Zemessardzes 2. Vidzemes brigādes organizētajā ziemas izdzīvošanas kursā jaunie karavīri apliecina savas spējas un prasmes izdzīvot ziemas apstākļos – uzcelt nojumi, nodrošināt siltumu, veikt personīgās higiēnas pasākumus apgrūtinātos apstākļos, iegūt ūdeni un pagatavot ēdienu.

Tāpat tiek trenēta spēja izdzīvot ar minimālu ekipējumu pēc iegremdēšanās āliņģa ledainajā ūdenī.

Foto: seržants Ēriks Kukutis (Aizsardzības ministrija)

This image is excerpted from a U.S. GAO report:

www.gao.gov/products/GAO-20-590G

AGILE ASSESSMENT GUIDE: Best Practices for Agile Adoption and Implementation

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Durga

Durga, meaning "the inaccessible" or "the invincible", is a popular fierce form of the Hindu Goddess or Devi. She is depicted with multiple arms,carrying various weapons and riding a ferocious lion( in Bengal). She is pictured as battling or slaying demons, particularly Mahishasura, the buffalo demon.

Her triumph as Mahishasura Mardini, Slayer of the buffalo Demon is a central episode of the scripture Devi Mahatmya. Her victory is celebrated annually in the festivals of Durga Puja.

History

The word Shakti means divine energy/force/power, and Durga is the warrior aspect of the Divine Mother/Brahman(Supreme Absolute Godhead).

As a goddess, Durga's feminine power contains the combined energies of all the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.

According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (demon) named Mahishasura. Brahma had given Mahishasura the power not to be defeated by a male. Mahishasura had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods were helpless. Shiva, realizing that no man or god (male) can defeat Mahishasura, made a request to his wife Parvati(Durga) to take the role of a female goddess warrior in order to slay the demon. Parvati took his request and went to the Ashram of priest disciple named Katyayan to assume the role of a warrior. Meanwhile, the gods went to Brahma for help and, with Brahma, then made their way to Vaikuntha—the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. To save the worlds, Vishnu, Shiva and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati at the Ashram of the priest Katyayan and Durga emerged from this pool of light. The goddess Durga took the name Katyaayani from the priest. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme female aspect of Brahman (Prakriti) who had created all the gods. Now she had come to fight the demon to save the three Worlds. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.

To combat the evil Mahishasura, she had appeared in a great blinding light, to combat this demon and end it for all to be in peace. The terrible Mahishasura rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.

Then Mahishasur began attacking once more, starting to take the form of a buffalo again. When Mahishasur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.

Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini—the slayer of Mahishasur.

The goddess, as Mahishasuramardini, appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini. The spear and trident are her most common weapons. A Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a buffalo-faced demon; a variation also seen at Ellora. In later sculptures show the goddess having decapitated the buffalo demon.

Worship

Durga Puja

The four day long (Saptami to Dashami) Durga Puja is the biggest annual festival in Bengal, Assam, Orissa, Bihar, Jharkhand and Nepal, where it is known as Dashain. It is celebrated likewise with much fervour in various parts of India, especially the Himalayan region, but is celebrated in various forms throughout the Hindu universe.

The day of Durga's victory is celebrated as Vijayadashami (Bengali), Dashain (Nepali) or Dussehra (Hindi) - these words literally mean "the Victory Tenth" (day).

The actual period of the worship however may be on the preceding nine days (Navaratri) followed by the last day called Vijayadashami in North India or five days in Bengal (from the sixth to tenth day of the waxing-moon fortnight)..

In North India, the tenth day, signifying Rama's victory in his battle against the demon Ravana, is celebrated as Dussehra - gigantic straw effigies of Ravana are burnt in designated open spaces (e.g. Delhi's Ram Lila grounds), watched by thousands of families and little children. In Bangladesh also the four-days long Sharadiya Durga Puja (Bengali: শারদীয়া দুর্গা পুজো, ‘autumnal Durga worship’) is the biggest religious festivals for the Hindus and celebrated across the country with Vijayadashami being a national holiday. Source: Wikipedia.

Worshiping Durga, As I feel :

To me worshiping goddess Durga encompasses so many deeply seated aspects of human lives and nature. The imagination of such a Goddess-form has its age old story depicted in the Hindu Puranas and that had been fabricated by the wisdom of ages as a symbolic one for Bio-Geo-Socio-Economic-Cultural and Aesthetical upliftment of humankind and its relationship with nature, through the practice of worshiping.

Once in a year She, The Mother Durga, is thought to come from her abode at mount Kailash in Himalaya to the land of Bengal at the time of Autumn, the finest of all six seasons when Bengal turns into a nature’s paradise. The snow white clouds against the deep azure of the sky, the gentle cool breeze carrying the sweet fragrance of flowers, the turning colors of the leaves, the golden sunlit lush green paddy fields and the waving clusters of dazzling white inflorescence of Kash dramatically prepare the minds of Bengal apt for celebration of life. Artists of versatile talents from Bengal and other states culminate their finest ever skill and efforts for making the idols of Durga using conventional natural resources like clay, wood, organic colors, that are all biodegradable. The pandals( the temporary abodes of Devi Durga) all over Bengal, especially in urban cities turn into the finest galleries of art and culture covering an unimaginably wide range of form and traditions, represented by Bengal and neighboring states of India. Durga puja becomes a wide open opportunity to discover and re-discover the art and artistry of Bengal, and not only that this is the biggest festival of Bengal that provides a great competitive platform for innumerable artists and workers to learn and earn.

The time of Puja is the time for togetherness, is the time for sharing and caring. The traditional concept of making the idols of Durga, her four children and her husband Lord Shiva against a single background structure( which is in Bengali: Ek chalchitra) seems to me a very symbolic one! It implicates to me a strong bondage between the family members, or in a greater sense the relationships between individuals. An example of unity in diversity.

To save the worlds, Brahmma(the god of creation), Vishnu( the god of sustenance), Moheshwara/ Shiva(the god of destruction) and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati, and Durga emerged from this pool of light. This is very symbolic. I see durga as a domain where there have been convergence of all form of energies; she is the symbolic epitome of unified force, as it is the most cherished theory of modern-day physics- “the unified field theory”. And therefore, She is the Symbolic epitome of concentrated knowledge and wisdom. She can create(sristi), She can sustain( sthiti), and She can destroy(loy). She comes over here to create all good things and to sustain them on this earth, and to destroys all evil power, as depicted by triumph over Mahisasura.

Her four children are very symbolic to me for four aspects of socio-economic- cultural upliftment. These are the four aspects to create a balanced nation or a person as an individual.

“Lakhsmi”, her elder daughter, is a symbol of wealth. She carries with her a bunch of ripe paddy and a container of vermilion. Ripened paddy is the symbol of agricultural success. And vermilion is the symbol of peaceful marriage in Hindu custom.

“Swaraswati”, her younger daughter, is a symbol of art and culture. She carries with her a sitar, a classical Indian instrument depicting music, which is the highest form of the faculty of art.

“Kartika”, her elder son, is the commander-in-chief of the gods for war. He is the warrior and protector from enemies. He carries a bow and arrows. He knows how to target an enemy. And he is the symbol of leadership qualities.

“Ganesha”, her youngest son. He is the symbol of knowledge and wisdom.

And the Mother is the creator of all her four children, the four faculties associated with biological, social, cultural and intellectual evolution of man.

Therefore, She is the idealistic epitome of Gunas (qualities), that we all her children should acquire for. And there lies the true meaningfulness of worshiping our mother, Durga.

On the tenth day after the triumph, the day of Vijaya Dashami, mother along with her family sets her journey back to her final adobe in himalaya, leaving the earthly world behind. The clay idol is thus immersed in the holy water of Ganges to symbolize her journey. And thus the whole celebration comes to an end.

Cucaña, Palo ensebado, Greasy pole

Español:

es.wikipedia.org/wiki/Cuca%C3%B1a

sevilla.abc.es/sevilla/sevi-cucana-vela-remojon-y-30-euro...

English:

en.wikipedia.org/wiki/Greasy_pole

Zemessardzes 2. Vidzemes brigādes organizētajā ziemas izdzīvošanas kursā jaunie karavīri apliecina savas spējas un prasmes izdzīvot ziemas apstākļos – uzcelt nojumi, nodrošināt siltumu, veikt personīgās higiēnas pasākumus apgrūtinātos apstākļos, iegūt ūdeni un pagatavot ēdienu.

Tāpat tiek trenēta spēja izdzīvot ar minimālu ekipējumu pēc iegremdēšanās āliņģa ledainajā ūdenī.

Foto: seržants Ēriks Kukutis (Aizsardzības ministrija)

Calles de Catania (Sicilia)

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Blue band came to visit us in Carnaby Street London

Depuis Monte Estremo, ascension du Capu à a Penna (1591 m), en empruntant le magnifique chemin, aménagé sous le Second Empire, qui mène à Bocca di Caprunale (1329 m), puis en prenant la direction de Bocca d’Astenica (balisage orange, sentier se poursuivant vers Ota) : du sommet, vaste panorama, vertigineux versant Filosorma, plus doux et bucolique, versant Lonca, et mêlant harmonieusement, comme souvent en Corse, la mer (Golfe de Porto) et la montagne (du Capu a u Dente au Capu à a Cuccula, en passant par la Paglia Orba et le Capu Tafunatu, qui, sous cet angle, semblent ne former qu'un seul sommet).

Copyright © 2020 Sylvain GUILLAUMON - Tous droits réservés / All Rights Reserved.

Durga

Durga, meaning "the inaccessible" or "the invincible", is a popular fierce form of the Hindu Goddess or Devi. She is depicted with multiple arms,carrying various weapons and riding a ferocious lion( in Bengal). She is pictured as battling or slaying demons, particularly Mahishasura, the buffalo demon.

Her triumph as Mahishasura Mardini, Slayer of the buffalo Demon is a central episode of the scripture Devi Mahatmya. Her victory is celebrated annually in the festivals of Durga Puja.

History

The word Shakti means divine energy/force/power, and Durga is the warrior aspect of the Divine Mother/Brahman(Supreme Absolute Godhead).

As a goddess, Durga's feminine power contains the combined energies of all the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.

According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (demon) named Mahishasura. Brahma had given Mahishasura the power not to be defeated by a male. Mahishasura had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods were helpless. Shiva, realizing that no man or god (male) can defeat Mahishasura, made a request to his wife Parvati(Durga) to take the role of a female goddess warrior in order to slay the demon. Parvati took his request and went to the Ashram of priest disciple named Katyayan to assume the role of a warrior. Meanwhile, the gods went to Brahma for help and, with Brahma, then made their way to Vaikuntha—the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. To save the worlds, Vishnu, Shiva and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati at the Ashram of the priest Katyayan and Durga emerged from this pool of light. The goddess Durga took the name Katyaayani from the priest. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme female aspect of Brahman (Prakriti) who had created all the gods. Now she had come to fight the demon to save the three Worlds. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.

To combat the evil Mahishasura, she had appeared in a great blinding light, to combat this demon and end it for all to be in peace. The terrible Mahishasura rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.

Then Mahishasur began attacking once more, starting to take the form of a buffalo again. When Mahishasur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.

Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini—the slayer of Mahishasur.

The goddess, as Mahishasuramardini, appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini. The spear and trident are her most common weapons. A Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a buffalo-faced demon; a variation also seen at Ellora. In later sculptures show the goddess having decapitated the buffalo demon.

Worship

Durga Puja

The four day long (Saptami to Dashami) Durga Puja is the biggest annual festival in Bengal, Assam, Orissa, Bihar, Jharkhand and Nepal, where it is known as Dashain. It is celebrated likewise with much fervour in various parts of India, especially the Himalayan region, but is celebrated in various forms throughout the Hindu universe.

The day of Durga's victory is celebrated as Vijayadashami (Bengali), Dashain (Nepali) or Dussehra (Hindi) - these words literally mean "the Victory Tenth" (day).

The actual period of the worship however may be on the preceding nine days (Navaratri) followed by the last day called Vijayadashami in North India or five days in Bengal (from the sixth to tenth day of the waxing-moon fortnight)..

In North India, the tenth day, signifying Rama's victory in his battle against the demon Ravana, is celebrated as Dussehra - gigantic straw effigies of Ravana are burnt in designated open spaces (e.g. Delhi's Ram Lila grounds), watched by thousands of families and little children. In Bangladesh also the four-days long Sharadiya Durga Puja (Bengali: শারদীয়া দুর্গা পুজো, ‘autumnal Durga worship’) is the biggest religious festivals for the Hindus and celebrated across the country with Vijayadashami being a national holiday. Source: Wikipedia.

Worshiping Durga, As I feel :

To me worshiping goddess Durga encompasses so many deeply seated aspects of human lives and nature. The imagination of such a Goddess-form has its age old story depicted in the Hindu Puranas and that had been fabricated by the wisdom of ages as a symbolic one for Bio-Geo-Socio-Economic-Cultural and Aesthetical upliftment of humankind and its relationship with nature, through the practice of worshiping.

Once in a year She, The Mother Durga, is thought to come from her abode at mount Kailash in Himalaya to the land of Bengal at the time of Autumn, the finest of all six seasons when Bengal turns into a nature’s paradise. The snow white clouds against the deep azure of the sky, the gentle cool breeze carrying the sweet fragrance of flowers, the turning colors of the leaves, the golden sunlit lush green paddy fields and the waving clusters of dazzling white inflorescence of Kash dramatically prepare the minds of Bengal apt for celebration of life. Artists of versatile talents from Bengal and other states culminate their finest ever skill and efforts for making the idols of Durga using conventional natural resources like clay, wood, organic colors, that are all biodegradable. The pandals( the temporary abodes of Devi Durga) all over Bengal, especially in urban cities turn into the finest galleries of art and culture covering an unimaginably wide range of form and traditions, represented by Bengal and neighboring states of India. Durga puja becomes a wide open opportunity to discover and re-discover the art and artistry of Bengal, and not only that this is the biggest festival of Bengal that provides a great competitive platform for innumerable artists and workers to learn and earn.

The time of Puja is the time for togetherness, is the time for sharing and caring. The traditional concept of making the idols of Durga, her four children and her husband Lord Shiva against a single background structure( which is in Bengali: Ek chalchitra) seems to me a very symbolic one! It implicates to me a strong bondage between the family members, or in a greater sense the relationships between individuals. An example of unity in diversity.

To save the worlds, Brahmma(the god of creation), Vishnu( the god of sustenance), Moheshwara/ Shiva(the god of destruction) and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati, and Durga emerged from this pool of light. This is very symbolic. I see durga as a domain where there have been convergence of all form of energies; she is the symbolic epitome of unified force, as it is the most cherished theory of modern-day physics- “the unified field theory”. And therefore, She is the Symbolic epitome of concentrated knowledge and wisdom. She can create(sristi), She can sustain( sthiti), and She can destroy(loy). She comes over here to create all good things and to sustain them on this earth, and to destroys all evil power, as depicted by triumph over Mahisasura.

Her four children are very symbolic to me for four aspects of socio-economic- cultural upliftment. These are the four aspects to create a balanced nation or a person as an individual.

“Lakhsmi”, her elder daughter, is a symbol of wealth. She carries with her a bunch of ripe paddy and a container of vermilion. Ripened paddy is the symbol of agricultural success. And vermilion is the symbol of peaceful marriage in Hindu custom.

“Swaraswati”, her younger daughter, is a symbol of art and culture. She carries with her a sitar, a classical Indian instrument depicting music, which is the highest form of the faculty of art.

“Kartika”, her elder son, is the commander-in-chief of the gods for war. He is the warrior and protector from enemies. He carries a bow and arrows. He knows how to target an enemy. And he is the symbol of leadership qualities.

“Ganesha”, her youngest son. He is the symbol of knowledge and wisdom.

And the Mother is the creator of all her four children, the four faculties associated with biological, social, cultural and intellectual evolution of man.

Therefore, She is the idealistic epitome of Gunas (qualities), that we all her children should acquire for. And there lies the true meaningfulness of worshiping our mother, Durga.

On the tenth day after the triumph, the day of Vijaya Dashami, mother along with her family sets her journey back to her final adobe in himalaya, leaving the earthly world behind. The clay idol is thus immersed in the holy water of Ganges to symbolize her journey. And thus the whole celebration comes to an end.

Valsts policija sadarbībā ar Latvijas Mākslas akadēmiju ir izveidojusi jaunu policijas trafarējuma vizuālo identitāti. Jauno dizainu izstrādājuši Latvijas Mākslas akadēmijas studenti, veidojot policijas transportlīdzekļus mūsdienīgus, ar spilgtu eleganci, ietvertu pagātni un iekodētu latvisko identitāti. Iesoļojot nākamajā simtgadē, Valsts policija turpina pārmaiņas līdz ar jauno operatīvā transportlīdzekļa trafarējuma maiņu.

Latvijas Mākslas akadēmijas studenti gandrīz gadu strādāja pie Valsts policijas uzdevuma – izveidot jaunu trafarējuma dizainu policijas operatīvajam transportam, kas būtu mūsdienīgs, redzams, funkcionāls un tajā pašā laikā arī latvisko identitāti saglabājošs. Viena no jaunā trafarējuma svarīgākajām īpašībām ir tā redzamība mūsu klimatiskajos apstākļos, proti, policijas operatīvais transports ir labi pamanāms gan diennakts gaišajā laikā, gan apgrūtinātas redzamības apstākļos, arī tad, kad nav ieslēgtas bākugunis.

Latvijas Mākslas akadēmijas studentu grupas kopumā izstrādāja sešus interesantus, profesionālus un prasībām atbilstošus piedāvājumus, no kuriem policijas un akadēmijas ekspertu atzinību tomēr guva Latvijas Mākslas akadēmijas Funkcionālā dizaina nodaļas studentes Megijas Jurevicas un Sallijas Štāles, doc. Maijas Rozenfeldes un prof. Ingūnas Eleres vadībā, veidotais dizains.

“Pagātnes spēks nākotnē!” – tā abas darba autores nosaukušas jauno policijas transportlīdzekļu vizuālo identitāti. Autores iedvesmojušās no mūsu likteņupes Daugavas plūduma: “Mums ir spēcīgas saknes, ko pierāda daudzi pagātnes notikumi. Tie ne tikai nes mūsu vārdu pasaulē, bet arī ceļ tautas pašapziņu, vairojot ticību saviem spēkiem. Paturot to prātā, mēs būsim vienoti, nesalaužami un turpināsim virzīt sevi uz priekšu. Veidojot jauno dizainu, attēlojām likteņupes Daugavas straumes ritmus. Kustība un dinamika, kas izriet no upes steigas, simbolizē virzību uz priekšu nākotnē.”

Jaunizstrādātajā dizainā pagātne, kas asociējas ar pelēko krāsu, saglabājas mašīnas dizainā kā viens no krāsu elementiem, kas mijas ar dzelteno un zilo krāsu, veidojot stilizētu Laimas slotiņas elementu – spēcīgu latviskās identitātes ģenētisko kodu.

“Mums bija ļoti svarīgi, ka pie jaunā trafarējuma izveides strādāja tieši jauni cilvēki. Mākslas akadēmijas studenti, radot jaunu trafarējumu, rada nākotnes policiju. Tādu, kādu viņi to vēlas redzēt savā dzīvē. Tas ir ļoti simboliski,” uzsver Valsts policijas priekšnieks Ints Ķuzis, “tas arī ļoti sasaucas ar to pārmaiņu procesu, ko esam sākuši policijas iekšienē. Arī mēs maināmies, varbūt lēnāk, nekā gribētos, bet pārmaiņas ir un tās ir pamatīgas un vērstas uz attīstību.”

“1991.gadā Latvijas Mākslas akadēmijas profesors dizainers Gunārs Glūdiņš radīja tam laikam piemērotu, radikāli atšķirīgu policijas trafarējumu, izmantojot atturīgi pelēko toni. Un teju pēc 30 gadiem Latvijas Mākslas akadēmijai ir pagodinājums atkal piedalīties Valsts policijas pārmaiņu procesā, veidojot nu jau šim laikam atbilstošu policijas transportlīdzekļu trafarējumu, kurā izmantoti Ziemeļeiropas līmeņa augstākās kvalitātes gaismu atstarojošie materiāli, nodrošinot labāku redzamību, ilgnoturību un izturību arī mūsu klimatiskajā zonā,” tā Latvijas Mākslas akadēmijas rektors Kristaps Zariņš.

Jauno trafarējumu operatīvajam transportam Valsts policija plāno ieviest pakāpeniski. Vispirms vizuālās identitātes maiņu piedzīvos operatīvais transports, kas saistīts ar ceļu satiksmes kontroli un patrulēšanas funkciju izpildi, bet pakāpeniski trīs gadu laikā tas tiks nomainīts visam transportam.

Kopš iepriekšējām vizuālajām pārmaiņām pagājuši 27 gadi. Šajā laikā attīstība notikusi visās jomās gan Latvijā, gan citviet Eiropā un pasaulē. Aizvien būtiskāku nozīmi policijas darbā ieņēmusi tās vizuālā identitāte – praktiski visur pasaulē policijas autotransports kļuvis daudz krāsaināks, spilgtāks un uzreiz pamanāms. Operatīvajam transportam jābūt redzamam gan gaišā dienā, gan arī tumsā. Tas ir drošības jautājums.

Šonedēļ ar jauno Valsts policijas transportlīdzekļu trafarējuma vizuālo identitāti iepazīstināsim arī visos Latvijas reģionos, kad trafarētā automašīna viesosies otrdien Zemgales reģionā, trešdien Vidzemes reģionā, ceturtdien Latgales reģionā un piektdien - Kurzemes reģionā. Par precīzām vietām un laikiem informēsim Valsts policijas oficiālajos sociālo tīklu kontos.

Durga

Durga, meaning "the inaccessible" or "the invincible", is a popular fierce form of the Hindu Goddess or Devi. She is depicted with multiple arms,carrying various weapons and riding a ferocious lion( in Bengal). She is pictured as battling or slaying demons, particularly Mahishasura, the buffalo demon.

Her triumph as Mahishasura Mardini, Slayer of the buffalo Demon is a central episode of the scripture Devi Mahatmya. Her victory is celebrated annually in the festivals of Durga Puja.

History

The word Shakti means divine energy/force/power, and Durga is the warrior aspect of the Divine Mother/Brahman(Supreme Absolute Godhead).

As a goddess, Durga's feminine power contains the combined energies of all the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.

According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (demon) named Mahishasura. Brahma had given Mahishasura the power not to be defeated by a male. Mahishasura had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods were helpless. Shiva, realizing that no man or god (male) can defeat Mahishasura, made a request to his wife Parvati(Durga) to take the role of a female goddess warrior in order to slay the demon. Parvati took his request and went to the Ashram of priest disciple named Katyayan to assume the role of a warrior. Meanwhile, the gods went to Brahma for help and, with Brahma, then made their way to Vaikuntha—the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. To save the worlds, Vishnu, Shiva and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati at the Ashram of the priest Katyayan and Durga emerged from this pool of light. The goddess Durga took the name Katyaayani from the priest. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme female aspect of Brahman (Prakriti) who had created all the gods. Now she had come to fight the demon to save the three Worlds. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.

To combat the evil Mahishasura, she had appeared in a great blinding light, to combat this demon and end it for all to be in peace. The terrible Mahishasura rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.

Then Mahishasur began attacking once more, starting to take the form of a buffalo again. When Mahishasur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.

Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini—the slayer of Mahishasur.

The goddess, as Mahishasuramardini, appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini. The spear and trident are her most common weapons. A Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a buffalo-faced demon; a variation also seen at Ellora. In later sculptures show the goddess having decapitated the buffalo demon.

Worship

Durga Puja

The four day long (Saptami to Dashami) Durga Puja is the biggest annual festival in Bengal, Assam, Orissa, Bihar, Jharkhand and Nepal, where it is known as Dashain. It is celebrated likewise with much fervour in various parts of India, especially the Himalayan region, but is celebrated in various forms throughout the Hindu universe.

The day of Durga's victory is celebrated as Vijayadashami (Bengali), Dashain (Nepali) or Dussehra (Hindi) - these words literally mean "the Victory Tenth" (day).

The actual period of the worship however may be on the preceding nine days (Navaratri) followed by the last day called Vijayadashami in North India or five days in Bengal (from the sixth to tenth day of the waxing-moon fortnight)..

In North India, the tenth day, signifying Rama's victory in his battle against the demon Ravana, is celebrated as Dussehra - gigantic straw effigies of Ravana are burnt in designated open spaces (e.g. Delhi's Ram Lila grounds), watched by thousands of families and little children. In Bangladesh also the four-days long Sharadiya Durga Puja (Bengali: শারদীয়া দুর্গা পুজো, ‘autumnal Durga worship’) is the biggest religious festivals for the Hindus and celebrated across the country with Vijayadashami being a national holiday. Source: Wikipedia.

Worshiping Durga, As I feel :

To me worshiping goddess Durga encompasses so many deeply seated aspects of human lives and nature. The imagination of such a Goddess-form has its age old story depicted in the Hindu Puranas and that had been fabricated by the wisdom of ages as a symbolic one for Bio-Geo-Socio-Economic-Cultural and Aesthetical upliftment of humankind and its relationship with nature, through the practice of worshiping.

Once in a year She, The Mother Durga, is thought to come from her abode at mount Kailash in Himalaya to the land of Bengal at the time of Autumn, the finest of all six seasons when Bengal turns into a nature’s paradise. The snow white clouds against the deep azure of the sky, the gentle cool breeze carrying the sweet fragrance of flowers, the turning colors of the leaves, the golden sunlit lush green paddy fields and the waving clusters of dazzling white inflorescence of Kash dramatically prepare the minds of Bengal apt for celebration of life. Artists of versatile talents from Bengal and other states culminate their finest ever skill and efforts for making the idols of Durga using conventional natural resources like clay, wood, organic colors, that are all biodegradable. The pandals( the temporary abodes of Devi Durga) all over Bengal, especially in urban cities turn into the finest galleries of art and culture covering an unimaginably wide range of form and traditions, represented by Bengal and neighboring states of India. Durga puja becomes a wide open opportunity to discover and re-discover the art and artistry of Bengal, and not only that this is the biggest festival of Bengal that provides a great competitive platform for innumerable artists and workers to learn and earn.

The time of Puja is the time for togetherness, is the time for sharing and caring. The traditional concept of making the idols of Durga, her four children and her husband Lord Shiva against a single background structure( which is in Bengali: Ek chalchitra) seems to me a very symbolic one! It implicates to me a strong bondage between the family members, or in a greater sense the relationships between individuals. An example of unity in diversity.

To save the worlds, Brahmma(the god of creation), Vishnu( the god of sustenance), Moheshwara/ Shiva(the god of destruction) and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati, and Durga emerged from this pool of light. This is very symbolic. I see durga as a domain where there have been convergence of all form of energies; she is the symbolic epitome of unified force, as it is the most cherished theory of modern-day physics- “the unified field theory”. And therefore, She is the Symbolic epitome of concentrated knowledge and wisdom. She can create(sristi), She can sustain( sthiti), and She can destroy(loy). She comes over here to create all good things and to sustain them on this earth, and to destroys all evil power, as depicted by triumph over Mahisasura.

Her four children are very symbolic to me for four aspects of socio-economic- cultural upliftment. These are the four aspects to create a balanced nation or a person as an individual.

“Lakhsmi”, her elder daughter, is a symbol of wealth. She carries with her a bunch of ripe paddy and a container of vermilion. Ripened paddy is the symbol of agricultural success. And vermilion is the symbol of peaceful marriage in Hindu custom.

“Swaraswati”, her younger daughter, is a symbol of art and culture. She carries with her a sitar, a classical Indian instrument depicting music, which is the highest form of the faculty of art.

“Kartika”, her elder son, is the commander-in-chief of the gods for war. He is the warrior and protector from enemies. He carries a bow and arrows. He knows how to target an enemy. And he is the symbol of leadership qualities.

“Ganesha”, her youngest son. He is the symbol of knowledge and wisdom.

And the Mother is the creator of all her four children, the four faculties associated with biological, social, cultural and intellectual evolution of man.

Therefore, She is the idealistic epitome of Gunas (qualities), that we all her children should acquire for. And there lies the true meaningfulness of worshiping our mother, Durga.

On the tenth day after the triumph, the day of Vijaya Dashami, mother along with her family sets her journey back to her final adobe in himalaya, leaving the earthly world behind. The clay idol is thus immersed in the holy water of Ganges to symbolize her journey. And thus the whole celebration comes to an end.

Zemessardzes kaujas inženieru vienību pārstāvji Mičiganas Nacionālās gvardes mācību “Northern Strike” laikā sevi pierādījuši ne tikai līdzdarbojoties brigādes līmeņa kaujas plāna izstrādē, bet arī piedaloties praktiskā šķēršļu izveidē un pretinieka šķēršļu likvidācijā.

Jau ziņots, ka no 6. līdz 20. augustam Latvijas karavīri un zemessargi piedalījās mācībās “Northern Strike 2022” Mičiganas štatā, ASV.

Foto: seržants Ēriks Kukutis (Aizsardzības ministrija)

Zemessardzes 2. Vidzemes brigādes organizētajā ziemas izdzīvošanas kursā jaunie karavīri apliecina savas spējas un prasmes izdzīvot ziemas apstākļos – uzcelt nojumi, nodrošināt siltumu, veikt personīgās higiēnas pasākumus apgrūtinātos apstākļos, iegūt ūdeni un pagatavot ēdienu.

Tāpat tiek trenēta spēja izdzīvot ar minimālu ekipējumu pēc iegremdēšanās āliņģa ledainajā ūdenī.

Foto: seržants Ēriks Kukutis (Aizsardzības ministrija)

Durga

Durga, meaning "the inaccessible" or "the invincible", is a popular fierce form of the Hindu Goddess or Devi. She is depicted with multiple arms,carrying various weapons and riding a ferocious lion( in Bengal). She is pictured as battling or slaying demons, particularly Mahishasura, the buffalo demon.

Her triumph as Mahishasura Mardini, Slayer of the buffalo Demon is a central episode of the scripture Devi Mahatmya. Her victory is celebrated annually in the festivals of Durga Puja.

History

The word Shakti means divine energy/force/power, and Durga is the warrior aspect of the Divine Mother/Brahman(Supreme Absolute Godhead).

As a goddess, Durga's feminine power contains the combined energies of all the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.

According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (demon) named Mahishasura. Brahma had given Mahishasura the power not to be defeated by a male. Mahishasura had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods were helpless. Shiva, realizing that no man or god (male) can defeat Mahishasura, made a request to his wife Parvati(Durga) to take the role of a female goddess warrior in order to slay the demon. Parvati took his request and went to the Ashram of priest disciple named Katyayan to assume the role of a warrior. Meanwhile, the gods went to Brahma for help and, with Brahma, then made their way to Vaikuntha—the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. To save the worlds, Vishnu, Shiva and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati at the Ashram of the priest Katyayan and Durga emerged from this pool of light. The goddess Durga took the name Katyaayani from the priest. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme female aspect of Brahman (Prakriti) who had created all the gods. Now she had come to fight the demon to save the three Worlds. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.

To combat the evil Mahishasura, she had appeared in a great blinding light, to combat this demon and end it for all to be in peace. The terrible Mahishasura rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.

Then Mahishasur began attacking once more, starting to take the form of a buffalo again. When Mahishasur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.

Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini—the slayer of Mahishasur.

The goddess, as Mahishasuramardini, appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini. The spear and trident are her most common weapons. A Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a buffalo-faced demon; a variation also seen at Ellora. In later sculptures show the goddess having decapitated the buffalo demon.

Worship

Durga Puja

The four day long (Saptami to Dashami) Durga Puja is the biggest annual festival in Bengal, Assam, Orissa, Bihar, Jharkhand and Nepal, where it is known as Dashain. It is celebrated likewise with much fervour in various parts of India, especially the Himalayan region, but is celebrated in various forms throughout the Hindu universe.

The day of Durga's victory is celebrated as Vijayadashami (Bengali), Dashain (Nepali) or Dussehra (Hindi) - these words literally mean "the Victory Tenth" (day).

The actual period of the worship however may be on the preceding nine days (Navaratri) followed by the last day called Vijayadashami in North India or five days in Bengal (from the sixth to tenth day of the waxing-moon fortnight)..

In North India, the tenth day, signifying Rama's victory in his battle against the demon Ravana, is celebrated as Dussehra - gigantic straw effigies of Ravana are burnt in designated open spaces (e.g. Delhi's Ram Lila grounds), watched by thousands of families and little children. In Bangladesh also the four-days long Sharadiya Durga Puja (Bengali: শারদীয়া দুর্গা পুজো, ‘autumnal Durga worship’) is the biggest religious festivals for the Hindus and celebrated across the country with Vijayadashami being a national holiday. Source: Wikipedia.

Worshiping Durga, As I feel :

To me worshiping goddess Durga encompasses so many deeply seated aspects of human lives and nature. The imagination of such a Goddess-form has its age old story depicted in the Hindu Puranas and that had been fabricated by the wisdom of ages as a symbolic one for Bio-Geo-Socio-Economic-Cultural and Aesthetical upliftment of humankind and its relationship with nature, through the practice of worshiping.

Once in a year She, The Mother Durga, is thought to come from her abode at mount Kailash in Himalaya to the land of Bengal at the time of Autumn, the finest of all six seasons when Bengal turns into a nature’s paradise. The snow white clouds against the deep azure of the sky, the gentle cool breeze carrying the sweet fragrance of flowers, the turning colors of the leaves, the golden sunlit lush green paddy fields and the waving clusters of dazzling white inflorescence of Kash dramatically prepare the minds of Bengal apt for celebration of life. Artists of versatile talents from Bengal and other states culminate their finest ever skill and efforts for making the idols of Durga using conventional natural resources like clay, wood, organic colors, that are all biodegradable. The pandals( the temporary abodes of Devi Durga) all over Bengal, especially in urban cities turn into the finest galleries of art and culture covering an unimaginably wide range of form and traditions, represented by Bengal and neighboring states of India. Durga puja becomes a wide open opportunity to discover and re-discover the art and artistry of Bengal, and not only that this is the biggest festival of Bengal that provides a great competitive platform for innumerable artists and workers to learn and earn.

The time of Puja is the time for togetherness, is the time for sharing and caring. The traditional concept of making the idols of Durga, her four children and her husband Lord Shiva against a single background structure( which is in Bengali: Ek chalchitra) seems to me a very symbolic one! It implicates to me a strong bondage between the family members, or in a greater sense the relationships between individuals. An example of unity in diversity.

To save the worlds, Brahmma(the god of creation), Vishnu( the god of sustenance), Moheshwara/ Shiva(the god of destruction) and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati, and Durga emerged from this pool of light. This is very symbolic. I see durga as a domain where there have been convergence of all form of energies; she is the symbolic epitome of unified force, as it is the most cherished theory of modern-day physics- “the unified field theory”. And therefore, She is the Symbolic epitome of concentrated knowledge and wisdom. She can create(sristi), She can sustain( sthiti), and She can destroy(loy). She comes over here to create all good things and to sustain them on this earth, and to destroys all evil power, as depicted by triumph over Mahisasura.

Her four children are very symbolic to me for four aspects of socio-economic- cultural upliftment. These are the four aspects to create a balanced nation or a person as an individual.

“Lakhsmi”, her elder daughter, is a symbol of wealth. She carries with her a bunch of ripe paddy and a container of vermilion. Ripened paddy is the symbol of agricultural success. And vermilion is the symbol of peaceful marriage in Hindu custom.

“Swaraswati”, her younger daughter, is a symbol of art and culture. She carries with her a sitar, a classical Indian instrument depicting music, which is the highest form of the faculty of art.

“Kartika”, her elder son, is the commander-in-chief of the gods for war. He is the warrior and protector from enemies. He carries a bow and arrows. He knows how to target an enemy. And he is the symbol of leadership qualities.

“Ganesha”, her youngest son. He is the symbol of knowledge and wisdom.

And the Mother is the creator of all her four children, the four faculties associated with biological, social, cultural and intellectual evolution of man.

Therefore, She is the idealistic epitome of Gunas (qualities), that we all her children should acquire for. And there lies the true meaningfulness of worshiping our mother, Durga.

On the tenth day after the triumph, the day of Vijaya Dashami, mother along with her family sets her journey back to her final adobe in himalaya, leaving the earthly world behind. The clay idol is thus immersed in the holy water of Ganges to symbolize her journey. And thus the whole celebration comes to an end.

Durga

Durga, meaning "the inaccessible" or "the invincible", is a popular fierce form of the Hindu Goddess or Devi. She is depicted with multiple arms,carrying various weapons and riding a ferocious lion( in Bengal). She is pictured as battling or slaying demons, particularly Mahishasura, the buffalo demon.

Her triumph as Mahishasura Mardini, Slayer of the buffalo Demon is a central episode of the scripture Devi Mahatmya. Her victory is celebrated annually in the festivals of Durga Puja.

History

The word Shakti means divine energy/force/power, and Durga is the warrior aspect of the Divine Mother/Brahman(Supreme Absolute Godhead).

As a goddess, Durga's feminine power contains the combined energies of all the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.

According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (demon) named Mahishasura. Brahma had given Mahishasura the power not to be defeated by a male. Mahishasura had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods were helpless. Shiva, realizing that no man or god (male) can defeat Mahishasura, made a request to his wife Parvati(Durga) to take the role of a female goddess warrior in order to slay the demon. Parvati took his request and went to the Ashram of priest disciple named Katyayan to assume the role of a warrior. Meanwhile, the gods went to Brahma for help and, with Brahma, then made their way to Vaikuntha—the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. To save the worlds, Vishnu, Shiva and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati at the Ashram of the priest Katyayan and Durga emerged from this pool of light. The goddess Durga took the name Katyaayani from the priest. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme female aspect of Brahman (Prakriti) who had created all the gods. Now she had come to fight the demon to save the three Worlds. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.

To combat the evil Mahishasura, she had appeared in a great blinding light, to combat this demon and end it for all to be in peace. The terrible Mahishasura rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.

Then Mahishasur began attacking once more, starting to take the form of a buffalo again. When Mahishasur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.

Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini—the slayer of Mahishasur.

The goddess, as Mahishasuramardini, appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini. The spear and trident are her most common weapons. A Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a buffalo-faced demon; a variation also seen at Ellora. In later sculptures show the goddess having decapitated the buffalo demon.

Worship

Durga Puja

The four day long (Saptami to Dashami) Durga Puja is the biggest annual festival in Bengal, Assam, Orissa, Bihar, Jharkhand and Nepal, where it is known as Dashain. It is celebrated likewise with much fervour in various parts of India, especially the Himalayan region, but is celebrated in various forms throughout the Hindu universe.

The day of Durga's victory is celebrated as Vijayadashami (Bengali), Dashain (Nepali) or Dussehra (Hindi) - these words literally mean "the Victory Tenth" (day).

The actual period of the worship however may be on the preceding nine days (Navaratri) followed by the last day called Vijayadashami in North India or five days in Bengal (from the sixth to tenth day of the waxing-moon fortnight)..

In North India, the tenth day, signifying Rama's victory in his battle against the demon Ravana, is celebrated as Dussehra - gigantic straw effigies of Ravana are burnt in designated open spaces (e.g. Delhi's Ram Lila grounds), watched by thousands of families and little children. In Bangladesh also the four-days long Sharadiya Durga Puja (Bengali: শারদীয়া দুর্গা পুজো, ‘autumnal Durga worship’) is the biggest religious festivals for the Hindus and celebrated across the country with Vijayadashami being a national holiday. Source: Wikipedia.

Worshiping Durga, As I feel :

To me worshiping goddess Durga encompasses so many deeply seated aspects of human lives and nature. The imagination of such a Goddess-form has its age old story depicted in the Hindu Puranas and that had been fabricated by the wisdom of ages as a symbolic one for Bio-Geo-Socio-Economic-Cultural and Aesthetical upliftment of humankind and its relationship with nature, through the practice of worshiping.

Once in a year She, The Mother Durga, is thought to come from her abode at mount Kailash in Himalaya to the land of Bengal at the time of Autumn, the finest of all six seasons when Bengal turns into a nature’s paradise. The snow white clouds against the deep azure of the sky, the gentle cool breeze carrying the sweet fragrance of flowers, the turning colors of the leaves, the golden sunlit lush green paddy fields and the waving clusters of dazzling white inflorescence of Kash dramatically prepare the minds of Bengal apt for celebration of life. Artists of versatile talents from Bengal and other states culminate their finest ever skill and efforts for making the idols of Durga using conventional natural resources like clay, wood, organic colors, that are all biodegradable. The pandals( the temporary abodes of Devi Durga) all over Bengal, especially in urban cities turn into the finest galleries of art and culture covering an unimaginably wide range of form and traditions, represented by Bengal and neighboring states of India. Durga puja becomes a wide open opportunity to discover and re-discover the art and artistry of Bengal, and not only that this is the biggest festival of Bengal that provides a great competitive platform for innumerable artists and workers to learn and earn.

The time of Puja is the time for togetherness, is the time for sharing and caring. The traditional concept of making the idols of Durga, her four children and her husband Lord Shiva against a single background structure( which is in Bengali: Ek chalchitra) seems to me a very symbolic one! It implicates to me a strong bondage between the family members, or in a greater sense the relationships between individuals. An example of unity in diversity.

To save the worlds, Brahmma(the god of creation), Vishnu( the god of sustenance), Moheshwara/ Shiva(the god of destruction) and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati, and Durga emerged from this pool of light. This is very symbolic. I see durga as a domain where there have been convergence of all form of energies; she is the symbolic epitome of unified force, as it is the most cherished theory of modern-day physics- “the unified field theory”. And therefore, She is the Symbolic epitome of concentrated knowledge and wisdom. She can create(sristi), She can sustain( sthiti), and She can destroy(loy). She comes over here to create all good things and to sustain them on this earth, and to destroys all evil power, as depicted by triumph over Mahisasura.

Her four children are very symbolic to me for four aspects of socio-economic- cultural upliftment. These are the four aspects to create a balanced nation or a person as an individual.

“Lakhsmi”, her elder daughter, is a symbol of wealth. She carries with her a bunch of ripe paddy and a container of vermilion. Ripened paddy is the symbol of agricultural success. And vermilion is the symbol of peaceful marriage in Hindu custom.

“Swaraswati”, her younger daughter, is a symbol of art and culture. She carries with her a sitar, a classical Indian instrument depicting music, which is the highest form of the faculty of art.

“Kartika”, her elder son, is the commander-in-chief of the gods for war. He is the warrior and protector from enemies. He carries a bow and arrows. He knows how to target an enemy. And he is the symbol of leadership qualities.

“Ganesha”, her youngest son. He is the symbol of knowledge and wisdom.

And the Mother is the creator of all her four children, the four faculties associated with biological, social, cultural and intellectual evolution of man.

Therefore, She is the idealistic epitome of Gunas (qualities), that we all her children should acquire for. And there lies the true meaningfulness of worshiping our mother, Durga.

On the tenth day after the triumph, the day of Vijaya Dashami, mother along with her family sets her journey back to her final adobe in himalaya, leaving the earthly world behind. The clay idol is thus immersed in the holy water of Ganges to symbolize her journey. And thus the whole celebration comes to an end.

20161004 S 2577 Riga2g Cathedral_12 5329 PhotoRigaLutherCath Evangelical Lutheran Church of Latvia, The Cathedral of Saint Mary, Rīgas Doms,

Cathedral

Cauri gadu simtiem Rīgas Doms ir bijis tā vieta, kur cilvēki ir meklējuši sastapties ar Dievu. Doms ir Rīgas un Latvijas arhibīskapa katedrāle un Doma draudzes dievnams. Šis dievnams ir atvērts -katram, kurš meklē. Meklē sevi, me-klē patiesību, meklē Dievu, meklē cilvēku kopību.

Jūs būsiet allaž gaidīti Doma dievkalpojumos, koncertos, lūgšanās un d-ažādos -pasākumos, un šī mājas lapa centīsies jums palīdzēt orientēties draudzes dzīvē un Doma aktivitātēs.

Dieva svētību vēlot katram, kurš atvēris šo lapu.---

www.google.com/maps/contrib/111204886922236311430/place/C...

Zemessardzes 2. Vidzemes brigādes organizētajā ziemas izdzīvošanas kursā jaunie karavīri apliecina savas spējas un prasmes izdzīvot ziemas apstākļos – uzcelt nojumi, nodrošināt siltumu, veikt personīgās higiēnas pasākumus apgrūtinātos apstākļos, iegūt ūdeni un pagatavot ēdienu.

Tāpat tiek trenēta spēja izdzīvot ar minimālu ekipējumu pēc iegremdēšanās āliņģa ledainajā ūdenī.

Foto: seržants Ēriks Kukutis (Aizsardzības ministrija)

Šis ir stāsts par kāda 81 gadus veca vīra nepārvaramu dzīvot gribu, par to, ko nozīmē palikt vienam un būt svarīgam tik daudziem. Kad ticība un cerība labajam liek mums visiem doties nezināmajā, lai kopīgiem spēkiem plecu pie pleca pārvestu vīru mājās. Par to, kā apziņa, ka kādam esi vienīgā cerība, kļūst par milzīgu spēka avotu atrast kādu, kurš nokļuvis nelaimē un vairs nespēj sevi glābt paša spēkiem. Meklēšanā iesaistījāmies arī mēs – sabiedrisko attiecību nodaļas darbinieki.

Šis ir arī stāsts par to, kā nevajadzētu darīt, kad esi apmaldījies.

Par vīra pazušanu 10. septembra naktī likumsargiem ziņoja kāds rūpju pārņemts kaimiņš, kurš stāstīja, ka 81 gadus vecs vīrs, kurš dzīvojot kaimiņos, ir kārtējo reizi devies meža velšu meklējumos, bet tā arī nav pārradies mājās. 8. septembrī ar pazudušo vīru kaimiņam bija izdevies sazināties pa telefonu, vīrietis pastāstīja, ka ir apmaldījies, bet šī nav pirmā reize un no meža izkļūšot pats. Arī 9. septembra rītā kaimiņš atkārtoti zvanīja vīrietim, bet viņš palīdzību atteica arī šoreiz, un turpmāk vairs nebija sazvanāms, jo telefons bija izslēgts.

Saņemot šo informācijas likumsargiem bija skaidrs - nekavējoties ir jāveic meklēšanas pasākumi, lai pēc iespējas ātrāk pazudušo nogādātu mājās siltumā un drošībā. Ņemot vērā vīra prombūtnes laiku, svarīga bija katra minūte. Tika iztaujāts ikviens, kurš varētu zināt vīrieša atrašanās vietu, tika pārbaudīta katra saņemtā informācija. Vietas, kur vīrs varētu meklēt meža veltes, bija vairākas - Mores pagasts, Allažu pagasts, Siguldas pagasts, kā arī meža teritorijas pie Līgatnes un Cēsīm.

11. septembrī tika uzsākti meklēšanas darbi, kuros iesaistījās arī Nacionālo bruņoto spēku helikopters, kurš ir aprīkots ar termovīzeru. Tika pārmeklētas plašas meža teritorijas pie Līgatnes un Cēsīm, bet, iestājoties tumsai, meklēšanas darbi tika pārtraukti. Neatkarīgi no apgrūtinātajiem meklēšanas apstākļiem, mēs visi no sirds cerējām uz laimīgām beigām. Tika saņemta informācija, ka pazudušais vīrs varētu atrasties Augšlīgatnes rajonā, uz šo pusi norādīja arī kaimiņš un pazudušā vīra tuviniece.

Turpinot meklējumus, 12. septembrī meklēšanā tika iesaistīti papildspēki - Valsts policijas koledžas kadeti, Valsts policijas koledžas Kinoloģijas nodaļa, Zemessardzes 2. Vidzemes brigādes zemessardzes 27. kājnieku bataljons, Nacionālo bruņoto spēku gaisa spēki, kā arī Valsts policijas likumsargi, kopumā aptuveni 80 cilvēku. Mēs visi apzinājāmies, ka meklējam adatu siena kaudzē, bet kamēr nebūsim pārmeklējuši vismazāko stūrīti, zinājām, ka prom nedosimies. Ar nepacietību gaidījām norādes, lai nekavējoties varam doties meklēt. Saņēmuši karti ar norādēm, kur meklēt, mežā devās zemessardzes kājinieki un gaisā pacēlās Nacionālo bruņoto spēku helikopters. Gatavībā bija arī kinologi ar dienesta suņiem. Katram sunim uz kakla bija uzlikta siksniņa, kurai piestiprināta izsekošanas ierīce, ar kuras palīdzību var izsekot maršrutu, kādā pārvietojamies. Uzklausījuši instruktāžu un sadalījušies grupās, steidzāmies ceļā. Kopā ar mums devās arī policijas suns Korra. Zinājām, ka jāpārmeklē viss - tīrumi, grāvju malas un meži. Svarīgi bija atrast jebkādas pēdas, kas liecinātu, ka pazudušais varētu būt tuvumā. Pievērsām uzmanību noliegtiem zāles stiebriem vai it kā iesēdētiem krūmiem. Tik pārmeklēta arī sliežu zona.

Tuvojoties kādai saimniecībai, pie mums piesteidzās saimniecības īpašniece, kura pastāstīja, ka pazudušo vīrieti redzējusi divas dienas atpakaļ ap pulksten 8 no rīta saimniecības novērošanas kamerās. “Kungs katru rudeni šeit regulāri sēņo vai ogo. Parasti iet lēnu garu, atbalstās uz spieķīti,” stāstīja saimniecības īpašniece. Saņemtā informācija, ka vīrietis varētu būt tuvumā, mūs iedvesmoja vairāk un vairāk – visos meklēšanā iesaistītajos radās papildus enerģijas spars un ticība, ka pavisam drīz varētu atrast pazudušo vīrieti. Mūsu ceļš veda dziļākā biezoknī, bet nepaguruši ne mirkli, mēs turpinājām meklēt sirmgalvi.

Beidzot meklējumi bija vainagojušies panākumiem. Pēc vairāku stundu neatlaidīgas meklēšanas ap pulksten 18 Līgatnes novadā, netālu no pagrieziena uz Vildogu uz Vidzemes šosejas, braucot virzienā uz Cēsīm, aptuveni 50 metru attālumā no šosejas malas, turpat zem kāda koka tika pamanīts pazudušais vīrs! Visus pāršalca neizsakāms prieks un laime – vīrs bija dzīvs! Apbrīnojama bija vīra izturība, bet, neskatoties uz to, pēc vairāku dienu prombūtnes vīrietis bija ļoti savārdzis, tādēļ nekavējoties tika nodots mediķu aprūpē.

Trūkst vārdu, kas spētu izteikt sajūtas, kad pazudušais vīrs tika atrasts dzīvs. Šis ir stāsts ar laimīgām beigām, bet diemžēl vīram tas varēja beigties letāli. Mēs visi zinām, ka šī situācija varēja nenotikt. Mums visiem ir ko mācīties no šīs situācijas, tādēļ dodoties mežā, vienmēr uzlādējiet telefona bateriju. Nomaldīšanās gadījumā telefons ir vienīgā iespēja nekavējoties zvanīt uz 110 vai 112 un ziņot par savu atrašanās vietu. Uz šo vietu izbrauks glābēji, kuri palīdzēs nokļūt drošībā. Vienmēr pastāstiet līdzcilvēkiem par savu prombūtni un atgriešanās laiku, kā arī nekad neatsakiet palīdzību tiem, kuriem esat svarīgi! Novērtējiet savu veselības un fizisko stāvokli, pirms esat izlēmis doties mežā viens. Ja esat viedtālruņa īpašnieks, lejuplādējiet Valsts policijas aplikāciju “Mana drošība”. Aplikācijā ir īpaša sadaļa, kas palīdz cilvēkiem nosūtīt savas koordinātas operatīvajiem dienestiem situācijās, kad nespējat sniegt norādes par to, kur atrodaties.

Par laimīgām beigām vēlamies no visas sirds pateikties Valsts policijas likumsargiem, Valsts policijas koledžas kadetiem, Valsts policijas koledžas Kinoloģijas nodaļai, Zemessardzes 2. Vidzemes brigādes zemessardzes 27. kājnieku bataljonam, Nacionālo bruņoto spēku gaisa spēkiem un visiem, visiem, kuri sniedza atbalstu pazudušā vīra meklējumos. Mēs visi kopā ar vienu ticību, cerību un spēku izglābām dzīvību.

Mayo, 18 y 19.

www.nightcolours.es/talleres/2013/info_talleres/info_sevi...

Afganistānā joprojām ir nemierīgi. Ik dienu bruņotās sadursmēs kādu nogalina. Karš turpinās. Afgāņi cīnās paši ar sevi — pa laikam finansiāla izdevīguma vārdā pārejot pretinieka pusē — te prezidenta, te talibu, te nemiernieku. Katra puse apgalvo, ka viņu rīcību virza ideja par labāku Afganistānu, mieru un pareizo reliģisko pārliecību. Bet aiz tā slēpjas nemitīga ietekmes un varas pārdalīšana. NATO vadītie spēki kopš 2015.gada sākuma karadarbībā vairs tieši neiesaistās.

Šī ir pirmā starptautiskā operācija, kuras mērķis ir atbalstīt Afganistānas spēku struktūras, piedāvājot zināšanas un padomu, bet nesniedzot militāro palīdzību. Pašreiz Afganistānā ir ap 12 000 NATO vadīto karavīru. Afganistānas iedzīvotāju skaits lēšams 30 miljonos.

NATO vadīto spēku karavīri atrodas piecās bāzes nometnēs — galvenā no tām ir Kabulā. Pārējās četros pretējos Afganistānas punktos — Mazarišarīfā, Herātā, Kandahārā un Lagmānā. Operācijas nosaukums «Resolute Support» liecina par vēlmi sniegt mērķtiecīgu atbalstu. Latvijas kontingents Afganistānā koncentrēts valsts ziemeļu daļā — divi karavīri dien Kabulā un tās apkārtnē, kamēr divdesmit vienam — dienesta vieta ir Marmalas bāze, Mazaršarīfas pilsētas tuvumā. Afganistānas Ziemeļu pavēlniecības 209. korpuss, ar kuru sadarbojas Marmalas bāzes karavīri, ir trīs reizes lielāks par visu Latvijas armiju.

Foto: Gatis Indrēvics

Afganistānā joprojām ir nemierīgi. Ik dienu bruņotās sadursmēs kādu nogalina. Karš turpinās. Afgāņi cīnās paši ar sevi — pa laikam finansiāla izdevīguma vārdā pārejot pretinieka pusē — te prezidenta, te talibu, te nemiernieku. Katra puse apgalvo, ka viņu rīcību virza ideja par labāku Afganistānu, mieru un pareizo reliģisko pārliecību. Bet aiz tā slēpjas nemitīga ietekmes un varas pārdalīšana. NATO vadītie spēki kopš 2015.gada sākuma karadarbībā vairs tieši neiesaistās.

Šī ir pirmā starptautiskā operācija, kuras mērķis ir atbalstīt Afganistānas spēku struktūras, piedāvājot zināšanas un padomu, bet nesniedzot militāro palīdzību. Pašreiz Afganistānā ir ap 12 000 NATO vadīto karavīru. Afganistānas iedzīvotāju skaits lēšams 30 miljonos.

NATO vadīto spēku karavīri atrodas piecās bāzes nometnēs — galvenā no tām ir Kabulā. Pārējās četros pretējos Afganistānas punktos — Mazarišarīfā, Herātā, Kandahārā un Lagmānā. Operācijas nosaukums «Resolute Support» liecina par vēlmi sniegt mērķtiecīgu atbalstu. Latvijas kontingents Afganistānā koncentrēts valsts ziemeļu daļā — divi karavīri dien Kabulā un tās apkārtnē, kamēr divdesmit vienam — dienesta vieta ir Marmalas bāze, Mazaršarīfas pilsētas tuvumā. Afganistānas Ziemeļu pavēlniecības 209. korpuss, ar kuru sadarbojas Marmalas bāzes karavīri, ir trīs reizes lielāks par visu Latvijas armiju.

Foto: Gatis Indrēvics

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Afganistānā joprojām ir nemierīgi. Ik dienu bruņotās sadursmēs kādu nogalina. Karš turpinās. Afgāņi cīnās paši ar sevi — pa laikam finansiāla izdevīguma vārdā pārejot pretinieka pusē — te prezidenta, te talibu, te nemiernieku. Katra puse apgalvo, ka viņu rīcību virza ideja par labāku Afganistānu, mieru un pareizo reliģisko pārliecību. Bet aiz tā slēpjas nemitīga ietekmes un varas pārdalīšana. NATO vadītie spēki kopš 2015.gada sākuma karadarbībā vairs tieši neiesaistās.

Šī ir pirmā starptautiskā operācija, kuras mērķis ir atbalstīt Afganistānas spēku struktūras, piedāvājot zināšanas un padomu, bet nesniedzot militāro palīdzību. Pašreiz Afganistānā ir ap 12 000 NATO vadīto karavīru. Afganistānas iedzīvotāju skaits lēšams 30 miljonos.

NATO vadīto spēku karavīri atrodas piecās bāzes nometnēs — galvenā no tām ir Kabulā. Pārējās četros pretējos Afganistānas punktos — Mazarišarīfā, Herātā, Kandahārā un Lagmānā. Operācijas nosaukums «Resolute Support» liecina par vēlmi sniegt mērķtiecīgu atbalstu. Latvijas kontingents Afganistānā koncentrēts valsts ziemeļu daļā — divi karavīri dien Kabulā un tās apkārtnē, kamēr divdesmit vienam — dienesta vieta ir Marmalas bāze, Mazaršarīfas pilsētas tuvumā. Afganistānas Ziemeļu pavēlniecības 209. korpuss, ar kuru sadarbojas Marmalas bāzes karavīri, ir trīs reizes lielāks par visu Latvijas armiju.

Foto: Gatis Indrēvics

Afganistānā joprojām ir nemierīgi. Ik dienu bruņotās sadursmēs kādu nogalina. Karš turpinās. Afgāņi cīnās paši ar sevi — pa laikam finansiāla izdevīguma vārdā pārejot pretinieka pusē — te prezidenta, te talibu, te nemiernieku. Katra puse apgalvo, ka viņu rīcību virza ideja par labāku Afganistānu, mieru un pareizo reliģisko pārliecību. Bet aiz tā slēpjas nemitīga ietekmes un varas pārdalīšana. NATO vadītie spēki kopš 2015.gada sākuma karadarbībā vairs tieši neiesaistās.

Šī ir pirmā starptautiskā operācija, kuras mērķis ir atbalstīt Afganistānas spēku struktūras, piedāvājot zināšanas un padomu, bet nesniedzot militāro palīdzību. Pašreiz Afganistānā ir ap 12 000 NATO vadīto karavīru. Afganistānas iedzīvotāju skaits lēšams 30 miljonos.

NATO vadīto spēku karavīri atrodas piecās bāzes nometnēs — galvenā no tām ir Kabulā. Pārējās četros pretējos Afganistānas punktos — Mazarišarīfā, Herātā, Kandahārā un Lagmānā. Operācijas nosaukums «Resolute Support» liecina par vēlmi sniegt mērķtiecīgu atbalstu. Latvijas kontingents Afganistānā koncentrēts valsts ziemeļu daļā — divi karavīri dien Kabulā un tās apkārtnē, kamēr divdesmit vienam — dienesta vieta ir Marmalas bāze, Mazaršarīfas pilsētas tuvumā. Afganistānas Ziemeļu pavēlniecības 209. korpuss, ar kuru sadarbojas Marmalas bāzes karavīri, ir trīs reizes lielāks par visu Latvijas armiju.

Foto: Gatis Indrēvics

Zermatt, 31.10.16: Sechs Bergsteiger haben das Matterhorn mit speziellem Gepäck bestiegen: Sie platzierten zwei Atomfässer auf dem Gipfel des bekanntesten Schweizer Bergs. Dort enthüllten sie ein Transparent mit der Aufschrift «Traumgipfel statt Müllberge» um ihre Unterstützung zu zeigen für die Initiative für den geordneten Atomausstieg, über die am 27. November abgestimmt wird. Copyright: Severin Mösinger

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Zemessardzes 2. Vidzemes brigādes organizētajā ziemas izdzīvošanas kursā jaunie karavīri apliecina savas spējas un prasmes izdzīvot ziemas apstākļos – uzcelt nojumi, nodrošināt siltumu, veikt personīgās higiēnas pasākumus apgrūtinātos apstākļos, iegūt ūdeni un pagatavot ēdienu.

Tāpat tiek trenēta spēja izdzīvot ar minimālu ekipējumu pēc iegremdēšanās āliņģa ledainajā ūdenī.

Foto: seržants Ēriks Kukutis (Aizsardzības ministrija)

Cucaña, Palo ensebado, Greasy pole

Español:

es.wikipedia.org/wiki/Cuca%C3%B1a

sevilla.abc.es/sevilla/sevi-cucana-vela-remojon-y-30-euro...

English:

en.wikipedia.org/wiki/Greasy_pole

Weston, Fl. – The Sagemont School has always had an international flavor with over 40 countries represented by its student body. As a result, it was natural for the school to develop an international home-stay program that attracts accomplished high school students who want to study abroad. According to Sagemont President, Dr. Brent Goldman, “The International Student Program at Sagemont is extremely unique. There are many private college prep high schools in the country that host international students but in a dorm situation. At Sagemont, our international students live with local host families, which enables the students to become fully immersed in our language and culture.”

Currently in its 4th year, the international program has attracted students from Bermuda, Bahamas, Brazil, Germany, Venezuela, China, Korea, Taiwan, Serbia, Croatia, Russia, Japan, and Norway.

Sagemont’s ESOL teacher, Erin Gustitis, once an International student herself, mentors the students to ensure the smoothest transition. Her job is made easier by the fact that Sagemont is so culturally diverse. Beth Hjartnes, Director of Admissions and International Enrollment, said, “South Florida is known for being an eclectic cultural area. Therefore, international students have a great opportunity to fit in with ease.”

School in the United States is different for many of these students because they are used to more classes packed into a week’s schedule. Yuki Nozasa, a Sagemont graduate from Japan said, “Once I became used to school at Sagemont, it would have been difficult to go back to Japan. I like this system better because we study fewer things at a time, and this allows me to get a better understanding of my subjects.”

Sagemont frequently fields calls from families abroad who are interested in their program. International students want to come to Sagemont to learn English fluently in order to better their opportunities when they return to their own country. Students, who are from English speaking countries, come seeking better educational opportunities. The Sagemont School is popular because of its small size and beautiful location in South Florida near to beaches and noted attractions. Sagemont’s study abroad program offers ESOL instruction and English immersion. The college prep high school curriculum includes a variety of Honors and Advanced Placement choices. Families are happy to find that Sagemont is a SEVIS approved school and can facilitate I-20 Visas.

Once here, most international students decide to remain in the USA to study at an American university. “We currently have several international graduates attending American universities and we continue to ‘keep tabs’ on them. They return to Weston for the holidays to be with their home-stay families when they cannot fly home”, states Hjartnes.

Most students commit to one year but end up staying to graduate. So Jung Lee, a senior from Korea, has lived with Beth Hjartnes and her family for four years. Lee said, “I came to Sagemont to study for one year in 9th grade. I am now a senior and my family is coming to my graduation. Sagemont has prepared me for college both educationally and socially. My home-stay family has given me constant direction and support and will continue to guide me in my college decisions.”

“Having an international student live with us has given me and my family a global perspective that is priceless,” said Hjartnes. Sojung’s desire to learn and study was a great lesson for our entire family. She is a model for all American students to learn by.”

The Sagemont School offers a study abroad private high school program with home stay located in Florida. The Sagemont School is very unique because of its small size and popular location in South Florida located near beaches and popular attractions. This study abroad program offers ESOL instruction and English immersion. The college prep high school curriculum includes a variety of Honors and Advanced Placement choices. Sagemont is a SEVIS approved school serving 800 students from kindergarten through high school graduation. SEVIS I-20 Visas available. For students living in Florida, this respected college prep school caters to the Fort Lauderdale area, including Weston, Davie, Southwest Ranches, Cooper City, Miramar, and Sunrise. For students in preschool through grade 5, Sagemont provides core concepts in a creative environment combined with weekly specials that include science, art, music, Spanish for non-native & native speakers, swimming, PE and media and technology. From middle school through high school graduation, Sagemont students choose from a variety of regular, honors and AP course work. In addition, students share in a networked wireless laptop environment and participate in a comprehensive guidance program for college entrance. Visit The Sagemont School Web site at www.sagemont.com/.

For more information on the International Home Stay program contact Beth Hjartnes at bhjartnes@sagemont.com, (954) 389-2454 ext. 304.

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LG’nin sıradaki üst seviye telefonu olan LG G7 ThinQ için basın görselleri ve detaylı teknik özellikleri internete sızdı.

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www.aslantek.com/lg-g7-thinqnun-ozellikleri-belli-oldu/

Weston, Fl. – The Sagemont School has always had an international flavor with over 40 countries represented by its student body. As a result, it was natural for the school to develop an international home-stay program that attracts accomplished high school students who want to study abroad. According to Sagemont President, Dr. Brent Goldman, “The International Student Program at Sagemont is extremely unique. There are many private college prep high schools in the country that host international students but in a dorm situation. At Sagemont, our international students live with local host families, which enables the students to become fully immersed in our language and culture.”

Currently in its 4th year, the international program has attracted students from Bermuda, Bahamas, Brazil, Germany, Venezuela, China, Korea, Taiwan, Serbia, Croatia, Russia, Japan, and Norway.

Sagemont’s ESOL teacher, Erin Gustitis, once an International student herself, mentors the students to ensure the smoothest transition. Her job is made easier by the fact that Sagemont is so culturally diverse. Beth Hjartnes, Director of Admissions and International Enrollment, said, “South Florida is known for being an eclectic cultural area. Therefore, international students have a great opportunity to fit in with ease.”

School in the United States is different for many of these students because they are used to more classes packed into a week’s schedule. Yuki Nozasa, a Sagemont graduate from Japan said, “Once I became used to school at Sagemont, it would have been difficult to go back to Japan. I like this system better because we study fewer things at a time, and this allows me to get a better understanding of my subjects.”

Sagemont frequently fields calls from families abroad who are interested in their program. International students want to come to Sagemont to learn English fluently in order to better their opportunities when they return to their own country. Students, who are from English speaking countries, come seeking better educational opportunities. The Sagemont School is popular because of its small size and beautiful location in South Florida near to beaches and noted attractions. Sagemont’s study abroad program offers ESOL instruction and English immersion. The college prep high school curriculum includes a variety of Honors and Advanced Placement choices. Families are happy to find that Sagemont is a SEVIS approved school and can facilitate I-20 Visas.

Once here, most international students decide to remain in the USA to study at an American university. “We currently have several international graduates attending American universities and we continue to ‘keep tabs’ on them. They return to Weston for the holidays to be with their home-stay families when they cannot fly home”, states Hjartnes.

Most students commit to one year but end up staying to graduate. So Jung Lee, a senior from Korea, has lived with Beth Hjartnes and her family for four years. Lee said, “I came to Sagemont to study for one year in 9th grade. I am now a senior and my family is coming to my graduation. Sagemont has prepared me for college both educationally and socially. My home-stay family has given me constant direction and support and will continue to guide me in my college decisions.”

“Having an international student live with us has given me and my family a global perspective that is priceless,” said Hjartnes. Sojung’s desire to learn and study was a great lesson for our entire family. She is a model for all American students to learn by.”

The Sagemont School offers a study abroad private high school program with home stay located in Florida. The Sagemont School is very unique because of its small size and popular location in South Florida located near beaches and popular attractions. This study abroad program offers ESOL instruction and English immersion. The college prep high school curriculum includes a variety of Honors and Advanced Placement choices. Sagemont is a SEVIS approved school serving 800 students from kindergarten through high school graduation. SEVIS I-20 Visas available. For students living in Florida, this respected college prep school caters to the Fort Lauderdale area, including Weston, Davie, Southwest Ranches, Cooper City, Miramar, and Sunrise. For students in preschool through grade 5, Sagemont provides core concepts in a creative environment combined with weekly specials that include science, art, music, Spanish for non-native & native speakers, swimming, PE and media and technology. From middle school through high school graduation, Sagemont students choose from a variety of regular, honors and AP course work. In addition, students share in a networked wireless laptop environment and participate in a comprehensive guidance program for college entrance. Visit The Sagemont School Web site at www.sagemont.com/.

For more information on the International Home Stay program contact Beth Hjartnes at bhjartnes@sagemont.com, (954) 389-2454 ext. 304.

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Tatyana Kanzaveli (Open Health Network), Sevi Wilheim (Beyond Equal) DLD Munich Conference 2022, Europe's big innovation conference, Gasteig, Rosenheimerstrasse 5, 81667 Munich, Germany, May 20-22, 2022.

Free press image @ Daniel Grund for DLD / Hubert Burda Media

UNA AMIGA DE ESPAÑA

Pionera de la fotografía de vanguardia, después de trabajar para importantes revistas y publicaciones, Yvonne Chevalier (1899-1982) viajó a España en 1949. junto con la escritora y amiga Marcelle Auclair para ilustrar con sus fotografías dos libros de esta autora: “Sainte Thèrese D’Avila: Le livre des Fondations” y “Dans la Clôture des Carmels d’Espagne”. En su paso por Ávila, además de fotografiar exteriores de la ciudad tuvo el privilegio de ser la primera fotógrafa en entrar en las estancias privadas de los conventos de clausura de San José Y la Encarnación.

Chevalier conoció y fue amiga de Federico García Lorca, las fotografías y retratos que realizó del poeta ilustraron el libro de Marcelle Auclair, "Enfances et mort de García Lorca". (1968)

Actualmente sus trabajos se encuentran en conocidos centros de arte franceses.UNA AMIGA DE SPAÑA

Pionera de la fotografía de vanguardia, después de trabajar para importantes revistas y publicaciones, Yvonne Chevalier viajó a España en 1949. junto con la escritora y amiga Marcelle Auclair para ilustrar con sus fotografías dos libros de esta autora: “Sainte Thèrese D’Avila: Le livre des Fondations” y “Dans la Clôture des Carmels d’Espagne”. En su paso por Ávila, además de fotografiar exteriores de la ciudad tuvo el privilegio de ser la primera fotógrafa en entrar en las estancias privadas de los conventos de clausura de San José Y la Encarnación.

Chevalier conoció y fue amiga de Federico García Lorca, las fotografías y retratos que realizó del poeta ilustraron el libro de Marcelle Auclair, "Enfances et mort de García Lorca". (1968)

Actualmente sus trabajos se encuentran en conocidos centros de arte franceses.

ENLACES

www.centrepompidou.fr/es/ressources/personne/cKaaEoA

en.wikipedia.org/wiki/Yvonne_Chevalier

edicionsclariana.cat/lamentable/yvonne-chevalier-pionera-...

______________

“SAN SEGUNDO”, FINCA DE RECREO URBANA CON JARDÍN DE WINTHUYSEN. Juan Martínez de las Rivas.

En 1921, Eusebio de Güell y López, vizconde de Güell, hijo del constructor de Parc Güell, compró y unificó las dos parcelas contiguas que cierran el ángulo noroeste del recinto amurallado de Ávila. Un año más tarde, Javier de Winthuysen, firmó el plano del jardín que trazó para ese lugar. Imagino que Güell y Winthuysen visitaron juntos el lugar y que la opinión del pintor y trazador de jardines decidió al mecenas a la compra. La proximidad de las fechas anteriores avala esa suposición. También lo propicio del terreno a ojos de un jardinero pintor: pienso que Winthuysen informó a Güell de la ventaja de la protección contra el norte que en el duro clima de Ávila ofrece el alto interior de ese lienzo de muralla, así como de la abundancia de agua, de la garantía que ofrecía el uso hortelano tradicional de esas parcelas, y de lo aprovechable como telón de fondo cambiante y sorprendente del perfil inclinado y cercano al suelo de ese tramo del lienzo de muralla orientado al este. Winthuysen (1874-1956) el más admirado de los trazadores de la historia de los jardines españoles, se encontraba entonces en su madurez creativa y Güell le proporcionó los medios para crear un jardín complejo y elaborado, con varios ambientes y niveles, que requirió notables movimientos de tierra y trabajos de mampostería y de hidráulica. La extensión del diseño, grande para un jardín urbano, es de unos tres mil quinientos metros, en una finca de cinco mil.

¿Qué llevó a Güell a Ávila? No tengo la respuesta, pero dice mucho de la visión y escaso convencionalismo de Güell y de Winthuysen que encontraran un lugar para colaborar en una ciudad provinciana, decadente desde siglos antes y en un barrio casi deshabitado, alejado de la zona monumental, y que desde la edad media servía como huerta.

La impresión inicial al encontrarse en un jardín de Winthuysen es de regreso al pasado, por lo formal de sus composiciones de paseos, setos recortados y arcos de cipreses. Pero el pintor sevillano no creó jardines historicistas, sino nuevos desarrollos y trazados que trajeron a la modernidad los jardines españoles. Frente a la extensión del gusto por el jardín inglés que amenazaba los jardines tradicionales, defendió la conservación y renovación de las influencias árabe y renacentista. En sus trazados se suma el conocimiento vegetal al gusto artístico.

Hay jardines señalados por su historia, ingeniería, variedad botánica, tamaño o significado constructivo, pero los plantados por pintores como Winthuysen (o Monet, en Giverny; Ribera y Kahlo en su Casa Azul de Coyoacán; Emil Nolde en Seebühl), suelen ofrecer un atractivo particularmente intenso.

En “San Segundo” Winthuysen y Güell crearon una finca de recreo urbana, con dos casas de verano abiertas al jardín, con el agua -embalsada en una alberca y guiada por canales vistos y enterrados a través de los parterres y surtidores hasta un albañal de la muralla- como motivo principal. En su construcción reutilizaron las viviendas anteriores y la cerca, de modo que desde el exterior la finca no se distinguía de sus vecinas huertas y cuadras, hoy desaparecidas. En las dos casas se mantuvo la planta única propia del barrio de san Esteban. Sólo una vez dentro del recinto se sabe que la huerta ha sido refinada por un jardinero artista y por un mecenas con el gusto y conocimiento de permitir que un jardín predomine sobre una casa. Este hecho, el papel secundario de las casas, de difícil interpretación con los criterios constructivos de la burguesía abulense, ha motivado diversas leyendas locales, como la del derribo de un palacio que nunca existió y que se sigue sosteniendo incluso en documentos urbanísticos oficiales.

En las décadas posteriores a la guerra, su segundo propietario, el marqués de Santo Domingo, añadió al jardín cinco toros vettones, escudos, lápidas, capiteles y columnas. La conservación actual es fiel al plano original de Winthuysen depositado en el archivo del Jardín Botánico Nacional. El jardín puede visitarse con cita. La casa principal está habitada y la casa de invitados puede alquilarse como villa turística (info@villawinthuysen.com).

www.flickr.com/photos/avilas/6960117983/in/photostream/

BIBLIOGRAFÍA: "Winthuysen y Güell en Ávila. El jardín de San segundo": Sonsoles Nieto Caldeiro, Ed. Diputación de Ávila, 2018.

AUTOBIOGRAFÍA:

"Memorias de un Señorito Sevillano" Winthuysen, Javier de: studylib.es/doc/6283108/memorias-de-un-se%C3%B1orito-sevi...

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THIS PRODUCT IS MANUFACTURED BY KING GOLD COVERING.ENQUIRE OF THIS PRODUCT CALL AS CELL : +919176000669 /+919840615051, OR WWW.KINGGOLDCOVERING.COM,WWW.KINGGOLD.IN,GOLD,SILVER,COPPER AND BRASS. SHEET METAL WORKS,TEMPLE ORNAMENTS, TEMPLE JEWELRY , ALANGARAM ITEMS,KAVACHAM, TEMPLE ITEMS,MANGAIYAM, YALI SWORDS, VAJRA KAVACHAM,RATNANGI KAVACHAM, PATHAKKAM DESIGN, BRONZE STATUE,GANDABERUNDA,ANNAPAKSHI,KARNA PATHAKKAM, NAGABHARANAM,ALANGARAM,JADAI,PRABHAVALI, KASUMALAI, VIMANAM, KIREETAM,KODIMARAM,SANGU CHAKRAM,THIRUVACHI,PANDIAN KONDAI,VAIRAMUDI SEVI,VAHANAM,BEEDAM,HASTHA PAATHAM,ANDAL KONDAI, MUTHANGI SEVI,PANCHALOGAM IDOLS,KAVASAM,BRASS IDOLS , STONE WORK KAVACHAM, IMPON SILAI,SOMBU, ASHTALAKSHMI KUDAM,SOMBU , KUMBA DEEPAM,SILVER SADARI,SULAM,VEL,SEVALKODI ,KOVIL BELL,AMMAN MUGAM, NAMAM, VIBHUTI PATTAI,YAZHI,SADARI,VIGRAHAM, ABISHEGAM PEEDAM, KOMUHA PLATE,POLISHING ETC. www.facebook.com/Thekinggoldcovering, www.youtube.com/Thekinggoldcovering, www.flickr.com/photos/kinggoldcovering, kinggoldcovering.blogspot.in, twitter.com/kingoldcovering. www.pinterest.com/kingoldcovering

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Zemessardzes 2. Vidzemes brigādes organizētajā ziemas izdzīvošanas kursā jaunie karavīri apliecina savas spējas un prasmes izdzīvot ziemas apstākļos – uzcelt nojumi, nodrošināt siltumu, veikt personīgās higiēnas pasākumus apgrūtinātos apstākļos, iegūt ūdeni un pagatavot ēdienu.

Tāpat tiek trenēta spēja izdzīvot ar minimālu ekipējumu pēc iegremdēšanās āliņģa ledainajā ūdenī.

Foto: seržants Ēriks Kukutis (Aizsardzības ministrija)