirituality. In Rovingian animism, there is a clear orientation to respect the original formal integrity of these outcrops, which are seen as living witnesses of an ancient history, shaped by the tides, calms, and storms of time.
Preservation and Environmental Awareness
Offerings, especially plastic or non-degradable elements that could interfere with the local nature, should not be deposited. Respect for the site is manifested in the preservation of its formal integrity, avoiding any physical intervention that disrupts the age-old dialogue between the elements. A Spirituality of the Silent Witness
Unlike other traditions that mark sacred sites with monuments or physical offerings, Rovingian animism is distinguished by an ethic of non-intervention. Here, sacredness resides in the very process of natural transformation of the site. The practitioner recognizes that the site is already sacred by its very existence and resistance to erosion, becoming a silent witness to the cycle of life and the history of the Earth.
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Grutas Costeiras e Afloramentos Rochosos na Espiritualidade Animista Rovingiana
A sacralidade da natureza e o respeito pelo processo de transformação
Simbolismo das Grutas Costeiras e Afloramentos Rochosos
Na tradição animista rovingiana, as grutas costeiras e os afloramentos rochosos encontrados à superfície das praias assumem um significado sagrado. São vistos como o ventre da terra, portais para o submundo e pontos de ligação entre o mar, a terra e o céu. Considera-se que estes locais abrigam espíritos, ancestrais ou divindades, reforçando o seu papel central na espiritualidade local.
Entradas para o Sagrado
As grutas costeiras, como as de São Lourenço na Madeira, funcionam frequentemente como limiares entre mundos. Representam o útero da Mãe Terra, símbolo de rejuvenescimento, ou a passagem para o mundo dos mortos, evocando o conceito de ancestralidade.
Veneração da Pedra e Memória Cultural
Os afloramentos rochosos situados na orla costeira, muitas vezes revelados pela erosão, são considerados "vivos" ou portadores de espíritos guardiões. Existe a crença de que tanto o saber-fazer quanto a própria pedra possuem memória, tornando estes locais pontos de culto onde se deposita a identidade cultural e o sagrado. Pequenos afloramentos que emergem nas praias são frequentemente utilizados para práticas ritualísticas.
Conexão Elemental e Ambiente de Poder
A interação entre a rocha (terra) e o mar (água) cria um ambiente especial, onde os espíritos da água e da terra convergem, intensificando o poder espiritual do local.
Locais de Transformação
A orla costeira é vista como uma zona de transição entre mar e terra. Para o animismo, este espaço é especialmente sagrado, tornando-se propício para rituais de passagem, devido à sua natureza liminar.
Marcadores de Paisagem e Culto dos Lugares
Afloramentos graníticos ou calcários na costa desempenham o papel de pontos de referência geográfica e são frequentemente associados à sacralização da paisagem, servindo de base para o culto dos lugares.
Ética de Respeito e Não-intervenção
Esses locais costeiros, pela sua natureza imperecível e pelas constantes alterações provocadas pela erosão, personificam o ciclo eterno de vida, morte e renovação na espiritualidade animista.
No animismo rovingiano, há uma orientação clara para respeitar a integridade formal original desses afloramentos, que são vistos como testemunhas vivas de uma história antiga, moldada pelas marés, calmarias e tempestades do tempo.
Preservação e Consciência Ambiental
Não se deve depositar oferendas, especialmente elementos plásticos ou não degradáveis, que possam interferir com a natureza local. O respeito pelo local manifesta-se na preservação da sua integridade formal, evitando qualquer intervenção física que perturbe o diálogo milenar entre os elementos.
Uma Espiritualidade da Testemunha Silenciosa
Ao contrário de outras tradições que assinalam locais sagrados com monumentos ou oferendas físicas, o animismo rovingiano distingue-se por uma ética de não-intervenção. Aqui, a sacralidade reside no próprio processo de transformação natural do local. O praticante reconhece que o local já é sagrado pela sua existência e resistência à erosão, tornando-se uma testemunha silenciosa do ciclo da vida e da história da Terra.
Samuel Wensley Blackall:
Samuel Wensley Blackall (1809 - 1871), governor, was born on 1 May 1809 in Dublin, son of Major Robert Blackall of the East India Co. army, and his wife Catherine, née Lewis. A member of a prosperous Irish family, he was educated by a private tutor and at 15 went to Trinity College, Dublin, but did not graduate. He joined the 85th Regiment in June 1827 but in 1833 he sold his commission as lieutenant and entered the Royal Longford Militia, where he became a major. In 1833 he married Georgiana Rowles in London; the couple had a son and a daughter, the former surviving him. After his first wife’s death, Samuel married Catherine Bond at Dublin in 1858. Blackall took an active part in Irish public life, becoming high sheriff of County Longford in 1833: in 1847-51 he represented Longford in the House of Commons, and in 1861 became high sheriff of Tyrone. Meanwhile he had been lieutenant-governor of Dominica in 1851-57. Through seeking to rule with a high hand he had to combat a petition for his recall. He was also in trouble with the Colonial Office for extending his leave because of family difficulties. In 1862 he re-entered the colonial service as governor of Sierra Leone, in 1865 became governor in chief at the West African Settlements and in 1868 was appointed governor of Queensland.
Blackall took an active part in Irish public life, becoming high sheriff of County Longford in 1833: in 1847-51 he represented Longford in the House of Commons, and in 1861 became high sheriff of Tyrone. Meanwhile he had been lieutenant-governor of Dominica in 1851-57. Through seeking to rule with a high hand he had to combat a petition for his recall. He was also in trouble with the Colonial Office for extending his leave because of family difficulties. In 1862 he re-entered the colonial service as governor of Sierra Leone, in 1865 became governor in chief at the West African Settlements and in 1868 was appointed governor of Queensland.
On arrival in Brisbane on 14 August Blackall was met by a tremendous popular welcome, but at once was plunged into a constitutional crisis, which had been temporarily held in check by the administrator, Sir Maurice O'Connell. After a deadlock in the Legislative Assembly the Liberals had been defeated in an election but were petitioning the governor to dissolve the assembly on the ground that it did not properly represent the colony. Perhaps because of his experience in Dominica or because his health had suffered in West Africa, Blackall pursued a strictly constitutional course and refused to intervene directly. The crisis did not end until the rule of his successor, the marquis of Normanby. Despite the bitterness of the constitutional battle Blackall made no personal enemies, though he had to face a few personal attacks. Kindly and soft-spoken, he had developed the gift of making friends and became very popular. Willing to assist any genuine public cause, he made frequent appearances on public platforms. He worked hard to improve agriculture and to link the Queensland grammar schools with the University of Sydney.
By 1870 Blackall's health was failing rapidly and he knew the end was near. In 1870 when the government decided to set aside a new cemetery reserve at Toowong he inspected the area and selected the highest spot for his grave. At the same time he requested that his funeral be such as could be attended by even the humblest. Three months later, on 2 January 1871, he died and his wishes were gratified. A fine memorial was erected over his grave, the first in the cemetery. His memory is also preserved by the town of Blackall, the Blackall Range, and the first Queensland government steamer, Governor Blackall, bought by Charles Lilley when premier of Queensland in 1870.
Toowong Cemetery:
Bureaucratic procrastination, manoeuvring and public discontent colour the early history of the Brisbane General Cemetery at Toowong and contributed to the decades of delay in providing a new General Cemetery for Brisbane in the second half of the nineteenth century.
The first cemetery serving the small penal settlement that was Brisbane between 1825 and 1842 was located near Skew Street, the northern approach to the William Jolly Bridge. It was here that soldiers and convicts were interred but was considered unfit for the burial of children. One soldier's four children were buried in a brick crypt in an area at North Quay near Herschel Street.
The concept of a rural cemetery located outside the bounds of town limits emerged as a major transformation in burial practices in the late 18th century in Britain and Europe and was well established by the time towns and settlements were being formed in Queensland. The new burial grounds surveyed at North and South Brisbane in 1844, just beyond the western boundary of the municipality, proved however, not to be sufficiently removed from the settlement. Whilst the proximity of both grounds allowed customary procession on foot, and natural drainage away from the early settlement served to allay sanitary concerns, as early as 1851, the public were petitioning the Government of NSW to relocate the North Brisbane Burial Grounds known as the Milton/Paddington Cemetery. Brisbane's rapid expansion following its opening to free settlement in 1842 was such that the Paddington Cemetery, was now in the heart of a prime inner residential area and was being challenged by the residents who feared for their health.
The first progress to establish a new cemetery were made in 1861 when 200 acres was set aside for cemetery purposes, 2 miles south west of the Milton Cemetery at Toowong. The land however, was chosen by default rather than by design. Augustus Gregory, the Surveyor -General had not favoured the Toowong site but found it to be the only locality to present the requisite requirements. The appropriateness of the site at Toowong for the purpose of a General Cemetery was an issue contested for the next two decades. The isolation and suitability of the Toowong site with its lack of access and public transport fuelled dissent and debate and the public continued to use the cheaper, more accessible familial grounds at Milton.
Although the Cemetery Act was passed in 1866 providing the means to establish general cemeteries under the control of government appointed trustees, it was another decade before the Cemetery was officially opened. In 1868, a further portion of Crown land, 53 acres in area, north of the cemetery reserve was added to fulfil of the Trustee's requirement for the entire cemetery to be surrounded with public roads.
The reserve of 250 acres 1 rood was gazetted and the Cemetery Trust established in October 1870 and its honorary trustees were amongst Brisbane's most prominent political and business figures - James Cowlishaw, John Hardgrave, William Pettigrew, Samuel Walker Griffith, George Edmonstone, Alexander Raff, John Petrie (Chairman), Michael Quinlan and Nathaniel Lade.
Trial sinkings at Toowong in December 1870 found the ground to be unsuitable, but this knowledge did not prompt the government to secure a more appropriate location. Queensland's second governor, Samuel Wensley Blackall had been a supporter of the Toowong site and in his ill health indicated his desire to be buried there. He was buried on the highest knoll on 3 January 1871 and his memorial is the largest and most prominent in the cemetery with commanding views of the city and surrounds.
The Surveyor General, the Trustees and the Colonial Secretary had not favoured the Toowong Site and even after the burial of Governor Blackall on its most prominent peak, the Trustees were still pursuing other more suitable prospects for a cemetery site. Three private properties had been offered for sale for cemetery purposes. Of these, Trustee George Edmondstone's property on Enoggera Creek was identified as being most suitable, however the Colonial Treasurer could not reach an agreement on price and the Toowong site came to be accepted as the Brisbane General Cemetery grounds.
In June 1871, Petrie, Pettigrew and Perry were nominated to chose a suitable 40 acres for clearing for the general cemetery. In 1872, ground lying north of the road and east of the western boundary of the 53 acre portion was cleared and enclosed by 540 rods of good quality pig fencing (a four rail fence) with two entrances not more than 4 rods on each side of the main entrance erected by John Ballard.
A Keeper's Lodge was built by E Lewis and gates and ornamental fencing at the main entrance, designed by the Colonial Architect, FDG Stanley, were erected in 1873-74.
Between Governor Blackall's burial and the official opening of the Cemetery, there were six burials. The next interment was Ann Hill, wife of Walter Hill, superintendent of the Botanical Gardens on 2 November 1871. Thomas and Martha McCulloch were buried in November 1873, Teresa Maria Love on 16 March 1875 and Florence and Ethel Gordon on 4 July 1875.
The Trustees received numerous requests for separate burial sections from churches and other like minded group to ensure that religious and social class distinctions within society were perpetuated in mortality. Between November 1874 and August 1875 portions were allocated by the Trustees upon request. Portion No 1, was allocated to the Church of England, Portion No 2 to the Wesleyans, Portion No 3 to the Hebrews, Portion No 7 to the Roman Catholics, Portion No 16 to paupers and No 17 and parts of No 1 and 7 to public graves, Portion No 15 to criminals. In 1879, the Chinese were allocated part of Portion 2, then relocated in January 1884 to the ground below 7 and then again in April of that year to Portion No 8. The various cultural and religious groups were separated and boundaries clearly formed by winding roads. There is a strong showing of the Christian section of the graves, supporting the demographic dominance of Anglo-Saxons in Brisbane and the relocation of the Chinese several times (now in Portion 19) demonstrates the disregard afforded to this section of the community, which exhumed many of its dead for reinterment in China.
The lack of public transportation for funeral processions was one of the perceived shortfalls of the Toowong site, so the extension of the railway line through the western suburbs to Toowong in 1875 with the promise of a mortuary rail service provided the catalyst for the opening of the cemetery.
The grounds at the Cemetery were laid out by the prominent surveyor, George Phillips and a set of books drawn up by the Government Printer. The Cemetery was officially opened on 5 July 1875.
Controversy was quelled for a time but the respite was short lived and the Cemetery was subjected to a parliamentary inquiry in 1877 where public health issues, the steep and rocky terrain, the distance and inconvenience for mourners and the cost in relation to other alternatives including mortuary trains to Toowong were considered. No further meetings were held by the Trustees until March 1878.
The Cemetery had come to be valued for not only its heritage as the resting place of Governor Blackall but as a place for recreation and repose. Had the government decided from its inquiry to abandon the Toowong Cemetery in favour of another proposed site at Woogaroo, the Trustees wanted to retain the management of the Toowong site and for it to be maintained in an ornamental way as a place of resort for the people of Brisbane.
Community health concerns relating to the Cemetery began to dissipate in the second half of the 1880s. Whilst a public meeting of concerned residents discussed the closure of the cemetery in July 1885, within six months the local community was petitioning the Trustees to endorse the opening of a road through the cemetery reserve. Approval for the public thoroughfare through the cemetery was given in July 1886. The approval renewed concern in some quarters for the health risks associated with the increase in public activity at the Cemetery and the planting of trees amongst the graves especially of those dying of virulent diseases was advocated.
The cemetery was however, well established with trees by this time. From 1876, one year after its official opening, many plants and young trees had been supplied to the Cemetery from the Botanical Gardens and Acclimatisation Society. Initially, Walter Hill, the Botanical Gardens superintendent donated 38 shade and ornamental trees to the Cemetery and Mr Bernays of the Acclimatisation Society offered 50 trees in exchange for a subscription from the Trustees.
From 1878, the Cemetery gardens were attended by dresser, William Melville, a position he held for 38 years. Flowers, shrubs and plants were cultivated on the site on Portion 10 and sold to meet the needs of the site's visitors from a flower shed that straddled the creek. Mature camellias at the Cemetery, located in Portion 4 and 13 may be the first planted in Queensland from cuttings from Camden Park, the home of John McCarthur, who may have been the first to import them into Australia. A dam on Portion 16 was used for irrigation until 1905 when water taps were installed.
In 1886, the Defence Force leased the largely unused area of the cemetery, now occupied by Anzac Park, as a Rifle Range and the whole paddock and the Cemetery Overseer's cottage designed by Trustee, James Cowlishaw and built by E Bishop in 1877 came under the control of the Brigade Officer in charge of the Range. In exchange, the Government built another cottage in 1887 for the overseer at a cost of £250. A pavilion, also designed by Cowlishaw was built in 1885 at the northern end of Portion 10.
In 1891, extensive public usage of the cemetery land spurred the newly formed Toowong Shire Council to seek an arrangement with the Trustees to utilise some of the land for the purpose of public recreation. Whilst initially reluctant, the Trustees came to support the idea. In 1915, the Toowong Park Act was passed providing the Trustees with the means to transfer 132 acres 2 roods 18 perches to the Toowong Town Council for Park and Recreation purposes known in part as the Old Rifle Range for the sum of £1,000. This revenue was used to finance the construction of new gates and fencing and the purchase in 1916, of Portion 872, the sole adjoining private property, to satisfy the Trustees preference for completely surrounding the cemetery with public roads.
Agitation for public transport within close proximity of the cemetery was finally achieved with the extension of the tramway to the cemetery in 1901. A shelter shed was erected by the Brisbane Tramways Co in 1916.
The Paddington Cemeteries Act of 1911, authorised the Government to resume the several cemeteries at Milton and, upon the request of any relative of any person buried therein within 12 months, to disinter the remains of the deceased. The remains were removed together with any memorials to any cemetery agreed upon with associated costs borne by the Government. Of the 4,643 identifiable graves at Milton, there were 178 applications made. 139 remains and 105 memorials were relocated from Milton to Toowong throughout the site, with the greatest concentration to be found in Portion 6.
Tenders for a sanitary block were called by Trustee and architect, Edward Myer Myers in November 1923. The successful tenderer was Marberete Co and the construction was completed prior to Anzac Day 1924 when the Shrine of Remembrance and Cross of Sacrifice were unveiled. A report of the ceremony in the Sydney Mail incorrectly refers to the building as a mortuary chapel and flags of the Union Jack were hung over the entries to the men's and ladies' toilets to disguise the signage.
On 1 August 1930, Toowong Cemetery and all others with the Brisbane City Council municipality were placed under the management and control of the Council. The following year, the area of the Toowong Cemetery bounded by Mt Coot-tha Road and Miskin and Dean Streets was used by the Australian Military Forces for training and later was transferred to the Brisbane City Council and was developed as a Bus Depot. A substation was erected in the south-east corner of this site in 1935.
Flowers were cultivated and sold at the Cemetery from Portion 10 until the 1930s. In 1934 the area set apart for soldier's graves within Portion 10 was extended and incorporated the flower gardens and the octagonal pavilion was probably demolished at this time. Other shelter sheds were erected and six, including two with toilets, are dotted over the site. In 1936 the last available block, Portion 30, was laid out for burial purposes. To allow for more burials, the plot sizes were reduced from 9'x5'to 8'x4'.
By April 1975, all burial plots in the Cemetery had been sold and the Cemetery was closed with the exception of burials in family graves. That same year, hundreds of worn, forgotten headstones in three major city cemeteries were removed by Brisbane City Council workmen employed under the Regional Employment Development Scheme. Old, neglected monuments were removed from Toowong, Lutwyche and South Brisbane cemeteries and trees and shrubs planted. The long term aim of the scheme was to return the cemeteries to open space with a parkland atmosphere. It is thought approximately 1,000 memorials were removed from Toowong.
In the early 1980s, footpath clearances were substantially reduced along the Frederick Street and Mt Coot-tha Road boundaries and the tram shelter and tram lines were removed as part of the Route 20 overpass and roundabout development. As a result of this work, direct access through the main gates of the Cemetery from all directions but the west has been disconnected.
The Sexton's office, built around the turn of the century on Portion 10 above the floor of the flower shed, fell into disuse once the new Sexton's office was built in 1989. Restoration work to repair and reconstruct the former Sexton's office and its conversion to a museum was initiated by the Brisbane City Council Heritage Advisory Committee and the work carried out by the Heritage Unit in 1991. Another initiative by the Brisbane City Council Heritage Unit, also undertaken in 1991, was the establishment of the Toowong Cemetery Heritage Trail together with the Adopt-a-Pioneer program for plots in need of maintenance and to raise public awareness of the invaluable resource that the cemetery provides.
In 1992, steel boom gates were erected at the Birdwood Terrace and Frederick Street entrances of the Cemetery to deter vandalism, theft and drag racing. The same year, a group of volunteers formed The Friends of Toowong Cemetery and their activities include tending to neglected gravesites and organising tours of the Cemetery for interested parties. They have also produced several booklets including the Toowong Cemetery Resource Manual and Extraordinary Lives of Ordinary People.
The Cemetery was reopened in 1998 with approximately 450 plots available for sale.
Source: Australian Dictionary Of Biography & Queensland Heritage Register.
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Photograph taken at an altitude of Zero metres, at 13:17pm on Friday 20th September 2019 off Mills Road and 17a West Saanich Road, from the shoreline of Patricia Bay near beautiful Sidney by the sea on Vancouver Island, British Columbia, Canada.
Patricia Bay is a body of salt water that extends East from the Saanich Inlet and forms part of the North Saanich shoreline in British Columbia. The bay was named after Princess Patricia of Connaught, daughter of the Duke of Connaught who was Governor General in 1912.
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Photograph taken around at 09:51am on September 6th 2012 off Kirkstone Pass at a height of almost 350 metres at the summit of a road so windy and tricky they named it 'The Struggle', past Glenridding and heading towards Ambleside and Lake Windermere, part of the Lake District in Cumbria, England.
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I have so much respect for this guy, getting out there and earning the pennies to keep the wolf from the door.
Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.
ETYMOLOGY AND OTHER NAMES
Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.
The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).
Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).
A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".
In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.
In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.
ICONOGRAPHY
Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.
Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.
The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.
COMMON ATTRIBUTES
Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.
Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.
VAHANAS
The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.
Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.
The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.
ASSOCIATIONS
OBSTACLES
Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.
BUDDHI (KNOWLEDGE)
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".
AUM
Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:
(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).
Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.
FIRST CHAKRA
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".
FAMILY AND CONSORTS
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.
The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.
WOSHIP AND FESTIVALS
Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.
Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).
Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.
Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."
GANESH CHATURTI
An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.
TEMPLES
In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.
There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.
T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.
RISE TO PROMINENCE
FIRST APEARANCE
Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:
What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.
POSSIBLE INFLUENCES
Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:
In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.
Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."
One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.
A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.
First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).
VEDIC AND EPIC LITERATURE
The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".
Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition.[174] Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.
PURANIC PERIOD
Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:
Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.
Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.
SCRIPTURES
Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.
The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.
BEYOND INDIA AND HINDUISM
Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.
Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.
Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.
Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.
Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.
The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.
WIKIPEDIA
Second Life has its rules.
We have our own.
Two shadows. One empire.
Dressed in black, dripping in gold, and walking like we already own the night.
Neo brings the calm before the storm…
Stormy brings the storm itself.
No crew. No promises. No second chances.
Respect is earned. Loyalty is forever.
In Second Life, legends don’t knock on the door…
they arrive together.
NEO & STORMY — BEWARE OF US.
It is really important to pay respect to the speed limits and warning signs in Canada as you never know what will be around the corner. This photograph was taken coming towards dusk and this mother and cub (with another waiting out of shot) were smack bang in the middle of the road. In fact, the little one in a few seconds, laid down in the middle of the road. Be careful, wildlife crossing.
Hell-Bourg is a small village in the Salazie commune (administrative division) of the French overseas department of Réunion. It is the main community in the island's Cirque de Salazie, and is named for the respected former admiral and island governor Anne Chrétien Louis de Hell. Previously the village had been named Bémaho. It is located 1344 m (4412 ft) above sea level.
Originally Bémaho/Hell-Bourg was founded as a small but prosperous spa town, and prospered as such for most of a century after the 1830 European discovery of a hot spring near the future village. Contrary to many accounts of the time, this spring had obviously been known to both slaves and other locals for some time, and one colonial administrator remarked that it would be difficult to transform the area into an official bona-fide spa if slaves afflicted with leprosy and ulcers were using it. However, the eventual transformation was not to be stopped, especially after construction of a hotel was ordered by colonial authorities in 1839, and a military hospital associated with the spring finished in 1857. A carriage road finally reached the village in 1890.
The spring had been discovered in the bed of the brook Bras Sec ('Dry arm'), a tributary of the Rivière du Mat. It had a flow of around 800-1,300 litres per hour, and a water temperature of 32°C, and its waters were iron-bearing, only mildly chlorinated and calcic and contained no sulphates. They were soon being recommended for children, weak and anaemic adults, as well as people suffering from gastritis. In 1852, the Société Anonyme de l'Etablissement Thermal de Salazie was founded, which built the spa, a casino and a director's house. Many creole-style villas of rich individuals followed.
The thermal baths were soon famous even beyond Réunion - together with other spas at Cilaos, in the island's south, and Antsirabe at Madagascar, they became a goal of travellers from as far as South Africa, Kenya or Mozambique, as well as a vacation spot for rich vanilla plantation owners from the island's east. The popularity was partly due to spas being marketed widely as a cure to many of the health problems and diseases that afflicted Europeans in the colonial tropics.
Later, the springs were purchased by the municipality of Salazie, which in turn ceded them to the Colonial administration. However, in 1920 the water temperature dropped and boiling was required to heat it to the accustomated state which in turn destroyed some of the chemical elements. The spa started to lose its attraction. An attempt to clear the springs with dynamite failed disastrously and caused a partial collapse of the spa and the destruction of the casino.
In late September 1942, the Vichy authorities on Réunion relocated from Saint-Denis to Hell-Bourg, fearing a potential Allied invasion. The spring was finally fully blocked by a cyclone-related landslide in 1948 (as were, temporarily, the roads leading to Hell-Bourg) and the village quickly lost the importance which had originally caused it to flourish in the difficult mountainous region.
After some decades of being mostly forgotten and occupied mainly by poorer farmers, tourism has since given the village a modest income. With a partial contribution to the costs from the European Union, some 26 of the traditional Creole villas were restored. Since 1999 it has been the only village on the island to be a member of Les Plus Beaux Villages de France ('The most beautiful villages in France'), an award given to about 150 of the most striking small communities in France. In connection with the requirements for the award, there are few to no visible modern elements like telephone or power poles in the village.
The village, with its several small and midsized hotels, which include a small youth hostel, is a base for hiking within the Cirque, especially to the small peak in the caldera center, the Piton d'Anchaing (4–6 hours return) or up to the island's central peak, the Piton des Neiges (2 days return). It is also home to a small museum, several nineteenth century Creole buildings, and a famously colorful local cemetery. The area is also known for growing chou chou.
(Wikipedia)
Hell-Bourg est un village de la commune de Salazie situé dans les Hauts de l'île de La Réunion au pied du Piton d'Anchaing. Baptisé ainsi en 1841 en l'hommage de celui qui fut gouverneur de Bourbon au milieu du XIXe siècle, Anne Chrétien Louis de Hell, le village possède de nombreuses maisons de la seconde moitié du XIXe siècle, construites par de riches planteurs et des commerçants de la côte à proximité des Thermes disparus au début du XXe siècle. Le label Plus beau village de France lui a été attribué, ses rues et son cimetière très fleuri entouré de bambous étant particulièrement pittoresques.
En 1832, c'est en chassant le cabri sauvage qu'Adrien Pignolet de Fresnes et Adam de Villiers découvrirent entre le plateau d'Hell-Bourg et l'Îlet à Vidot plus exactement au lieu-dit « Bémaho », des sources dont la valeur thérapeutique et médicale fut reconnue rapidement. Les premiers curistes furent installés dans des paillotes.
Progressivement, un village se crée autour des sources thermales en 1842. Il deviendra district spécial de Salazie, dix ans après l’érection du « village » en commune (1899). Malgré la volonté des habitants de voir Hell-Bourg devenir une commune à part entière, cette organisation administrative restera identique jusqu'à nos jours.
L'établissement thermal créé le 13 juillet 1852 connut une période d'apogée en 1875, malgré un débit horaire relativement limité (environ 1,1 litre par seconde) et une minéralisation faible. Les classes aisées du littoral de l'île, attirées par les thermes d'Hell-Bourg, venaient également profiter de la fraîcheur du cirque de Salazie dans un mouvement appelé changement d'air. Peu à peu, une vie mondaine s'organise : on assiste successivement à la construction et la location de villas (résidences secondaires), et à l’ouverture d'un casino. Ce qui fait d'Hell-Bourg une station d'altitude à la mode qui prend une allure urbaine avec 150 cases créoles d'un style architectural raffiné.
Du fait de l’activité thermale qui se développe à Hell-Bourg, la route fut prolongée jusqu’aux sources. Pendant longtemps, le trajet des bourgeois jusqu’aux thermes se faisait par chaises à porteurs. Mais le relief moins tourmenté que celui de Cilaos permit d’abandonner assez rapidement ce moyen de transport, par le biais de la route qui traverse la Mare à Poule d'eau pour arriver à Hell-Bourg.
À une période florissante succéda un état de léthargie dû à la désaffection des grandes familles réunionnaises, au partage des propriétés. On construisit des cases plus petites et abandonna des plus grandes d'entre elles.
À partir de 1948, la fréquentation d'Hell-Bourg s'atténue fortement. Plusieurs raisons à cela : les sources thermales perdent de leur intérêt du fait de la baisse de débit, de température et de minéralisation des sources. Par ailleurs, la station thermale de Cilaos, en plein essor, crée une sérieuse concurrence. Enfin, le cyclone tropical de 1948 provoque un éboulement sur les thermes. Les travaux de remise en état qui nécessitent l'usage d'explosifs pour dégager les sources, les obturent définitivement et mettent un terme au développement de ce lieu de villégiature.
La perte de l’intérêt principal du village explique la remarquable conservation des maisons créoles bourgeoises du début du siècle.
Outre les cases stylées, le cimetière de Salazie constitué de tombes en pleine terre et donc fleuries naturellement à l'ancienne est un des éléments qui ont permis au village d'obtenir le label Plus beau village de France.
Un poète écossais appelé William Falconer y repose. Auguste Lacaussade (qui lui a dédié un poème) est venu le rejoindre le 8 février 2006. Ses cendres ont été transférés depuis le cimetière du Montparnasse vers son île natale conformément à un souhait qu'il aurait exprimé dans le poème La Mer :
« Je ne veux point dormir sur la terre étrangère,
Sur la terre du nord je ne veux point mourir !
J'aurais froid sous un sol sans flamme et sans lumière,
Mes yeux veulent se clore où Dieu les fit s'ouvrir ! »
Par ailleurs, on y trouve une sculpture en bronze du Français Carlo Sarrabezolles intitulée L'Âme de la France et faisant office de monuments aux morts. D'abord installée dans le petit centre-ville de Salazie au début des années 1930, elle a été déboulonnée à deux reprises, une première fois à la dynamite par le curé outré de la nudité du personnage féminin représenté, une seconde fois par le cyclone de 1948, qui laissa la guerrière face contre terre pendant vingt ans. Retrouvée par hasard lors de travaux en 1968, elle est classée monument historique depuis mai 2004.
(Wikipedia)
Hell-Bourg ist ein kleines Dorf in der Gemeinde von Salazie im französischen Übersee-Département Réunion. Der Ort befindet sich etwa 930 Meter über dem Meeresspiegel in der Caldera des Cirque de Salazie. Er wurde nach dem ehemaligen Admiral und Inselgouverneur Anne Chrétien Louis de Hell benannt und hieß vorher Bémaho.
Hell-Bourg ist seit 1999 als eines der Plus beaux villages de France (Schönste Dörfer Frankreichs) klassifiziert.
Nachdem Europäer in den 1830er Jahren Thermalquellen in der Nähe des späteren Dorfes entdeckten, wurde Bémaho/Hell-Bourg als kleiner, aber wohlhabender Kurort gegründet und gedieh als solcher mehr als einhundert Jahre lang. Entgegen vielen Berichten dieser Zeit waren die Quellen sowohl Sklaven als auch Einheimischen schon seit längerem bekannt gewesen. Urkundlichen Aufzeichnungen zufolge sollen diese bereits von leprakranken Sklaven zur Heilung benutzt worden sein. 1839 begannen die kolonialen Behörden mit dem Bau eines Hotels für Kurgäste. Ein an die Quellen angeschlossenes Lazarett konnte 1857 fertiggestellt werden. 1890 schließlich erhielt das Dorf Anschluss an eine befahrbare Straße. Bei der Gründung der Gemeinde Salazie im Jahr 1899 wurde Hell-Bourg dieser zugeordnet.
Die Thermalquellen wurden im Flussbett des Bras sec („Trockener Arm“) entdeckt, der ein Nebenfluss des Rivière du Mat ist. Er hatte einen Durchfluss von rund 800 bis 1.300 Liter pro Stunde und eine Wassertemperatur von 32 °C. Das Wasser war eisenhaltig, nur leicht chlorid- und kalziumhaltig und enthielt keinerlei Sulfate. Es wurde schon bald Kindern sowie schwachen und anämischen Erwachsenen empfohlen, dazu Personen, die an Gastritis litten. 1852 wurde die Société Anonyme de l’Etablissement Thermal de Salazie gegründet, die das Mineralbad, ein Kasino und ein Direktorenhaus errichtete. Es folgten mehrere Villen im Kreolen-Stil für reiche Einzelpersonen.
Die Thermalbäder wurden bald auch außerhalb der Réunion berühmt. Zusammen mit anderen Thermen in Cilaos im Süden der Insel und Antsirabe in Madagaskar wurden sie ein beliebtes Ausflugsziel für Reisende aus Südafrika, Kenia und Mosambik, außerdem zum Urlaubsort für reiche Vanille-Plantagen-Besitzer vom Osten der Insel. Die Popularität ging teilweise darauf zurück, dass Thermalbäder als Allheilmittel für viele gesundheitliche Probleme und Krankheiten gepriesen wurden, die viele Europäer in den kolonialen Tropen heimsuchten.
Die Quellen wurden später von der Gemeinde Salazie gekauft, die diese an die Kolonialverwaltung abtrat. Allerdings ging 1920 die Wassertemperatur zurück, so dass das Wasser künstlich durch Öfen erhitzt werden musste, was wiederum zum Zerfall einiger chemischer Verbindungen führte. Der Kurort begann seinen Reiz zu verlieren.
1948 schließlich löste ein Zyklon einen Erdrutsch aus, der die Thermalquellen blockierte (ebenso die Straßen, die nach Hell-Bourg führten). Ein Versuch, die Quellen mit Sprengstoff zu räumen, scheiterte katastrophal und führte zu einem teilweisen Zusammenbruch des Kurbades und zur Zerstörung des Kasinos. Der Ort verlor schnell an Bedeutung, die zuvor für seine rasche Entwicklung in der unwirtlichen Gebirgsregion verantwortlich gewesen war.
Nach einigen Jahrzehnten, in denen das Dorf vergessen und von ärmeren Bauern besiedelt wurde, erhielt Hell-Bourg durch den Tourismus wieder eine Einnahmequelle. Mit einer teilweisen Kostenbeteiligung der Europäischen Union wurden etwa 26 der traditionellen kreolischen Villen restauriert. Als einziges Dorf auf der Insel ist es seit 1999 ein Mitglied der Les Plus Beaux Villages de France („Die schönsten Dörfer Frankreichs“), eine Auszeichnung, die etwa 150 der sehenswertesten Gemeinden in Frankreich erhalten haben. Im Zusammenhang mit den Anforderungen für die Vergabe des Preises gibt es im Dorf wenige bis gar keine sichtbaren modernen Elemente wie Telefon- oder Strommasten.
Das Dorf mit seinen verschiedenen kleinen und mittelgroßen Hotels, zu denen auch eine kleine Jugendherberge gehört, dient als Ausgangspunkt für Wanderungen zum Cirque, insbesondere zum kleinen Gipfel im Zentrum der Caldera, dem Piton d’Anchaing (4 bis 6 Wegstunden) oder hoch zum zentralen Gipfel der Insel, dem Piton des Neiges (2-Tages-Ausflug). Es beheimatet darüber hinaus ein kleines Museum, mehrere Kreolen-Gebäude aus dem 19. Jahrhundert und einen berühmten bunten Friedhof. Die Gegend ist auch für den Anbau von Chayoten bekannt.
(Wikipedia)
© István Pénzes.
Please NOTE and RESPECT the copyright.
August 2013
Polaroid SX-70 Land Camera
Impossible PX70 Color Protection
CanoScan LiDE 700F
This dress from Tacha is appropriately called "chill dude". Ha!
I am getting REALLY sick of the Blythe community harping on people for "copying". Not only is it childish, it's usually undeserved. Just because someone has the same idea as you doesn't mean it's a copy. A specific lip shape and carve, or a style of dress is in NO way tied to one person. Besides, you have to look at people's intentions. If someone honestly thinks they came up with an idea, who the eff cares what they do? I have not seen one case of "copying" that has been outright malicious and intended to harm. Most are just people having an idea and executing it. You shouldn't have to scour the internet to find out if it has been done before. Sure there are a few bad apples in the blythe world who are in fact malicious but I've never seen that in respect to handiwork.
People who jump on others for this come across as insecure and petty. This is a freaking hobby, people. I understand that you make money on selling dresses, hats, and dolls, but it's a hobby. This isn't a multi-million dollar thing we're talking about. It's not Apple's iPhone against Google's Nexxus One. It's not Diane von Furstenberg against Forever21. It's a doll dress/hat/custom.
Grow up and leave people alone.
If someone has a problem with someone else's stuff, go to that person privately and tell your friends to leave them alone and stay out of it. Usually the support will be on the side of the person being harped on and you'll end up looking like an idiot.
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This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
This photo was taken at the Gloucester Point end of the George P. Coleman Memorial Bridge (in Virginia). Before the bridge was constructed, residents on either side of the York River depended on ferries. At that time Gloucester Point (where I grew up) was a loosely connected rural community of perhaps 200 people. Today it’s an unincorporated place of about 9,500.
“The George P. Coleman Memorial Bridge (known locally as simply the Coleman Bridge) is a double swing bridge that spans the York River between Gloucester County and York County between Yorktown, Virginia and Gloucester Point, Virginia. It connects the Peninsula and Middle Peninsula regions of Tidewater Virginia.
Originally built in 1952, it was reconstructed and widened in 1995 through an unusual process which greatly reduced the time the important commuter artery was out-of-service from conventional methods. The current 3,750-foot (1,140 m)-long double-swing-span swing bridge carries U.S. Highway 17, a 4-lane arterial highway. The movable span is needed to allow ship access to several military installations that are upstream of the bridge, most notably, the U.S. Navy's Naval Weapons Station Yorktown. The roadways are almost 90 feet (27 m) above the river at the highest point of the bridge. The bridge is the largest double swing bridge in the United States, and second largest in the world.
The toll bridge was named for George P. Coleman, who from 1913 to 1922 was the head of the Virginia Department of Highways and Transportation, predecessor to the Virginia Department of Transportation (VDOT).”
en.wikipedia.org/wiki/George_P._Coleman_Memorial_Bridge
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Live Paint que eu e Alex Senna fizemos no RESPECT Festival de Música, Arte e Cultura... uma experiência única pintar num evento loko como esse e interagir com o público de várias partes de SP e até de MG... mto bom conhecer várias pessoas novas e ouvir muitos elogios, povo pedir pra tirar fotos dos graffs e inclusive com a gente rsrs... sensacional!!!
Uma das coisas mais recompensadoras q ouvi foi um tiozinho simples q estava estava trabalhando na festa q disse: "Meu nunca vi uma coisa como essa na minha vida, estou impressionado" ele disse que num tem acesso a arte, na cidade dele num existia graffiti e que nunca tinha visto alguém fazer uma pintura ao vivo, de poder acompanhar o processo todo... legal poder proporcionar isso...
Bom agradeço ao brother Alex Senna pelo rolê e oportunidade, a festa foi cansativa mas bem recompensadora...
Desenho feito no improviso...
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I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 36.707+ Million visitors to my FLICKR site.
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Photograph taken at an altitude of Fifty three metres, at 16:01pm on Monday July 29th 2019, off Chessington Avenue in Bexleyheath, Kent, England.
Here we see a Sphinx ligustri (Prepupating Privet Hawkmoth caterpillar), which is searching for a place to pupate in the soil. It will become a Privet Hawk-moth which is the United Kingdoms largest resident Hawk-moth. In Larva form it is seen between July and September, a beautiful bright green caterpillar with purple and white stripes and a distinctive curved yellow and black tail.
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Nikon D850 Focal length 300mm Shutter speed 1/100s Aperture f/13.0 iso640 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX). Hand held with Nikkor VR Vibration (Normal) selected . Colour space Adobe RGB. Nikon Back button focusing enabled. Focus mode AF-C focus 51 point with 3-D tracking. AF Area mode single. Exposure mode - Manual exposure. Matrix metering. ISO Sensitivity: Manually set. Nikon Distortion control on. Vignette control Normal. Active D-lighting on Automatic. High ISO Noise Reduction: On. Picture control: Auto with Sharpening A+1.00.
Nikkor AF-P 70-300mm f/4.5-5.6E. Lee SW150 MKII filter holder. Lee SW150Con adapter for Lee 100 rings.Lee 100 67mm screw in adapter ring. Lee SW150 0.9 (3 stops) soft ND Grad resin filter. Lee SW150 Filters field pouch. Nikon EN-EL15a battery. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module.
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LATITUDE: N 51d 28m 28.20s
LONGITUDE: E 0d 8m 10.50s
ALTITUDE: 53.0m
RAW (TIFF) FILE: 130.0MB NEF: 94.8MB
PROCESSED (JPeg) FILE: 34.80MB
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.017 (20/3/18) LF 1.00
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Respected family-owned coach operator Truemans of Ash Vale entered administration on April 24th 2020 after 67 years of trading in the Surrey/Hants border towns of Bagshot, then Deepcut, followed by Fleet and, since 2004, Ash Vale. Upon closure, the fleet consisted of 7 Irizars, 7 Neoplans and a solitary Ford Tourneo.
It took until the beginning of August 2020 for all coaches to move on to pastures new, albeit some in dealers yards awaiting resale.
I managed to grab some shots in the period covering the staggered departure of the coaches.
©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
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***** Selected for sale in the GETTY IMAGES COLLECTION on June 29th 2021
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Photograph taken at an altitude of Fifty two metres at 15:43pm on a beautiful summer afternoon on Tuesday 8th June 2021, off Chessington Avenue in Bexleyheath, Kent.
Here we see a large adult male Carrion crow (Corvus corone), taking time to preen the feathers of his female partner after both taking a dip under a water sprinkler on a hot summer day.
AN IN DEPTH LOOK AT CORVUS CORONE
LEGEND AND MYTHOLOGY
By Paul Williams
Crows appear in the Bible where Noah uses one to search for dry land and to check on the recession of the flood. Crows supposedly saved the prophet, Elijah, from famine and are an Inuit deity. Legend has it that England and its monarchy will end when there are no more crows in the Tower of London. And some believe that the crows went to the Tower attracted by the regular corpses following executions with written accounts of their presence at the executions of Anne Boleyn and Jane Gray.
In Welsh mythology, unfortunately Crows are seen as symbolic of evilness and black magic thanks to many references to witches transforming into crows or ravens and escaping. Indian legend tells of Kakabhusandi, a crow who sits on the branches of a wish-fulfilling tree called Kalpataru and a crow in Ramayana where Lord Rama blessed the crow with the power to foresee future events and communicate with the souls.
In Native American first nation legend the crow is sometimes considered to be something of a trickster, though they are also viewed positively by some tribes as messengers between this world and the next where they carry messages from the living to those deceased, and even carry healing medicines between both worlds. There is a belief that crows can foresee the future. The Klamath tribe in Oregon believe that when we die, we fly up to heaven as a crow. The Crow can also signify wisdom to some tribes who believe crows had the power to talk and were therefore considered to be one of the wisest of birds. Tribes with Crow Clans include the Chippewa (whose Crow Clan and its totem are called Aandeg), the Hopi (whose Crow Clan is called Angwusngyam or Ungwish-wungwa), the Menominee, the Caddo, the Tlingit, and the Pueblo tribes of New Mexico.
The crow features in the Nanissáanah (Ghost dance), popularized by Jerome Crow Dog, a Brulé Lakota sub-chief and warrior born at Horse Stealing Creek in Montana Territory in 1833, the crow symbolizing wisdom and the past, when the crow had became a guide and acted as a pathfinder during hunting. The Ghost dance movement was originally created in 1870 by Wodziwob, or Gray Hair, a prophet and medicine man of the Paiute tribe in an area that became known as Nevada. Ghost dancers wore crow and eagle feathers in their clothes and hair, and the fact that the Crow could talk placed it as one of the sages of the animal kingdom. The five day dances seeking trance,prophecy and exhortations would eventually play a major part in the pathway towards the white man's broken treaties, the infamous battle at Wounded knee and the surrender of Matȟó Wanáȟtaka (Kicking Bear), after officials began to fear the ghost dancers and rituals which seemed to occur prior to battle.
Historically the Vikings are the group who made so many references to the crow, and Ragnarr Loðbrók and his sons used this species in his banner as well as appearances in many flags and coats of arms. Also, it had some kind of association with Odin, one of their main deities. Norse legend tells us that Odin is accompanied by two crows. Hugin, who symbolizes thought, and Munin, who represents a memory. These two crows were sent out each dawn to fly the entire world, returning at breakfast where they informed the Lord of the Nordic gods of everything that went on in their kingdoms. Odin was also referred to as Rafnagud (raven-god). The raven appears in almost every skaldic poem describing warfare.Coins dating back to 940's minted by Olaf Cuaran depict the Viking war standard, the Raven and Viking war banners (Gonfalon) depicted the bird also.
In Scandinavian legends, crows are a representative of the Goddess of Death, known as Valkyrie (from old Norse 'Valkyrja'), one of the group of maidens who served the Norse deity Odin, visiting battlefields and sending him the souls of the slain worthy of a place in Valhalla. Odin ( also called Wodan, Woden, or Wotan), preferred that heroes be killed in battle and that the most valiant of souls be taken to Valhöll, the hall of slain warriors. It is the crow that provides the Valkyries with important information on who should go. In Hindu ceremonies that are associated to ancestors, the crow has an important place in Vedic rituals. They are seen as messengers of death in Indian culture too.
In Germanic legend, Crows are seen as psychonomes, meaning the act of guiding spirits to their final destination, and that the feathers of a crow could cure a victim who had been cursed. And yet, a lone black crow could symbolize impending death, whilst a group symbolizes a lucky omen! Vikings also saw good omens in the crow and would leave offerings of meat as a token.
The crow also has sacred and prophetic meaning within the Celtic civilization, where it stood for flesh ripped off due to combat and Morrighan, the warrior goddess, often appears in Celtic mythology as a raven or crow, or else is found to be in the company of the birds. Crow is sacred to Lugdnum, the Celtic god of creation who gave his name to the city of Lug
In Greek mythology according to Appolodorus, Apollo is supposedly responsible for the black feathers of the crow, turning them forever black from their pristine white original plumage as a punishment after they brought news that Κορωνις (Coronis) a princess of the Thessalian kingdom of Phlegyantis, Apollo's pregnant lover had left him to marry a mortal, Ischys. In one legend, Apollo burned the crows feathers and then burned Coronis to death, in another Coronis herself was turned into a black crow, and another that she was slain by the arrows of Αρτεμις (Artemis - twin to Apollo). Koronis was later set amongst the stars as the constellation Corvus ("the Crow"). Her name means "Curved One" from the Greek word korônis or "Crow" from the word korônê.A similar Muslim legend allegedly tells of Muhammad, founder of Islam and the last prophet sent by God to Earth, who's secret location was given away by a white crow to his seekers, as he hid in caves. The crow shouted 'Ghar Ghar' (Cave, cave) and thus as punishment, Muhammad turned the crow black and cursed it for eternity to utter only one phrase, 'Ghar, ghar). Native Indian legend where the once rainbow coloured crows became forever black after shedding their colourful plumage over the other animals of the world.
In China the Crow is represented in art as a three legged bird on a solar disk, being a creature that helps the sun in its journey. In Japan there are myths of Crow Tengu who were priests who became vain, and turned into this spirit to serve as messengers until they learn the lesson of humility as well as a great Crow who takes part in Shinto creation stories.
In animal spirit guides there are general perceptions of what sightings of numbers of crows actually mean:
1 Crow Meaning: To carry a message from your near one who died recently.
2 Crows Meaning: Two crows sitting near your home signifies some good news is on your way.
3 Crows Meaning: An upcoming wedding in your family.
4 Crows Meaning: Symbolizes wealth and prosperity.
5 Crows Meaning: Diseases or pain.
6 Crows Meaning: A theft in your house!
7 Crows Meaning: Denotes travel or moving from your house.
8 Crows Meaning: Sorrowful events
Crows are generally seen as the symbolism when alive for doom bringing, misfortune and bad omens, and yet a dead crow symbolises potentially bringing good news and positive change to those who see it. This wonderful bird certainly gets a mixed bag of contradictory mythology and legend over the centuries and in modern days is often seen as a bit of a nuisance, attacking and killing the babies of other birds such as Starlings, Pigeons and House Sparrows as well as plucking the eyes out of lambs in the field, being loud and noisy and violently attacking poor victims in a 'crow court'....
There is even a classic horror film called 'THE CROW' released in 1994 by Miramax Films, directed by Alex Proyas and starring Brandon Lee in his final film appearance as Eric Draven, who is revived by a Crow tapping on his gravestone a year after he and his fiancée are murdered in Detroit by a street gang. The crow becomes his guide as he sets out to avenge the murders. The only son of martial arts expert Bruce Lee, Brandon lee suffered fatal injuries on the set of the film when the crew failed to remove the primer from a cartridge that hit Lee in the abdomen with the same force as a normal bullet. Lee died that day, March 31st 1993 aged 28.
The symbolism of the Crow resurrecting the dead star and accompanying him on his quest for revenge was powerful, and in some part based on the history of the carrion crow itself and the original film grossed more than $94 Million dollars with three subsequent sequels following.
TAKING A CLOSER LOOK
So let's move away from legend, mythology and stories passed down from our parents and grandparents and look at these amazing birds in isolation.
Carrion crow are passerines in the family Corvidae a group of Oscine passerine birds including Crows, Ravens, Rooks, Jackdaws, Jays, Magpies, Treepies, Choughs and Nutcrackers. Technically they are classed as Corvids, and the largest of passerine birds. Carrion crows are medium to large in size with rictal bristles and a single moult per year (most passerines moult twice). Carrion crow was one of the many species originally described by Swedish naturalist Carl Linnaeus (Carl Von Linne after his ennoblement) in his 1758 and 1759 editions of 'SYSTEMA NATURAE', and it still bears its original name of Corvus corone, derived from the Latin of Corvus, meaning Raven and the Greek κορώνη (korōnē), meaning crow.
Carrion crow are of the Animalia kingdom Phylum: Chordata Class: Aves Order: Passeriformes Family: Corvidae Genus: Corvus and Species: Corvus corone
Corvus corone can reach 45-47cm in length with a 93-104cm wingspan and weigh between 370-650g. They are protected under The Wildlife and Countryside Act 1981 in the United Kingdom with a Green UK conservation status which means they are of least concern with more than 1,000,000 territories. Breeding occurs in April with fledging of the chicks taking around twenty nine days following an incubation period of around twenty days with 3 to 4 eggs being the average norm. They are abundant in the UK apart from Northwest Scotland and Ireland where the Hooded crow (Corvus cornix) was considered the same species until 2002. They have a lifespan of around four years, whilst Crow species can live to the age of Twenty years old, and the oldest known American crow in the wild was almost Thirty years old. The oldest documented captive crow died at age Fifty nine. They are smaller and have a shorter lifespan than the Raven, which again is used as a symbol in history to live life to the full and not waste a moment!
They are often mistaken for the Rook (Corvus frugilegus), a similar bird, though in the UK, the Rook is actually technically smaller than the Carrion crow averaging 44-46cm in length, 81-99cm wingspan and weighing up to 340g. Rooks have white beaks compared to the black beaks of Carrion crow, a more steeply raked ratio from head to beak, and longer straighter beaks as well as a different plumage pattern. There are documented cases in the UK of singular and grouped Rooks attacking and killing Carrion crows in their territory. Rooks nest in colonies unlike Carrion crows. Carrion crows have only a few natural enemies including powerful raptors such as the northern goshawk, the peregrine falcon, the Eurasian eagle-owl and the golden eagle which will all readily hunt them.
Regarded as one of the most intelligent birds, indeed creatures on the planet, studies suggest that Corvids cognitive abilities can rival that of primates such as chimpanzees and gorillas and even provide clues to understanding human intelligence. Crows have relatively large brains for their body size, compared to other animals. Their encephalization quotient (EQ) a ratio of brain to body size, adjusted for size because there isn’t a linear relationship is 4.1. That is remarkably close to chimps at 4.2 whilst humans are 8.1. Corvids also have a very high neuronal density, the number of neurons per gram of brain, factoring in the number of cortical neurons, neuron packing density, interneuronal distance and axonal conduction velocity shows that Corvids score high on this measure as well, with humans scoring the highest.
A corvid's pallium is packed with more neurons than a great ape's. Corvids have demonstrated the ability to use a combination of mental tools such as imagination, and anticipation of future events. They can craft tools from twigs and branches to hook grubs from deep recesses, they can solve puzzles and intricate methods of gaining access to food set by humans., and have even bent pieces of wire into hooks to obtain food. They have been proven to have a higher cognitive ability level than seven year old humans. Communications wise, their repertoire of wraw-wraw's is not fully understood, but the intensity, rhythm, and duration of caws seems to form the basis of a possible language. They also remember the faces of humans who have hindered or hurt them and pass that information on to their offspring.
Aesop's fable of 'The Crow and the Pitcher, tells of a thirsty crow which drops stones into a water pitcher to raise the water level and enable it to take a drink. Scientists have conducted tests to see whether crows really are this intelligent. They placed floating treats in a deep tube and observed the crows indeed dropping dense objects carefully selected into the water until the treat floated within reach. They had the intelligence to pick up, weigh and discount objects that would float in the water, they also did not select ones that were too large for the container.
Pet crows develop a unique call for their owners, in effect actually naming them. They also know to sunbathe for a dose of vitamin D, regularly settling on wooden garden fences, opening their mouths and wings and raising their heads to the sun. In groups they warn of danger and communicate vocally. They store a cache of food for later if in abundance and are clever enough to move it if they feel it has been discovered. They leave markers for their cache. They have even learned to place walnuts and similar hard food items under car tyres at traffic lights as a means of cracking them!
Crows regularly gather around a dead fellow corvid, almost like a funeral, and it is thought they somehow learn from each death. They can even remember human faces for decades.Crows group together to attack larger predators and even steal their food, and they have different dialects in different areas, with the ability to mimic the dialect of the alpha males when they enter their territory!
They have a twenty year life span, the oldest on record reaching the age of Fifty nine. Crows can leave gifts for those who feed them such as buttons or bright shiny objects as a thank you, and they even kiss and make up after an argument, having mated for life.
In mythology they are associated with good and bad luck, being the bringers of omens and even witchcraft and are generally reviled for their attacks on baby birds and small mammals. They have an attack method of to stunning smaller birds before consuming them, tearing violently at smaller, less aggressive birds, which is simply down to the fact that they are so highly intelligent, and also the top of the food chain. Their diet includes over a thousand different items: Dead animals (as their name suggests), invertebrates, grain, as well as stealing eggs and chicks from other birds' nests, worms, insects, fruit, seeds, kitchen scraps. They are highly adaptable when food sources grow scarce. I absolutely love them, they are magnificent, bold, beautiful and incredibly interesting to watch and though at times it is hard to witness attacks made by them, I cannot help but adore them for so many other and more important reasons.
OBSERVATIONS ON THE PAIR IN MY GARDEN
Crows have been in the area for a while, but rarely had strayed into my garden, leaving the Magpies to own the territory. Things changed towards the end of May when a beautiful female Carrion crow appeared and began to take some of the food that I put down for the other birds. Within a few days she began to appear regularly, on occasions stocking up on food, whilst other times placing pieces in the birdbath to soften them. She would stand on the birdbath and eat and drink and come back over the course of the day to eat the softened food.
Shortly afterwards she brought along her mate, a tall and handsome fella, much larger than her who was also very vocal if he felt she was getting a little too close to me. By now I had moved from a seated position from the patio as an observer, to laying on a mat just five feet from the birdbath with my Nikon so that I could photograph the pair as they landed, scavenged and fed. She was now confident enough to let me be very close, and she even tolerated and recognized the clicking of the camera. At first I used silent mode to reduce the noise but this only allowed two shooting frame rates of single frame or continuous low frame which meant I was missing shots. I reverted back to normal continuous high frames and she soon got used to the whirring of the mechanisms as the mirror slapped back and forth.
The big fella would bark orders at her from the safety of the fence or the rear of the garden, whilst she rarely made a sound. That was until one day when in the sweltering heat she kept opening her beak and sunning on the grass, panting slightly in the heat. I placed the circular water sprayer nearby and had it rotating so that the birdbath and grass was bathed in gentle water droplets and she soon came back, landed and seemed to really like the cooling effect on offer. She then climbed onto the birdbath and opened her wings slightly and made some gentle purring, cooing noises....
I swear she was expressing happiness, joy....
On another blisteringly hot day when the sprayer was on, she came down, walked towards it and opened her wings up running into the water spray. Not once, but many times.
A further revelation into the unseen sides to these beautiful birds came with the male and female on the rear garden fence. They sat together, locked beaks like a kiss and then the male took his time gently preening her head feathers and the back of her neck as she made tiny happy sounds. They stayed together like that for several minutes, showing a gentle, softer side to their nature and demonstrating the deep bond between them. Into July and the pair started to bring their three youngsters to my garden, the nippers learning to use the birdbath for bathing and dipping food, the parents attentive as ever. Two of the youngsters headed off once large enough and strong enough.
I was privileged to be in close attendance as the last juvenile was brought down by the pair, taught to take food and then on a night in July, to soar and fly with it's mother in the evening sky as the light faded. She would swoop and twirl, and at regular intervals just touch the juvenile in flight with her wing tip feathers, as if to reassure it that she was close in attendance. What an amazing experience to view. A few days later, the juvenile, though now gaining independence and more than capable of tackling food scraps in the garden, was still on occasions demand feeding from it's mother who was now teaching him to take chicken breast, hotdogs or digestive biscuits and bury them in the garden beds for later delectation. The juvenile also liked to gather up peanuts and bury them in the grass. On one occasion I witnessed a pair of rambunctious Pica Pica (Magpies), chasing the young crow on rooftops, leaping at him no matter how hard he tried to get away. He defended himself well and survived the attacks, much to my relief.
Into August and the last youngster remained with the adults, though now was very independent even though he still spent time with his parents on rooftops, and shared food gathering duties with his mum.Hotdog sausages were their favourite choice, followed by fish fingers and digestive biscuits which the adult male would gather up three at a time. In October, the three Crows were still kings of the area, but my time observing them was pretty much over as I will only put food out now for the birds in the winter months.
Corvus Corone.... magnificently misunderstood by some!
Paul Williams June 4th 2021
©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
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Nikon D850 Focal length 600mm Shutter speed: 1/800s Aperture f/9.0 iso160 Hand held with Tamron VC Vibration control set to ON in position 1 14 Bit uncompressed RAW NEF file size L (8256 x 5504 pixels) FX (36 x 24) Focus mode: AF-C AF-Area mode: 3D-tracking AF-C Priority Selection: Release. Nikon Back button focusing enabled 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual exposure mode Metering mode: Matrix metering White balance on: Auto1 (4940k) Colour space: RGB Picture control: Neutral (Sharpening +2)
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
LATITUDE: N 51d 28m 28.35s
LONGITUDE: E 0d 8m 10.52s
ALTITUDE: 52.00m
RAW (TIFF) FILE: 130.00MB NEF FILE: 89.5MB
PROCESSED (JPeg) FILE: 39.00MB
PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
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Much is available online about the Buffalo Soldiers, and I've provided a few significant links at the end. Fort Davis at Fort Davis, Texas was one of the posts for the soldiers. Most photos in this group are photos of photos located in the visitor center/museum. Some are specific to Fort Davis, and others illustrate the extensive geographical area in the American West served by these all-black regiments.
The all-black regiments came into existence in 1866 ". . . to help rebuild the country after the Civil War and to fight on the Western frontier during the Plains Wars.” www.nps.gov/chyo/learn/historyculture/buffalo-soldiers.htm The original 6 regiments were reduced to 4--the 10th Cavalry Regiment and the 24th, 25th and 38th Infantry Regiments.
"American Plains Indians who fought against these soldiers referred to the black cavalry troops as ‘buffalo soldiers’ because of their dark, curly hair, which resembled a buffalo's coat and because of their fierce nature of fighting. The nickname soon became synonymous with all African-American regiments formed in 1866." www.nps.gov/chyo/learn/historyculture/buffalo-soldiers.htm The soldiers were also the first caretakers of the national parks. The Buffalo Soldiers served for decades with distinction until the regiments were eliminated during the Korean War (1950-1953)
"The Buffalo Soldiers were often confronted with racial prejudice from other members of the U.S. Army. Civilians in the areas where the soldiers were stationed occasionally reacted to them with violence. Buffalo Soldiers were attacked during racial disturbances in Rio Grande City, Texas, in 1899, Brownsville, Texas, in 1906, and Houston, Texas, in 1917."
en.wikipedia.org/wiki/Buffalo_Soldier
Musical tributes:
1 Buffalo Soldiers, The Persuasions (an a cappella group) --on the 1971 Capital album Street Corner Symphony music.youtube.com/search?q=persuasions+buffalo+soldiers
2 Buffalo Soldier, The Flamingos--on 1970 Polydor extended play 45, Buffalo Soldier
music.youtube.com/watch?v=rHMinaipP8M
3. Buffalo Soldier, Bob Marley & the Wailers--on 1983 album Confrontation music.youtube.com/watch?v=dBWTZF38Hxc
A brief list of links:
2 www.nps.gov/chyo/learn/historyculture/buffalo-soldiers.htm
3 www.nps.gov/articles/000/buffalo-soldiers-at-fort-davis.htm
4 en.wikipedia.org/wiki/Buffalo_Soldier
5 en.wikipedia.org/wiki/Fort_Davis_National_Historic_Site
6 nmaahc.si.edu/explore/stories/buffalo-soldiers
7 texashistory.unt.edu/search/?q (at page insert your search interests)
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