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Simon

Street Candid taken Trafalgar Square London, 22nd February 2014

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

 

Story Candle Skeleton Logo Boots Suit Cape

Halloween pretty 6d classic chicago rocks nyc metal feet auto world australia fun blur silhouette lego sculpture chile paint moon child barcelona outdoors dusk shore lens side duck bar bay station shop indoor port tulip bag blue sky field fishing texture sunny temple hill fly woods cathedral hiking selfie door sculpture bright long horse orange purple train bus race car yellow sunset beach water sky flower red blue nature night tree white green

Omake Kodomo Otaku Super Deformed Animation Fandom Cosplay Book Gamer Girl Punk Bad Girl Poster B-Pop Pee Wee Kid Animanga Music Art JRC SPWK Comic Art Cartoon Television Rap Hip Hop Skater Girl Videogame Game We Record Do Music Album First Transmissions Live From The D of T 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 Friend Halo Shop Portal Ship Pirate Jewels Gem Terminator Crystal Lightning Weather Thunder Twilight Storm Dragon Sailor

Mason Valentine His Pets Do it For Em Book Cover Poster Image Musical Poetry Rap Hip Hop Song Lyrics - SPWK Supa Pewee Kids - JRC Junior Riters Club Song Writers Club - Super Pee Wee Kids Characters Mason Valentine B-Pop Kat Story Book Music Tokyo Fitz Street Art Urban Fashion Yahoo

As We Walk - Supa Pewee Kids - Comic Book Pages Mason Valentine & B-Pop SPWK American Cartoon Kids Story Art Illustration Twistidlee Unique Poetree Americana Poetry Song Music Hip Hop Rap Comic Book B-Pop Supa Pewee Kids Super Pop Cartoon Characters Anime andom Hip Hop Rap Book Strip Songs Art Stories Storys Bad Kids Girl Twisted Unique Poetry American Poet Poem Americana Opus Comic Book Collection Tooth Pod Car Pee Wee Pop Head Rock SD NYC Japan Sea Sun Star Cat Mask Puppy Food Shonen Seinen Super Picture Text Symbol Paint By Number Android Game App Lil Dinosaur Pet Child Hero Play Set Children Bugs Lil Insect Toy Skateboard Kart Bike 3 Wheel Cart Scooter Engine Cart Race Nasty Pop Scene Japanese Girl Appeal Harajuku Skater Strip Tokyo Graffiti Ink Chibi Comic Manga Super Deformed nt By Number Android Game App Lil Dinosaur Pet Child Hero Play Set Kart Bike 3 Wheel Cart Scooter Engine Cart Race Nasty Pop Scene Japanese Girl Appeal Harajuku Skater Strip Tokyo Urban Graffiti Ink Street Love Pink Green Style Role Cosplay Video t Cape Boots Cape Sticker Decal Film Cell TattooReal Classic Hip Hop Rap Rock Pop Dance Electronic Music Scene Funk Techno LP Wax Spin DJ EP Record Sales The Write Lyrics Disc Ticket Write Sing R&B Jazz Song Music Book Sheet Page Album Collect Dig Radio FM AM Vinyl Shop Store NYC New York Arts Note Art Key Guitar Drums Beat Dance Culture Wallpaper Store Wall Paper Download Tunes Disc Fashion Graffiti Resident Teen Adult Fiction Kids Poster Card Bill Show Beat Cover Track List Title Decal Skate Board Wheel Skater Sticker Emblem Trick Truck Love Heart Skull Fuse Fusion Image Logo Video VHS VCR Tape Record Universal Background Play Seat Sit Head Cell Phone Microphone Run Masters Headphone Urban Nation Ink Tattoo Award Film Fact Drama Horror Night Honors Street Urban Hood Loft Live Pink Blue Green Red Ski Mask Ball Rat Mouse Trap Silent Camera Cord Wireless Oil Potrait Frame Blue Print Copy Remix Play Produce Industry Seed CD DVD Movie Stage Theater Performance Remix Written Conect Battle Ship Jeep Tank Tattoo Art Black Purple Red Green Rain Lake Yellow Orange Spectrum Brown Colors Spectrum Boy Girl Toy Action Figure Sneakers Jacket Pants Sweat Shirt Music Genre Category Asap Video Hand Write Hip Hop Club Pop Electronic Sculpt Carve Apple Pie Pumpkin Peach Plant Tree Org Com Speakers Sound System .com .org Tweeter Camera Audio AM FM Wave Burst Sound American Spy

Video Arcage Game Boardgame Love Valentines Day Clay Jar Mix Plastic Glass Booster Big Booster Jacket Sox Tank Train Plane Plain Rail Road Real Estate Reality House Building Home Rail Build Vacation Florida FL NY New York California States Country Boots Toy Laser Pen Gun Diner Food Breakfast Diet Bike Big Wheel Remote Control Car Joy Stick College Art Music Colage Scrape ScrapBig Black White Coloring Book Dictionary Encyclopedia Sky Ocean Science Action Figure Pulse Motorcycle Boat Sale Ocean Moon Waves Space Air Ship Craft Woofer Tweeter Audio Bost Bass Club Speaker Car Van Truck Train Boat Speed Set Sound Light System CD Disc Tracks List Songs Music Stereo Bass Walkman Cassette Disc Man Data Computer Video Game Album Record Musical Poet Poetry Poem Valentine MP MP3

Compact Disc Lyric Words Windows Note Word Notes Boost Headphones Cord Gear itunes Pod Ipod Pad Tablet Monitor Touch Screen Micro Memory Adapter USB Keyboard Mouse

Mouse Hub Vinyl Wax Pulse Mobile Android Plan Race Car Track Train Engine Speed Flag Country Tires Wheel Stick Shift Seat Track Road Gas Set Motor Cycle Motorcycle Sport

Street Jacket Leather Hat Accessories Pole Cart Go Long Kart Moto Position Man Steering Wheel Post Horse Dog Nut Bolt

Universal Background Play Seat Sit Head Cell Phone Microphone Run Masters Headphone Urban Nation Ink Supplies Hotel Battle Baseball Football Party Bet Greatness Casino Chips Floor Strip Sun Odds Event Pay Tank Battle for States Localized Awards University Education Europe La Nouvelle Manga List Closed Dunk Series Piece Ball Jack Construction Creative Dolls Educational List Closed Dunk Leaves Safety Rack Grim Keeper n Act Fruit Apple Flash Light Movie Ancient Mummy Monster Snowman Monster Movie Patch Skull Myth Creature Mad Scientist Magic Fairy Tale Story Candle Skeleton Logo Boots Suit Cape

 

Halloween pretty 6d classic chicago rocks nyc metal feet auto world australia fun blur silhouette lego sculpture chile paint moon polaroid barcelona outdoors dusk shore lens side beed of naturale boeing duck bar bay station shop indoor port tulip bag blue sky field fishing texture sunny temple hill fly woods cathedral hiking selfie door sculpture bright long horse

orange purple train bus race car yellow sunset beach water

 

sky flower red blue nature night tree white green flower portrait art light snow dog sun clouds cat winter park street landscape summer trees sea city yellow christmas lake family bridge people bird river

More about my progress on my blog

 

Henry Cavill's recent photoshoot and feature for Men's Health Magazine (both US & UK editions)! The photos were taken in Chicago while Henry was filming scenes for Man of Steel, summer 2011.

 

All photos are copyright their respective owners & photo credits are given where known. No misuse is intended. All tags & watermarks have been left intact.

 

Photo Credit: Men's Health UK via MrCavill.com - www.mrcavill.com

 

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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 /.

.

biodiversitylibrary.org/page/44274214

via Instagram ift.tt/1PI8NxO

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.

for the 2012 Sketchbook Project.

 

The sparrow is from an earlier sketchbook.

Letter dated January 30, 1895.

 

References to the Rev. Alexander Wiseman, St. Andrews Church, Ashton-on-Ribble and George Curwen

 

Robert Gregson Collection

(h5)..آللـــــهم آمــــــــــــــين

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]

I was reading this article "Why Wordle" By Steven W. Anderson this morning and decided to try one out. I thought the "Think Different" monologue from the classic Apple commercial might be a nice choice. View large.

 

You can see my photo of the wall mural of the monologue at the Apple Campus here.

 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

 

UPDATE 12/16: Welcome all TUAW visitors.

 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

 

Apple's "Think Different" monologue.

 

"Here’s to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently. They’re not fond of rules. And they have no respect for the status quo. You can praise them, disagree with them, quote them, disbelieve them, glorify or vilify them. About the only thing you can’t do is ignore them. Because they change things. They invent. They imagine. They heal. They explore. They create. They inspire. They push the human race forward. Maybe they have to be crazy. How else can you stare at an empty canvas and see a work of art? Or sit in silence and hear a song that’s never been written? Or gaze at a red planet and see a laboratory on wheels? We make tools for these kinds of people. While some see them as the crazy ones, we see genius. Because the people who are crazy enough to think they can change the world, are the ones who actually do."

 

Wordle image created by the www.wordle.net/ web application and is licensed under a Creative Commons Attribution 3.0 United States License.

week 07_1940. Collection: Kindra Murphy

POEMA DESNUDA, poezii. Premiul Uniunii Scriitorilor 2011 la Concursul de manuscrise pentru autori sub 35 de ani

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...

Part of my texting addict series

See my blog for tangle pattern step outs for Falz & Xenso

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e. ben white blvd, austin, texas

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.

www.facebook.com/stlra/info

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.

www.facebook.com/elcits/info

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.

www.facebook.com/maaelec/info

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

album.blog.yam.com/mtltwp

photo.roodo.com/photos/mtltwp/albums/small/100469.html

www.facebook.com/hunyun22

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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

www.facebook.com/sonate1c

www.facebook.com/piano1c/info

  

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

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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

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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

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為文化中心把脈, 幼獅文藝

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科學家與守財奴, 中國地方自治

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Yahoo, Bing, Google Search

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Atomzone

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Nature - National Library Board Singapore

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画像検索

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Japan Photos and Pictures

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far-east-movement - Blogcu (Turkey)

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man fashion

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Travel Splash

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Country profile Taiwan

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itpints

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University of California, Berkeley period

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University of Michigan period

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University of Oxford period

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University of Glamorgan period

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University of Huddersfield period

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art galleries uk

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Mitrasites system

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articles.whmsoft

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pantieslace-forwomen.blogspot.co.uk/2012/08/motherhood-ma...

3piece-suits.blogspot.co.uk/2012/07/nursing-shawl-become-...

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German

www.wer-ist.org/person/Jin_Mann

 

www.pediatr.org.tw/DB/News/file/1913-1.pdf

  

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La col·legiata de San Martín de Elines és un temple romànic dedicat a l'advocació de Sant Martí de Tours. És la joia arquitectònica de Valderredible i un dels més interessants del romànic a Cantàbria. En 1931 va ser declarat Monument Nacional.

 

S'aixeca sobre les restes d'una església mossàrab del segle X, de la que només es conserven els murs del claustre que donen al cementiri.

 

Devia ser inicialment monestir que va durar fins a l'any 1102; construint cap a la segona dècada del segle XII la col·legiata, que avui només és temple parroquial.

 

L'exterior és el d'una edificació d'una sola nau en tres trams que es tanca en presbiteri recte i absis semicircular. La teulada és a dues aigües i té al sud una torre circular, i al nord una estada rectangular, avui sagristia. La cornisa de la nau està decorada amb permòdols així com la del creuer. L'absis és de dos pisos d'armadures, sent cecs en el primer nivell i amb tres obertures de finestres de doble esqueixada que recolzen les seves arquivoltes sobre columnes amb capitells en el segon nivell. Va estar decorat amb pintures murals quedant només dues figures probablement d'apòstols i algunes figures animals. L'entrada és al mur oest als peus de l'església.

 

A l'interior destaquen també el creuer dotat d'importants columnes lliuraments que sostenen la cúpula del cimbori. Un arc toral de mig punt dóna accés al mateix. L'arc triomfal que dóna accés al presbiteri recolza també sobre quatre capitells cilíndrics. El creuer es completa amb arcs cecs els capitells representen: el primer, la Degollació dels Innocents i l'Adoració dels Mags; el segon, a Samsó lluitant amb un lleó i en una altra escena Crist ia l'Anticrist; el tercer, al Profeta Daniel a la fossa dels lleons i, el quart, a dos lleons engolint infants.

 

La capella del cementiri, probablement del segle XIII, exhibeix una pintura mural barroca.

 

El claustre, de planta quadrangular, és el lloc d'exposició de peces tant de la mateixa col·legiata com d'esglésies dels voltants, és a dir, permòdols, tapes d'enterraments d'abats amb inscripcions curioses per la seva grafia i el seu text, la pila baptismal de Quintanasolmo i la de Villaescusa de Ebro i el sepulcre del Caballero Peregrino.

 

Aquesta imatge ha jugat a En un lugar de Flickr.

 

A Google Maps.

Like so many cities, there is tagging. It just seems more damaging when it is in a city such as Rome

I had to draw it to best describe the skateboard kid.

Oeuvres des potiers de Molela, village proche de Nathadwara

 

Image de l'exposition

"Autres Maîtres de l'Inde, créations contemporaines des Adivasi "

Musée du Quai Branly

Paris

www.quaibranly.fr/fr/programmation/expositions/a-l-affich...

جدول لأشهر مستشفيات لندن وكيفية الوصول إليها

علما ً بأن نقطة البداية هي الإجوررود

 

يمكنك حفظ الجدول في جوالك في حال الحاجة لاسمح الله

 

دعواتكم لمرضانا ومرضى المسلمين بالشفاء

Language Arts (English) Department visual ELO (Essential Learning Outcomes)

play of light and shadows in goods couch with rails.

 

see more PATTERNs here.

 

www.nevilzaveri.com

Monument aux morts à Paris 11°

Dans la Basilique ND du perpetuel secours.

Another goldwork piece in the or nue technique. Note the subtle differences in my text: if you can't laugh at it, what can you do??

charlottebailey24.blogspot.co.uk/2013/08/bulmers-cider-lo...

Woman's Day-May 1955

dibujo hecho para hernan camoletto para un libro de texto del taller de escritura de la colonia psiquiatrica de oliveros

 

texto silvia robles

 

La malparida

 

Esta es mi historia.

Yo, Silvia Inés Robles, pienso, no sé bien a veces, no siempre, que vengo mal de chiquita. Dicen las malas lenguas que llevo una maldición de mis antepasados, o sea, mi abuela o mi tatarabuela (que era india y fea como la puta madre).

Yo siempre dije, la familia no se elije, viene con el combo, en cambio los amigos, sí y por suerte puedo elegir. Mis amigas son todas las chicas del Suipacha y ahora son chicas y chicos de Oliveros. Hice muchos amigos, pero tengo mis amigas del alma que viven en Buenos Aires y se llaman Azucena (ella se hace llamar Susy) y Mary.

Bueno, para no cansarlos, les cuento que tengo dos hijos: Sabrina y Walter y los amo con todo mi corazón; cuatro nietos, dos nenas y dos varones y viene otro en camino de parte de Sabri (hace poco, nos enteramos que es otra nena).

En este momento, estoy viviendo en Funes, vine hace cinco años (y ya conozco cinco hospitales de acá). Vine a cuidar a papá porque cuando murió mamá, él se casó nuevamente porque se sentía solo. Ahora se separó. Me dijo que fuera a vivir a Rosario. En diciembre se me vencía el contrato en Buenos Aires (porque alquilaba un departamento en Haedo). Entonces, decidí mudarme pero atrás mío vino Sabrina con Camila de seis años. La nena empezó primer grado en Funes y Sabri estaba embarazada de Giuliana. O sea que tengo una nieta rosarina (comegatos jaja).

Bueno, sigamos la historia de chica. A los dos años y medio, estaba sentada en la cama de mamá y me agarró un ataque de epilepsia pero mami no sabía nada, estaba sentada en su cama con un velador en la mano y pensó que me había agarrado corriente. Me lo sacó de la mano pero seguía temblando. Entonces me llevaron al médico y dijeron que era epiléptica.

Cuando tenía tres años, en casa vivían tres tías menores que mi mamá. Mi abuela las dejaba venir de Mar del Plata donde vivían por que mi mamá era la mayor de las hermanas. Un día, mi tía no me dejó abrir una lata de galletitas, me acuerdo patente que estaba sentada arriba de la mesa y mi tía, en una silla. Agarré un cuchillo y se lo quise clavar en la cabeza jaja… y digan que me lo sacó mi papi, si no se lo clavaba. O sea que ya tenía problemas y nadie se dio cuenta.

A los tres años y medio me operaron de la garganta. Me acuerdo patente que me sentaron arriba de una enfermera y que el médico estaba delante de mí. Me hizo abrir la boca y parece que yo no estaba preparada para operarme porque cuando me pusieron el aparato para sacarme las amígdalas, lo vomité todo de arriba abajo, se tuvo que cambiar el médico. Después no recuerdo más nada, parece que me durmieron. Cuando me desperté, me estaban esperando con helado. Fue lo más lindo. Yo soy loca por el helado y mis hijos salieron a mí, les encanta.

Seis veces entré al quirófano. A los trece, me operaron de apéndice. Me acuerdo que antes íbamos al cine los martes, que era para mujeres y fuimos todas mis amigas con mi hermana. Daban una película de Isabel Sarli que era prohibida para menores y no pudimos entrar por culpa de Mary que era flacuchita, las otras éramos más chicas que ella pero parecíamos más grandes. Entonces fuimos a la casa de Susana que tenía una planta de higos. Eran las dos de la tarde y al rayo del sol, me puse a comer higos. Ahí se me inflamó el apéndice, por comer higos calientes. Me acuerdo que le decía a mi mamá que corría y sentía una pelota, “no estaré embarazada?” le decía. Qué iba a estar embarazada! Hasta que a la semana, me subió fiebre y me llevaron al sanatorio evangélico. Ahí me pusieron el termómetro en la cola y me dejaron internada. Me acuerdo que mi mami me dejó sola para ir a buscar el camisón. Pero yo no tenía miedo, eh. Me quedé sola, lloré un poquito y después se me pasó. Lo que me pasó por comer higos calientes. Cuando me abrieron, me sacaron un quiste grande como una naranja. Yo pensé que no iba a poder tener hijos pero el médico me explicó que si me dejaba eso adentro y no me operaba, cuando fuera grande iba a tener barba y bigote, iba a trabajar en el circo, jaja. A los veinticuatro me operaron de hemorroides. Ahí no me pudieron dar la raquídea. Me hicieron poner como un gato enojado y no encontraban la vértebra. Entonces, el médico me mandó a hacer radiografías. El anestesista me dijo que yo había sido s primer fracaso. Al final, me pusieron anestesia local alrededor de la cola, sentí todo. “quédese quieta”, me decía el médico. Por eso es mejor la anestesia general, pero es más peligrosa porque si se pasan, te podés morir. Después quedé embarazada y, a los cuatro meses, perdí el bebé. Pasé otra vez por el quirófano, me hicieron un raspaje en carne viva, no sabés los gritos que pegaba, me acuerdo que con una jarra me echaban merthiolate, cómo ardía!!! Sentía cra cra cra, raspaban con una cucharita. Al tiempo, quedé nuevamente embarazada y lo volví a perder. Era un varón. Me ponían unas agujas grandes en la panza para sacar el líquido amniótico para ver si el feto estaba vivo, pero no, estaba muerto. Lo tuve por parto normal. Me daban quinina; cuatro sellos, uno cada media hora. Cuando tomé el cuarto, lancé una vomitada que llegó hasta la punta de la cama. Cuando salió, le dieron vuelta la cabecita para que yo no lo viera y no me quedaran recuerdos. Tenía rulitos, iba a ser como el padre… A raíz de eso, empezaron las peleas con mi pareja (gracias a Dios nunca me casé). Nos separamos.

Al tiempo, conocí a Miguel en una fiesta, en el bautismo del hijo de una compañera de trabajo que siempre me invitaba (yo trabajaba de cajera en un supermercado grande en San Justo). Enseguida nos juntamos, lo que no me había dicho es que era casado y que vivía con la mujer. Con él tuve a mis hijos, Sabrina y Walter. Hasta que se murió, fui diez años cornuda (la cornuda es la única que se entera jaja) pero viví una vida maravillosa con dos hijos maravillosos.

Pero volvamos a Miguel. A los diez años de estar juntos, se enfermó de la vesícula (me acuerdo que le hice pastel de papas ese día). Él era matarife y me acuerdo de que siempre jugaba al truco el frente de la carnicería con los que hombreaban la carne, con los choferes. Gremio feo el de los matarifes, gente de cuchillo y de mucho tomar. Yo dejaba a mis chicos con la niñera y me iba a la carnicería a cobrar, estaba en la caja. Un día veo que entre dos lo traen a Miguel, pensé que lo había acuchillado. Por esa época andábamos mal, discutíamos porque yo me había enterado de su familia paralela. La otra, Mari, era una mujer policía de veintitrés años (más joven que yo), hermana de Walter, el carnicero que trabajaba con Miguel. Mis hijos eran chiquitos. Con ella tuvo un hijo, Maxi, que ahora debe tener veinticuatro años, o veintitrés, por ahí. A Miguel lo traían entre dos, decía, le había agarrado un ataque de vesícula. Mi cuñado, Daniel, lo quería llevar a una clínica. Yo no quise porque nos iba a costar la casa. Finalmente, lo llevaron al hospital Posadas donde quedó internado. Pesaba ciento cuarenta kilos. Era gordo y grandote. Cuando salió, pesaba ochenta. Tuvo pancreatitis, no podía comer nada. El médico no daba ni dos pesos por él. Pero salió comiendo. Tres veces se le abrió la herida mientras estaba internado. Tres veces fue al quirófano… pero salió. Un día, estaba cuidándolo en el hospital cuando aparece una mujer. Entonces, Miguel me dijo que fuera a desayunar. “Quedáte tranquila que es la mamá de Walter”, me dijo, yo le creí. A la vuelta me pidió que la llevara en el auto, que yo iba al banco a depositar la plata de la carnicería y ella iba para San Justo. Ella no me quería decir a dónde bajaba. Se quería tirar del auto. La bajé en cualquier parada. Yo pasé por mi casa para cambiarme y ella vio mi casa y me esperó arriba del auto. A la vuelta del banco, la esposa del compañero de habitación de mi marido (no me acuerdo si era chaqueña o qué), me contó que la mujer le había dicho que yo le había robado el marido a la hija. Ahí me enteré del asunto entre mi marido y Mari, la hermana de Walter. A la noche, llega mi suegra. Estábamos sentadas fumando un cigarrillo. Me preguntó quién había venido a verlo. Yo le conté que había venido la mamá de Walter. “Esa vieja qué vino a hacer?”, me preguntó. En eso, siento un par de tacos y veo a una chica rubia de pelo cortito que, con las manos en los bolsillos y una cartera colgando, venía por el pasillo. Mi suegra se levantó de golpe y se el fue al humo. Yo no entendía nada. Me metí en office con las enfermeras y les avisé que se estaban peleando. Cuando salimos, la rubia ya no estaba y mi suegra me pidió que me metiera adentro, con Miguel. La enfermera me mandó a buscar una silla de ruedas para llevar a mi suegra a la guardia porque se había desmayado. Mientras bajo, veo subir a unos policías que habían llamado las enfermeras.

Me acuerdo también cuando cumplí cuatro años. Me sacaron una foto con la torta que hacía mami (hacía unas tortas riquísimas con claras de huevo y azúcar). Estaba yo solita, vestida de blanco y con dos hebillitas en la cabeza, sentada en una sillita y una mesita chiquitas. Me acuerdo porque conservo la foto. Sin amigos, sin nada, o sea que los cumples (los míos y los de mi hermana) eran distintos a los de los otros chicos.

También me acuerdo del arroz con leche que hacía mami, lo hacía con claras de huevo y se formaba una capa crocantita y dulce. La sopa que tomábamos era de verduras y a mí no me gustaba; vomitaba todo sobre el plato, me daban una cachetada y me la hacían tragar otra vez (ése era mi papi). Más asco me daba, más vomitaba. Pero también me acuerdo cuando mami hacía otra sopa, con pedacitos de pan frito (ahora me doy cuenta de que a veces no había plata para fideos o arroz entonces, mami se arreglaba con lo que tenía). El asunto era tomar sopa todos los días (jaja, nos llenaban la panza con sopa).

Mis tías nos sacaban a pasear. Nos llevaban al zoológico, a todas partes. Una tenía novio e íbamos en auto (mi tía Elvira y Pedro tenían un coche viejo Ford 38 más o menos).

Con mi hermana Mary y mis tías, Elvira, Marta y Teresa, dormíamos en una misma pieza. Cuando llegaba la noche, nos acostaban a Mary y a mí en una cama. Yo me dormía con la frazada rozándome la nariz y la boca. Me acuerdo que mi tía me preguntaba dónde ponía las manos cuando dormía ji ji ji… (que no vaya a tocarme la cocholi!!).

Pasó un año y en el ’55 vino la revolución de Perón y como vivíamos en Haedo, los aviones pasaban bajito casi tocando el techo de la casa. En esa época estaba también mi abuelo, o sea, el papá de papi y me acuerdo de que salió a la calle a gritar “Tiren, tiren… acá está mi cuerpo, doy la vida por Perón!” Ahí fue cuando mami lo echó, aprovechó que papi no estaba y lo echó.

Después vino la miseria. Yo tenía cinco años e íbamos con Mary a comprar azúcar y teníamos que hacer dos colas: una era para el azúcar y la otra, para el kerosene. Nos daban un kilo de azúcar y un litro de kerosene por persona. Entonces llegábamos a casa co dos kilos y dos litros (qué vivos, no? Nos mandaban a nosotras… y bueno, así somos los padres).

Papá tenía un sulky de esos que tienen un caballito de madera y andan a pedal. Los domingos íbamos los tres, mi hermana, mi papá y yo a buscar a los chicos para la escuelita dominical que funcionaba en la iglesia. Los chicos venían contentos, después papi los llevaba de nuevo a sus casas. Así íbamos pasando la infancia. Papá también tenía un rebenque y con ése nos pegaba. La casa estaba en calle de tierra y me acuerdo que cuando asfaltaron, enterramos el látigo y asfaltaron encima. Papi nunca se enteró.

Ya tenía seis años y nos mudamos a San Justo (provincia de Buenos Aires) a un chalet que pertenecía a los evangelistas. Las piezas eran las aulas (mis papás eran los caseros) y una de las piezas la ocupábamos nosotros.

Las tías se fueron casando y quedamos nosotros cuatro. En la escuela pusieron juegos: hamacas, toboganes y sube y baja; yo, por ser la más chica, me quise tirar primera por el tobogán pero tenía miedo y me iba agarrando de los costados, sin saber que al final había un clavo que me cortó un dedo, un tajito nada más pero todavía tengo la cicatriz, cuatro puntos…). Enseguida me llevaron al policlínico y me cosieron. Lloraba como una marrana.

Me acuerdo de la primera navidad en el chalet. En vísperas de reyes había tormenta y Mary vio a los reyes bajando en un relámpago. Ella sola los vio (y estaba muy contenta). Al otro día, teníamos los regalitos, me acuerdo que a mí me tocó una pava y un calentador a pilas, que se ponía colorado como si fuera el fuego. Había muuuuuchos parientes: tías, tíos, primos, éramos como veinticinco o treinta personas… Una fiesta inolvidable!!! Mami había hecho pollitos rellenos, uno para cada uno.

En marzo empezaron las clases. Primer grado. Yo era re gorda y en las fiestas del 25 de Mayo y del 9 de Julio decía versos, ahora casi la mejor del grado, digo casi porque en la bandera iba de escolta.

A los siete, tenía una maestra que era de Pergamino. Yo siempre fui muy curiosa y quise conocer Pergamino. Y como todos los maestros eran evangélicos, llegaron las vacaciones y me dejaron ir. De día lo pasaba requetebién porque como eran turcos, se la pasaban comiendo mantecol pero cuando llegaba la noche, lloraba porque extrañaba.

A los ocho años, empecé a estudiar piano, estudié hasta los doce o trece y muchas veces no quería ir y me llevaba a una amiga a la casa de la profesora o le decía que tenía que volver antes porque tenía que salir con mami… al médico o al dentista. Mentía, yo quería ir a la casa de mi amiga Cristina, a mirar TV y a comer tostadas qua hacía Rosita, la hermana de mi amiguita. Ellas fueron las que tuvieron el primer televisor blanco y negro y nos juntábamos todos los chicos del barro para mirar televisión. Rintintín, dibujitos, Popeye, el Pájaro Loco, la Pequeña Lulú, todo en blanco y negro.

Estudié en el conservatorio Fracassi de piano y dábamos los exámenes en el conservatorio. Yo tenía todos 10. Excelente en teoría, solfeo y piano, siempre pasaba con 10. Cada año aprendía más y más… Hasta que un día me compraron el piano y a los quince le dije a mi papi que no quería estudiar más.

La cuestión es que me recibí de profesora en teoría y solfeo.

Cuando salía del conservatorio, la profesora nos llevaba a tomar algo. Todas pedían café con leche, submarino y yo que una sola vez había ido al centro (recuerdo que viajé en subte, hacía frío y llevaba guantes; me acuerdo que me saqué un guante y mi papá me vio las uñas con brillo y me dijo: “Ahora cuando lleguemos a casa, vamos a arreglar… vas a ver…) pedí también un submarino para ver qué era y me encontré con una gran sorpresa: en la leche había una barra de chocolate y venía con una cuchara larga. Lo revolví y me tomé la chocolatada. Estaba riquísima, tenía un hambre, comí medialunas dulces, doraditas, gorditas, pintaditas, brillantes, era la nena más feliz del mundo! Yo nunca había comido eso.

Pero volvamos a mi primer viaje en subte cuando mi papi me vio las uñas pintadas. Cuando llegamos a casa, me ligué una paliza. La que me había pintado era mi tía, la loca, hermana de mi padre yo la quiero un montón (es viva, ella se saca los años como yo).

Me acuerdo también de cuando fuimos a comprar con mi mami y mi papi a un negocio donde vendían de todo (Damonte, se llamaba, le hacemos la propaganda jaja) antes los negocios eran distintos, en un mismo lugar vendían de todo. A mi hermana, a Mary se le ocurrió “tomar” una muñequita que servía para poner escarbadientes (se la guardó en el bolsillo). Cuando llegamos a casa, Mary mostró la muñequita y mi papi nos hizo arrodillar a las dos en maíz mirando la pared. Primero nos reíamos pero cuando pasó una hora, se nos empezaron a clavar los maíces en las rodillas pero con eso aprendimos que no debíamos robar. Pero antes, nos obligó a ir a devolver la muñequita (pasamos vergüenza… se reía el hombre, “lo hubieran dejado”, dijo y nos la regaló). Volvimos contentas a casa, no sabíamos que nos esperaba el maíz.

Me acuerdo que cuando era chica era gorda. Tenía un tapadito rojo cruzado acampanadito. Cuando volvía de la casa de la profesora de piano, tenía que caminar ocho cuadras de tierra. Mi mami me iba a esperar a la parada. Una noche de luna llena, íbamos con mami de la mano por el medio de la calle porque a los costados había quintas (una de esas quintas era la de Damonte, el del negocio). Yo le dije a mi mami, “mirá si cuando llegamos nos enteramos de que murió el tío Raúl”… Mi mami me tiró del brazo y me dijo “nena, no digas eso”. En efecto, a las 23:30 horas, tocan el timbre y nos avisan que el tío Raúl había fallecido. Eso marcó el comienzo de una nueva etapa en mi vida: supe que podía anticipar el futuro. Y siempre la luna llena.

En otra oportunidad, le di a mi mami el número 12347 para que compre un billete de lotería pero me hizo caso. Salió. Mi mami se quería morir.

Cómo sé, eso es lo que no sé.

Otra vez, yo tenía ya veintiún años, fui de vacaciones a Mar del Plata a casa de mi abuela. Antes de salir, le dije a mi mami “me voy de vacaciones pero voy a un velorio”. “Nena, no digás esas cosas, andá a divertirte”. A los tres días, mi mamá estaba en Mar del Plata velando a una prima que murió intoxicada por unas pastillas para adelgazar (las tomó, se dio media vuelta y quedó dura en la cama, el marido se dio cuenta al otro día recién –se ve que no la tocaba jaja). Dejó dos criaturas.

A los trece años, nos hicimos la rabona por primera vez. Estábamos como en 6º grado. Éramos seis, tres varones y tres mujeres. Como no sabíamos, nos fuimos de guardapolvo a casa de una compañera y le dijimos a la mamá que no había clases porque había faltado la maestra. Pero siempre hay alguien que nos ve y nos vio la chusma del barrio. Fue la primera vez que me pusieron un tres en colorado y fue la primera vez que le falsifiqué la firma a mi mamá. Ahora sé hacer la firma de los dos, de mi mamá y de mi papá y ahora que a mi papá le tiembla el pulso, me sale mejor que a él jaja. Así que soy falsificadora también.

Mi mami murió hace doce años. Al año de su muerte, Dios me dio una nieta que ahora tiene once añitos. Camila. Dice mi hija que la ubique por Facebook pero a mí me gusta más la carta porque le puedo contar todo y además es más privado. “Esta es una abuela loca”, dirían. Uff si tengo nietos, once tengo con la que va a nacer. Cinco propios, cuatro nietastros (nietos de mi ex pareja) y dos más hijos de mi nuera y de mi yerno con sus anteriores parejas. Mi hija es la que más hijos tiene, parece una coneja jaja, tiene tres. En las cartas, le cuento todo a Camila. En un sobre le mando la carta con todo lo que hice, si fui a bailar, le mando la servilletita y los precios de lo que consumí jaja. En mi última salida, fui a bailar a Katoa, en Rosario, una confitería para solas y solos. Yo bailaba con Pepe y marqué un gordo que me gustó. “Y… marcálo”, me dijo. Pasamos una vez y otra vez… Tres vueltas a la pista, dimos. Pepe me hizo de vareador, me sacó a bailar para que los hombres vieran que sabía bailar, como era nueva. Él me vareó, nos lucimos los dos en la pista bailando cumbia agarrada, cumbia suelta, todo cumbia. Los Palmeras, Los Lirios, todo cumbia linda. Y como el gordo no me sacaba a bailar, fui yo a sacarlo. Me dijo que era rengo. “Discúlpeme, señor, no quisiera bailar conmigo?”. “No, soy rengo, vengo a escuchar música nada más”. Miré al otro “Y, yo soy el que le llevo la silla de ruedas”, me dijo. “disculpe, señor”. Si era la primera vez que iba, soy adivina pero no tanto. A veces me tiro a chanta.

Pero volvamos a mis quince años. En los quince de Mary, mi hermana, no hubo baile porque mi viejo es evangélico. Estábamos todos con cara de culo. Ahí Mary nos presentó a Jorge. Ya andaba con él desde los catorce pero nosotros no lo conocíamos.

Fuimos a San Cayetano, un pueblo pasando Mar del Plato, donde vivía mi bisabuela, la abuela de mi mami. Se sacaron una foto donde aparecían las cuatro generaciones: mi bisabuela, María se llamaba; mi abuela, María Luisa; mi mami, Inés Catalina y mi hermana, Mary. Mi hermana salió enojada porque había tenido que dejar al novio en Buenos Aires porque todavía nadie sabía de la relación. Me acuerdo que fuimos para Pascuas y mi bisabuela hizo muñequitos de torta y los pintó con claras de huevo batidas. Uno para cada uno. No me acuerdo si había huevos de Pascua también, todo italiano porque ella era italiana. Mi abuela había nacido en San Luis (mi mami por un día no nació en San Luis porque mi abuela se mudó a Mar del Plata y al día siguiente nació ella).

Cuando yo cumplí los , un año y cinco meses después del cumpleaños de Mary, ya hubo baile. Me acuerdo que había un montón de pibes. En Arieta, donde vivíamos había pileta de natación. Los muchachos estaban de traje y corbata (antes se usaba eso, ahora van de elegante sport). La torta me la hizo mi mami. Era de tres pisos con cintitas, el anillo y yo tenía el pelo batido, unos zapatos Luis XV y un vestido de color turquesa que me hizo mi mami también. Era escotado desde la espalda hasta la cintura y tenía una flor negra en el hombro con una cinta negra que caía por la espalda. Mi mami me hacía todos los vestidos.

Yo iba a bailar los sábados o los viernes y siempre estrenaba algo. Un día, mi mami me pegó, lo recuerdo porque fue la única vez que me dio un cachetazo porque no me quería probar la ropa. “Te quedás quieta” me dijo y pumba, me sonaron los dedos en la cara. Me quedó picando y ahí me quedé, quietita.

Mary se casó temprano, a los diecinueve, yo tenía dieciocho. Yo tenía un novio llamado Ricardo. Estaba linda yo. Tenía pelo largo con dos hebillitas de strass, el pelo planchado por la toca. Hubo una fiesta hermosa que pagó mi mami (ella tenía una sucursal de panadería) y mi viejo salió de padrino. Sabés lo que era verlo a mi viejo que es evangelista ahí arrodillado en la iglesia. Miraba para todos lados… A los santos, lo que menos hacía era prestar atención a lo que decía el sacerdote. La celebración fue con misa pero mi viejo no tomó la comunión, si no creía…

Cuando salieron las chanchitas, las monedas de 25 centavos, mi mamá empezó a ahorrar tirando esas monedas atrás del placar. En el verano, yo tenía veinte años, corrimos el placar y con ese dinero nos fuimos a Mar del Plata. Llenamos la ciudad de monedas. Todo lo pagábamos con esa plata, con moneditas.

A Mar del Plata fui con otro novio (ya me había peleado con Ricardo porque cuando volvió del viaje de estudios me dijo que tenía novia en Bariloche) y mi mami. Los tres dormíamos en una misma habitación. Yo dormía con mi mami en una cama de dos plazas y Víctor, mi nuevo novio, en una de una plaza.

Me acuerdo que fuimos al circo Rodas, hace años que está el circo Rodas. Había un japonés que hacía magia y le sacaba cosas a la gente para hacer sus trucos. A mí me sacó la cartera. Yo tenía una bombacha (limpita) adentro. Pensé que si abría la cartera, la iba a ver. Y la abrió nomás. Cuando me la devolvió me dijo “la bombacha no te la toqué”. O sea que la vio pero no me hizo desaparecer nada… La cartera nomás. Cómo nos reíamos jaja.

A mi mami le gustaba tomar sol y se iba temprano a la playa. Una mañana que se fue, como de costumbre, Víctor me invitó a su cama. Ahí perdí mi virginidad. Me acuerdo que me dolía hasta el alma, no podía caminar jaja. Anduve un tiempo coja y después volví a caminar bien.

A los veintidós empecé a ir a bailar sola porque Mary ya estaba casada. Por esa época se separaron mis papis. Estuvieron diecisiete años separados, conviviendo en la misma casa. Les preguntamos porqué se habían separado y nunca nos enteramos, “son cosas de grandes”, nos decían.

A los trece años, empecé a trabajar. Mi papi me dijo “yo te voy a llamar una sola vez, te voy a tocar los pies”. Y así era, entraba “Silvia!”, decía, y me tocaba los pies. Yo me sentaba enseguida para no dormirme. Era muy responsable en el trabajo. Antes de que él me tocara los pies ya me despertaba sola. Escuchaba que mi papá hablaba por teléfono y decía: “Hola, negrita, ya voy para allá”. Mi viejo piola… Yo no quería decirle nada a mi mami para que no sufriera. Me callé la boca durante años. Pero un día explotó todo. Me di cuenta de quién era la negrita: Amelia, una amiga de mi mamá. Los sábados se reunían a jugar a las cartas, a la chancha, y yo a veces jugaba y a veces no pero observaba todo. Mi viejo la tocaba a Amelia por debajo de la mesa. Mi vieja era piola. A mi mamá le decía Negrita, a Amelia también. Así, nunca se confundía. Años más tarde, cuando tenía setenta y uno, mi viejo se casó de nuevo. Mi mamá ya había muerto. A su nueva mujer, Margarita, también le decía Negrita. Siete años duraron casados. Yo le dije a mi viejo “Te casaste para sacarme un treinta por ciento de la casa” pero no puede porque es herencia familiar.

Pero volvamos a los catorce. Cuando empecé a trabajar, me compré un piano. Era el tercero, el más lindo. Con mi plata. Sabés cómo sonaba. ¿Sabés a quién se lo compre? A García Ferrer, el que hacía lo dibujitos animados. Fue el mejor piano que tuve.

Pero un día dije no toco más y se lo vendí a una chica llamada Aurora, la mujer de Antonio, el hermano de una amiga mía de toda la vida. Ella, a su vez lo vendió también porque se casó, estudió y vendió todo.

Por esa época, hacíamos festivales en casa. Cantábamos, bailábamos y venían todos los chicos del barrio. Yo me pintaba rayas en las piernas como imitando las medias de nylon. A Rosita y Cristina, mis amigas que eran mellizas les decían las mellizas porque cantaban y bailaban juntas el rock. Mi mamá por ese tiempo tenía un kiosquito y le robábamos los cigarrillos y fumábamos a escondidas. No sabíamos pero echábamos humo. Lo más lindo de la infancia… Tomábamos gaseosas que traían los chicos.

   

A sign marks out a groundnut plot under conservation agriculture (CA) in the field of small-scale maize and mixed-crop farmer Belita Maleko, of the Mwansambo extension planning area, Nkhotakota zone, central Malawi. Signs like these help visitors understand exactly what crops and activities she has deployed on each plot, and compare CA with conventional practices.

 

“I lost my husband in 1994, but I don’t complain because conservation agriculture is doing the work my husband would have done,” says Maleko, who kept on farming after she was widowed with help from her family. At the invitation of government extension officers and the non-governmental organization Total LandCare (TLC), she began adopting CA practices and sowing plots to demonstrate them to neighboring farmers in 2006. "I’d been hearing about CA from the radio and other people, so I was very interested in trying it. They asked me to host a demo, and I said 'yes' and started applying the practices," she says. "This is my sixth year. Some other farmers visit me for advice; some come to field days to see what I’m doing. Some just pass by and observe."

 

CA practices include eliminating traditional ridge-and-furrow tillage systems, keeping crop residues on the soil, and rotating or intercropping maize with other crops. In addition to labor and cost savings, the improved soil structure resists erosion and increases water infiltration and retention, a huge benefit when drought threatens in places like Malawi, where maize subsists on rain alone.

 

In Malawi draft animals are scarce and traditional cultivation for maize involves as many as 160,000 hoe strokes per hectare. It appeared strange and somehow unjust to neighbors when Maleko stopped hoe plowing and began to leave residues and stems from previous crops on her fields. "Some asked 'How can you do this?'" she says. "Others speculated that I was degrading the soil…some people thought I was mad, but I said 'No, I'm not mad, I know what I'm doing.'"

 

She notes that those local farmers who are using CA have suffered less from this year's erratic rains. She has sown cowpea as an intercrop in one of the CA maize plots; she eats the pods and leaves and it boosts soil fertility. The plants are quite small as she had not been able to sow the cowpea at the same time as the maize—the best practice so they grow up together. “During peak period I was in the hospital nursing my daughter, but with conservation agriculture I was able to manage," she says, referring to the reduced labor requirements of CA.

 

Ongoing support and training from extension workers is crucial as farmers learn new ways of doing things, and how to apply CA most effectively. "I was trained to collect rainfall data; when I see it reaches above 30 millimeters, I sow," says Maleko. "When I have problems, I just go to my extension officer and ask for help. Some people say my husband is the extension worker, but I don’t mind. Some women have stopped talking about me and started to practice conservation agriculture."

 

Maleko sees conservation agriculture as a blessing that has helped pay for school fees and homestead improvements. "I cannot stop practicing conservation agriculture, because I'm getting lots of benefits," she says. "I have enough time to grow other crops. I'm very happy because I've built another house with the proceeds. I don't even complain about being a widow—otherwise, I wouldn't have sent my children to school. Married women come to me and ask for food. I'm a happy woman."

 

Photo credit: T. Samson/CIMMYT.

 

For more, see CIMMYT's 2012 e-news story "Conservation agriculture in Malawi: 'We always have problems with rain here,'" available online at: www.cimmyt.org/en/front-page-tems/aboutmediaresources/130....

IAFF Maltese and US Flag between mic hooks.

Text version to apply in several pieces of design for Weather design studio, EEUU. Quill and Japanese ink. 2009.

Thunder Bay Amethyst Mine Panorama is located on East Loon Rd. Watch for the billboards.

 

The recently refurbished The Coffin Works - NB Newman Bros on Fleet Street in Birmingham.

 

The museum should now be open to the public. (end of October 2014)

  

The building is Grade II* listed.

 

Coffin Furniture Works, Birmingham

 

BIRMINGHAM

 

SP 0687 SW FLEET STREET

997/28/10273 (Southeast side)

18-APR-00 13-15

Coffin Furniture Works

 

GV II*

 

Metal Working Factory, including warehousing, workshops and office. 1892, with C20 alterations and additions. By Richard Harley, of Birmingham., for Newman Brothers, coffin furniture manufacturers.

MATERIALS: Smooth red brick rising from a blue brick plinth, with ashlar sandstone dressings and slated roof coverings.

PLAN: Rectangular courtyard plan, with frontage range and parallel rear workshop ranges enclosing a long narrow rectangular yard, accessed from frontage range.

FRONT (north-west) ELEVATION: Asymmetrical 9-bay frontage range of 3 storeys,

with wide flat-headed waggon entrance with boarded doors to bays 3 and 4 to left, and entrance doorway with panelled door to right-hand end. 6 window openings to ground floor, arranged 2:4 either side of waggon doors, with shallow segmental -brick arched heads with attenuated keyblocks, all below continuous string course. Continuous cill bands to all floors, with arched heads to first floor openings, and lintel band to upper floor at eaves level, below shallow moulded parapet. First and second floors each with 9 closely spaced openings separated by narrow brick piers. Multi-paned cast iron frames to most openings. Return elevation to left, formerly concealed by now -demolished works with truncated workshop hearth stacks rising through eaves.

REAR COURTYARD: Shopping (workshop) range to north-east side of 3 storeys extend full length of plot, with closely-spaced windows with mostly multi-paned cast-iron frames incorporating pivoting panes for ventilation. Continuous blue brick cill bands, arched blue brick heads to ground and first floors, and flat heads to upper floor at eaves level. To centre of ground floor, 3 grouped door openings, the 2 outer ones with plank doors and overlights, giving access to ground floor workshops, the central opening leading to stairway to first floor shopping. South-west side with C20 replacement stores and office range built over basement of former metal-casting shop. Former engine room in semi-basement at south-east end of yard.

INTERIORS: Frontage range with entrance lobby, leading to stick-baluster stair giving access to first and second floors. Access to attached shopping at upper floor level from frontage range. Ground and first floors served as warehousing, with the office and showroom at the stair head at first floor level. Upper floor used latterly as shroud-making workshop. Original joinery and fittings survive throughout the frontage range, together with a hand operated hoist serving all floors. Workshop range to north-east with press shop to left and plating shop to right of stair access. Press shop with exposed cross-braced joists and fixed benching below windows, supporting hand-operated fly presses. Battery of 4 drop stamps against rear wall, with wall shelving for stamping dies. At the northern end, a larger single stamp , and above, line-shafting with pulleys and reducing wheels extends along the shop. Plating shop to right-hand end retains C20 vats and electrical equipment for the electro plating process . Upper floor workshops, used for polishing and finishing of goods retain workbenching, and evidence of gas fittings for soldering, (known as Birmingham side-lights ) and floor-level line shafting. A small brick furnace survives at upper workshop level.

A near -complete example of a C19 Birmingham metal -working factory complex, which specialised in the production of coffin furniture , and which retains the different constituent parts found in such factories, including characteristic 'shopping ' range to the rear courtyard, with much surviving original in-situ machinery for the shaping and finishing of metal wares . Such survivals are now extremely rare in Birmingham, an internationally -significant centre for the production of metal goods of this kind.

Nos. 13 and 15 Fleet Street form a group with nos. 9 and 11 Fleet Street.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

 

Source: English Heritage

 

Listed building text is © Crown Copyright. Reproduced under licence.

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