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Fantasy Masterpieces / Heft-Reihe
cover: Jack Kirby, Don Heck, Dick Ayers, Frank Giacoia
> Captain America: The Ringmaster of Death (art: Joe Simon, Jack Kirby)
Reprint from Captain America Comics (Marvel, 1941 series) #5 (August 1941)
> Captain America: The Gruesome Secret of the Dragon of Doom! (art: Joe Simon, Jack Kirby)
Reprint from Captain America Comics (Marvel, 1941 series) #5 (August 1941)
> Mister Gregory and the Ghost! (art: Jack Kirby, George Klein)
Reprint from Journey into Mystery (Marvel, 1952 series) #75 (December 1961)
> The Things from Dimension X! (art: Don Heck)
Reprint from Strange Tales (Marvel, 1951 series) #80 (January 1961)
> It fell from the Flying Saucer! (Jack Kirby, Dick Ayers)
Reprint from Tales to Astonish (Marvel, 1959 series) #31 (May 1962)
> Captain America: Killers of the Bund (art: Joe Simon, Jack Kirby)
Reprint from Captain America Comics (Marvel, 1941 series) #5 (August 1941)
Marvel Comics Group / USA 1966
ex libris MTP
One of the most important Achaemenid Royal Inscriptions is the Daiva inscription (5 parts).
The texts:
1. A great god is Ahuramazda, who created this earth, who created yonder sky, who created man, who created happiness for man, who made Xerxes king, one king of many, one lord of many.
2. I am Xerxes, the great king, king of kings, king of countries containing many kinds of men, king in this great earth far and wide, son of king Darius, an Achaemenian, a Persian, son of a Persian, an Aryan, of Aryan stock.
3. King Xerxes says: By the grace of Ahuramazda these are the countries of which I was king apart from Persia. I had lordship over them. They bore me tribute. What was said to them by me, that they did. My law, that held them: Media, Elam, Arachosia, Armenia, Drangiana, Parthia, Aria, Bactria, Sogdia, Chorasmia, Babylonia, Assyria, Sattagydia, Lydia, Egypt, Yaunâ, those who dwell on this side of the sea and those who dwell across the sea, men of Maka, Arabia, Gandara, India, Cappadocia, theDahae, the haoma-drinking Sacae, the Sacae wearing pointed caps, Thrace, men of Âkaufaciyâ, Libyans, Carians, and the Nubians.
4. King Xerxes says: when I became king, there was among these countries one that was in rebellion. Ahuramazda bore me aid. By the grace of Ahuramazda I smote that country and put it down in its place.
And among these countries there was a place where previously demons (daiva) were worshipped. Afterwards, by the grace of Ahuramazda I destroyed that sanctuary of demons, and I proclaimed: 'The demons shall not be worshipped!' Where previously the demons were worshipped, there I worshipped Ahuramazda at the proper time and in the proper manner. And there was other business that had been done ill. That I made good. That which I did, all I did by the grace of Ahuramazda. Ahuramazda bore me aid until I completed the work.
You who may live hereafter, if you should think 'Happy may I be when living, and when dead may I be blessed,' have respect for that law which Ahuramazda has established. Worship Ahuramazda at the proper time and in the proper manner. The man who has respect for that law that Ahuramazda has established and worships Ahuramazda at the proper time and in the proper manner, he both becomes happy while alive and becomes blessed when dead.
5. King Xerxes says: May Ahuramazda protect me from harm, and my house, and this land. This I ask of Ahuramazda. This may Ahuramazda give to me.
Córdoba stands against Sierra Morena mountain range in Spain and is listed as a World Heritage Site offering rich history and many monuments.
Natchez is the only city and county seat of Adams County, Mississippi, United States. Natchez has a total population of 15,792 (as of the 2010 census). Located on the Mississippi River some 90 miles (140 km) southwest of Jackson, the capital of Mississippi, and 85 miles (137 km) north of Baton Rouge, Louisiana, it is named for the Natchez tribe of Native Americans whose territory it was.
Established by French colonists in 1716, Natchez is one of the oldest and most important European settlements in the lower Mississippi River Valley; it later served as the capital of the Mississippi Territory under the United States and then the state of Mississippi. It predates Jackson which replaced Natchez as the capital in 1822, by more than a century. The strategic location of Natchez, on a bluff overlooking the Mississippi River, ensured that it would become a pivotal center of trade, commerce, and the interchange of ethnic Native American, European, and African cultures in the region for the first two centuries of its existence. In U.S. history, it is recognized particularly for its role in the development of the Old Southwest during the first half of the nineteenth century. It was the southern terminus of the historic Natchez Trace. This was used by many pilots of flatboats and keelboats to return north to their homes in the Ohio River Valley after unloading their cargo in the city. Today the modern Natchez Trace Parkway, which commemorates this route, still has its southern terminus in Natchez.
In the middle of the nineteenth century, the city attracted extremely wealthy Southern planters as residents, who built mansions to fit their ambitions; their plantations were vast tracts of land in the surrounding lowlands of Mississippi and Louisiana, where they grew large crops of cotton and sugar cane using slave labor. Natchez became the principal port from which these crops were exported, both upriver to Northern cities and downriver to New Orleans, where much of the cargo was exported to Europe. The planters' fortunes allowed them to build huge mansions in Natchez before 1860, many of which survive to this day and form a major part of the city's architecture and identity. Agriculture remained the primary economic base for the region until well into the twentieth century.
en.wikipedia.org/wiki/Natchez,_Mississippi
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Super Pee Wee Color Me Image From Supa Pewee Kids Coloring Book SPWK JRC B-Pop Mason Valentine Chu Dog Kat Cat SPWK Super Pee Wee Kids American Comic Book Cartoon Characters Children Boy Girl Super Deformed Art Form Americana Poster Book Print Sign Hair Harajuku Punk Style Halloween Fashion Christmas Animation Strip Japan Cool Skater Girl B-Pop Skateboard Josei Kodomo Anime Kawaii Manga Chibi Fandom Pee Wee Kids Surf Bad Girls Club Gun Tattoo Supa Pewee Kids SPWK Junior Riters Club Cartoon Comic Book Poster Promo Images Emblems Logos Pee Wee Kids Mason Valentine Kat Chu Stories and Songs Super Pop Superhero Bad Girl Good Bad Girl Boy Supa Chippokeno Oshikku Komikku Mangabon Kodomo Tachi Supa Shonen Supahiro Supagaru Garu Hiro Write Hip Hop Rack Rock Music Mason Valentine Comic Song Books Halloween Costume Cosplay SD Japan Anime Chibi Super Deformed American Cartoon Comic Book Characters Cosplayer Fantasy Dress Up Club Superhero Outfit Clothes Suit Cape Boots Cape Sticker Decal Film Cell Tattoo Supa Pewee Kids B-Pop Mason Valentine Comic Story Cartoon Book Pages SD Super Pee Wee Hip Hop Music Poetry Character Poster B-Pop in Punkee Pink Hoodie B-Pop Ski Mask Fashion & Style Anime Manga Music Day Supa Oshikko Kizzu Kodomo Kawaii Cute Love Chibi Pee Wee Shonen Seinen Super Picture Text Symbol Paint By Number Android Manhua Game App Lil Dinosaur Pet Child Hero Play Set Children Bugs Insect Pop Scene Japanese Girl Appeal Harajuku Skater Strip Tokyo Toy Skateboard Kart Bike 3 Wheel Cart Scooter Engine Cart Race Nasty Animals Bat Big Hero Doctor Firefly Frankenstein Dracula Frozen Lake Super Baseball Game Gate Big Sky Grand Prix Gum Ball Guardians How Metal Climb Solid Cliff Retro Toys Scrabble Flowers Sports Basketball Star Team Go Kart Princess Castle Crown Fortress Cart Transformers Monkey Evil Snake Despicable Horror Monsters Classic Film Smash Mouth Fangs Teeth Costume Vampire Movie Silver Hello Wacky Fold Gold Action Figures Collectibles Car Train Final Gears Ghost Graphic Mouse Novels God Rat Cheese Circle Bubble Bobble Zoo Friend Halo Shop Portal Ship Pirate Jewels Gem Terminator Crystal Lightning Weather Thunder Twilight Storm Dragon Sailor World Think Transformer Fighters Gear Head Doctor Mad Giant Horse Dark Engine Star Coral Monsters Me Who Arcade Video Game System Thrones Chair Teacher King Steve Fantasy Fandom Lil Moon Earth Planet Big Cup Cat Novelty Cape Claws Mug Master Mug Baby Think Seed Tank Moon Mars Ring Saga Fish Tank Bros Pool Sea Bowl Craft Wrestling Fighters Dark Hollywood Collectibles Brother Hot Toys Mad Men Green Grass Yellow Old Engine Monogram Text Symbol Cold Bush Universe Horse Girls Clothes Punk Skater Chick Shirt Jacket Kitty Kitten Dress Shoe Party Magic Education History Cool Kat Cat Forest Act Race Rat Mouse Forest Team Group Artistry Prize Price Bar Vision Fall Winter Organism Sled Track Fit Shoes Snow Field Horse Sled Orbit Round Space Pod Ship Around Planet Mine Young Clothes Logo Stock Sock Rock Sox Violin Violet Brand Franchise Literary Multi Mass Media Arm Medium Photo Lense Turbo Graph Chart
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Plantarum indigenarum et exoticarum icones ad vivum coloratae, oder, Sammlung nach der Natur gemalter Abbildungen inn- und ausländlischer Pflanzen, für Liebhaber und Beflissene der Botanik /.
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This is the front and back of a card that I created for the Halloween Story Deck swap on Traveler's H'art run by RedDogScott. The deck was a fabulous idea and this was my first time playing. I call it my "Harvest Moon".
THE FRONT (left)
I collaged a 3" x 5" piece of 140lb watercolor paper, here are my steps...
...glued a strip of poetry to the blank watercolor paper
...painted it in acrylic then smeared it with a paper towel before it could dry
...cut the pumpkin out of a seed pack image from an AMP collage sheet
...placed the moon and bugs; the bugs are from an AMP transparency
...scanned and perf trimmed the stamp and placed it.
When I was done I scanned the card into Photoshop at 600dpi and tweaked it to color correct. Replicating it three to a page, I made 36 cards then worked on the text.
THE BACK (right)
The back side is hand-written text based on RedDogScott's suggestion. The darker text is what we were asked to use and the gray is my "embellishment" on it.
I chose, by popular request, to do it in ,my own handwriting since you guys seem to love it so much here. hehe I plan to make these into tags that I can carry in my Etsy shop.
I had a BLAST doing this and hope to be in more of her swaps in the future. She is a terrific hostess and her groups - Capolan and Traveler's H'art - are a lot of fun. Thank you for hosting Red!!!
= = =
AMP = www.autumnmoonpaper.com
The stamp is a scan of one from my collection. The moon face, I think, is from Paper Relics and I added a sepia overlay.
Plantarum indigenarum et exoticarum icones ad vivum coloratae, oder, Sammlung nach der Natur gemalter Abbildungen inn- und ausländlischer Pflanzen, für Liebhaber und Beflissene der Botanik /.
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Shiva (/ˈʃivə/; Sanskrit: Śiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism.[2][3] He is one of the five primary forms of God in the Smarta tradition,[2] and "the Destroyer" or "the Transformer"[4] among the Trimurti, the Hindu Trinity of the primary aspects of the divine.
At the highest level, Shiva is regarded limitless, transcendent, unchanging and formless.[5][6][7][8][9] Shiva also has many benevolent and fearsome forms.[10] In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash,[4] as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.[11][12][13]
The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument. Shiva is usually worshiped in the aniconic form of Lingam
The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word is[17] means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.[18]
The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).[19][20][21]
The Sanskrit word śaiva means "relating to the god Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect.[22] It is used as an adjective to characterize certain beliefs and practices, such as Shaivism.[23]
The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.[24][25]
Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."[26] Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".[27]
Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great god"; mahā "Great" and deva "god"),[28][29] Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"),[30][31] and Parameśvara ("Supreme Lord").[32]
There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva.[33] The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition.[34] Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.[35][36]The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.[37][38]The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure.[38] How the persona of Shiva converged as a composite deity is not well documented.[39] According to Vijay Nath:
Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."[40]
Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.[41]
An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes.[42] The foremost center of worship of Khandoba in Maharashtra is in Jejuri.[43] Khandoba has been assimilated as a form of Shiva himself,[44] in which case he is worshipped in the form of a lingam.[42][45] Khandoba's varied associations also include an identification with Surya[42] and Karttikeya.[46]Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic[47][48][49] figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra.[47][50][51][52] Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.
While some academics like Gavin Flood[53][54] and John Keay have expressed doubts. John Keay writes that "He may indeed be an early manifestation of Lord Shiva as Pashu- pati", but a couple of his specialties of this figure does not match with Rudra.[55] Writing in 1997 Doris Srinivasan rejected Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man.[56] According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.[57]
Writing in 2002, Gregory L. Possehl concluded that while it would be appropriate to recognize the figure as a deity, its association with the water buffalo, and its posture as one of ritual discipline.[58]Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.[59]Shiva as we know him today shares many features with the Vedic god Rudra,[60] and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.
Hindu text Rig Veda, which is dated to between 1700 and 1100 BC based on linguistic and philological evidence.[61] A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods.[62] Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.
The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:
Rudra is called "The Archer" (Sanskrit: Śarva),[63] and the arrow is an essential attribute of Rudra.[64] This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.[65]
The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill",[66] and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness".[65] The names Dhanvin ("Bowman")[67] and Bāṇahasta ("Archer", literally "Armed with arrows in his hands")[67][68] also refer to archery.
Agni[edit]
Rudra and Agni have a close relationship.[69][70] The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva.[71] The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra."[72] The interconnections between the two deities are complex, and according to Stella Kramrisch:
The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.[73]
In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities.[74] Agni is said to be a bull,[75] and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned.[76][77] In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.[78]
Indra[edit]
According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra.[79] Doniger gives several reasons for her hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3,[80] 6.45.17,[81][82] and 8.93.3.[83]) Indra, like Shiva, is likened to a bull.[84][85] In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.[86]
The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion,[87][88] and the Indo-Iranian religion.[89] According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran.[90] It was "a syncretic mixture of old Central Asian and new Indo-European elements",[90] which borrowed "distinctive religious beliefs and practices"[89] from the Bactria–Margiana Culture.[89] At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma.[91] According to Anthony,
Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.[92]
Later Vedic literature[edit]
Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BC), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BC to 100 AD also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.[54][93]
Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.[94][95]
Puranic literature[edit]
The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.[96]
Tantric literature[edit]
The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.[97]Shaivism[edit]
Main articles: Shaivism and History of Shaivism
Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.
Panchayatana puja[edit]
Main article: Panchayatana puja
Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century AD Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.[98]
Trimurti[edit]
Main article: Trimurti
The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer.[99][100] These three deities have been called "the Hindu triad"[101] or the "Great Trinity",[102] often addressed as "Brahma-Vishnu-Maheshwara."
Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite. It is often not shown but Shiva has 6 heads, of which only five (Isana, Tatpurusha, Vamana, Aghora, Sadyojata) are visible while the 6th (Adhomukh) can only be seen by the enlightened.
Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes,[103] called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources.[104] In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes".[105] However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers".[106][107] These three mother-goddesses who are collectively called the Ambikās.[108] Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā.[109] It has been mentioned that when Shiva loses his temper, his third eye opens which can reduce most things to ashes.
Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon.[110] The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown")[111][112][113] refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva.[114] The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon.[115] The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.
Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence.[116] Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy.[117] These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism.[118] One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.[119]
Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair",[120] and Kapardin, "endowed with matted hair"[121] or "wearing his hair wound in a braid in a shell-like (kaparda) fashion".[122] A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly.[123] His hair is said to be like molten gold in color or being yellowish-white.
Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat").[124][125] Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue.[126][127] (See Maha Shivaratri.)Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva.[128][129] The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair.[130] The flow of the Ganges also represents the nectar of immortality.
Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin,[116] an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.[131]
Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.[132]
Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.
Trident: (Trishula): Shiva's particular weapon is the trident.[116] His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.
Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru).[133][134] This is one of the attributes of Shiva in his famous dancing representation[135] known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum.[136] This drum is particularly used as an emblem by members of the Kāpālika sect.[137]
Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.
Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana).[138][139] Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle"[140] and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra.[141] Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.
Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".[142]
5 heads: Shiva is known as panchavactra means 5 heads which indicates 5 elements.
Arms: Shiva has 4 arms which resembles 4 vedas
Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode.[116] In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.[143]
Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.[144]
LINGAM
Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important.[145][146][147] These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness".[148] Shiva also means "one in whom the whole creation sleeps after dissolution".[148] Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself.[148] Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol,[149][150] although this interpretation is disputed by others, including Christopher Isherwood,[151] Vivekananda,[152] Swami Sivananda,[153] and S.N. Balagangadhara.[154]
JYOTHIRLINGAM
The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga.[155][156] In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.[156]
The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.[157]Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali[158] and Chandika.[159] Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).
The five mantras[edit]
Five is a sacred number for Shiva.[160] One of his most important mantras has five syllables (namaḥ śivāya).[161]
Shiva's body is said to consist of five mantras, called the pañcabrahmans.[162] As forms of God, each of these have their own names and distinct iconography:[163]
Sadyojāta
Vāmadeva
Aghora
Tatpuruṣha
Īsāna
These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action.[164][165] Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes.[166] The overall meaning of these associations is summarized by Stella Kramrisch:
Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.[167]
According to the Pañcabrahma Upanishad:
One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)[168]
Forms and roles[edit]
According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[169] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.
NATARAJA
The depiction of Shiva as Nataraja (Sanskrit: naṭarāja, "Lord of Dance") is popular.[199][200] The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama.[201] His association with dance and also with music is prominent in the Puranic period.[202] In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular.[203] The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya.[204][205] and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati.[206][207] Lasya is regarded as the female counterpart of Tandava.[207] The Tandava-Lasya dances are associated with the destruction-creation of the world.[208][209][210]
Dakshinamurthy[edit]
Main article: Dakshinamurthy
Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति),[211] literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras.[212] This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu.[213] Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.[214]
ARDHANARISWARA:
An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman".[215] According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras.[216] Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[217] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism.[218] The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars.[219] According to the Svetasvatara Upanishad, he has four avatars.[220]
In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”.[221] Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).[222][223]
Other traditions regard the sage Durvasa,[224][225][226][227] the sage Agastya, the philosopher Adi Shankara and Ashwatthama as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati.[228] The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.[229]
Buddhism[edit]
Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna.[230] In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.[231]
Sikhism[edit]
The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi."[232] In the same chapter, it also says, "Shiva speaks, the Siddhas speak."
In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.[233]
Others[edit]
The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty,[234] and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan.[235] In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita").[235] He is clad in tiger skin while his attendants are wearing Sodgian dress.[235] In Eastern Turkestan in the Taklamakan Desert.[235] There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls.[235] Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh.[235][236] It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.[236]
Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.
In Indonesia, Shiva is also worshiped as Batara Guru. In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hinduism is "Maharaja Dewa" (Mahadeva).[237]
Created by St. Mary’s Grade School 4th grade students in St. Mary’s, Kansas
Participants: Conner, Nick, Emma. Luke and Grace
Title: Space Rocks!
Theme: Space
Art Teacher: Nadine Fisher
Materials and techniques used: Fabric, permanent markers, crayons, fabric dye, and glitter glue.
About: We looked up pictures from the Dream Rocket Project. While looking up the first photos we talked about space and showed pictures from the collection of Alan Bean--the astronaut/artist. The students were really excited to take part in another Dream Rocket Project so that their Art can be once again part of the wrapping of the Saturn V.
Learn more about the Dream Rocket Project at www.thedreamrocket.com
The Red Apple Kees Christiaanse
H.G.J. van den Born ontworpen door KCAP Architects & Planners en Jan des Bouvrie.
www.architectuurinrotterdam.nl/building.php?buildingid=26...
See my blog for tangle pattern step outs for Falz & Xenso
tangledinkart.blogspot.com/2013/02/new-tangles-falz-xenso...
Academic High School (Vienna)
(Pictures you can see by clicking on the link at the end of page!)
Beethovenplatz
school form - general secondary school (high school humanistic)
Founded in 1553
♁ coordinates 48 ° 12 '5 " N, 16 ° 22 ' 34" OKoordinaten : 48 ° 12 '5 " N, 16 ° 22' 34" E | |
Support public
About 610 students (4 April 2010)
About 60 teachers (4 April 2010)
Website www.akg -wien.at
The Academic Gymnasium in Vienna was founded in 1553 and is the oldest high school in Vienna. The school orientation is humanistic and compared with other traditional high schools of the city rather liberal. The current number of students is about 610 students, divided on 24 classes.
History
16th and 17th Century
At the time of the foundation of the high school, the University of Vienna had the privilege to decide about the estabilishment of educational institutions. In March of 1553, the Jesuits received permission from the university to the founding of the Academic Gymnasium.
The primary objectives of the exclusively Jesuit teaching corps was the provision of religious instruction, the practice of the Catholic faith and the strengthening of the religious attitude of the students. The Academic Gymnasium was located at the time of its inception in the Dominican monastery opposite the then university. The former language was Latin.
18th and 19 Century
The dissolution of the Jesuit order in 1773 by Pope Clement XIV led to a conversion of the teaching staff and educational goals. The new focus was on history, mathematics, German, literature and geography. The management of the school was transferred to the Piarist. Subsequently the school was somewhat cosmopolitan conducted and the spirit of the Enlightenment prevailed both among teachers and among the students. Likewise, new didactic and educational measures, and later the school fees were introduced.
As a result of high school reform in 1849, the eight-year school with the final matriculation examination was developed. The humanistic aspects crystallized out more and more, the focus of the lesson were mainly linguistic-historical, mathematical and scientific aspects not being neglected. The first high school graduates made their final exams at the end of the school year 1850 /51.
Academic High School before the vaulting of the Vienna River (Wienfluß - as small as possible)
Since 1866 the building of the Academic Gymnasium is located on Beethoven place in the first district of Vienna. It was built by Friedrich von Schmidt, who also designed the City Hall, in his typical neo-Gothic style.
The first students (female ones) gratuated in 1886 and 1887 (every year an external student), since the school year 1896/97 there were almost every year high school graduates, a general admission of girls there since 1949 /50.
20th Century
The years following the First World War were extremely distressing for the high school, because there was a very narrow escape for not being closed, the cause was a sharp decline in students. The educational institution was menaced from losing its good reputation and attractiveness.
GuentherZ 2007-02-22 2707 Wr Akad Gym plaque Jewish students and Lehrer.jpg
After the "Anschluss" of Austria in 1938, the Jewish students had to leave the school, they were 28 April 1938 transfered, some of the students but had logged off before this date. The total loss amounted to nearly 50 percent of the students because the school from all Viennese schools was attended most of all of children of Jewish families. Today, several plaques remember on the outer facade of the high school the transfer and the horrors of Nazism. A known victim of that action was the future Nobel laureate Walter Kohn, he had to leave school in the 5th class.
Wolfgang Wolfring (1925-2001) popularized the high school from 1960 as the site of classical Greek drama performances in ancient Greek original language. Annually took place performances of the classical Greek dramatic literature, among them, King Oedipus, Oedipus at Colonus and Philoctetes of Sophocles, the Oresteia of Aeschylus and The Trojan Women and Alcestis of Euripides. Protagonists of these performances were later Lawyers Josef and Eduard Wegrostek, Liliana Nelska, Doris Dornetshuber, Gerhard Tötschinger, but also in smaller roles Gabriel Barylli, Paulus Manker, Konstantin Schenk and others.
Over the years the school acquired the old reputation back and enjoyed high access rates. More and more emphasis has been placed on humanistic education, which has been demonstrated mainly by the wide range of languages, school theater performances at a high level and numerous musical events of the school choir the public in general as well.
21th Century
The focus are still on a broad linguistic foundation, which also includes training in languages such as Latin or Greek. The school offers both French and English from the first grade. The other of the two languages begins as early as the 2nd class.
In addition to this a wide range of projects are organized and voluntary activities offered. The goal of the Academic Gymnasium is the general education, which in turn should prepare for a subsequent university study.
One problem is the shortage of space of the school. Since there's a large demand for school places, the school house for financial reasons and such the monument preservation not expandable, not for all admission solicitors school places are available.
Known students and graduates
The Academic High School has produced a large number of public figures in its history:
Birth year before 1800
Ignaz Franz Castelli (1781-1862), writer
Wilhelm Ritter von Haidinger (1795-1871), geologist
Stanislaus Kostka (1550-1568), Catholic saint
Leopold Kupelwieser (1796-1862), painter
Joseph Othmar Rauscher (1797-1875), Archbishop of Vienna
Franz Schubert (1797-1828), Composer
Johann Carl Smirsch (1793-1869), painter
Birth year 1800-1849
Alexander Freiherr von Bach (1813-1893), lawyer and politician
Moritz Benedikt (1835-1920), a neurologist
Nikolaus Dumba (1830-1900), industrialist and art patron
Franz Serafin Exner (1802-1853), philosopher
Cajetan Felder (1814-1894), Mayor of Vienna
Adolf Ficker (1816-1880), statistician
Anton Josef Gruscha (1820-1911), Archbishop of Vienna
Christoph Hartung von Hartungen (1849-1917), physician
Carl Haslinger (1816-1868), music publisher
Gustav Heider (1819-1897), Art History
Joseph Hellmesberger (1828-1893), Kapellmeister (chapel master)
Hyrtl Joseph (1810-1894), anatomist
Friedrich Kaiser (1814-1874), actor
Theodor von Karajan (1810-1873), German scholar
Alfred von Kremer (1828-1889), orientalist and politician
Kürnberger Ferdinand (1821-1879), writer
Henry of Levitschnigg (1810-1862), writer and journalist
Robert von Lieben (1848-1913), physicist and inventor
Karl Ludwig von Littrow (1811-1877), Astronomer
Titu Maiorescu (1840-1917), Romanian Prime Minister
Johann Nestroy (1801-1862), actor, poet
Ignaz von Plener (1810-1908), Prime Minister of Austria
Johann Nepomuk Prix (1836-1894), Mayor of Vienna
Benedict Randhartinger (1802-1893), Kapellmeister (conductor)
Friedrich Rochleder (1819-1874), chemist
Wilhelm Scherer (1841-1886), German scholar
Anton Schmerling (1805-1893), lawyer and politician
Leopold Schrötter, Ritter von Kristelli (1837-1908) , doctor (laryngologist) and social medicine
Johann Gabriel Seidl (1804-1875), lyricist of the Austrian imperial anthem "God save, God defend our Emperor, our country!" ("may God save and protect our good Emperor Francis")
Daniel Spitzer (1835-1893), author
Eduard Strauss (1835-1916), composer and conductor
Franz von Thun und Hohenstein (1847-1916), Prime Minister of Cisleithania
Joseph Unger (1828-1913), lawyer and politician
Otto Wagner (1841-1918), architect
Birth year 1850-1899
Othenio Abel (1875-1946), biologist
Ludwig Adamovich, senior (1890-1955), President of the Constitutional Court
Guido Adler (1855-1941), musicologist
Plaque for Altenberg, Beer-Hofmann, Hofmannsthal and Schnitzler
Peter Altenberg (1859-1919), "literary cafe"
Max Wladimir von Beck (1854-1943), Austrian Prime Minister
Richard Beer-Hofmann (1866-1945), writer
Julius Bittner (1874-1939), composer
Robert Dannenberg (1885-1942), lawyer and politician
Konstantin Dumba (1856-1947), diplomat
August Fournier (1850-1920), historian and politician
Erich Frauwallner (1898-1974), Indologist
Dagobert Frey (1883-1962), art historian
Albert Gessmann (1852-1920), librarian and politician
Raimund Gruebl (1847-1898), Mayor of Vienna
Michael Hainisch (1858-1940), President of the Republic of Austria
Edmund Hauler (1859-1941), classical scholar
Hugo von Hofmannsthal (1874-1929), playwright
Karl Kautsky (1854-1938), philosopher and politician
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Presidential Candidate 總統候選人
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Tianliang Ma
~ a Taiwanese social reformer, philosopher, photographer and film director
“Touching Fairness and Justice”
馬天亮
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《感動的公平與正義》
TianLiang Maa, alternative spelling: Tianliang Ma, also known as Theophilus Raynsford Mann; Ma, Tianliang; Chinese: 馬天亮; 马天亮.
SUMMARY
TianLiang Maa is a naturalist, occultist, Buddhist and Taoist. In 1982, Maa developed a technique for abstract photography, applied “Rayonism” into photographic works. Maa staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Maa’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Maa’s works have been quoted by the scholars many times, making Maa one of the highly cited technological, artistic, and managing public administrators in the academia. Maa was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Early Life and Record of Genealogy
TianLiang Maa possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Maa about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Maa takes great pride in his roots, which go back 150 years (since 1864); Maa’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Maa obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Maa’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.
Backing to Maa’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.
Early Career
In 1989, Maa instituted Maa’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Maa studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Maa completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013
www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Maa immigrated into the United Kingdom in the early year of 2004.
PHILOSOPHICAL VIEWS
Maa is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand TianLiang Maa. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Maa just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Maa understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As TianLiang Maa’s (馬天亮) saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Maa ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Maa will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Maa’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Maa had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Maa studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Maa would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Maa really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Maa has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Maa settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Maa was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Maa had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Maa developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Maa was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Maa staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Maa was the first exhibitor around the country. All of the invited displays were by the Chinese Government, cultural and artistic organisations, and sponsors. Maa’s earliest exhibition took place in the National Taiwan Arts Education Institute (Museum) on 19 December 1983 when Maa was 25 years old; Maa was the youngest exhibitor in the history of the Institute in any solo exhibitions. The Institute that was opened in March 1957, kept a collection of Maa’s work. It is currently updating the Institute’s internal organisation and strengthening co-operation with leading institutes and museums around the world. Meanwhile, it widened the institute’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Maa’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Maa may sprout, grow and bloom. Maa aims to provide an educational stimulus for society by introducing his works - Maa can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Maa believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Maa should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, TianLiang Maa completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Maa was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Maa’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Maa was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Maa’s writings.
Authorship
Maa’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Maa was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Maa one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Maa’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Maa is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.
Director Works:
FILMS:
Experimental Film “New Image for the Spring” © 1982
Documentary Film “Rayonnisme” © 2011
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy London © 2012
Portrait at King's College London © 2013
BOOKS:
Scenario Original「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibitions of Rayonnisme” © May 1985
新聞出版之學術著作專輯「馬天亮『光影』“Rayonism” 攝影展」© May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」 “The Indomitable Spirit Was Brilliant to Upright” (individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Maa’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Maa’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Maa’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Maa promoted and founded the Consortium Juridical Person Mr. TianLiang Maa Social Benefit Foundation 財團法人馬天亮先生社會公益基金會 in Taiwan. near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Maa was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and film production.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和影片製作。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware & Networking Engineer at Maa Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director & Photographer at Photographer and Film Director (Shapely), 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
www.facebook.com/filmshapely/info
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
www.facebook.com/twreform/info
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。TianLiang Maa (Theophilus Raynsford Mann) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Maa was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
LINKS:
University of California, Berkeley
berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...
berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...
oskicat.berkeley.edu/record=b11283690~S1
University of Michigan
mirlyn.lib.umich.edu/Record/006237256
catalog.hathitrust.org/Record/006237256
WorldCat® Identities
www.worldcat.org/search?q=au%3AMa%2C+Tianliang%2C&dbl...
www.worldcat.org/wcidentities/np-ma,%20tianliang$1958
Google Books
books.google.co.uk/books?id=PkyaAAAAIAAJ&redir_esc=y
books.google.co.uk/books?id=JfxnMwEACAAJ&dq=editions:...
scholar.google.com/scholar?cluster=3569983911138966023&am...
National Bibliographic Information Network (NBINet)
nbinet3.ncl.edu.tw/search~S10?/a%7bu99AC%7d%7bu5929%7d%7b...
192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE
National Yang Ming University 國立陽明大學
library.ym.edu.tw/search~S7*cht?/tThe+Soul%27s+and+sentim...
National Taiwan University of Science and Technology 國立臺灣科技大學
millennium.lib.ntust.edu.tw/record=b1016706~S1
Wikimedia Commons 維基共享資源
commons.wikimedia.org/w/index.php?search=TianLiang+Maa+%E...
commons.wikimedia.org/wiki/File:TianLiang_Maa_馬天亮.jpg
commons.wikimedia.org/wiki/File:馬天亮_TianLiang_Maa.jpg
國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引
readopac3.ncl.edu.tw/nclJournal/search/search_result.jsp?...
聲音藝術的審美角度, 大學雜誌, 天然
readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...,
readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...
為文化中心把脈, 幼獅文藝
readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...,
科學家與守財奴, 中國地方自治
weblib.exam.gov.tw/ccdb2/Result_List.asp?idx_id=CCVOL&...
Yahoo, Bing, Google Search
www.google.com/search?q=TianLiang+Maa
images.search.yahoo.com/search/images;_ylt=AwrB8pGXJyVTVm...
www.bing.com/images/search?q=tianliang+ma&go=&qs=...
Atomzone
atomzone.co.uk/images/search/馬天亮
atomzone.co.uk/images/search/Ma+Tianliang
lurvely.com www.lurvely.com/photographer/77438197_N03/
www.flickriver.com/photos/mtltwp/
www.flickriver.com/photos/mtltwpprof/
Nature - National Library Board Singapore
snap.nl.sg/searchflickr.aspx?q=%E9%A6%AC%E5%A4%A9%E4%BA%A...
snap.nl.sg/searchflickr.aspx?q=TianLiang+Maa+&p=1&...
画像検索
flickr.akitomo.net/TianLiang+Maa/1
Japan Photos and Pictures
japan.pictures-photos.com/professor-tianliang-maa%E2%80%A6
summer.pictures-photos.com/professor-tianliang-maa%E2%80%A6
far-east-movement - Blogcu (Turkey)
far-east-movement.blogcu.com/professor-tianliang-maa/1226...
man fashion
spirehim.com/3454/professor-tianliang-maa-%E9%A6%AC%E5%A4...
Travel Splash
travel-splash.com/photos/view.php?id=13397167315&sear...
Country profile Taiwan
atomzone.co.uk/images/search/Country+profile+Taiwan
itpints
www.itpints.com/?q=TianLiang+Maa&sources%5b%5d=flickr...
AskJot
askjot.com/search/TianLiang-Maa
Who is talking
whotalking.com/flickr/TianLiang+Maa
University of California, Berkeley period
atomzone.co.uk/scaffold/images/search/University%20of%20C...
University of Michigan period
atomzone.co.uk/scaffold/images/search/University%20of%20M...
University of Oxford period
atomzone.co.uk/scaffold/images/search/University%20of%20O...
www.wer-ist.org/person/Oxford_Archaeology
University of Glamorgan period
atomzone.co.uk/images/search/University+of+Glamorgan+period
www.worldofbuildings.worldofbuildings.org/flickr/wob_flic...
University of Huddersfield period
atomzone.co.uk/scaffold/images/search/Huddersfield%20period
art galleries uk
artgalleriesuk.blogspot.co.uk/2012/08/bigandtall-stores-s...
Mitrasites system
sites.google.com/site/mitrasites/system/app/pages/customS...
articles.whmsoft
articles.whmsoft.com/related_search.php?keyword=Tianliang...
pantieslace-forwomen.blogspot.co.uk/2012/08/motherhood-ma...
3piece-suits.blogspot.co.uk/2012/07/nursing-shawl-become-...
3piece-suits.blogspot.co.uk/2012/08/body-briefers-childre...
www.flickriver.com/search/%E6%BC%A2%E5%AD%B8+OR.../intere...
www.flickriver.com/search/%E8%AB%96%E6%96%87+OR.../recent/
German
www.wer-ist.org/person/Jin_Mann
www.pediatr.org.tw/DB/News/file/1913-1.pdf
HOMEPAGE
Tumblr twwinp.tumblr.com/
Facebook www.facebook.com/twwinp
plus.google.com/+FormosanWinner/about
Flickr
www.flickr.com/people/mtltwpprof/
www.flickr.com/photos/115081224@N02/
Behance be.net/mtltwp
Vimeo vimeo.com/user19375807
ReverbNation www.reverbnation.com/directortianliangmaa%E9%A6%AC%E5%A4%...
YouTube www.youtube.com/watch?v=mqZCtzVdwIU
VideoRes
www.territorioscuola.com/videores/video/view/mqZCtzVdwIU/...
Mashpedia VideoPlayer
www.mashpedia.com/videoplayer.php?q=mqZCtzVdwIU
Webs mtltw-com.webs.com/
NOWnews blog.nownews.com/mtl
blog.nownews.com/profile.php?bid=43616
TaiwanYes tw01.org/profile/mtl
Baidu Space 百度空间
www.baidu.com/p/馬天亮/detail hi.baidu.com/new/mtltw
Blogger mtltwp.blogspot.co.uk/
LiveJournal
mtltwp.livejournal.com/profile
Scribd
www.scribd.com/TianLiang%20Maa%20%E9%A6%AC%E5%A4%A9%E4%BA%AE
yam 天空部落
blog.yam.com/mtltwp&act=profile
痞客邦 PIXNET mtltwp.pixnet.net/profile
Roodo Blog 樂多日誌 blog.roodo.com/mtltwp
funP 推推王 funp.com.tw/t2362814
Plurk www.plurk.com/mtlp/invite
TypePad profile.typepad.com/mtlp
Udemy www.udemy.com/u/861/
Delicious.com previous.delicious.com/mtltw
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Yasni®.co.uk person.yasni.co.uk/tianliang+maa+1310815
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Skype tmanntw@outlook.com
Skype Name: tianliang.maa
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ICQ twwinp@gmail.com
AOL t.maa@aim.com
Tel +44 (0)7575 288 016
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