View allAll Photos Tagged commodity
Tanker Chemstar Masa (upbound)and Tugboat Dean Reinauer(downbound) on the Hudson River passing between Newburgh and Beacon, NY
Patricks 1565 empty cotton en-route to Narrabri North West Commodities passing through the curves between Awaba and Fassifern on 16th June 2006. Locos are GL109 + 4468 + 4483.
In the spring of 2020, a spike in demand for a certain type of paper was caused by fear of COVID-19 in the United States. Some people resorted to hoarding.
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Created for the All-Around Awesome Weekly Theme, PAPER.
DEFINITION:
something of use, advantage, or value.
(obsolete)
a quantity of goods
convenience or expediency
an exchangeable unit
IF WE DON'T START TO VALUE AND CARE FOR THAT WHICH HAS FREELY BEEN GIVEN TO US.....
THERE WON'T BE ANYTHING LEFT TO BE A COMMODITY
Well secured toilet tissue in a toilet along the "Historic Union Pacific Rail Trail," Wanship, Summit County, Utah.
"Há um menino, há um moleque, morando sempre no meu coração
Toda vez que o adulto balança ele vem pra me dar a mão
Há um passado no meu presente, o sol bem quente lá no meu quintal
Toda vez que a bruxa me assombra o menino me dá a mão
Ele fala de coisas bonitas que eu acredito que não deixarão de existir
Amizade, palavra, respeito, caráter, bondade, alegria e amor
Pois não posso, não devo, não quero viver como toda essa gente insiste em viver
Não posso aceitar sossegado qualquer maldade ser coisa normal
Bola de meia, bola de gude, o solidário não quer solidão
Toda vez que a tristeza me alcança o menino me dá a mão
Há um menino, há um moleque morando sempre no meu coração
toda vez que o adulto fraqueja ele vem pra me dar a mão
Há um menino, há um moleque morando sempre no meu coração
Toda vez que o adulto balança ele vem pra me dar a mão
Há um passado, no meu presente, um Sol bem quente lá no meu quintal
Toda vez que a bruxa me assusta o menino me dá a mão
Ele fala de coisas bonitas que eu acredito que não deixarão de existir
Amizade, palavra, respeito, caráter, bondade, alegria e amor
Pois não posso, não devo, não quero viver como toda essa gente insiste em viver
E não posso aceitar sossegado qualquer maldade ser coisa normal
Bola de Meia, Bola de gude, o solidário não quer solidão
Toda vez que a tristeza me alcança o menino me dá a mão
Há um menino, há um moleque morando sempre no meu coração
toda vez que o adulto fraqueja ele vem pra me dar a mão"
© 2012 Thousand Word Images by Dustin Abbott
Time is ticking away. Our most precious commodity. Ephesians 5:15-16 KJV See then that ye walk circumspectly, not as fools, but as wise, (16) Redeeming the time, because the days are evil.</b) P.S. I shot this (out of necessity) with a large aperture (f/2) to get the light, but the moon was a bit indistinct as a result. I composited in a picture of the moon I had taken directly over the existing moon, so the glow is actually from [real] moon but the detail in the moon from another image.
Technical info: Canon EOS 60D, SMC Takumar 55mm f/2 M42, processed in Adobe Lightroom 3, toned in Alien Skin Exposure, signature added in Photoshop CS5.
Facebook Fan Page | 500px Gallery | Order Fine Art prints | Fluidr Thousand Word Images
He shuffles when he walks and doesn't look very stable sometimes. He's losing weight, but at 14 still manages 5-6 miles of walking a day. I found one of his teeth in our house. He sleeps a lot and more often than ever, by us, or even on us. Murphy dog!
: > ) He still has a nice smile!
Camera: Canon EOS Rebel X
Lens: EF 50mm f1.8 Nifty Fifty
Film: ORWO NP15 25 ISO shot at box speed. This film is severely degraded
Developer: Xtol
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
Narayanganj, Bangladesh, 2010.
A hawkers commodities on the overbridge. Captured from Siddhirganj, Narayanganj, Bangladesh.
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All rights reserved worldwide. DO NOT use this image in any commercial, non-commercial or blogging purpose without my explicit permission. Otherwise, you'll face legal action for violating national or international copyright law.
For permission, mail me at:
monir.micro@gmail.com
monirmbdu@yahoo.com
Vama Bucharest Warehouses belong to the industrial architecture of the late 19th century, currently little represented in Romania. The ensemble is a testimony of the harmony between Giulio Magni's Italian national style and the technical and functional solutions brought by the innovative Alfred Saligny, pioneer in the engineering of those times. The only remaining part of the former Commodity Exchange is the facade.
..water! The town of Yeso sprang up beside Yeso Creek. The water wasn't fit for human consumption. I'm guessing this arrow points to clean water fit to drink? I'm not sure. One thing I know for sure is the tree on the left didn't get any water.
Yeso, De Baca County, NM
Location : Majalengkaa, Indonesia
Photo by Ali Trisno Pranoto © 2016 All Rights Reserved. www.popsick.com All my images are under © All Rights Reserved and should not be use in any other way. Please don't use this image on websites, blogs or other media without my explicit permission.
China has built more construction of bridges, buildings, railways and other massive projects than seen in history in a short time. Right now, over 25% of the economy is real estate construction, higher rates than when Spain, US or Ireland had before major real estate collapse. The Chinese government says they are heading for 7% growth. The telltale sign is the collapse of the commodity industry worldwide that supplied this ridiculous building binge. Vale, the largest Brazilian metals extractors has lost over 90% of market cap. How long until the backlash hits China and citizens take to the streets...
Size: 46 x 94 inches
Website: www.shawnshawn.co
Paintings for sale: www.etsy.com/shop/ShawNshawNart
Newsletter: www.shawnshawn.co/Site/Contact.html
Art of the Real
During the COVID initial confusion, finding this product was impossible. It really was priceless. ODC: cleaning
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
PROLOGUE
Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).
When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.
And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by
craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.
EPILOGUE
Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,
He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.
Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):
"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"
With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.
Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)
GLOSSARY
IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.
This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technologicalexplosion, but not in illusive scales.
Uber Aless @2015 NYC USA
NOTE Date's numbers and events can be slightly inaccurate.
#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,
Jewellery and tattoos.
In May village live Waga Dia and Machhukanah Rabari people.
The region of Gujarat has played host to many a tribal culture and nourished them from the very earliest periods of history. One such tribe here, the Rabaris, still pursue a pastoral lifestyle—much in the same way as they did ages ago.
The Rabaris are a semi-nomadic tribe—pursuing a pre-agrarian, pastoral lifestyle—found mainly in the Kutch and Saurashtra regions of Gujarat. Though living today in permanent settlements, they are believed to have originally migrated from Baluchistan more than a millennium ago.
But over these thousand and more years, the Rabaris have undergone many changes and have been widely influenced by the local cultures with which they came in contact. Not only are they divided into distinct clans, they also prefer to trace their origin to Hindu Gods and even the Rajputs.
Without delving into the garbled clues provided by folk lore about their origin, a closer look at the Rabari today leads one into his quaint, colourful and rugged lifestyle.
By no means are the Rabaris an isolated people. The men are on the move—almost 10 out of the 12 months—in search of grazing pastures for their livestock; while the women and children remain in their villages. These villages are normally small, devoid of more than superficial amenities and, almost always, set in bleak, barren suroundings.
In a typical village, their rectangular houses, called vandhas, are built in rows. The white-washed mud walls and tiled roofs may have an appearance of starkness when viewed from outside. But within each house, the Rabari’s fondness for patterns is easily visible from the many geometric patterns that adorn its interiors. The tiny mirrors embedded into these mud-plaster patterns only enhance their beauty as they catch the faint glimmer of light streaming in from a small window or a low doorway. A home usually consists of two rooms, and an extended enclosure in the verandah which forms the kitchen.
The room at the back is normally used as a storehouse—a virtual treasure house of embroidered clothes and quilts kept in carved wooden pataras (chests); and the kothis and kothlas (granaries) made of mud and cowdung. The other room is mainly a living room decorated with embroidered torans or decorated doorways, while the doors are covered with brass foil etched in a myriad patterns. Often, the only piece of furniture that one might find is a carved, wooden cradle.
The community’s main stay is milk and milk produce from their livestock in order to purchase commodities that they trade in various forms at the local village or town markets.
Much of the handiwork seen in their decorated homes is that of their women. In fact, Rabari women are famous for their embroidery work, called bharat kaam, from which they make numerous traditional garments and furnishings. The kediyun, a gathered jacket with an embroidered smock, worn by young Rabari men and children, skirts and blouses for the women and girls—are al dexterously embroidered. Interestingly, the Rabari girl, completes over the years, her entire dowry which includes clothes as well as beautiful quilts or derkee.
Kokulashtami, after the rains, is marriage time. The men are back from their wanderings for this al important occasion. All marriages take place on this one day. Since child marriage is still very much in vogue within this tribe, outsiders are distrusted. Again, the Rabari marries only within the tribe and often into families which are closely located. Marrying outside the fold leads to social castigation and is very rare. While Rabari couples are probably the most exotically dressed, the marriage is a simple ritual performed by a Brahmin priest.
Rabaris, by and large, and ardent followers and worshippers of the Mother Goddess. Each clan has its own tribal goddess as the patron deity, though their homes often have pictures of other gods and goddesses as well. Strong tendencies of deifying and invoking the dead are still prevalent—a pointer to the community’s old world origin.
Another old world custom that has persisted is the custom of tattooing and there is a marked similarity In the motifs used in their embroideries and tattoos.
As an outsider it is difficult to communicate with these people since they speak a dialect which is a mixture of Marwari and Gujarati. But once they understand the visitor’s innocent curiosity, they exude the warmth and friendship that has always been a part of their make-up.
Back when day's were warmer, BNSF 7388 Leads a Westbound Loaded Cattle Feed Train on the Emporia Sub.
G FTDDHT
Olathe, KS
10/22/23
The staff and volunteers at Wright-Locke Farm used their craftiness to make ristras today, strings of peppers and flowers. Seen here hanging in the greenhouse to dry, they'll be sold at an upcoming farmers market.
Tulips are spring-blooming perennial herbaceous bulbiferous geophytes (having bulbs as storage organs) in the Tulipa genus. Their flowers are usually large, showy, and brightly coloured, generally red, orange, pink, yellow, or white (usually in warm colours). They often have a different coloured blotch at the base of the tepals (petals and sepals, collectively), internally. Because of a degree of variability within the populations and a long history of cultivation, classification has been complex and controversial. The tulip is a member of the lily family, Liliaceae, along with 14 other genera, where it is most closely related to Amana, Erythronium, and Gagea in the tribe Lilieae.
There are about seventy-five species, and these are divided among four subgenera. The name "tulip" is thought to be derived from a Persian word for turban, which it may have been thought to resemble by those who discovered it. Tulips were originally found in a band stretching from Southern Europe to Central Asia, but since the seventeenth century have become widely naturalised and cultivated (see map). In their natural state, they are adapted to steppes and mountainous areas with temperate climates. Flowering in the spring, they become dormant in the summer once the flowers and leaves die back, emerging above ground as a shoot from the underground bulb in early spring.
Growing wild over much of the Near East and Central Asia, tulips had probably been cultivated in Persia from the 10th century. By the 15th century, tulips were among the most prized flowers; becoming the symbol of the later Ottomans. Tulips were cultivated in Byzantine Constantinople as early as 1055 but they did not come to the attention of Northern Europeans until the sixteenth century, when Northern European diplomats to the Ottoman court observed and reported on them. They were rapidly introduced into Northern Europe and became a much-sought-after commodity during tulip mania. Tulips were frequently depicted in Dutch Golden Age paintings, and have become associated with the Netherlands, the major producer for world markets, ever since. In the seventeenth-century Netherlands, during the time of the tulip mania, an infection of tulip bulbs by the tulip breaking virus created variegated patterns in the tulip flowers that were much admired and valued. While truly broken tulips are not cultivated anymore, the closest available specimens today are part of the group known as the Rembrandts – so named because Rembrandt painted some of the most admired breaks of his time.
Breeding programmes have produced thousands of hybrid and cultivars in addition to the original species (known in horticulture as botanical tulips). They are popular throughout the world, both as ornamental garden plants and as cut flowers.
Description
Tulip morphology
Collection of tulip bulbs, some sliced to show interior scales
Bulbs, showing tunic and scales
Flower of Tulipa orphanidea, showing cup shape
Cup-shaped flower of Tulipa orphanidea
Photograph of Tulipa clusiana, showing six identical tepals (petals and sepals)
Star-shaped flower of Tulipa clusiana with three sepals and three petals, forming six identical tepals
Tulips are perennial herbaceous bulbiferous geophytes that bloom in spring and die back after flowering to an underground storage bulb. Depending on the species, tulip plants can be between 10 and 70 cm (4 and 28 inches) high.
Tulip stems have few leaves. Larger species tend to have multiple leaves. Plants typically have two to six leaves, some species up to 12. The tulip's leaf is cauline (born on a stem), strap-shaped, with a waxy coating, and the leaves are alternate (alternately arranged on the stem), diminishing in size the further up the stem. These fleshy blades are often bluish-green in colour. The bulbs are truncated basally and elongated towards the apex. They are covered by a protective tunic (tunicate) which can be glabrous or hairy inside.
Flowers
The tulip's flowers are usually large and are actinomorphic (radially symmetric) and hermaphrodite (contain both male (androecium) and female (gynoecium) characteristics), generally erect, or more rarely pendulous, and are arranged more usually as a single terminal flower, or when pluriflor as two to three (e.g. Tulipa turkestanica), but up to four, flowers on the end of a floriferous stem (scape), which is single arising from amongst the basal leaf rosette. In structure, the flower is generally cup or star-shaped. As with other members of Liliaceae the perianth is undifferentiated (perigonium) and biseriate (two whorled), formed from six free (i.e. apotepalous) caducous tepals arranged into two separate whorls of three parts (trimerous) each. The two whorls represent three petals and three sepals, but are termed tepals because they are nearly identical. The tepals are usually petaloid (petal-like), being brightly coloured, but each whorl may be different, or have different coloured blotches at their bases, forming darker colouration on the interior surface. The inner petals have a small, delicate cleft at the top, while the sturdier outer ones form uninterrupted ovals.
The flowers have six distinct, basifixed introrse stamens arranged in two whorls of three, which vary in length and may be glabrous or hairy. The filaments are shorter than the tepals and dilated towards their base. The style is short or absent and each stigma has three distinct lobes, and the ovaries are superior, with three chambers.
Colours
The "Semper Augustus" was the most expensive tulip during the 17th-century tulip mania. “The colour is white, with Carmine on a blue base, and with an unbroken flame right to the top” – wrote Nicolas van Wassenaer in 1624 after seeing the tulip in the garden of one Dr Adriaen Pauw, a director of the new East India Company. With limited specimens in existence at the time and most owned by Pauw, his refusal to sell any flowers, despite wildly escalating offers, is believed by some to have sparked the mania.
Tulip flowers come in a wide variety of colours, except pure blue (several tulips with "blue" in the name have a faint violet hue), and have absent nectaries. Tulip flowers are generally bereft of scent and are the coolest of floral characters. The Dutch regarded this lack of scent as a virtue, as it demonstrates the flower's chasteness.
While tulips can be bred to display a wide variety of colours, black tulips have historically been difficult to achieve. The Queen of the Night tulip is as close to black as a flower gets, though it is, in fact, a dark and glossy maroonish purple - nonetheless, an effect prized by the Dutch. The first truly black tulip was bred in 1986 by a Dutch flower grower in Bovenkarspel, Netherlands. The specimen was created by cross-breeding two deep purple tulips, the Queen of the Night and Wienerwald tulips.
Fruit
The tulip's fruit is a globose or ellipsoid capsule with a leathery covering and an ellipsoid to globe shape. Each capsule contains numerous flat, disc-shaped seeds in two rows per chamber These light to dark brown seeds have very thin seed coats and endosperm that do not normally fill the entire seed.
Phytochemistry
Tulipanin is an anthocyanin found in tulips. It is the 3-rutinoside of delphinidin. The chemical compounds named tuliposides and tulipalins can also be found in tulips and are responsible for allergies. Tulipalin A, or α-methylene-γ-butyrolactone, is a common allergen, generated by hydrolysis of the glucoside tuliposide A. It induces a dermatitis that is mostly occupational and affects tulip bulb sorters and florists who cut the stems and leaves. Tulipanin A and B are toxic to horses, cats and dogs. The colour of a tulip is formed from two pigments working in concert; a base colour that is always yellow or white, and a second laid-on anthocyanin colour. The mix of these two hues determines the visible unitary colour. The breaking of flowers occurs when a virus suppresses anthocyanin and the base colour is exposed as a streak.
Fragrance
The great majority of tulips, both species and cultivars, have no discernable scent, but a few of both are scented to a degree, and Anna Pavord describes T. Hungarica as "strongly scented", and among cultivars, some such as "Monte Carlo" and "Brown Sugar" are "scented", and "Creme Upstar" "fragrant".
Taxonomy
Main article: Taxonomy of Tulipa
Tulipa is a genus of the lily family, Liliaceae, once one of the largest families of monocots, but which molecular phylogenetics has reduced to a monophyletic grouping with only 15 genera. Within Liliaceae, Tulipa is placed within Lilioideae, one of three subfamilies, with two tribes. Tribe Lilieae includes seven other genera in addition to Tulipa.
Subdivision
The genus, which includes about 75 species, is divided into four subgenera.
Clusianae (4 species)
Orithyia (4 species)
Tulipa (52 species)
Eriostemones (16 species)
Etymology
The word tulip, first mentioned in western Europe in or around 1554 and seemingly derived from the "Turkish Letters" of diplomat Ogier Ghiselin de Busbecq, first appeared in English as tulipa or tulipant, entering the language by way of French: tulipe and its obsolete form tulipan or by way of Modern Latin tulipa, from Ottoman Turkish tülbend ("muslin" or "gauze"), and may be ultimately derived from the Persian: دلبند delband ("Turban"), this name being applied because of a perceived resemblance of the shape of a tulip flower to that of a turban. This may have been due to a translation error in early times when it was fashionable in the Ottoman Empire to wear tulips on turbans. The translator possibly confused the flower for the turban.
Ogier Ghiselin de Busbecq stated that the "Turks" used the word tulipan to describe the flower. Extensive speculation has tried to understand why he would state this, given that the Turkish word for tulip is lale. It is from this speculation that tulipan being a translation error referring to turbans is derived. This etymology has been challenged and makes no assumptions about possible errors. At no point does Busbecq state this was the word used in Turkey, he simply states it was used by the "Turks". On his way to Constantinople Busbecq states he travelled through Hungary and used Hungarian guides. Until recent times "Turk" was a common term when referring to Hungarians. The word tulipan is in fact the Hungarian word for tulip. As long as one recognizes "Turk" as a reference to Hungarians, no amount of speculation is required to reconcile the word's origin or form. Busbecq may have been simply repeating the word used by his "Turk/Hungarian" guides.
The Hungarian word tulipan may be adopted from an Indo-Aryan reference to the tulip as a symbol of resurrection, tala meaning "bottom or underworld" and pAna meaning "defence". Prior to arriving in Europe the Hungarians, and other Finno-Ugrians, embraced the Indo-Iranian cult of the dead, Yima/Yama, and would have been familiar with all of its symbols including the tulip.
Distribution and habitat
Map from Turkmenistan to Tien-Shan
Eastern end of the tulip range from Turkmenistan on the eastern shore of the Caspian Sea to the Pamir-Alai and Tien-Shan mountains
Tulips are mainly distributed along a band corresponding to latitude 40° north, from southeast of Europe (Greece, Albania, North Macedonia, Kosovo, Southern Serbia, Bulgaria, most part of Romania, Ukraine, Russia) and Turkey in the west, through the Levant (Syria, Israel, Palestinian Territories, Lebanon and Jordan) and the Sinai Peninsula. From there it extends eastwards through Jerevan (Armenia), and Baku (Azerbaijan) and on the eastern shore of the Caspian Sea through Turkmenistan, Bukhara, Samarkand and Tashkent (Uzbekistan), to the eastern end of the range in the Pamir-Alai and Tien-Shan mountains in Central Asia, which form the centre of diversity. Further to the east, Tulipa is found in the western Himalayas, southern Siberia, Inner Mongolia, and as far as the northwest of China. While authorities have stated that no tulips west of the Balkans are native, subsequent identification of Tulipa sylvestris subsp. australis as a native of the Iberian peninsula and adjacent North Africa shows that this may be a simplification. In addition to these regions in the west tulips have been identified in Greece, Cyprus and the Balkans. In the south, Iran marks its furthest extent, while the northern limit is Ukraine. Although tulips are also throughout most of the Mediterranean and Europe, these regions do not form part of the natural distribution. Tulips were brought to Europe by travellers and merchants from Anatolia and Central Asia for cultivation, from where they escaped and naturalised (see map). For instance, less than half of those species found in Turkey are actually native. These have been referred to as neo-tulipae.
Tulips are indigenous to mountainous areas with temperate climates, where they are a common element of steppe and winter-rain Mediterranean vegetation. They thrive in climates with long, cool springs and dry summers. Tulips are most commonly found in meadows, steppes and chaparral, but also introduced in fields, orchards, roadsides and abandoned gardens.
Ecology
Variegation produced by the tulip breaking virus
Botrytis tulipae is a major fungal disease affecting tulips, causing cell death and eventually the rotting of the plant. Other pathogens include anthracnose, bacterial soft rot, blight caused by Sclerotium rolfsii, bulb nematodes, other rots including blue molds, black molds and mushy rot.
The fungus Trichoderma viride can infect tulips, producing dried leaf tips and reduced growth, although symptoms are usually mild and only present on bulbs growing in glasshouses.[citation needed]
Variegated tulips admired during the Dutch tulipomania gained their delicately feathered patterns from an infection with the tulip breaking virus, a mosaic virus that was carried by the green peach aphid, Myzus persicae. While the virus produces fantastically streaked flowers, it also weakens plants and reduces the number of offsets produced. Dutch growers would go to extraordinary lengths during tulipomania to make tulips break, borrowing alchemists’ techniques and resorting to sprinkling paint powders of the desired hue or pigeon droppings onto flower roots.
Tulips affected by the mosaic virus are called "broken"; while such plants can occasionally revert to a plain or solid colouring, they will remain infected and have to be destroyed. Today the virus is almost eradicated from tulip growers' fields. The multicoloured patterns of modern varieties result from breeding; they normally have solid, un-feathered borders between the colours.
Tulip growth is also dependent on temperature conditions. Slightly germinated plants show greater growth if subjected to a period of cool dormancy, known as vernalisation. Furthermore, although flower development is induced at warmer temperatures (20–25 °C or 68–77 °F), elongation of the flower stalk and proper flowering is dependent on an extended period of low temperature (< 10 °C or 50 °F). Tulip bulbs imported to warm-winter areas are often planted in autumn to be treated as annuals.
The colour of tulip flowers also varies with growing conditions.
Cultivation
History
Islamic World
Tulipa sylvestris subsp. australis[a] with seedpod by Sydenham Edwards (1804)
Cultivation of the tulip began in Iran (Persia), probably in the 10th century. Early cultivars must have emerged from hybridisation in gardens from wild collected plants, which were then favoured, possibly due to flower size or growth vigour. The tulip is not mentioned by any writer from antiquity, therefore it seems probable that tulips were introduced into Anatolia only with the advance of the Seljuks. In the Ottoman Empire, numerous types of tulips were cultivated and bred, and today, 14 species can still be found in Turkey. Tulips are mentioned by Omar Kayam and Jalāl ad-Dīn Rûmi. Species of tulips in Turkey typically come in red, less commonly in white or yellow. The Ottoman Turks had discovered that these wild tulips were great changelings, freely hybridizing (though it takes 7 years to show colour) but also subject to mutations that produced spontaneous changes in form and colour.
A paper by Arthur Baker[31] reports that in 1574, Sultan Selim II ordered the Kadi of A‘azāz in Syria to send him 50,000 tulip bulbs. However, John Harvey points out several problems with this source, and there is also the possibility that tulips and hyacinth (sümbüll), originally Indian spikenard (Nardostachys jatamansi) have been confused. Sultan Selim also imported 300,000 bulbs of Kefe Lale (also known as Cafe-Lale, from the medieval name Kaffa, probably Tulipa schrenkii) from Kefe in Crimea, for his gardens in the Topkapı Sarayı in Istanbul.
It is also reported that shortly after arriving in Constantinople in 1554, Ogier Ghislain de Busbecq, ambassador of the Austrian Habsburgs to the court of Suleyman the Magnificent, claimed to have introduced the tulip to Europe by sending a consignment of bulbs west. The fact that the tulip's first official trip west took it from one court to the other could have contributed to its ascendency.
Sultan Ahmet III maintained famous tulip gardens in the summer highland pastures (Yayla) at Spil Dağı above the town of Manisa. They seem to have consisted of wild tulips. However, of the 14 tulip species known from Turkey, only four are considered to be of local origin, so wild tulips from Iran and Central Asia may have been brought into Turkey during the Seljuk and especially Ottoman periods. Also, Sultan Ahmet imported domestic tulip bulbs from the Netherlands.
The gardening book Revnak'ı Bostan (Beauty of the Garden) by Sahibül Reis ülhaç Ibrahim Ibn ülhaç Mehmet, written in 1660 does not mention the tulip at all, but contains advice on growing hyacinths and lilies. However, there is considerable confusion of terminology, and tulips may have been subsumed under hyacinth, a mistake several European botanists were to perpetuate. In 1515, the scholar Qasim from Herat in contrast had identified both wild and garden tulips (lale) as anemones (shaqayq al-nu'man), but described the crown imperial as laleh kakli.
In a Turkic text written before 1495, the Chagatay Husayn Bayqarah mentions tulips (lale). Babur, the founder of the Mughal Empire, also names tulips in the Baburnama. He may actually have introduced them from Afghanistan to the plains of India, as he did with other plants like melons and grapes. The tulip represents the official symbol of Turkey.
In Moorish Andalus, a "Makedonian bulb" (basal al-maqdunis) or "bucket-Narcissus" (naryis qadusi) was cultivated as an ornamental plant in gardens. It was supposed to have come from Alexandria and may have been Tulipa sylvestris, but the identification is not wholly secure.
Introduction to Western Europe
Tulip cultivation in the Netherlands
The Keukenhof in Lisse, Netherlands
Although it is unknown who first brought the tulip to Northwestern Europe, the most widely accepted story is that it was Oghier Ghislain de Busbecq, an ambassador for Emperor Ferdinand I to Suleyman the Magnificent. According to a letter, he saw "an abundance of flowers everywhere; Narcissus, hyacinths and those in Turkish called Lale, much to our astonishment because it was almost midwinter, a season unfriendly to flowers." However, in 1559, an account by Conrad Gessner describes tulips flowering in Augsburg, Swabia in the garden of Councillor Heinrich Herwart. In Central and Northern Europe, tulip bulbs are generally removed from the ground in June and must be replanted by September for the winter.[citation needed] It is doubtful that Busbecq could have had the tulip bulbs harvested, shipped to Germany and replanted between March 1558 and Gessner's description the following year. Pietro Andrea Mattioli illustrated a tulip in 1565 but identified it as a narcissus.
Carolus Clusius is largely responsible for the spread of tulip bulbs in the final years of the 16th century; he planted tulips at the Vienna Imperial Botanical Gardens in 1573. He finished the first major work on tulips in 1592 and made note of the colour variations. After he was appointed the director of the Leiden University's newly established Hortus Botanicus, he planted both a teaching garden and his private garden with tulips in late 1593. Thus, 1594 is considered the date of the tulip's first flowering in the Netherlands, despite reports of the cultivation of tulips in private gardens in Antwerp and Amsterdam two or three decades earlier. These tulips at Leiden would eventually lead to both the tulip mania and the tulip industry in the Netherlands. Over two raids, in 1596 and in 1598, more than one hundred bulbs were stolen from his garden.
Tulips spread rapidly across Europe, and more opulent varieties such as double tulips were already known in Europe by the early 17th century. These curiosities fitted well in an age when natural oddities were cherished especially in the Netherlands, France, Germany and England, where the spice trade with the East Indies had made many people wealthy. Nouveaux riches seeking wealthy displays embraced the exotic plant market, especially in the Low Countries where gardens had become fashionable. A craze for bulbs soon grew in France, where in the early 17th century, entire properties were exchanged as payment for a single tulip bulb. The value of the flower gave it an aura of mystique, and numerous publications describing varieties in lavish garden manuals were published, cashing in on the value of the flower. An export business was built up in France, supplying Dutch, Flemish, German and English buyers. The trade drifted slowly from the French to the Dutch.
Between 1634 and 1637, the enthusiasm for the new flowers in Holland triggered a speculative frenzy now known as the tulip mania that eventually led to the collapse of the market three years later. Tulip bulbs had become so expensive that they were treated as a form of currency, or rather, as futures, forcing the Dutch government to introduce trading restrictions on the bulbs. Around this time, the ceramic tulipiere was devised for the display of cut flowers stem by stem. Vases and bouquets, usually including tulips, often appeared in Dutch still-life painting. To this day, tulips are associated with the Netherlands, and the cultivated forms of the tulip are often called "Dutch tulips". The Netherlands has the world's largest permanent display of tulips at the Keukenhof.
The majority of tulip cultivars are classified in the taxon Tulipa ×gesneriana. They have usually several species in their direct background, but most have been derived from Tulipa suaveolens (today often regarded as a synonym with Tulipa schrenkii). Tulipa ×gesneriana is in itself an early hybrid of complex origin and is probably not the same taxon as was described by Conrad Gessner in the 16th century.
The UK's National Collection of English florists' tulips and Dutch historic tulips, dating from the early 17th century to c. 1960, is held by Polly Nicholson at Blackland House, near Calne in Wiltshire.
Introduction to the United States
The Dallas Arboretum and Botanical Garden
It is believed the first tulips in the United States were grown near Spring Pond at the Fay Estate in Lynn and Salem, Massachusetts. From 1847 to 1865, Richard Sullivan Fay, Esq., one of Lynn's wealthiest men, settled on 500 acres (2 km2; 202 ha) located partly in present-day Lynn and partly in present-day Salem. Mr. Fay imported many different trees and plants from all parts of the world and planted them among the meadows of the Fay Estate.
Propagation
Tulip pistil surrounded by stamens
Tulip stamen with pollen grains
The reproductive organs of a tulip
The Netherlands is the world's main producer of commercial tulip plants, producing as many as 3 billion bulbs annually, the majority for export.
"Unlike many flower species, tulips do not produce nectar to entice insect pollination. Instead, tulips rely on wind and land animals to move their pollen between reproductive organs. Because they are self-pollinating, they do not need the pollen to move several feet to another plant but only within their blossoms."
Tulips can be propagated through bulb offsets, seeds or micropropagation. Offsets and tissue culture methods are means of asexual propagation for producing genetic clones of the parent plant, which maintains cultivar genetic integrity. Seeds are most often used to propagate species and subspecies or to create new hybrids. Many tulip species can cross-pollinate with each other, and when wild tulip populations overlap geographically with other tulip species or subspecies, they often hybridise and create mixed populations. Most commercial tulip cultivars are complex hybrids, and often sterile.
Offsets require a year or more of growth before plants are large enough to flower. Tulips grown from seeds often need five to eight years before plants are of flowering size. To prevent cross-pollination, increase the growth rate of bulbs and increase the vigour and size of offsets, the flower and stems of a field of commercial tulips are usually topped using large tractor-mounted mowing heads. The same goals can be achieved by a private gardener by clipping the stem and flower of an individual specimen. Commercial growers usually harvest the tulip bulbs in late summer and grade them into sizes; bulbs large enough to flower are sorted and sold, while smaller bulbs are sorted into sizes and replanted for sale in the future.
Because tulip bulbs don't reliably come back every year, tulip varieties that fall out of favour with present aesthetic values have traditionally gone extinct. Unlike other flowers that do not suffer this same limitation, the Tulip's historical forms do not survive alongside their modern incarnations.
Horticultural classification
'Gavota', a division 3 cultivar
'Yonina', a division 6 cultivar
'Texas Flame', a division 10 cultivar
In horticulture, tulips are divided into fifteen groups (Divisions) mostly based on flower morphology and plant size.
Div. 1: Single early – with cup-shaped single flowers, no larger than 8 cm (3 inches) across. They bloom early to mid-season. Growing 15 to 45 cm (6 to 18 inches) tall.
Div. 2: Double early – with fully double flowers, bowl shaped to 8 cm (3 inches) across. Plants typically grow from 30–40 cm (12–16 inches) tall.
Div. 3: Triumph – single, cup shaped flowers up to 6 cm (2.5 inches) wide. Plants grow 35–60 cm (14–24 inches) tall and bloom mid to late season.
Div. 4: Darwin hybrid – single flowers are ovoid in shape and up to 6 cm (2.5 inches) wide. Plants grow 50–70 cm (20–28 inches) tall and bloom mid to late season. This group should not be confused with older Darwin tulips, which belong in the Single Late Group below.
Div. 5: Single late – cup or goblet-shaped flowers up to 8 cm (3 inches) wide, some plants produce multi-flowering stems. Plants grow 45–75 cm (18–30 inches) tall and bloom late season.
Div. 6: Lily-flowered – the flowers possess a distinct narrow 'waist' with pointed and reflexed petals. Previously included with the old Darwins, only became a group in their own right in 1958.
Div. 7: Fringed (Crispa) – cup or goblet-shaped blossoms edged with spiked or crystal-like fringes, sometimes called “tulips for touch” because of the temptation to “test” the fringes to see if they are real or made of glass. Perennials with a tendency to naturalize in woodland areas, growing 45–65 cm (18–26 inches) tall and blooming in late season.
Div. 8: Viridiflora
Div. 9: Rembrandt
Div. 10: Parrot
Div. 11: Double late – Large, heavy blooms. They range from 46 to 56 cm (18 to 22 inches) tall.
Div. 12: Kaufmanniana – Waterlily tulip. Medium-large creamy yellow flowers marked red on the outside and yellow at the centre. Stems 15 cm (6 inches) tall.
Div. 13: Fosteriana (Emperor)
Div. 14: Greigii – Scarlet flowers 15 cm (6 inches) across, on 15-centimetre (6 in) stems. Foliage mottled with brown.
Div. 15: Species or Botanical – The terms "species tulips" and "botanical tulips" refer to wild species in contrast to hybridised varieties. As a group they have been described as being less ostentatious but more reliably vigorous as they age.
Div. 16: Multiflowering – not an official division, these tulips belong in the first 15 divisions but are often listed separately because they have multiple blooms per bulb.
They may also be classified by their flowering season:
Early flowering: Single Early Tulips, Double Early Tulips, Greigii Tulips, Kaufmanniana Tulips, Fosteriana Tulips, § Species tulips
Mid-season flowering: Darwin Hybrid Tulips, Triumph Tulips, Parrot Tulips
Late season flowering: Single Late Tulips, Double Late Tulips, Viridiflora Tulips, Lily-flowering Tulips, Fringed (Crispa) Tulips, Rembrandt Tulips
Neo-tulipae
Tulip Bulb Depth
Tulip bulb planting depth 15 cm (6 inches)
A number of names are based on naturalised garden tulips and are usually referred to as neo-tulipae. These are often difficult to trace back to their original cultivar, and in some cases have been occurring in the wild for many centuries. The history of naturalisation is unknown, but populations are usually associated with agricultural practices and are possibly linked to saffron cultivation[clarification needed]. Some neo-tulipae have been brought into cultivation, and are often offered as botanical tulips. These cultivated plants can be classified into two Cultivar Groups: 'Grengiolensis Group', with picotee tepals, and the 'Didieri Group' with unicolourous tepals.
Horticulture
Tulip bulbs are typically planted around late summer and fall, in well-drained soils. Tulips should be planted 10 to 15 cm (4 to 6 inches) apart from each other. The recommended hole depth is 10 to 20 cm (4 to 8 inches) deep and is measured from the top of the bulb to the surface. Therefore, larger tulip bulbs would require deeper holes. Species tulips are normally planted deeper.
Culture and politics
Iran
The celebration of Persian New Year, or Nowruz, dating back over 3,000 years, marks the advent of spring, and tulips are used as a decorative feature during the festivities.
A sixth-century legend, similar to the tale of Romeo and Juliet, tells of tulips sprouting where the blood of the young prince Farhad spilt after he killed himself upon hearing the (deliberately false) story that his true love had died.
The tulip was a topic for Persian poets from the thirteenth century. The poem Gulistan by Musharrifu'd-din Saadi, described a visionary garden paradise with "The murmur of a cool stream / bird song, ripe fruit in plenty / bright multicoloured tulips and fragrant roses...". In recent times, tulips have featured in the poems of Simin Behbahani.
The tulip is the national symbol for martyrdom in Iran[62] (and Shi'ite Islam generally), and has been used on postage stamps and coins. It was common as a symbol used in the 1979 Islamic Revolution, and a red tulip adorns the flag redesigned in 1980. The sword in the centre, with four crescent-shaped petals around it, create the word "Allah" as well as symbolising the five pillars of Islam. The tomb of Ayatollah Ruhollah Khomeini is decorated with 72 stained glass tulips, representing 72 martyrs who died at the Battle of Karbala in 680CE. It was also used as a symbol on billboards celebrating casualties of the 1980–1988 war with Iraq.[60]
The tulip also became a symbol of protest against the Iranian government after the presidential election in June 2009, when millions turned out on the streets to protest the re-election of Mahmoud Ahmadinejad. After the protests were harshly suppressed, the Iranian Green Movement adopted the tulip as a symbol of their struggle.
The word for tulip in Persian is "laleh" (لاله), and this has become popular as a girl's name. The name has been used for commercial enterprises, such as the Laleh International Hotel, as well as public facilities, such as Laleh Park and Laleh Hospital, and the tulip motif remains common in Iranian culture.
Iranian 20 rial coin
Obverse with 22 tulips
Obverse with 22 tulips
Reverse with three tulips
Reverse with three tulips
In other countries and cultures
Turkish Airlines uses a grey tulip emblem on its aircraft
Tulips are called lale in Turkish (from the Persian: لاله, romanized: laleh from لال lal 'red'). When written in Arabic letters, lale has the same letters as Allah, which is why the flower became a holy symbol. It was also associated with the House of Osman, resulting in tulips being widely used in decorative motifs on tiles, mosques, fabrics, crockery, etc. in the Ottoman Empire.[6] The tulip was seen as a symbol of abundance and indulgence. The era during which the Ottoman Empire was wealthiest is often called the Tulip era or Lale Devri in Turkish.
Tulips became popular garden plants in the east and west, but, whereas the tulip in Turkish culture was a symbol of paradise on earth and had almost a divine status, in the Netherlands it represented the briefness of life.
In Christianity, tulips symbolise passion, belief and love. White tulips represent forgiveness while purple tulips represent royalty, both important aspects of Easter.[citation needed] In Calvinism, the five points of the doctrines of grace have been summarized under the acrostic TULIP.
By contrast to other flowers such as the coneflower or lotus flower, tulips have historically been capable of genetically reinventing themselves to suit changes in aesthetic values. In his 1597 herbal, John Gerard says of the tulip that "nature seems to play more with this flower than with any other that I do know". When in the Netherlands, beauty was defined by marbled swirls of vivid contrasting colours, the petals of tulips were able to become "feathered" and "flamed". However, in the 19th century, when the English desired tulips for carpet bedding and massing, the tulips were able to once again accommodate this by evolving into "paint-filled boxes with the brightest, fattest dabs of pure pigment". This inherent mutability of the tulip even led the Ottoman Turks to believe that nature cherished this flower above all others.
The Black Tulip (1850) is a historical romance by Alexandre Dumas, père. The story takes place in the Dutch city of Haarlem, where a reward is offered to the first grower who can produce a truly black tulip.[citation needed]
The tulip occurs on a number of the Major Arcana cards of occultist Oswald Wirth's deck of Tarot cards, specifically the Magician, Emperor, Temperance and the Fool, described in his 1927 work Le Tarot, des Imagiers du Moyen Âge.
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Tulip festivals are held around the world, for example in the Netherlands and Spalding, England. There is also a popular festival in Morges, Switzerland. Every spring, there are tulip festivals in North America, including the Tulip Time Festival in Holland, Michigan, the Skagit Valley Tulip Festival in Skagit Valley, Washington, the Tulip Time Festival in Orange City and Pella, Iowa, and the Canadian Tulip Festival in Ottawa, Ontario, Canada. Tulips are also popular in Australia and several festivals are held in September and October, during the Southern Hemisphere's spring. The Indira Gandhi Memorial Tulip Garden hosts an annual tulip festival which draws huge attention and has an attendance of over 200,000.
Consumption
Tulip petals are edible. The taste varies by variety and season, and is roughly similar to lettuce or other salad greens. Some people are allergic to tulips.
Tulip bulbs look similar to onions, but should not generally be considered food. The toxicity of bulbs is not well understood, nor is there an agreed-upon method of safely preparing them for human consumption. There have been reports of illness when eaten, depending on quantity. During the Dutch famine of 1944–45, tulip bulbs were eaten out of desperation, and Dutch doctors provided recipes.
Animals
As with other plants of the lily family, tulips are poisonous to domestic animals including horses, cats and dogs. In cats, ingestion of small amounts of tulips can include vomiting, depression, diarrhoea, hypersalivation, and irritation of the mouth and throat, and larger amounts can cause abdominal pain, tremors, tachycardia, convulsions, tachypnea, difficulty breathing, cardiac arrhythmia, and coma. All parts of the tulip plant are poisonous to cats, while the bulb is especially dangerous. A veterinarian should be contacted immediately if a cat has ingested tulip. In the American East, White-tailed Deer eat tulip flowers ravenously, with no apparent ill effects.
Direct Rail Services Class 88 88006 "Juno" passes Woodacre near Garstang on 4m27 0548 Mossend Yard - Daventry ,photographed during my daily exercise on 10/04/2020
R233 eases through Jeff in the late afternoon light with a string of loads fresh out of Yellow Creek bound for Cope, South Carolina. The only thing to stay consistent here is the old single car loader that now haunts the landscape.