View allAll Photos Tagged connotation
"Amaryllis belladonna was introduced into cultivation at the beginning of the eighteenth century. It reproduces slowly by either bulb division or seeds and has gradually naturalized from plantings in urban and suburban areas throughout the lower elevations and coastal areas in much of the West Coast of the US since these environments mimic their native South African habitat. Hardiness zones 6–8. It is also naturalized in Australia."
"There is an Amaryllis belladonna hybrid which was bred in the 1800s in Australia. No one knows the exact species it was crossed with to produce color variations of white, cream, peach, magenta and nearly red hues. The hybrids were crossed back onto the original Amaryllis belladonna and with each other to produce naturally seed-bearing crosses that come in a very wide range of flower sizes, shapes, stem heights and intensities of pink. Pure white varieties with bright green stems were bred as well. The hybrids are quite distinct in that the many shades of pink also have stripes, veining, darkened edges, white centers and light-yellow centers, also setting them apart from the original light pink. In addition, the hybrids often produce flowers in a fuller circle rather than the "side-facing" habit of the "old-fashioned" pink. The hybrids are able to adapt to year-round watering and fertilization but can also tolerate completely dry summer conditions if need be."
"A. belladonna has gained the Royal Horticultural Society's Award of Garden Merit." (Wikipedia)
Red Amarillis Flower, the Meaning, Symbolism, & Spiritual Significance. (Written by Foliage Friend)
"Some of the content shared in this post is derived from myth, folklore, ancient traditions & legends. The information here should not be considered life or medical advice. Do not consume, expose animals or handle any flowers or plants based on the content of this post."
“The red amaryllis flower is a stunningly beautiful flower that has a rich and complex symbolism and spiritual significance. In this article, we will dive deep into the spiritual meaning of these flowers, their symbolism in literature and art, what they represent in dreams, and the legends, folklore, and mythology associated with them. We will also explore how seeing red amaryllis flowers can impact you spiritually, what they mean in numerology and astrology, and whether they are considered lucky.”
“The red amaryllis flower holds a powerful spiritual meaning. It is associated with love, passion, and creativity. The deep red color of these flowers symbolizes the intensity of emotions and the fire of the spirit. They are also a potent symbol of transformation, growth, and renewal, and are often used in spiritual rituals and ceremonies to invoke these energies.”
“In addition to their spiritual symbolism, red amaryllis flowers have a rich cultural history. In Greek mythology, the amaryllis flower was said to have sprung from the blood of a love-struck shepherd who pierced his heart with an arrow. This legend has contributed to the flower’s association with love and passion.”
“Red amaryllis flowers are also popular in the world of gardening and horticulture. They are known for their striking beauty and are often used in floral arrangements and as decorative plants. In fact, the amaryllis is one of the most popular flowers grown indoors during the winter months, as it can bloom for several weeks and add a touch of color to any space.”
“In literature and art, red amaryllis flowers are often used to symbolize beauty, strength, and elegance. They are a common motif in poetry, where they are used to evoke powerful emotions and a sense of longing. In paintings, they are often depicted as a dramatic and breathtaking centerpiece, symbolizing the radiance and beauty of nature.”
“According to Greek mythology, the amaryllis flower is said to have originated from a love story between a shepherd and a nymph. The shepherd, named Amaryllis, was deeply in love with the nymph, but she did not return his affections. In an attempt to win her over, he pierced his heart with a golden arrow and then walked to her doorstep every day for a month, leaving a trail of blood behind him. On the thirtieth day, a beautiful red flower bloomed where his blood had fallen, and he presented it to the nymph as a symbol of his undying love. Thus, the red amaryllis flower also represents passionate love and devotion.”
“When you dream of red amaryllis flowers, they may represent your deepest desires and passions. They are also a symbol of transformation, growth, and creative energy. Seeing these flowers in your dreams may be a sign that you are ready to embark on a new journey or pursue a new project or passion.”
“Furthermore, red amaryllis flowers are often associated with love and romance. If you dream of these flowers, it may be a sign that you are ready to open your heart to new possibilities in your love life. Alternatively, it could also mean that you are experiencing a deep connection with someone special in your life.”
“These flowers have a long and rich history in legends, folklore, and mythology. In Greek mythology, the amaryllis flower is said to have sprung from the blood of Adonis, the lover of Aphrodite. In Christian tradition, these flowers symbolize the strength and beauty of the Virgin Mary. In Celtic mythology, the amaryllis flower represents the fiery energy of the sun.”
“In addition to these myths and legends, red amaryllis flowers have also been associated with love and passion. In Victorian times, giving someone a red amaryllis was seen as a declaration of love. The flower’s bold and striking appearance was thought to represent the intensity of the giver’s feelings.”
“Red amaryllis flowers are also known for their medicinal properties. In traditional Chinese medicine, the bulbs of the amaryllis plant are used to treat respiratory problems, such as coughs and bronchitis. The plant is also believed to have anti-inflammatory and anti-tumor properties.”
“Seeing red amaryllis flowers can have a powerful impact on you spiritually. They are a potent symbol of love, passion, and creative energy and can help you connect with these energies on a deep level. They can also help you tap into your own inner strength and beauty, helping you to grow and transform on a spiritual level.”
“Red amaryllis flowers are also associated with the root chakra, which is located at the base of the spine and represents our foundation and sense of security. By meditating on or simply admiring these flowers, you can activate and balance your root chakra, promoting feelings of stability and grounding. This can be especially beneficial during times of stress or uncertainty.”
“In numerology, red amaryllis flowers are associated with the number 6. This number is considered to be a symbol of harmony, balance, and energy. It represents the creative energy of the universe and the power of manifestation. It is also associated with the heart chakra, which is the center of love and compassion.”
“The number 6 is also believed to bring a sense of stability and responsibility. It is often associated with family, home, and community. Red amaryllis flowers can be used to enhance these aspects of life and bring a sense of grounding and connection to those around you.”
“Additionally, the color red is often associated with passion and desire, making red amaryllis flowers a great gift for a romantic partner or to enhance feelings of love and intimacy in a relationship.”
“In astrology, red amaryllis flowers are associated with the sign of Aries. This sign is known for its fiery and passionate energy, and its ability to bring about change and transformation. The red amaryllis flower is a symbol of these qualities and can help you connect with the powerful energies of this sign.”
“They are often used in love spells, rituals and are believed to enhance passion and desire or can be used to attract a new lover or strengthen an existing relationship.”
“In some cultures, red amaryllis flowers are also associated with Christmas and the holiday season. They are often used in festive decorations and symbolize love, beauty, and prosperity.”
“Yes, in many cultures, the red amaryllis flower is considered to be a lucky flower. It is said to bring good luck and prosperity and is often used in rituals and ceremonies to invite these energies into one’s life. It is also a popular gift during the holiday season, as it symbolizes love, warmth, and friendship.”
“Aside from its lucky connotations, the red amaryllis flower is also known for its medicinal properties. It contains a compound called lycorine, which has been found to have anti-cancer and anti-inflammatory effects. Additionally, the flower has been used in traditional medicine to treat respiratory illnesses and skin conditions.”
“In conclusion, the red amaryllis flower holds a rich and complex symbolism and spiritual significance. These flowers represent love, passion, creativity, transformation, growth, and renewal. They are a powerful symbol of connection to the universe and can help you tap into your own inner strength and beauty. Whether you see them in your dreams, in literature and art, or in nature, the red amaryllis flower is a potent reminder of the power of the spirit.”
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
The layout of the Toraja adat houses is imbued with symbolic meaning. The orientation of the tongkonans has cosmological connotations, and the design of the carved decorations on the front has symbolic significance since it contains a variety of messages about social hierarchy and structure, and the relations to the world of the spirits.
As described above, the creator Puang Matua is associated with the North, and therefore the tongkonan must also face North. The South of the house is associated with the afterworld (heaven, or Puya) and the ancestors. The West and the East are associated with the left and right hands of the human body, but also with the world of the gods (East) and the ancestors in their deified form (West).
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
St. Petersburg, Russia, 1992. Monolta X-500, Tokina 80-200 mm, Fuji slide, digitized with Nikon Coolscan 5000 ED, questionably enhanced by Snapseed 2014.
Symbolic Representation
something that represents, stands for, or suggests an idea, belief, action, or entity
en.m.wikipedia.org/wiki/Symbolic_representation_(disambiguation)
Hammer and sickle
In 1917 Lenin and Lunacharsky held a competition to create a Soviet emblem. The winning design was a hammer and sickle on top of a globe in rays of the sun, surrounded by a wreath of grain, and under a five-pointed star, with the inscription "proletariats of the world, unite!" in six languages (Russian, Ukrainian, Belarusian, Georgian, Armenian, Azerbaijani). It originally featured a sword, but Lenin strongly objected, disliking the violent connotations. On the 6th July, 1923 the 2nd session of the Central Executive Committee (CIK) adopted this emblem
The Italian city of Venezia
adopted a new flag, a new gonfalon a new coat of arms and a new seal in 1996 and 1997. The new coat of arms and the new gonfalon were adopted with a presidential decret on the 6th November 1996. The new flag and the new seal were adopted with a presidential decret on the 8th January 1997. All the emblems were presented on a ceremony on Friday 22nd May 1998 at 11.am in the Ducal palace in Venezia with people in middle-ages costumes.
One can see all these emblems at .
Follow the link "Il nuovo stemma della Città di Venezia" (The new coat of arms of the city of venezia) or (follow then gonfalone (bottom) and bandiera (bottom) to see their pictures). On these beautiful and interesting (even for non Italian speaking people) pages are to be seen the big images of the coat of arms (stemma), the seal (sigillo), the flag (bandiera), the gonfalon (gonfalone). Follow each times the link. There is a very detailed and legal information concerning the emblems of Venezia through the history.
Other pages shows the coat of arms, the seal, the flag and the gonfalon of the province of Venezia; the image of the different civic crown in use in Italian heraldry (region, province, city, commune, etc...) as well as example of use of these crowns. These pages are really impressive with the information given and the high quality of the images. However if the picture of the flag of Venezia is big, there is a lack of zoom on some parts of it.
Pascal Vagnat 8 November 1998
The city adopted its new symbols with presidential decree in 1996 and 1997. The coat of arms is the same than the former one without any connotation of fascism or bundle of lictors. The gonfalon is red borderd with gold ornament and four armillary azure and gold spheres. The coat of arms appear in the middle with the words "CITTÀ' DI VENEZIA" (city of Venice). There are other precise ornamental details. There is also a seal and a flag. The flag is 100 x 200 cm, res semée with golden flames, bordered red, ornamented with gold, charged with the folloning emblems: the archangel Gabriel,the Holy Dove, the Happy Virgin of the Annonciation, the symbol of the Evangelist Saint Matthew, the Happy Virgin with the Holy son, the symbol of the Evangelist Saint Luke, the symbol of the Evangelist Saint Mark, the symbol of the Evangelsit Saint John (all these pictures in natural colours). The flag is charged with the lion of Saint Mark passant with the Holy Book open and the words (see supra), the earth, the sea, a castle of three towers.The end of the flag has seven tongues red, gold ormamented charged in their centres with azure wheels wharged with armillary golden spheres.
FOR MORE INFORMATIONS, PLEASE, FOLLOW THIS LINK:
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
In a small town in the North East corner of Iceland ascends the Arctic Henge. The monument consist of four six meter tall gates and one ten meter high column. The gates function as a sundial, as they capture the sunlight and cast shadows on precise locations. They are inspired by the four cardinal dwarves of Norse mythology, Austri, Norðri, Suðri and Vestri, that befittingly face their namesake, east, north, south and west. These four dwarfs are acknowledged in the Prose Edda book, and assigned a role by Odin, the god of wisdom, to hold up the sky. In this piece the dwarfs are assigned an additional role, along with the sixty eight dwarfs mentioned in Völuspá and together they form a calendar. Old and new merges as the dwarfs, who all have rather peculiar names, are aligned together to form a chronological circle. This circle is based on their names which relate to the four seasons. Up until this point, the reason for mentioning these sixty eight dwarves in Völuspá has remained a mystery but their names have a clear connotation to the structure of the year. Theories aside, close to the Arctic Circle, the lighting in this remote part of the country is a natural phenomenon. The arctic henge is still under construction.
The Arctic Henge
Set in Raufarhöfn, one of the most remote and northernmost villages in Iceland where the Arctic Circle lies just off the coast, the Arctic Henge (Heimskautsgerðið) is under construction. Similar to its ancient predecessor, Stonehenge, the Arctic Henge is like a huge sundial, aiming to capture the sunrays, cast shadows in precise locations and capture the light between aligned gateways.
History
Heimskautsgerðið (The Arctic-Henge) has it s roots in the innovators Erlingur Thoroddsen’s speculations about the possibility of making use of the endless expanse with nothing on the horizon and the midnight sun.The idea to use the dwarf names from the eddic poem Völuspá (Prophecy of the Seeress) and modernize some aspects of the old world of the Sagas, soon became a part of these speculations. The first version of the idea is from 1998 but in 2004 it was finalized, with allusions to mythology and folklore, designed to interact with the unique natural light. The artist Haukur Halldórsson worked with Erlingur on the ideas for the Heimskautsgerði and made sketches and models that were useful in the work that followed.
No one has been able to explain the dwarfs in the Völuspá, apart from Austri (East), Vestri (West), Norðri (North) and Suðri (South), who carry the sky. By connecting the names of the dwarfs to the season, as for example Bjartur (Bright) Blíður (Sweet) and Svásuður (Gengle) to the summer, it is possible to fit the names of the dwarfs to a yearly circle of 72 weeks. The year-circle of the dwarfs becomes a kind of almanac, where each dwarf controls a five day period. All the dwarfs have been given a role and they have all have their own personalities. This means that the dwarfs can be connected to birthdays and people can connect to their personal dwarf.
Around this made up world rises the Heimskautsgerði (Arctic-Henge) on the Melrakkaás in Raufarhöfn. The Heimskautsgerði is around 50 meters in diameter, with 6 meter high gates that face the main directions. Between the gates is a high wall with a small opening at the top. Inside the circle stands 10 meter high column on four pillars. The column will be topped with cut prism-glass that splits up the sunlight unto the primary colors. The opening between the pillar look towards the main directions, so example the midnight sun can be seen from the south gate through the middle column and the north gate. The play of light and shadow will follow the time of the day. The openings on the wall will let in the sunrays so when the building is completed a sundial can be set up.
Inside the circle there will be 68 dwarfs who stand around a circular dwarf trail. Inside the trail will also be the polar star pointer, which does exactly what its name says. There you will eventually also be able to find the throne of the sun that is meant to be a place where the traveler can sit down to have his picture taken. Also a hall of rays, which is a sort of sanctuary between high columns, with one seat, where the guest can empty his mind an renew his energy. An altar of fire and water, that reminds us of the power of the elements, where events can be performed, for examples weddings, oath taking and so forth. However, as stated above, the Arctic Henge is still under construction. (arctichenge.is)
Samhain is an ancient pagan festival held each year from October 31st to November 1st, the word Samhain roughly translating as "summer's end", marking the end of the harvest, the lighter half of the year and the beginning of the darker half. A festival with ancient roots in Celtic polytheism, it was linked to festivals held around the same time of year in other Celtic cultures and continued to be widely celebrated until late medieval times. Due to its date, it became associated with the Christian festival of All Saints' Day and greatly influenced the modern celebrations of Halloween & Bonfire Night with its connotations of fire, light and darkness.
This is my entry for the #31 - Halloween category in the 113 in 2013 Group.
Chiesa di San Pietro a Gemonio (sec. X-XI)
La Chiesa di San Pietro a Gemonio, nata probabilmente come cappella in epoca carolingia (VIII sec.) subì varie fasi di rifacimento e ampliamento nel corso del X-XI secolo, fino a raggiungere nel XVI secolo l'attuale connotazione.
L'esterno presenta una facciata romanica, con tetto a capanna, affiancata da un imponente campanile romanico a cinque ordini.
L'interno è a tre navate asimmetriche, divise tra loro da archi di dimensioni e stili diversi, con relative absidi interamente affrescate.
Nell'abside centrale, antico altare (X sec.) in muratura intonacata e decorata da disegni e simboli non ancora decifrati.
Alle pareti affreschi del XIV-XVI sec. di varia fattura e di autori ignoti ma verosimilmente di scuola lombarda.
The Church of San Pietro in Gemonio, most likely originally built as a chapel in the Carolingian period (VIII sec.), has undergone various phases of renovation and expansion during the X-XI century, until reaching the current connotation in the sixteenth century,
The exterior features a Romanesque façade, with a gabled roof, flanked by an imposing Romanesque bell tower of five orders.
The interior has three asymmetric naves, divided by arches of different sizes and styles, with their frescoed apses.
In the main aspe,an ancient altar (X sec.) with plastered masonry decorated with drawings and symbols still to be deciphered.
Various unknown artists, presumably of the Lombard school, painted the XIV-XVI century frescoes.
My mother’s last winter was one that was extra long, extra cold, and had too much snow. She was in a rapid decline after nearly 87 healthy years. The previous summer, she was still able to swim and to drive - freedoms she always appreciated. For more than 30 years, she visited the elderly in several nursing homes. She started out going once a week but as she met more and more people it evolved into several 8-9 hour days each week. She never liked to go empty-handed, she brought home-baked goods for those allowed to have sweets, fruit for those who weren’t. In summer, she brought them flowers from her garden. She had a big basket decorated for the season. Many of the people had terrible dementia and were not able to remember her name so a few started calling her The Banana Lady and it caught on, even with the nurses.
Right after my last year of high school, when I was still living at home, my parents went on a 3 month trip to Alaska. My mother asked me to please go to the nursing home at least once a week and gave me a list of people I needed to visit and try to give them as much time as I could spare. I remember some of the people but only one name. Peggy - she was a woman in her 40s, crippled by MS, unable to walk or talk. She just liked to hear news of the outside world and I could tell her about where my mom was on her extended trip. Others had various interests - one elderly lady liked to talk baseball (of which I knew nothing, I just listened), another who wanted me to read to her from trashy romance novels. Some were fine just sitting in silence and holding my hand. After I made the rounds, I would go downstairs to the common room and play the piano for an hour or two for anyone who wanted to sit and listen. I was never a great pianist, mediocre at best. But I played a variety of classical, jazz and old show tunes. I made mistakes but no one cared. I was glad to do this for both my mother and for those people there but I came home so tired and depressed. I cannot believe she did that for 30 years. Even when my mother traveled, she sent many of those residents postcards along the way with pretty scenery and signed them all “The Banana Lady” except for the people she knew still had good memories and would recognize her name.
I’ve gotten all of course from what I was trying to say, that last winter was hard, not being able to get out on her own. I know she worried about all those people who probably missed her visits. A hospice nurse who was an elderly nun, and nearly as old as my mother, came once a week to make sure she was okay and that her oxygen machine was in order. The nun knew my mother because they often had crossed paths at the various nursing homes. She also knew that my mother was a lifelong atheist and felt the need to apologize if the words “bless you” slipped out or she said anything with religious connotations. My mother laughed at her and said that there was no need to apologize, she didn’t take offense. She said to the nun, “But you must promise that you will never pray for me!” They both had a good laugh over that. Whenever the nun came back again, she told my mother that she had specifically not prayed for her but that she considered her to be more of a Christian than those who claimed the title.
My mother and I spoke once a week on the phone for several hours. I wanted to call more often, especially when I knew she couldn’t get out much but she said to wait until we both had something to say. She did say several times that winter - I just want to see another spring. She did, just barely. She died when the tulips, lilacs, and lily of the valley were in full bloom.
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
British Ariel, which built its first motorbike as early as 1902, made a relaunch in 1933 after financial difficulties with this VB600 sidevalve aimed at sidecars "for the Family Man". This is a Swallow Sidecar. SS would also build cars before World War Two, but afterwards switched to the Jaguar name to avoid the negative SS connotation of the war years.
This 1933 Ariel VB600 with Swallow Sidecar is on display at Autoworld, Belgium’s national motor museum, in Brussels.
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
Jean Louis Mazieres
www.flickr.com/photos/mazanto/18864518524
LE RÉALISME NÉERLANDAIS.
Le réalisme néerlandais, plus exactement flamand et néerlandais, s'enracine dans une culture qui correspond au peuplement germanophone des Pays Bas au sens large (Pays Bas et Belgique actuels).
La partie sud du pays, flamande, se développe beaucoup plus précocement que la partie nord, néerlandaise. Dès le 11è siècle la Flandre est avec la plaine du Pô un des tous premiers moteurs de la Renaissance de l'Europe après les Ages Sombres consécutifs au lent dépérissement de l'Empire Romain et à la série d'invasion germaniques, scandinaves et arabo-berbères qui l'accompagnent et en aggravent encore les conséquences.
En peinture l'école de Bruges, que certains historiens d'art appellent encore "les primitifs flamands", n'a rien de primitif et constitue un excellent témoin du développement économique et politique de la Flandre au 15è siècle et 16è siècle.
L'Europe de l'ouest étant catholique, les oeuvres de ces peintres sont essentiellement orientées par les thèmes religieux. Mais le réalisme naturaliste, l'esprit concret et pragmatique de cette population apparaît déjà très clairement comme en témoignent Jérôme Bosch (1450-1516) et surtout Bruegel Pierre l'Ancien (1525-1569). Ce dernier notamment peint tout aussi souvent des tableaux profanes que des oeuvres sacrées, notamment ses kermesses, danses de mariage, travaux des saisons. Mais en outre ses tableaux religieux relèguent bien souvent le thème spécifiquement sacré en fond de scène, et en fait un prétexte à une restitution très détaillée de la vie quotidienne à son époque.
Cette caractéristique flamande va se développer encore, après la Réforme, aux Pays Bas du Nord dont le démarrage économique plus tardif prend tout son essor au 17è siècle.
La Réforme de tendance calviniste qui triomphe aux Pays Bas est religieusement presque iconoclaste. Le protestantisme néerlandais n'interdit certes pas absolument les représentations imagées religieuses -heureusement pour Rembrandt- mais il les limite considérablement. Les intérieurs des églises sont dépouillés du décor peint ou sculpté des temps catholiques. Les thèmes religieux qui demeurent sont essentiellement tirés de l'Ancien Testament, la Vierge et donc le Christ enfant, les Saints et les Saintes disparaissent. En outre l'Eglise ayant été chassée du pays un mécène essentiel disparaît.
Les artistes des Pays Bas du Nord doivent se reconvertir, ils vont le faire de manière exemplaire, en devenant les inventeurs d'une peinture profane, séculière, tout à fait particulière, qui restera originale en Europe encore jusqu'au 19è siècle.
Les artistes néerlandais n'ont peut être pas, dans l'absolu, créé les genres de la peinture de paysage, de la peinture de nature morte, ou de la peinture de moeurs, mais ils leur ont donné un tel développement, bien avant les autres régions de l'Europe, que cela équivaut à une invention.
Avant les artistes des Pays Bas du Nord le paysage est presque toujours le décor d'une scène historique ou mythologique. C'est aux Néerlandais que l'on doit le développement du paysage sans autre thème que la nature, et les banales et quotidiennes activités humaines contemporaines. Le thème certes déjà connu "des travaux et des jours" se généralise, se sécularise, et sort des livres d'heures.
Les peintres des Pays Bas vont aussi considérablement développer la peinture de moeurs en quittant les milieux aristocratiques pour s'intéresser aux paysans, artisans et bourgeois. Un domaine où leur réalisme et leur sens de l'observation font merveille. Les artistes flamands et néerlandais nous permettent, bien mieux que les peintres baroques ou classiques des écoles de l'Europe du Sud ou de l'Allemagne d'observer les modes de vie de l'époque.
Une vache qui pisse, un cochon qui ronfle, une femme qui boit, qui range son linge dans l'armoire, ou épouille sa fille, des paysans avinés qui se disputent, ou des bourgeois qui patinent sont des thèmes très distinctifs des Pays Bas. Des thèmes qui ne se rencontrent pas, ou très peu, ailleurs en Europe. Ce n'est pas du tout la peinture française de l'époque de Louis XIII et Louis XIV. Même les frères Le Nain sont très loin du réalisme flamand et néerlandais.
Enfin la nature morte, qui peut avoir quelques vagues connotations religieuses avec les "vanités", prend aussi un essor qui est spécifique de cette région de l'Europe.
Dans le domaine du portrait l'Europe catholique avait depuis longtemps ouvert la voie et les Pays Bas sont moins originaux, sauf à privilégier le portrait bourgeois par rapport au portrait aristocratique. Mais quand le milicien bourgeois des "grandes compagnies" porte l'épée on voit bien qu'il n'est pas un aristocrate. De même que les régentes des hopitaux, béguinages, orphelinats et oeuvres charitables diverses ne peuvent pas se confondre avec les grandes dames de la noblesse - et de la religion- française, hispanique ou germanique.
Les artistes des Pays Bas nous restituent ainsi, encore une fois, avec réalisme, le décor humain de leur époque, à un niveau social que les peintres du sud de l'Europe ignorent car leur clientèle est toujours ailleurs: Les Rois, les Princes, l'Aristocratie ou une très grande bourgeoisie assimilée, et bien sûr l'Eglise.
THE NETHERLANDS REALISM.
The Dutch realism, more precisely Flemish and Dutch, is rooted in a culture that corresponds to the German-speaking population of the Netherlands in the broad sense (the Netherlands and Belgium today).
The southern part of the country, Flemish, develops much earlier than the northern part, Dutch. From the 11th century Flanders was, with the plain of the Po and Tuscany, one of the first engines of the Renaissance of Europe after the Dark Ages consecutive to the slow decline of the Roman Empire and to the series of Germanic Scandinavian and Arabic-Berbers invasions that accompany it and further aggravate the consequences.
In painting the school of Bruges, which some art historians still call " the Flemish primitives", is nothing primitive and is an excellent witness to the economic and political development of Flanders in the 15th and 16th centuries.
The Western Europe being Catholic, the works of these painters are essentially oriented by religious themes. But the naturalistic realism, the concrete and pragmatic spirit of this population, already appears very clearly as evidenced by Jerome Bosch (1450-1516) and especially Bruegel Peter the Elder (1525-1569). The latter, in particular, paints profane paintings as often as sacred works, notably his kermesses, wedding dances, works of the seasons. But in addition his religious pictures often relegate the specifically sacred theme to the background, making it a pretext for a very detailed restitution of everyday life in his time.
This Flemish characteristic will continue to develop after the Reformation in the Northern Netherlands, whose later economic growth took off in the 17th century.
The Reformation of Calvinist tendency which triumphs in the Netherlands is religiously almost iconoclastic. Dutch Protestantism does certainly not absolutely forbid religious images - fortunately for Rembrandt- but he limits them considerably. The interiors of the churches are stripped of the painted or carved decoration of Catholic times. The religious themes that remain are essentially drawn from the Old Testament, the Virgin and therefore the Christ Child, the Saints and the Holy Women disappear. In addition the Church having been expelled from the country, an essential patron disappears.
The artists of the Low Countries of the North must reconvert, they will do so in an exemplary way, becoming the inventors of a profane, secular painting, quite particular, which will remain original in Europe until the 19th century.
The Dutch artists may be not have, in absolute terms, created the genres of landscape painting, of still life painting, or painting of manners, but they have given them such a development long before other regions of Europe, that is equivalent to an invention.
Before the artists of the Low Countries of the North the landscape is almost always the decor of a historical or mythological scene. It is the Dutch to development of the landscape with no other theme than nature, and the banal and daily contemporary human activities. The theme already known "works and days" is generalized, secularized, and comes out of the books of hours.
The painters of the Netherlands will also considerably develop the painting of manners by leaving the aristocratic circles, to take an interest in peasants, craftsmen and bourgeois. An area where their realism and their sense of observation are wonderful. Flemish and Dutch artists allow us, far better than the Baroque or classical painters of the schools of Southern Europe or Germany, to observe the ways of life of the time.
A cow that pisses, a pig that snores, a woman who drinks, who puts her clothes in the cupboard, or chases his daughter's lice, drunken peasants who dispute, or bourgeois who skate, are very distinctive themes of the Netherlands . Topics that do not meet, or very little, elsewhere in Europe. This is not at all the French painting of the time of Louis XIII and Louis XIV. Even the Le Nain brothers are far from Flemish and Dutch realism.
Finally, still life, which may have some vague religious connotations with the "vanities", also takes a boom that is specific to this region of Europe.
In the field of portraiture Catholic Europe had long opened the way, and the Netherlands is less original, except to favor the bourgeois portrait in relation to the aristocratic portraiture. But when the bourgeois militiaman of the "big companies" bears the sword, it is clear that he is not an aristocrat. Just as the regentes of hospitals, beguines, orphanages and various charitable works can not be confused with the great ladies of the nobility - and of the French, Hispanic or Germanic religion.
The artists of the Netherlands thus restore to us, once again, with realism, the human decor of their time, on a social level that the painters of southern Europe ignore because their clientele is always elsewhere: The Kings, Princes, The Aristocracy or a very large assimilated bourgeoisie, and of course the Church.
Heroes' Square is one of the major squares of Budapest, Hungary, rich with historic and political connotations. Its iconic statue complex, the Millennium Memorial, was completed in 1900, the square was named "Heroes' Square" in 1929. It lies at the end of Andrássy Avenue (with which it comprises part of an extensive World Heritage site), next to City Park. The central site of the hero's square, as well as a landmark of Budapest, is the Millennium Memorial (also known as Millennium Monument or Millenary Monument) with statues of the leaders of the seven tribes that founded Hungary in the 9th century and other outstanding figures of Hungarian history (see below). The construction of the memorial was started when the one thousandth anniversary was celebrated (in 1896), but it was finished only in 1900 and the square got its name then.
When the monument was originally constructed, Hungary was a part of the Austro-Hungarian Empire and thus the last five spaces for statues on the left of the colonnade were reserved for members of the ruling Habsburg dynasty. From left to right these were: Ferdinand I (relief: Defense of the Castle at Eger); Leopold I (relief: Eugene of Savoy defeats the Turks at Zenta), Charles III, Maria Theresa (relief: The Hungarian Diet votes support "vitam et sanguinem") and Franz Joseph (relief: Franz Joseph crowned by Gyula Andrássy) The monument was damaged in World War II and when it was rebuilt the Habsburgs were replaced by the current figures.
On the 16th June 1989 a crowd of 250,000 gathered at the square for the historic reburial of Imre Nagy, who had been executed in June 1958. (Wikipedia)
Residents of Chesterfield will know that the Chesterfield Hotel is no more. I've photographed this through the last few years until its demolition. The following history is courtesy of Chesterfield Civic Society:
The Chesterfield Hotel was built in 1876–7, a few years after the Midland Railway rebuilt its station at Chesterfield on its present site.
The hotel, which is built of brick with pitched slate roofs on a quadrangular plan around a central courtyard, was extended three times.
Known for most of its life as the Station Hotel, it was renamed the Chesterfield Hotel in the 1980s, presumably because the older name had rather down-at-heel connotations, although the later name was essentially meaningless.
The Station Hotel set out from the start to be Chesterfield’s leading hotel. For much of the twentieth century it was one of Mansfield Brewery’s leading residential houses and was featured a good deal in the company’s advertising. It was a three-star hotel, whereas its nearest rival, the Hotel Portland of 1899, also a railway hotel, was Chesterfield’s two-star hotel.
For many local people, the hotel is probably most affectionately remembered as a function venue, rather than as somewhere to stay.
The setting of the hotel was not improved by the decision to sever Corporation Street as a motor road when the Inner Relief Road was built, separating it from the other commercial buildings higher up the street, and leaving it in not very splendid isolation, flanked by minor roads on three sides and the Inner Relief Road on the fourth.
Hotels of this sort in not particularly wealthy medium-sized provincial towns have not had an easy time in recent decades and for most local people it was probably disappointing, rather than surprising, when it ceased trading. It must have been a very expensive building to maintain and, despite the efforts of recent operators, was arguably doomed from the day the Casa opened on Whittington Moor.
Tradescantia pallida is a species of spiderwort commonly known as Wandering Jew, though it cannot be said when, where, or by whom it was first called this. But, considering the term's negative connotation, it would be safe to assume the originator's intent was not to highlight the plant's more favorable qualities. Other common names include Purple Heart and Purple Queen.
T. pallida can be primarily described as an evergreen scrambling perennial distinguished by elongated, pointed leaves - themselves glaucous green, fringed with red or purple - and bearing small, sterile three-petalled flowers of white, pink or purple.
Widely used as an ornamental plant in gardens and borders as a ground cover, hanging plant, or - particularly in colder climates where it cannot survive the winter season - houseplant, it is propagated easily by cuttings (the stems are visibly segmented and roots will frequently grow from the joints). It is shade-tolerant and can thrive in a wide range of soil conditions where it has not been intentionally cultivated and carefully maintained. In areas throughout the southern United States and Australia, it is considered an invasive weed and has defied many attempts at control or eradication.
As a houseplant, T. pallida is exceptionally effective at improving indoor air quality by filtering out Volatile Organic Compounds, a class of common pollutants and respiratory irritants, via a process known as phytoremediation.
Tradescantia pallida, Wandering Jew, Purple Heart, Purple Queen
Biscayne Park, FL
I've snapped the Scottish National Gallery of Modern art before, but on yesterday's walk I remembered it had Martin Creed's installation art above the pillars, an illuminated sign "Everything is going to be alright" (2008)
I've always liked that piece and its place right above the entrance to the galleries. But right now, with all that is going on, the message takes on different connotations. I suppose all art - the good art anyway - changes to reflect our personal and societal influences, so that's not surprising.
Nonetheless given the stress and strain we are all under right now, I thought I would take another photo of it and share it with you. Deep breath, my friends, "everything is going to be alright."
City Hopes - Together Making The Difference by Daniel Arrhakis (2024)
Together Making The Difference - Solidarity and mutual help when there is often nothing else!
______________________________________________________
At a time when racism and the culture of violence on social media is reaching worrying levels in my country, I decided to try to make a difference!
I decided to make two new series dedicated to people who are often discriminated in Portugal, especially in recent times with the emergence of a Racist and Xenophobic Far Right: "The Other Portuguese" and "City Hopes"
______________________________________________________________
Attribution-NonCommercial 2.0 Generic
You are free to:
Share — copy and redistribute the material in any medium or format
Adapt — remix, transform, and build upon the material
Attribution — You must give appropriate credit , provide a link to the license, and indicate if changes were made . You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
NonCommercial — You may not use the material for commercial purposes .
Exception or limitation political or moral: The work cannot be used in articles, blogs, news or advertising of a Populist, Fascist, Social-Nationalist, Nazi, Racist, Homophobic nature, against any religion or with Anti-Democratic or Autocratic connotations. The Author reserves the right to contest this use through legal means.
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
Residents of Chesterfield will know that the Chesterfield Hotel is no more. I've photographed this through the last few years until its demolition. The following history is courtesy of Chesterfield Civic Society:
The Chesterfield Hotel was built in 1876–7, a few years after the Midland Railway rebuilt its station at Chesterfield on its present site.
The hotel, which is built of brick with pitched slate roofs on a quadrangular plan around a central courtyard, was extended three times.
Known for most of its life as the Station Hotel, it was renamed the Chesterfield Hotel in the 1980s, presumably because the older name had rather down-at-heel connotations, although the later name was essentially meaningless.
The Station Hotel set out from the start to be Chesterfield’s leading hotel. For much of the twentieth century it was one of Mansfield Brewery’s leading residential houses and was featured a good deal in the company’s advertising. It was a three-star hotel, whereas its nearest rival, the Hotel Portland of 1899, also a railway hotel, was Chesterfield’s two-star hotel.
For many local people, the hotel is probably most affectionately remembered as a function venue, rather than as somewhere to stay.
The setting of the hotel was not improved by the decision to sever Corporation Street as a motor road when the Inner Relief Road was built, separating it from the other commercial buildings higher up the street, and leaving it in not very splendid isolation, flanked by minor roads on three sides and the Inner Relief Road on the fourth.
Hotels of this sort in not particularly wealthy medium-sized provincial towns have not had an easy time in recent decades and for most local people it was probably disappointing, rather than surprising, when it ceased trading. It must have been a very expensive building to maintain and, despite the efforts of recent operators, was arguably doomed from the day the Casa opened on Whittington Moor.
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
It was only later readers of Milton, says Appelbaum, who thought of "apple" as "apple" and not any seed-bearing fruit. For them, the forbidden fruit became synonymous with the malus pumila. As a widely read canonical work, Paradise Lost was influential in cementing the role of apple in the Fall story.
This month marks 350 years since John Milton sold his publisher the copyright of Paradise Lost for the sum of five pounds.
His great work dramatizes the oldest story in the Bible, whose principal characters we know only too well: God, Adam, Eve, Satan in the form of a talking snake — and an apple.
Except, of course, that Genesis never names the apple but simply refers to "the fruit." To quote from the King James Bible:
And the woman said to the serpent, "We may eat the fruit of the trees of the garden; but of the fruit of the tree which is in the midst of the garden, God has said, 'You shall not eat it, nor shall you touch it, lest you die.'"
"Fruit" is also the word Milton employs in the poem's sonorous opening lines:
Of Mans First Disobedience, and the Fruit
Of that Forbidden Tree, whose mortal taste
Brought Death into the World, and all our woe
But in the course of his over-10,000-line poem, Milton names the fruit twice, explicitly calling it an apple. So how did the apple become the guilty fruit that brought death into this world and all our woe?
Article continues after sponsor message
The short and unexpected answer is: a Latin pun.
In order to explain, we have to go all the way back to the fourth century A.D., when Pope Damasus ordered his leading scholar of scripture, Jerome, to translate the Hebrew Bible into Latin. Jerome's path-breaking, 15-year project, which resulted in the canonical Vulgate, used the Latin spoken by the common man. As it turned out, the Latin words for evil and apple are the same: malus.
In the Hebrew Bible, a generic term, peri, is used for the fruit hanging from the Tree of the Knowledge of Good and Evil, explains Robert Appelbaum, who discusses the biblical provenance of the apple in his book Aguecheek's Beef, Belch's Hiccup, and Other Gastronomic Interjections.
"Peri could be absolutely any fruit," he says. "Rabbinic commentators variously characterized it as a fig, a pomegranate, a grape, an apricot, a citron, or even wheat. Some commentators even thought of the forbidden fruit as a kind of wine, intoxicating to drink."
A detail of Michelangelo's fresco in the Vatican's Sistine Chapel depicting the Fall of Man and expulsion from the Garden of Eden
Wikipedia
When Jerome was translating the "Tree of the Knowledge of Good and Evil," the word malus snaked in. A brilliant but controversial theologian, Jerome was known for his hot temper, but he obviously also had a rather cool sense of humor.
"Jerome had several options," says Appelbaum, a professor of English literature at Sweden's Uppsala University. "But he hit upon the idea of translating peri as malus, which in Latin has two very different meanings. As an adjective, malus means bad or evil. As a noun it seems to mean an apple, in our own sense of the word, coming from the very common tree now known officially as the Malus pumila. So Jerome came up with a very good pun."
The story doesn't end there. "To complicate things even more," says Appelbaum, "the word malus in Jerome's time, and for a long time after, could refer to any fleshy seed-bearing fruit. A pear was a kind of malus. So was the fig, the peach, and so forth."
Which explains why Michelangelo's Sistine Chapel fresco features a serpent coiled around a fig tree. But the apple began to dominate Fall artworks in Europe after the German artist Albrecht Dürer's famous 1504 engraving depicted the First Couple counterpoised beside an apple tree. It became a template for future artists such as Lucas Cranach the Elder, whose luminous Adam and Eve painting is hung with apples that glow like rubies.
Enlarge this image
Eve giving Adam the forbidden fruit, by Lucas Cranach the Elder.
Wikipedia
Milton, then, was only following cultural tradition. But he was a renowned Cambridge intellectual fluent in Latin, Greek and Hebrew, who served as secretary for foreign tongues to Oliver Cromwell during the Commonwealth. If anyone was aware of the malus pun, it would be him. And yet he chose to run it with it. Why?
Appelbaum says that Milton's use of the term "apple" was ambiguous. "Even in Milton's time the word had two meanings: either what was our common apple, or, again, any fleshy seed-bearing fruit. Milton probably had in mind an ambiguously named object with a variety of connotations as well as denotations, most but not all of them associating the idea of the apple with a kind of innocence, though also with a kind of intoxication, since hard apple cider was a common English drink."
It was only later readers of Milton, says Appelbaum, who thought of "apple" as "apple" and not any seed-bearing fruit. For them, the forbidden fruit became synonymous with the malus pumila. As a widely read canonical work, Paradise Lost was influential in cementing the role of apple in the Fall story.
But whether the forbidden fruit was an apple, fig, peach, pomegranate or something completely different, it is worth revisiting the temptation scene in Book 9 of Paradise Lost, both as an homage to Milton (who composed his masterpiece when he was blind, impoverished and in the doghouse for his regicidal politics) and simply to savor the sublime beauty of the language. Thomas Jefferson loved this poem. With its superfood dietary advice, celebration of the 'self-help is the best help' ideal, and presence of a snake-oil salesman, Paradise Lost is a quintessentially American story, although composed more than a century before the United States was founded.
What makes the temptation scene so absorbing and enjoyable is that, although written in archaic English, it is speckled with mundane details that make the reader stop in surprise.
Take, for instance, the serpent's impeccably timed gustatory seduction. It takes place not at any old time of the day but at lunchtime:
"Mean while the hour of Noon drew on, and wak'd/ An eager appetite."
What a canny and charmingly human detail. Milton builds on it by lingeringly conjuring the aroma of apples, knowing full well that an "ambrosial smell" can madden an empty stomach to action. The fruit's "savorie odour," rhapsodizes the snake, is more pleasing to the senses than the scent of the teats of an ewe or goat dropping with unsuckled milk at evening. Today's Food Network impresarios, with their overblown praise and frantic similes, couldn't dream up anything close to that peculiarly sensuous comparison.
It is easy to imagine the scene. Eve, curious, credulous and peckish, gazes longingly at the contraband "Ruddie and Gold" fruit while the unctuous snake-oil salesman murmurs his encouragement. Initially, she hangs back, suspicious of his "overpraising." But soon she begins to cave: How can a fruit so "Fair to the Eye, inviting to the Taste," be evil? Surely it is the opposite, its "sciental sap" must be the source of divine knowledge. The serpent must speak true.
So saying, her rash hand in evil hour
Forth reaching to the Fruit, she pluck'd, she eat:
Earth felt the wound, and Nature from her seat
Sighing through all her Works gave signs of woe,
That all was lost.
But Eve is insensible to the cosmic disappointment her lunch has caused. Sated and intoxicated as if with wine, she bows low before "O Sovran, vertuous, precious of all Trees," and hurries forth with "a bough of fairest fruit" to her beloved Adam, that he too might eat and aspire to godhead. Their shared meal, foreshadowed as it is by expulsion and doom, is a moving and poignant tableau of marital bliss.
Meanwhile, the serpent, its mission accomplished, slinks into the gloom. Satan heads eagerly toward a gathering of fellow devils, where he boasts that the Fall of Man has been wrought by something as ridiculous as "an apple."
Except that it was a fig or a peach or a pear. An ancient Roman punned – and the apple myth was born.
The first tale in the Bible tells of the expulsion of Adam and Eve from the garden of Eden. This was in consequence for having tasted the “forbidden fruit” of the tree of the knowledge of good and evil. Christian iconography and popular culture represent the fruit as an apple. But a careful reading of the passage leads one to the conclusion that, in fact, the actual fruit is never mentioned in the book. How, then, did the apple become this symbol of temptation and sin?
A standard version of Genesis 3:3-5 says:
But of the fruit of the tree which is in the midst of the garden, God hath said, Ye shall not eat of it, neither shall ye touch it, lest ye die. And the serpent said unto the woman, Ye shall not surely die: For God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods, knowing good and evil.
According to Robert Appelbaum’s book Aguecheek’s Beef, Belch’s Hiccup, and Other Gastronomic Interjections, the confusion may be due to a sort of joke of St. Jerome, who first translated the Bible into the vulgar Latin. (This version is still known as “The Vulgate” even today.) It turns out that the Latin words for apple, and for evil, are the same: malus. According to Appelbaum, the Hebrew word, peri, which was used to refer to the fruit in the Bible, can refer to any type of fruit, a fig, a pomegranate, a grape, or even a peach or a lemon. Some Bible commentators even believe that the forbidden fruit may have been a drink that produced an intoxication in those who drank it. Hence they gained “knowledge of good and evil.”
St. Jerome translated “peri” with the word “malus.” It’s an adjective meaning “evil,” though as a noun, it means “apple,” from trees known even today as Malus pumila. However, as Appelbaum points out, malus may refer not only to the apple, but to any fruit with seeds: pears are a species of malus, as are figs, peaches, and others.In religious iconography, there was no clear consensus for several centuries on exactly what type of fruit it was from this tree of which humanity’s first parents couldn’t eat. Michelangelo painted a fig tree in the Sistine Chapel. Durer depicted an apple tree, as did Lucas Cranach, the Elder. But another Appelbaum hypothesis in explaining the apple’s preeminence over other seeded fruits comes from the English poet, John Milton. His Paradise Lost was published in 1667. For Milton, the semantic ambiguity of the malus should not have been a mystery, versed as he was in ancient languages like Latin and Hebrew. Appelbaum notes that it’s possible Milton appreciated St. Jerome’s joke as a reference to intoxication or drunkenness from apple cider, popular in his own time. Paradise Lost refers on a couple of occasions to the fruit of this problematic tree and refers to it as an apple.
Another possible explanation may come from the Golden Apple of Discord. In Greek mythology, this was the work of the goddess Eris, (a temptress, as Satan had been for the Hebrews). According to the myth, Eris was angry at having not been invited to the wedding of Peleus and Tetis (parents of the great warrior Achilles). She presented the wedding guests with a golden apple which would reveal who among them was “the most beautiful of all.” Three goddesses fought amongst themselves: Aphrodite, the goddess of love and beauty; Hera, the guardian of the home and childbearing and wife of the great Zeus; and Aphrodite, daughter of Zeus and goddess of wisdom. To settle the dispute, Zeus consulted a Trojan shepherd and mortal, Paris, to choose from among the three goddesses which was the most beautiful. The three goddesses tried to bribe him in turn with new gifts. Finally, Paris decided for Aphrodite, who had promised him the love of the most beautiful woman of all. This was none other than Helena. Helena’s abduction by Paris is the mythical origin of the Trojan War. And thus the apple is also at the center of the most epic dispute in Greek civilization.
The Apple and the Heart
16
Romanesque iconography more frequently used the apple as the forbidden fruit. The lengthy list of images in the three studied countries represents a significant part of our corpus. Among them, one can cite in Spain, Amandi, Añes, Avilés, the Bible of Burgos, the Bible of San Isidoro, Covet, Estany, Estibaliz, Frómista, Loarre, Mahamud, Peralada (figure 6), Porqueras, Rebolledo de la Torre, San Pablo del Campo, Sangüesa, Santillana del Mar, and Uncastillo. In France, Airvault, Andlau, Arles, Aulnay, the Bible of Corbie, the Bible of Marchiennes, the Bible of Souvigny, Cahors, Chalon-sur-Saône, Chauvigny (Figure 3), Cluny, Courpiac, Esclottes, Guarbecque, Hastingues-Arthous, the Hortus Deliciarum, Lescure, Mauriac (in the Auvergne), Melay, Moirax, Montpezat, Neuilly-en-Donjon, Nîmes, Poitiers (Sainte-Radegonde Church), Provins, Saint-Benoit-sur-Loire, Saint-Gaudens, the Sauve-Majeure, Targon, Tavant, Thuret, Toirac, Varax, Verdun, and Vézelay. In Italy, Galliano, Modena (figure 4), Parma, Pisa, Sant’Angelo in Formis, and Sovana.
17
Over subsequent centuries, the apple was continually present in the iconography of the original sin. [45] For illustrative purposes, note that in the Gothic...[45] It was frequently used as the forbidden fruit in literature, particularly in the twelfth century by Marie de France, [46] Marie de France, Yonec, v. 152, in Les Lais de Marie...[46] in the thirteenth century by Robert de Boron, [47] Le Roman du Graal: manuscrit de Modène, ed. Bernard...[47] and in the fifteenth century by Sebastian Brandt. [48] Sebastian Brandt, La Nef des fous [Das Narrenschiff],...[48] In paroemiology, this seems to be the meaning of a proverb from the beginning of the thirteenth century: “mieux vaut pomme donnée que mangée” (better an apple given than eaten). [49] Joseph Morawski, ed., Proverbes français antérieurs...[49] In hagiography, the apple is the forbidden fruit in, for example, the Cantigas de Santa María. [50] Alfonso X of Castile, Cantigas de Santa María, 353,...[50] An interesting case also appears in the breviary: the Hail Mary—appearing in the twelfth century from a passage in the New Testament [51] Luke, I, 28, 42. Henri Leclercq, “Marie, mère de Dieu,”...[51]—refers only to a “fruit,” but an anonymous commentator from Northern France specifies at the end of the thirteenth or beginning of the fourteenth century that it concerns the “fruit of the apple tree.” [52] Munich, Bayerische Staatsbibliothek, Cod. Gall. 34,...[52] Anchored in Western imaginations ever since, the apple has even replaced the fig among modern scholars, in parallel to the cultural process that saw the heart where previously there had been the liver. [53] See Hasenohr, Prier au Moyen Âge: n. 38. Regarding...[53]
Figure 3. - Capital at the entranceway to the choir of the church
18
The reasons behind this almost unanimous choice are unclear, however. We may allude to the more or less widespread presence of the apple throughout all of Western Europe. We may observe the old Celtic symbolism of the apple as the fruit of knowledge. We may recall its symbolic capital as a sign of power, wealth, lies, lust, discord, and transgression. [54] Michel Pastoureau, “Bonum, malum, pomum. Une histoire...[54] We may suppose that just as the garden of Hesperides recalls the Garden of Eden (both sheltering a snake that defends the sacred tree), the apple tree “with fruits of gold” in the Greek myth influenced the medieval interpretation of the biblical account. We may thus argue the ancient association between this tree and Eden, which led to naming the carob the “apple of Paradise” in Hebrew. [55] L. Ginzberg, Les Légendes des juifs, 219, n. 70.[55] We may also consider the authority of Saint Augustine, who hesitantly accepted the possibility of the apple being the fruit of sin, perhaps influenced by the existence of thirty different varieties of apples in the Roman world at the time. [56] Augustine, La Genèse au sens littéral en douze livres...[56] We may wonder especially whether in popular medieval etymology there was not certain confusion between the words malum “badly” and malum “apple” as well as between malus “malicious” and malus “apple tree;” these phonetic identities may have had semantic implications indicating the evil character of the fruit. [57] Among the transformations affecting the Roman world...[57]
19
The increasing popularity of the apple in this role was perhaps also related to its round shape and red color, which drew it closer to the heart, being the organ that was linked to the blood of Christ and that Christianity and its doctrine perceived as the center of the human being. In this sense, the precedents were strong; the doubt surrounding the identity of the forbidden fruit reflected another, more ancient doubt regarding the central organ of the body in the diverse cultures that, in a more or less direct way, provided the foundations for medieval Christian culture. Whereas the Egyptians perceived the heart as the center of the human being, [58] The Book of the Dead, ed. and trans. E. A. Wallis Budge,...[58] the Hebrews attributed sacred powers to the liver, while regarding the heart as the seat of feelings and wisdom, and the source of life. [59] See, for example, Genesis, 20:5; Job, 9:4; Proverbs,...[59] The two organs fought for the role of the principle of life among the Babylonians [60] Alexandre Piankoff, Le “Cœur” dans les textes égyptiens...[60] and Greeks. [61] In mythology, the liver is the central element in the...[61]
20
In the third century BC, the medical school in Alexandria established the physiological model that went on to prevail throughout the following two millennia: the brain was attributed with neurological sensitivity, movement, and functions, the heart with enthusiasm and the vital spirit. [62] Mary J. Carruthers, The Book of Memory: A Study of...[62]
21
Isidore of Seville affirmed that in the heart “lies all concern and the source of knowledge, [as] with the heart we understand, and with the liver we love.” [63] Isidore of Seville, Seville’s Etymologies: The complete...[63] Sharing his opinion, more than five centuries later, Hildegard of Bingen considered the attribute of the heart to be knowledge and that of the liver to be sensitivity. [64] Hildegard of Bingen, Causae et curae, II, 1–12, ed....[64] For her, the heart was the point of contact between the body and the soul, the terrestrial and the divine; it was “almost the essence of the body [since it] governs it,” being the residence of the soul. [65] Hildegard of Bingen, Scivias, I, 4, 16, ed. A. Führkötten...[65] It is thus not by chance that she imagined the forbidden fruit to be an apple. [66] Hildegard of Bingen, Scivias, III, 2, 21, ed. Führkötten...[66] For Saint Bernard, the heart was the seat of faith. [67] Bernard of Clairvaux, In Nativitate Beatae Mariae,...[67] For his adversary, Pierre Abélard, when God wants to examine the feelings of men, he probes their hearts. [68] Pierre Abélard, Ethics, ed. and trans. D. E. Luscombe...[68] Chrétien de Troyes considered the heart to be the place where mystical union occurs with our purest self, [69] Chrétien de Troyes, Cligès, vv. 708–716, trans. Micha,...[69] since this organ is the seat of love, [70] Chrétien de Troyes, vv. 4302–4306, trans. Micha, 1...[70] memory, [71] Chrétien de Troyes, Le Conte du Graal ou le Roman de...[71] and life. [72] Chrétien de Troyes, Cligès, vv. 3668–3673, trans. Micha,...[72] Vincent of Beauvais regarded the heart as the principal “spiritual organ.” [73] Vincent of Beauvais, Speculum historiale, I, 32 (Graz:...[73] The evolution in the hierarchy of meanings did not affect the importance attributed to the heart: while troubadours and courtly love previously spoke of “the hearing of the heart,” the eye and the heart were later associated. [74] Guy Paoli, “La relation œil-cœur. Recherches sur la...[74] At the start of the thirteenth century, a poem established the relationship between the heart and the phallus, between feeling and sexuality, by telling the story of a character killed by the husbands of his mistresses, who tore off these two organs and gave them to their adulterous wives to eat. [75] Lai d’Ignauré, trans. Danielle Régnier-Bohler, in Le...[75]
22
The new collective feeling in relation to the heart was present in the idioms that were forming. From the Classical Latin cor, synonymous with “memory” (also with “thought,” “intelligence,” and “heart” [76] This is still the meaning of the word for Saint Augustine...[76]) were derived “recorder” in French, ricordari in Italian, and recordar in Castilian and Portuguese. Although the heart as the center of memory appears in the root of the Castilian and Portuguese words decorar, this link is even more explicit in the phrases par cœur in French (appearing in around 1200), de cor in Portuguese (dating to the thirteenth century), and by heart in English (attested around 1374 and based on the acceptance of herte as “memory,” which existed from the start of the twelfth century [77] Rey, Dictionnaire historique, 1:442; José Pedro Machado,...[77]). However, the heart was not only regarded as the seat of memory. In English, it was associated with courage (towards 825), emotions (1050), love (about 1175), and character (1225). [78] The Oxford English Dictionary, 5:159.[78] In medieval Italian, the heart (core prior to 1250, then cuore) was reputed as being the center of feelings, emotions, and thoughts. [79] Manlio Cortelazzo and Paolo Zolli, Dizionario etimologico...[79]
23
Most often, the association occurred between the organ and a feeling, thought to derive from it directly, as attested in various Western languages: curage in French (appearing in 1080, then written as courage and used as a synonym of cœur “heart” until the seventeenth century), coraggio (prior to 1257) in Italian, coraje in Castilian and coragem in Portuguese (both from the fourteenth century), herzhaftigleit in German (from the fifteenth century derived from herz “heart,” written herza in the eighth century), and courage in English (around 1500, written as corage in around 1300). English presents an interesting case, showing the psychocultural hesitation between the liver and heart as the seat of positive feelings: the compound liver-heartedness, literally “without liver or heart,” designates the idea of “cowardly.” Further evidence of the moral importance attached to this organ is found in the word cordial, which initially carried the neutral meaning of “relative to the heart” and later acquired the positive sense of “nice” and “pleasant,” not only in French, English, Castilian, and Portuguese, but also in Italian (cordial) and in German (herzlich).
24
The symbolic value of the heart in the twelfth century was also seen in Jewish culture. Whereas the Pirkei Rabbi Nathan, a text predating the tenth century, establishes several comparisons between the parts of the universe and parts of the human body without even citing the heart, in the second half of the twelfth century, Maimonides considered it the center of the human body. [80] Samuel S. Kottek, “Microcosm and Macrocosm According...[80] He was probably influenced by Aristotle, for whom the human body developed from the heart, which was a very influential idea after the Christian rediscovery of the Stagirite. Thus, some Romanesque representations of the creation of Adam depict him coming to life not by a “breath on the face” (in faciem eius spiraculum vitae) as the Bible states, [81] Genesis, 2:7.[81] but by the hand of God touching his heart. This is the case, for example, in a manuscript from the abbey of Saint-Martial de Limoges, [82] Breviarium ad usum S. Martialis Lemovicensis (Paris:...[82] which was illuminated in around the year 1100, as well as in a relief carved a few years later on the northern facade of the cathedral of Santiago de Compostela.
25
The importance of the heart in Romanesque culture also transpires in its growing metaphorical use. On the political level, it became the “king” of the human body in the same way as the king is the “heart” of the social body. [83] Jacques Le Goff, “Head or Heart? The Political Use...[83] On the literary level, the rhetorical figure of the heart spread like a book in which an ordinary individual, saint, or even Christ could write their amorous (including erotic) and spiritual emotions. [84] On the evolution of this metaphor, see Ernst Robert...[84] On the architectural level, the cruciform design of churches situated the altar—the place where the mystery of the incarnation was reproduced—in the position occupied by the heart. [85] It is no coincidence that in Medieval French, the same...[85] On the liturgical level, the Christianization of the Holy Grail rendered it the receptacle holding the blood of Christ, symbolically transforming it into a heart. [86] Begoña Aguiriano, “Le cœur dans Chrétien,” Senefiance...[86] On the geographical level, in the same way as the heart was the center of the human body, the sepulcher of the Lord was the heart of the world, according to a sermon by Peter the Venerable. [87] Peter the Venerable, In laudem sepulcri Domini, PL,...[87] On the linguistic level, from the thirteenth century, the word designated the center of something in French and Italian, as it did later in English (beginning of the fourteenth century) and Castilian (sixteenth century). [88] This meaning was applied to the city by Aristotle in...[88] In this cultural context, when the Abbess of Bingen declared that Adam made of clay was merely an empty body before being filled with a heart, liver, lungs, stomach, and internal organs by God, [89] Hildegard of Bingen, Causae et curae, II, 20, ed. Kaiser,...[89] she seemingly established a hierarchy of organs. Thus, the growing importance of the Sacred Heart of Jesus in spirituality from the twelfth century seems to have been the conclusion of a long process in which this organ gained in medical and symbolic value. [90] Jean-Vincent Bainvel, “Cœur sacré de Jésus (dévotion...[90]
Exegetical Doubt
26
An interesting example of the rivalry between the fig and the apple in terms of the symbolic function of forbidden fruit is seen in the sculptures on the western facade of the small rural Castilian church of San Quirce, close to Burgos, which was completed in 1147. Here, eleven modillions illustrate several episodes of the myth of Adam, from the creation of protoplasm to the judgment of Cain, while in between them, ten metopes depict scenes that are sometimes difficult to relate to those of the modillions, although each stage of the cycle is identified by inscriptions. [91] These inscriptions are now almost illegible, but they...[91] The ensemble forms an iconographic discourse with two aspects: the subject is evil, as much at its origin (original sin) as in some of its manifestations (sex, death, and bodily impurity).
27
This latter topic is visible on the two metopes at each end, where the artist depicts a man defecating. This was not a simple curiosity or obscenity, as the placement of these scenes is significant: the first being compared with the sin of Adam and the second with that of Cain. In fact, an inscription close to the representation of the original sin illuminates the link between the events depicted on the metope and modillion: MALA CAGO. No doubt, the man who speaks and acts in this way is both the paradisiacal Adam who has just eaten the forbidden fruits as well as the symbol of all human beings, his “posthumous sons,” as defined in a contemporaneous sermon. [92] Julien of Vézelay, Sermons, XV, ed. and trans. Damien...[92] However, the exact interpretation of the inscription poses an important problem.
28
A few decades ago, historiography considered this a pun, as the individual excretes both “apples” and “evils.” [93] Pérez de Urbel and Whitehill, “La iglesia románica...[93] This interpretation is based on three elements: the facade’s inscription, a capital inside the church on the same subject that undoubtedly depicts an apple, and finally, the ancient roots of the tradition perceiving the forbidden food of Paradise in this fruit. However, on the modillion’s scene, the forbidden fruits rather resemble figs, an impression reinforced by a nonformalistic reasoning. Indeed, the fig traditionally had an explicitly sexual character, while the apple, though related to Aphrodite, the goddess of love, had a more sensual, rather than explicitly sexual connotation. This is shown, for example, in an Icelandic saga from the thirteenth century in which the love philter is an apple, or even in some mythologies, where the rejuvenating and beautifying virtues attributed to the fruit remain in the etymology of “pomade,” a scented, cosmetic, and curative substance with apple. [94] See Pastoureau, “Bonum, malum, pomum;” Rey, Dictionnaire...[94]
29
The fig’s association with sexuality is seemingly expressed during the third quarter of the twelfth century in the iconographic design of the doorway of Barret Church in Poitou. Here, the three capitals on each side establish a spatial and symbolic relationship, which was very common in the Romanesque imagination. Looking at them, starting with the capital closest to the entry on the left-hand side, the first represents the original sin with the fig as the fruit, the second depicts a character in a very obscene pose, and the third, which is double, shows an eagle on one side and a monster devouring a sheep on the other. Symmetrically, on the right-hand side, the first capital depicts lions leaning against each other, the second, two doves embracing, and the final one, a centaur and a dove. The message seems rather evident: sin (that is to say, the fig and sex) leads to unnatural and erotic acts, thus to the death of the soul, which is devoured by the demon (eagle and monster); on the other hand, those who join Christ (the lion) will be innocent (doves), embracing peace and purity, thus calming the animal that exists in every human being (centaurs).
30
Indeed, the sexual meaning of the fig was accepted within traditional culture and did not disappear with its Christianization. Throughout the centuries, the fig tree was associated with Dionysus, and, at least in its Roman version, Bacchus. The image of the god was always carved in the wood of the fig tree, with a basket of figs being the most sacred object at the festivals that celebrated him, the Bacchanalia. As the protector of orchards, particularly of the fig tree, Dionysus was confused with his son, Priapus, born of Aphrodite. In the processions paying homage to this god of fertility, who was endowed with a disproportionately large penis, there was a large phallus carved in the wood of the fig tree, the leaves of which were also seen as an ithyphallic symbol. [95] Brosse, Mythologie des arbres, 290–291. The fig’s sexual...[95] This notion of sexual exuberance is also found in a version of an episode of the Dionysus myth by the Christian apologist Clement of Alexandria (around 150–250). [96] Clement of Alexandria, Protreptique, II, 34, 3–4, ed....[96] In a similar manner, although he calls the liver iecur and not ficatum, Isidore of Seville implicitly makes this link by affirming that in this organ “lies pleasure and concupiscence. [97] Isidore of Seville, Seville’s Etymologies, XI, I, 125,...[97]
31
The popular gesture of “making the fig” should also be mentioned here, associated with the fruit through its name and shape. This association is observed in Castilian, in which two words (higo/higa) appeared at the same time, in around 1140. [98] Joan Corominas, Diccionario critico etimológico de...[98] This gesture assumed “an obvious sexual connotation” [99] Jean-Claude Schmitt, La Raison des gestes dans l’Occident...[99] in the popular tradition of several societies, and even in the medieval West, where it can either denote the female sex organ (predominant meaning), its state of excitation (in this case, the tip of the thumb between the index and middle fingers imitates a swollen clitoris), copulation (the thumb is the penis between the vaginal lips), or a phallus (rarer meaning). [100] Desmond Morris et al., Os gestos: suas origens e significado...[100] It is probably with this latter meaning that formerly, in Bavaria, a young man confirmed his intention to marry by sending a silver or gold fig to his lover, who could refuse the demand by returning the gift or accept it by returning a silver heart. [101] José Leite de Vasconcelos, A figa (Porto: Araújo e...[101] The far la fica was an aggressive and derogatory gesture frequently used by Italians in the Middle Ages, not only on a daily basis, but also in emotionally charged situations. In 1162, angry with the Milanese who had forced his wife to mount a mule backwards, thus facing the tail of the animal—a very ancient position signifying contempt—Frederick I Barbarossa seized the city and, on penalty of death, forced the prisoners to remove a fig from the anus of a mule with their teeth. [102] Quoted by Leite de Vasconcelos, A figa, 80; by Jerome...[102] The inhabitants of Pistoia had carved into their castle of Carmignano two large arms with hands making the sign of the fig towards the enemy city of Florence—which, humiliated, went on to conquer the place in 1228. [103] Giovanni Villani, Cronica, VI, 5, ed. Ignazio Moutier...[103] In Dante, a robber condemned to Hell makes the sign of the fig against God Himself. [104] Dante Alighieri, Divina Commedia, Inferno, XXV, 1–3,...[104] The gesture and expression ficha facere are found, with the same derisory meaning, in all Romanesque cultures, and even outside of them. [105] Leite de Vasconcelos, A figa, 42–56, 72, 76–81, and...[105] Although this gesture has a talismanic function, that of casting off the evil eye and other dangers, this seems to be precisely due to its sexual connotation, that of warding off sterility in life. [106] Leite de Vasconcelos, A figa, 27–41, 57–59, and 91...[106]
32
In this sense, the scene of the paramount sin depicted on the third modillion at San Quirce, in addition to adopting the ancient interpretation of the original sin as a sexual sin, [107] See Martin Elze, Tatian und seine Theologie (Göttingen:...[107] prepared the observer to encounter, three metopes along and just after the expulsion from Paradise, a representation of the carnal relationship of protoplasm. [108] Pérez de Urbel and Whitehill (“La iglesia románica...[108] Thus, according to our hypothesis, the word malum would not have been used here with its specific meaning of “apple,” but rather in the broader sense of “fruit with pulp” (as opposed to nux, “fruit with hard skin”), [109] Although the former meaning was eventually enforced...[109] so that the pun of the inscription would signify “to expel evils and fruits.” Whether conscious or not of the inscription’s ambiguity, the sculptor at San Quirce thus revealed the interesting coexistence of two exegetical traditions, that of the apple, present in the representation of the original sin inside the church, and that of the fig, visible on its facade. An even more meaningful coexistence if it is accepted that a single artist carved both the capital and the modillion. [110] A situation that de Lojendio (Castilla 1) regards as...[110]
33
This exegetical doubt is not an isolated case appearing in a monastic community in the center of Castile. The formation of the French word “pomme” provides an interesting indication in this context. Although, from the beginning of the fifth century, the Latin word pomum (“fruit” in a generic sense) gained the specific meaning of “fruit of the apple tree” in Northern Italy and the majority of the Ibero-Romance area—a meaning preserved in the Provençal and Catalan poma—Italian, Castilian, Portuguese, and Galician eventually favored the traditional form malum, from which they derived mela, manzana, maçã and mazá, respectively. [111] Both the Spanish word manzana (attested in 1112 as...[111] Pomum preserved its broad sense in these four languages in the form pomo (poma in the case of Galician). By the same evolution, the collective forms pomario in Italian and pomar in Castilian, Portuguese, Provençal, and Galician derived from the Classical Latin pomarium.
34
In contrast, the medieval Latin of Gaul had used, from the end of the eighth century, the word pomarius to denote the apple tree, from which derived the vernacular name of this specific fruit (pume) from the generic term (pomum) in 1080. [112] The word appeared in the Chanson de Roland as pume;...[112] At the same date appeared the French word verger (orchard), denoting land planted with various fruit trees, taken from the Latin viridiarum (from viridis, “green”). Faced with these facts, it is not absurd to assume that the French linguistic evolution unconsciously avoided the supposedly negative character of this fruit, as expressed through the word malum. Furthermore, the apple is a positive symbol in Celtic culture, [113] Françoise Le Roux and Christian-Joseph Guyonvarc’h,...[113] which was heavily present in the territory of the future France, particularly in the context of the “folkloric reaction” of the twelfth century. [114] Jacques Le Goff, “Culture cléricale et traditions folkloriques...[114]
35
In accordance with its archetypical character as the fruit par excellence, the word was used in the formation of many syntagms, and even, around 1256, in the curious expression “pomme de paradis” (apple of paradise) denoting the banana. [115] Rey, Dictionnaire historique. It is interesting to...[115] Although in terms of vocabulary, we note a French resistance to the association of the apple with the fruit of sin, in terms of iconography, as seen above, such identification was established without problem. This was also the case in popular literary works, such as the first French theatrical text from the middle of the twelfth century or a sermon from the same time. [116] Respectively Le Mystère Adam: Ordo representationis...[116] Similarly, in this and the subsequent century, there were various love stories generally beginning with a betrayal (hearts metaphorically devoured) and ending with the death of the two protagonists (one of them literally devouring the other’s heart without realizing it [117] Accounts collected in Régnier-Bohler, ed., Le Cœur...[117]). To a certain extent, these stories consciously or unconsciously rewrote the drama of the original demise: betraying the confidence of the Creator (“from the tree . . . you will not eat”) by eating the apple/heart (“the knowledge of good and evil”), the human being was the cause of his own perdition (“the day you eat of it, you will surely die”), as Adam and Eve had hearts full of arrogance (“you will be like gods” [118] Genesis, 2:17; 3:5. On the close relationship between...[118]).
The Tree and Androgyny
36
This search for the identity of the Romanesque forbidden fruit must still consider the tree in relation to the primordial couple. The position of these three elements provides some important information. One of the symbolic and physical solutions used was to portray the primi parentes on the same side of the tree, with Eve always being closer to it (figure 4). The most common composition placed the tree between Adam and Eve, as already found on the sarcophagus of San Justo de la Vega in Leon, dated to the end of third century or the beginning of the fourth century and currently held in the archaeological museum of Madrid. It would be simplistic to think that this position on both sides of the tree simply responded to the desire for symmetry in Romanesque art, [119] As considered Guerra, Simbología románica, 107.[119] because the form is almost always a fragment of the contents that emerged. [120] Gerardus Van Der Leeuw, La Religion dans son essence...[120] In the eleventh to thirteenth centuries, this scheme probably referred to two very pressing questions related to the contemporary phenomenon of the sacralization of marriage.
Figure 4. - Relief on the western façade of Modena Cathedral (Emilia-Romagna), circa 1100.
37
On the one hand, by placing Adam and Eve at an equal distance from the tree, the iconography referred to a certain social egalitarianism and moral leveling between man and woman, even if the snake is almost always turned towards the woman. The side occupied by each character varied. We have already considered the position of Eve on the right-hand side of the tree as an “iconographic tradition,” a scheme with only three exceptions, in Saint-Antonin, Bruniquel, and Lescure. [121] Jean-Claude Fau, “Découverte à Saint-Antonin (Tarn-et-Garonne)...[121] In fact, the woman appears on the left in several other cases: for example on the sculptures in Anzy-le-Duc, Airvault, Butrera, Cergy, Cervatos, Covet, Embrun, Gémil, Girona, Lavaudieu, Lescar, Loarre, Luc-de-Béarn, Mahamud, Manresa, Moirax, Montcaret, Peralada (figure 6), Saint-Étienne-de-Grès, Saint-Gaudens, Sangüesa, San Juan de la Peña, Toirac, Verona, and Vézelay. Similarly, on the frescos in Aimé, Fossa, and San Justo in Segovia, on the illuminations of the Bible of Burgos, the Exultet 3 of Troia, and the Hortus Deliciarum, on a metal medallion from the Archbasilica of St. John Lateran, and on the mosaics in Monreale and Trani.
38
In addition, the central position of the tree, separating Adam and Eve, insinuated a rupture of the initial unity, at least on the psychological level. The tree, that is to say knowledge, revealed the existence of contradictory traits in human beings, made in the image and resemblance of God, the androgyne par excellence. “God created man in his own image, in the image of God he created him; male and female created he them:” [122] Genesis, 1:27.[122] this is why the human being was initially double, and thus, inherently complete and microcosmic. [123] There were several types of microcosmic man in the...[123] Removing Eve from the rib of Adam was a surgery of separation, because they were formed from the same bones, they were “one flesh.” [124] Genesis, 2:23–24.[124] In this manner, the sacred text was interpreted from first half of the first century, initially by the Jew, Philo of Alexandria, and subsequently by Ambroise, Augustine, Gregory the Great, Isidore, the pseudo-Remigius of Auxerre, Guibert of Nogent, Pierre Lombard, Bernard, and others, who all regarded Eve as the image of the woman from within man. [125] Michel Planque, “Ève,” in Dictionnaire de spiritualité...[125]
39
Augustine, in particular, implicitly recognized the androgyny of the first man when he said that the devil “cannot tempt us only by the means of this animal part, which appears in a single man as an image or a model of woman.” [126] Augustine, Del Genesis contra los maniqueos [De Genesi...[126] Following a reasoning based on that of Saint Paul, he saw Adam-Eve as the complementarity of spirit and flesh, a comparison that was adopted by many thinkers in the Romanesque period. Since in the Bible, “Adam” was originally the generic name denoting a human being (Genesis, 1:19) and only later became the name of a person (Genesis, 3:17), Augustine interpreted the word “man” (Genesis, 1:26) as “human nature.” [127] Augustine, De Trinitate, I, 7, PL, vol. 42, col. 8...[127] Saint Anselme, who was very influential in the twelfth century, agreed that “Adam” should initially include Adam and Eve. [128] Anselm of Canterbury, La Conception virginale et le...[128] While trying to explain how Adam’s prohibition of the fruit also implied Eve, Petrus Comestor stated that it was transmitted to the woman through man; [129] Petrus Comestor, Historia scholastica, 15, PL, vol....[129] thus implicitly suggesting the unity of the two individuals, and the androgyny of the being to whom it was forbidden to eat the fruit.
40
While the medieval Church did not formally accept the divine and the androgyny of Adam, it was still familiar with it. It is thus found in a text from the New Testament: “There is neither male nor female: for you are all one in Jesus Christ.” [130] Galatians, 3:28.[130] This appeared in an apocryphal text: “When you make the two one, and when you make the inside like the outside and the outside like the inside, and the above like the below, and when you make the male and the female one and the same, so that the male not be male nor female . . . then will you enter the kingdom [of God].” [131] Il Vangelo di Tommaso, 22, trans. Mario Erbetta (Casale...[131] This was a noncontemptible part of the thought of Clement of Alexandria [132] In a piece of literature that is today lost, Hypotyposes,...[132] (around 150–215), Origen [133] According to him, based on Luke, 20:36, there will...[133] (185–254), Gregory of Nyssa [134] Gregory of Nyssa, La Création de l’homme [De opificio...[134] (around 330–390) and, through them, of Johannes Scotus Eriugena [135] Johannes Scotus Eriugena, Periphyseon, IV, PL, vol....[135] (around 810–870). It undoubtedly belonged to the cultural and psychological milieu of the first Christian centuries. [136] Wayne A. Meeks, “The Image of the Androgyne: Some Uses...[136]
41
While the androgyne of Eden had disappeared, it was because of sin. For some thinkers, the human being henceforth became aware of its duplicity, since that time it was broken and characterized by the genitals, which was visible proof of the original sin: sexus comes from sectio (“cut,” “separation”), a term derived from secare “to cross,” which only assumed a specifically sexual meaning in the Middle Ages. [137] Du Cange, Glossarium mediae et infimae latinitatis,...[137] It is thus not by chance that Adam said “me” for the first time after the sin. [138] “Mulier, quam dedisti mihi sociam, dedit mihi de ligno,...[138] Although, undeniably, the original sin and sex were closely linked, the way in which events had transpired was the subject of debate. [139] Emmanuele Testa, Il peccato di Adamo nella Patristica...[139] One stream of thought interpreted the sin as a sexual offence: for example, the Jew Philon and some Church fathers, including Clement of Alexandria and Saint Ambrose. [140] Philo of Alexandria, De opificio mundi, 151–152, trans....[140] In the Romance period, the majority of theologists from the school of William of Champeaux (1070–1121) also considered that this sin involved concupiscence, although Guillaume himself saw it as an act of disobedience in which sensualitas managed to dominate ratio. [141] Odon Lottin, “Les théories du péché originel au XIIe...[141]
42
Another group reversed the question, seeing sex rather as a consequence of the sin. The Physiologus, an influential allegorical, zoological treatise translated into Latin in the fifth century, stated that the elephant and its partner, which “personified” Adam and Eve, were unaware of intercourse until the female had eaten the fruit of the Mandragora officinarum and given it to the male: “because of that, they had to leave Paradise.” [142] El Fisiólogo: bestiário medieval, 20, ed. Francis J....[142] The main proponent of this train of thought was Saint Augustine, according to whom the human being before the sin practiced sex without concupiscence. [143] Augustine, La Genèse au sens littéral [De Genesi ad...[143] The error of the first couple would then have been one of pride, which led to the error of disobedience and then to carnal error. [144] In the first part of his interpretation, Augustine...[144] Another proponent of this idea was Johannes Scotus Eriugena in the eighth century, who considered that before the sin, the human being was only one, and that the resulting division of the sexes would cease in the eternal life. [145] Johannes Scotus Eriugena, Periphyseon, V, 20, PL, vol....[145] His thought continued to exert a certain influence; in the fourteenth century, it led Meister Eckhart to regard “any division” to be “bad as such,” thus perceiving the number two as the sign of the fall. [146] Meister Eckhart, Commentaire de la Genèse, 88 and 90,...[146] The Romanesque representations of the initial sin hesitated in choosing between these theological positions. Showing a preference for the second, several images accorded sexual attributes to Adam and Eve just after the ingestion of the fruit: for Adam, generally a beard [147] For Hildegard of Bingen, Causae et curae, II, 5–7,...[147] (figures 1, 2, 3, 4, and 5), seldom a penis (figure 5), and for Eve, usually breasts (figures 1, 2, 3, 4, 5, and 6). A minority of images seem to attribute the initial sin to a sexual act, an iconographic and theological concept that was perhaps expressed for the first time on the bronze door of Hildesheim Cathedral in Germany between 1011 and 1015. [148] William Tronzo, “The Hildesheim Doors: An Iconographic...[148] Here, Adam appears to the left of the tree and behind him is another tree on which a small dragon is standing. Eve is to the right, close to another tree with the snake. The fruit is the apple, one in right hand of Adam and the other in the right hand of Eve, being stretched out towards Adam. There is another apple in the left hand of Eve, whose folded arm merges with her vagina. A similar illustration was used in Rebolledo de la Torre in 1186. In the Alardus Bible, the snake that gives the fruit to Eve is at the height of her vagina, recalling a male sexual organ about to penetrate her. The southernmost façade of the Church of Santa María in Sangüesa in Navarre, which dates from the second half of the twelfth century, seems to portray the same design. Here, the scene of sin is situated immediately below the personification of Lust, showing a woman whose naked breasts are attacked by toads and snakes. [149] Despite the great diversity of iconographical material...[149] This association between lust and the original sin was not uncommon; as Sangüesa was on St. James’s Way, the most travelled road by Occitans and Italians, we may hypothesize that its iconographic message expressed the opinion of many pilgrims on the subject. In this sense, this image from Navarre ratified at least two other images known to these pilgrims.
43
The first image from Provence, dated to the second quarter of the twelfth century, is located a few kilometers from Tarascon in Saint-Etienne-du-Grès, on the tympanum of Saint-Gabriel’s chapel, where Daniel appears next to the original sin (prefiguration of Christ, the new Adam) with lions (a common symbol of lust): an opposition of scenes suggesting the sexual signification of the sin. As already mentioned, it is true that the contrast between the two scenes did not necessarily mean that the artist interpreted the sin “as a vulgar sin of lust, but its consequence was to introduce turmoil and even shame into a domain that had emerged wholly pure from the hands of the Creator.” [150] Gérard de Champeaux and Sébastien Sterckx, Introduction...[150] However, the authors of this comment—a longstanding phenomenon in medieval art studies—seem inclined towards adapting the intentions of the Romanesque artist to the theologically correct reading, rather than considering other interpretative possibilities beyond the domain of ecclesiastical culture. It is significant, for example, that on the same area of the tympanum, the two scenes are chronologically inversed, first portraying Daniel and then the sin.
44
The second image from Italy figures on the mosaic of Otranto (1163–1165). The branches of the forbidden tree pass between the legs of the characters, insinuating the sexual nature of the sin. This seems all the more evident given that Adam and Eve are each situated in a circle, rendering the characters isolated, separated, and autonomous entities in their respective domains, domains most certainly resulting from the primordial androgyne being cut in two. This assumption is reinforced by the fact that the forbidden fruit is represented as the fig (with its strong sexual connotation, as already seen) and illustrated in a suggestive way by the mosaic artist, the priest Pantaleon: the thinner part of the fig held by Eve is facing downwards and placed between her breasts, as though forming a third breast; the fig in Adam’s hand is in the inverse position, reminding us of the male genitals. [151] The same sexual presentation appeared towards the end...[151]
Figure 5. - Illumination from the in Troia (Puglia), Archivio Capitulario, middle of the eleventh century.
Figure 6. - Capital in the western gallery of the monastery cloister
45
Taking the geographical distribution of the Romanesque images into account, we see that the function attributed to the fig as the forbidden fruit was mainly expressed in the cultural milieu related to the Greco-Judaic world, while the apple appeared in association with the Romano-Christian world. This is perhaps due the specific links established in these cultural areas between each fruit and a bodily organ. In the images where the fig is used, Eve is often portrayed with the fruit on the right-hand side of the tree, like the liver in the human body. [152] In this regard, I evidently mean a statistical trend,...[152] In the images with the apple, the tendency is for Eve and the fruit to appear on the left-hand side, just like the heart in the body (figures 3 and 6). In both instances, the forbidden fruit was the symbol of the rupture of the unity of Eden and the birth of the disjointed humanity that characterizes history.
Notes
[1]
On the methodological issues affecting the construction and analysis of an iconographic corpus, some good comments have been made by Jérôme Baschet in “Inventivité et sérialité des images médiévales. Pour une approche iconographique élargie,” Annales HSS 51 (1996): 93–133.
[2]
Genesis, 2:16–17; 3:1–12.
[3]
Jeremiah, 1:14. Jerome, Expositio quattuor Evangeliorum, Patrologia Latina (PL), vol. 30, col. 549d–550a.
[4]
Midrash Rabbah, Genesis, XV, 7, trans. Bernard Maruani and Albert Cohen-Arazi (Paris: Verdier, 1987), 1:183 [Midrash Rabbah, Genesis trans. Harry Freedman and Maurice Simon, 2 vols. (London: Soncino Press, 1939)]; Genesis Rabbah I (Genesis 1–11), trans. Luis Vegas Montaner (Estella: Verbo Divino, 1994), 188–189 [Genesis Rabbah I, trans. Samuel Rapaport (London: Routledge, 1907)].
[5]
Following the interpretation of Marcel Durliat, Pyrénées romanes (La-Pierre-Qui-Vire: Zodiaque, 1978), 42.
[6]
Vita Adae, 36–42: “The ‘Vita Adae’,” ed. J. H. Mozley, The Journal of Theological Studies (1929): 121–149 (English manuscripts); “La Vie latine d’Adam et Ève,” ed. Jean-Pierre Pettorelli, Archivum latinitatis Medii Aevi (1998): 5–104 (German manuscripts); 2 Henoc 22:8: Slavonic Apocalypse of Enoch, trans. Francis I. Andersen, in The Old Testament Pseudepigrapha, ed. James H. Charlesworth, 2 vols. (London: Darton, Longman & Todd, 1983–1985), 1:92–221; L’Évangile de Nicodème, 19, ed. André Vaillant (Geneva, Paris: Droz, 1968), 59–61.
[7]
In this instance, the capital over the door of Miègeville, dated to around 1100–1118, does not depict the scene of the sin, but rather that of the expulsion from Paradise, where the fruit behind Adam and Eve (the couple being situated between God on one side and an angel on the other) is the grapevine.
[8]
Midrash Rabbah, Genesis, XV, 7 and XIX, 5, trans. Maruani and Cohen-Arazi, [trans. Freedman and Simon], 184 and 217; Genesis Rabbah I, trans. Vegas Montaner, 190–225. Ethiopic Apocalypse of Enoch, XXXII, 3–6, trans. Ephraim Isaac, in The Old Testament Pseudepigrapha, 1:28. Greek Apocalypse of Baruch, 4–8, trans. Harry E. Gaylord, The Old Testament Pseudepigrapha, 1:667; Apocalypse of Abraham, XXXIII, 7, trans. Ryszard Rubinkiewicz and Horace G. Lunt, The Old Testament Pseudepigrapha, 1:700. In the first century AD, Eliezer ben Hurcanus’s Chapters only specifies that “Noah found a grapevine coming from the Garden of Eden:” Los Capítulos de Rabbí Eliezer, XXIII, 4, trans. Miguel Pérez Fernandez, (Valencia: Institución San Jerónimo, 1984), 174. Louis Ginzberg nevertheless believes that this text probably alludes to a fragment from the tree of knowledge: Les Légendes des juifs [1909], trans. Gabrielle Sed-Rajna (Paris: Éd. du Cerf, 1997), 1:302, n. 59. According to the same author (Les Légendes des juifs, 219, n. 70), “the oldest and widespread opinion identifies the forbidden fruit with the grape, which traces back to an ancient mythological idea considering wine to be the beverage of the gods.”
[9]
David Romano, “Jueus a la Catalunya carolingia i dels primers comtes (876–1100),” in Exposiciò dins la formació de l’Europa medieval (Girona: Ajuntament de Girona, 1985), 113–119. Hilário Franco Júnior, “Le pouvoir de la parole: Adam et les animaux dans la tapisserie de Gérone,” Médiévales 25 (1993): 113–128.
[10]
Arturo Graf, Il Mito del Paradiso terrestre (1892; reprint, Rome: Edizioni del Graal, 1982), 65; Gioacchino Volpe, Movimenti religiosi e sette ereticali nella società medievale italiana: secoli XI–XIV fourth ed. (Florence: Sansoni, 1972), 17–40; Cinzio Violante, La Società milanese nell’età precomunale (Bari: Laterza, 1974), 220–231. Priests in Spain in the seventh century offered a bunch of grapes to believers during the Eucharist, which could also be a reaction against the idea of the grapevine as the forbidden fruit (third Council of Braga [675], prologue and canon 1: Concílios visigóticos e hispano-romanos, ed. and trans. José Vives (Barcelona and Madrid: CSIC, Instituto Enrique Florez, 1963), 371–373).
[11]
Michel Tardieu, Trois Mythes gnostiques: Adam, Éros et les animaux d’Égypte dans un écrit de Nag Hammadi (II, 5) (Paris: Études augustiniennes, 1974), particularly 88–89, 142–144, and 166–169.
[12]
Paul Deschamps, “Notes sur la sculpture romane en Bourgogne,” Gazette des Beaux-Arts (1922): 61–80.
[13]
Deschamps, “Notes sur la sculpture.”
[14]
Joseph de Ghellinck, “L’eucharistie au XIIe siècle en Occident,” in Dictionnaire de théologie catholique (Paris: Letouzey et Ané, 1913), vol. 5, col. 1233–1302. Iconography was also influenced by the phenomenon in which the Crucified was depicted as a bunch of grapes, as seen on the thirteenth-century metal relief on the door of the Church of Sion in Switzerland. This was reproduced by Erich Neumann, The Great Mother: An Analysis of the Archetype, trans. Ralph Mannheim (1955; reprint, Princeton (N. J.): Princeton University Press, 1972), pl. 114.
[15]
Roger Dion, Histoire de la vigne et du vin en France des origines au XIXe siècle (Paris: author publication, 1959), 245–247.
[16]
Auguste Gaudel, “Péché originel,” in Dictionnaire de théologie catholique, vol. XII-1, col. 441 [quotation back-translated from the French].
[17]
Jacques Brosse, Mythologie des arbres (Paris: Plon, 1989), 299–300. The purity attributed to the olive rendered the olive tree the tree of life par excellence, as seen above, n.5.
[18]
Robert Saint-Jean and Jean Nougaret, Vivarais-Gévaudan romans (La Pierre-Qui-Vire: Zodiaque, 1991), 157–158. La Nuit des temps, 75.
[19]
Genesis, 3:7.
[20]
John, 1:48. This relationship between the fig and knowledge can be traced back to classical paganism: Plato, for example, called this fruit “the friend of philosophers,” according to Éloïse Mozzani, Le Livre des superstitions: mythes, croyances et légendes (Paris: Robert Laffont, 1995), 746.
[21]
Matthew, 21:19. Paul Sébillot, Le Folklore de France, vol. 6, La Flore (1906; reprint, Paris: Imago, 1985), 21; Mozzani, Le Livre des superstitions, 746.
[22]
Stuttgart Psalter, around 810 (Stuttgart: Württembergische Landes-bibliothek, Cod. Bibl. 172o 23, fol. 8).
[23]
Midrash Rabbah, Genesis XV, 7, trans. Maruani and Cohen-Arazi, 185; Génesis Rabbah I, trans. Vegas Montaner, 190–191.
[24]
Life of Adam and Eve (Apocalypse), xx, 4–5, trans. M. D. Johnson, in The Old Testament Pseudepigrapha, 2:281; Apocalisse di Mosè, trans. Liliana Rosso Ubigli, in Apocrifi dell’Antico Testa-mento, ed. Paolo Sacchi (Turin: UTET, 1989), 2:429; Vida de Adán y Eva (Apocalipsis de Moises), trans. Natalio Fernández Marcos, in Apocrifos del Antiguo Testamento, ed. Alejandro Diez Macho (Madrid: Cristiandad, 1982), 2:330.
[25]
Testament of Adam 3c, trans. Stephen E. Robinson, in The Old Testament Pseudepigrapha, 1:994; Testamento de Adán III, 4 (R II), trans. F. J. Martínez Fernández, in Apocrifos del Antiguo Testamento, 5:433.
[26]
Il Combattimento di Adamo, 40, ed. and trans. A. Battista and B. Bagatti (Jerusalem: Franciscan Printing Press, 1982), 110.
[27]
Theodoret of Cyrus, Quaestiones in Genesim, II, 28, Patrologia Graeca (PG), vol. LXXX, col. 125 c.
[28]
Tertullian, Adversus Marcionem, I, 2, 2, ed. Ernst Kroymann (Turnhout: Brepols, 1954), 443. Corpus christianorum. Series latina, 1; Hugh of Saint Victor, Adnotationes elucidatoriae in Pentateuchon, Patrologia Latina (PL), vol. CLXXV, col. 42 a-b; Pierre Comestor, Historia scholastica, 23, PL, vol. CXCVIII, col. 1073 b-c. Even at the end of the Middles Ages, several authors still thought in this manner: Meister Eckhart, Commentaire de la Genèse, 97 and 205, ed. and trans. Fernand Brunner et al. (Paris: Éd. du Cerf, 1984), 360 and 518. L’Œuvre latine de Maître Eckhart, 1.
[29]
Das Tristan-Epos Gottfrieds von Strassburg, v. 17944, ed. Wolfgang Spiewok (Berlin: Akademie-Verlag, 1989), 251. Deutsche Texte des Mittelalters, 75.
[30]
Beryl Smalley, “Andrew of Saint-Victor, Abbot of Wigmore: A Twelfth-Century Hebraist,” Recherches de théologie ancienne et médiévale 10 (1938): 358–373; Beryl Smalley, The Study of the Bible in the Middle Ages (Oxford: Basil Blackwell, 1983), 149–172 and 179–180; Esra Shereshevsky, “Hebrew Traditions in Peter Comestor’s Historia Scholastica,” The Jewish Quarterly Review 59 (1968–1969): 268–289.
[31]
Brosse, Mythologie des arbres, 285–286.
[32]
Jean Beleth, Summa de ecclesiasticis officiis, 125, ed. Herbert Douteil (Turnhout: Brepols, 1976), 239–241; Gervase of Tilbury, Otia Imperialia: Recreation for an Emperor, trans. S. E. Banks and J. W. Binns (Oxford: Oxford University Press, 2002). In the thirteenth century, the theme appeared in several well-known texts, such as La Queste del Saint Graal, ed. Albert Pauphilet (Paris: Honoré Champion, 1980), 210ff. and Jacobus de Voragine’s Golden Legend: Legenda aurea, vulgo Historia Lombardica dicta, LXVIII, ed. Theodor Graesse (1846; reprint, Osnabrück: Otto Zeller, 1969), 303–304.
[33]
Exodus, 29:13, 22; Leviticus, 3:4, 10, 15; 4:9; 7:4; 8:16, 25; 9:10, 19.
[34]
Tobit, VI, 7.
[35]
Hesiod, Théogonie, v. 524, ed. and trans. Paul Mazon, thirteenth reprint (Paris: Les Belles Lettres, 1996), 51. Coll. des Universités de France [Theogony, trans Hugh G. Evelyn-White (Cambridge, MA: Loeb Classics, 1914)].
[36]
Anacreon, “Fragment 33,” vv. 28, 32, in Carmina Anacreontea, ed. Martin L. West (Leipzig: B. G. Teubner, 1984), 25.
[37]
Horace, Odes, IV, 1, 12, ed. and trans. François Villeneuve (Paris: Les Belles Lettres, 1927), 152 [The Complete Odes and Satires of Horace, trans. Sidney Alexander (Princeton NJ: Princeton University Press, 1999)].
[38]
Plato, Timée, 71 a, d, ed. and trans. Albert Rivaud (Paris: Les Belles Lettres, 1985), 198 [Timaeus and Critias, ed. Thomas K. Johansen, trans. Desmond Lee (London: Penguin, 1977)].
[39]
In the Romanesque period, there was at least one allusion to the Latin Cupid (called only Amores) sending an arrow to the heart: Chrétien de Troyes, Cligès, v. 455, trans. Alexandre Micha (Paris: Honoré Champion, 1982) [Cliges, trans. W. W. Comfort (London: Everyman’s Library, 1914)]. A medieval collection of classical mythology, written between 875 and 1075, says that the gods sent an eagle to punish Prometheus by attacking his heart (not the liver, as Hesiod declared): Premier Mythographe du Vatican, I, 1, 3, ed. Nevio Zorzetti, trans. Jacques Berlioz (Paris: Les Belles Lettres, 1995), 2. The transposition of the symbolic role of the liver to the heart became so ingrained that modern scholars have more than once taken one for the other, as, for example, the translator of Horace, Odes, ed. and trans. Villeneuve, n.36 or that of Anacreon, Odes, trans. Frédéric Matthews (Paris: Presses Universitaires, 1927), 91.
[40]
Jacobus de Voragine, Legenda aurea, XXV, ed. Graesse, 120. Eve
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
The Postcard
A postally unused carte postale published by F. Chapeau of Nantes.
Although the card was not posted, someone has written a date on the back:
"5. 12. 32".
Le Château des Ducs de Bretagne
Le Château des Ducs de Bretagne is a large castle located in the city of Nantes in the Loire-Atlantique département of France.
It is located on the right bank of the Loire, which formerly fed its ditches. It was the residence of the Dukes of Brittany between the 13th. and 16th. centuries, subsequently becoming the Breton residence of the French Monarchy.
The castle has been listed as a Monument Historique by the French Ministry of Culture since 1862.
Restoration of the Château
Starting in the 1990's, the town of Nantes undertook a massive programme of restoration and repairs to return the site to its former glory as an emblem of the history of Nantes and Brittany.
Following 15 years of works and three years of closure to the public, it was reopened on the 9th. February 2007, and is now a popular tourist attraction. Night-time illuminations at the castle further reinforce the revival of the château.
The restored edifice now includes the new Nantes History Museum, installed in 32 of the castle rooms. The museum presents more than 850 objects of interest with the aid of multimedia devices.
The château and its museum try to offer a modern vision of the heritage by presenting the past, the present and the future of the city.
The 500-metre round walk on the fortified ramparts provides views not just of the castle buildings and courtyards but also of the town.
The Sale of Liquor
So what else happened on Monday the 5th. December 1932?
Well, on that day, a joint resolution was introduced to the U.S. Congress repealing the Eighteenth Amendment, and turning the regulation of liquor over to the individual states.
British War Debts
Also on that day, the British government suggested issuing bonds to cover its war debts to the United States.
'Jane'
Also on that day, the comic strip 'Jane' by Norman Pett first appeared in the British tabloid newspaper the Daily Mirror.
Little Richard
The 5th. December 1932 also marked the birth, in Macon, Georgia, of Little Richard.
Richard Wayne Penniman, known professionally as Little Richard, was an American musician, singer, and songwriter. He was an influential figure in popular music and culture for seven decades.
Described as the "Architect of Rock and Roll", Richard's most celebrated work dates from the mid-1950's, when his charismatic showmanship and dynamic music, characterized by frenetic piano playing, pounding back beat and raspy shouted vocals, laid the foundation for rock and roll.
Richard's innovative emotive vocalizations and uptempo rhythmic music also played a key role in the formation of other popular music genres, including soul and funk.
He influenced numerous singers and musicians across musical genres from rock to hip hop, and his music helped shape rhythm and blues for generations.
"Tutti Frutti" (1955), one of Richard's signature songs, became an instant hit, crossing over to the pop charts in both the United States and the United Kingdom. His next hit single, "Long Tall Sally" (1956), hit No. 1 on the Billboard Rhythm and Blues Best-Sellers chart, followed by a rapid succession of fifteen more hits in less than three years.
Richard's performances during this period resulted in integration between the white Americans and black Americans in his audience.
In 1962, after a five-year period during which Richard abandoned rock and roll music for born again Christianity, concert promoter Don Arden persuaded him to tour Europe.
During this time, the Beatles opened for Richard on some tour dates. Richard advised the Beatles on how to perform his songs, and taught Paul McCartney his distinctive vocalizations.
Richard is cited as one of the first crossover black artists, reaching audiences of all races. His music and concerts broke the color line, drawing black and white people together despite attempts to sustain segregation.
Many of his contemporaries, including Elvis Presley, Buddy Holly, Bill Haley, Jerry Lee Lewis, the Everly Brothers, Gene Vincent and Eddie Cochran, recorded covers of his works.
Impressed by Richard's music and style, and personally covering four of Richard's songs on his own two breakthrough albums in 1956, Presley told Richard in 1969 that his music was an inspiration to him, and that he was "the greatest".
Richard was honored by many institutions. He was inducted into the Rock and Roll Hall of Fame as part of its first group of inductees in 1986. He was also inducted into the Songwriters Hall of Fame.
Richard was the recipient of Lifetime Achievement Awards from The Recording Academy and the Rhythm and Blues Foundation.
In 2015, Richard received a Rhapsody & Rhythm Award from the National Museum of African American Music for his key role in the formation of popular music genres, and for helping to bring an end to the racial divide on the music charts and in concerts in the mid-1950's.
"Tutti Frutti" was included in the National Recording Registry of the Library of Congress in 2010, which stated that:
"Richard's unique vocalizing over the
irresistible beat announced a new era
in music".
Little Richard - The Early Years
Richard Wayne Penniman was the third of twelve children of Leva Mae (née Stewart) and Charles "Bud" Penniman. His father was a church deacon and a brick mason, who sold bootlegged moonshine on the side, and who also owned a nightclub called the Tip In Inn. Richard's mother was a member of Macon's New Hope Baptist Church.
Initially, his first name was supposed to have been "Ricardo", but an error resulted in "Richard" instead. In childhood, he was nicknamed "Lil' Richard" by his family because of his small and skinny frame.
The Penniman children were raised in a neighborhood of Macon called Pleasant Hill. A mischievous child who played pranks on neighbors, he began singing in church and taking piano lessons at a young age.
Possibly as a result of complications at birth, Richard had a slight deformity that left one of his legs shorter than the other. This produced an unusual gait, and he was mocked for his allegedly effeminate appearance.
Richard's family were very religious, and joined various A.M.E., Baptist, and Pentecostal churches, with some family members becoming ministers. He enjoyed the Pentecostal churches the most, because of their charismatic worship and live music.
Richard later recalled that people in his neighborhood sang gospel songs throughout the day during segregation to keep a positive outlook, because:
"There was so much poverty, so
much prejudice in those days".
He had observed that:
"People sing to feel their connection
with God, and to wash their trials and
burdens away."
Gifted with a loud singing voice, he recalled that:
"I was always changing the key upwards,
and I was once stopped from singing in
church for screaming and hollering so loud.
My singing gave me the nickname "War Hawk".
Richard recalled that:
"As a child, I would beat on the steps
of the house, and on tin cans and pots
and pans, or whatever, while I was
singing, and this used to annoy the
neighbors."
Richard's initial musical influences were gospel performers such as Brother Joe May, Sister Rosetta Tharpe, Mahalia Jackson, and Marion Williams.
Joe May, a singing evangelist who was known as "The Thunderbolt of the Middle West" because of his phenomenal range and vocal power, inspired Richard to become a preacher. He credited the Clara Ward Singers for one of his distinctive hollers.
Richard attended Macon's Hudson High School, where he was a below-average student. He eventually learned to play alto saxophone, joining the school's marching band while in fifth grade.
While still in high school, Richard got a part-time job at Macon City Auditorium for local secular and gospel concert promoter Clint Brantley. He sold Coca-Cola to crowds during concerts of star performers of the day such as Cab Calloway, Lucky Millinder, and his favorite singer Sister Rosetta Tharpe.
Little Richard's Music Career
(a) 1947–1955: Beginnings
In October 1947, Sister Rosetta Tharpe overheard the fourteen-year-old Richard singing her songs before a performance at the Macon City Auditorium, and she invited him to open her show.
After the show, Tharpe paid Richard, inspiring him to become a professional performer. Richard stated that his piano style was greatly influenced by Ike Turner's piano intro on "Rocket 88".
In 1949, Richard began performing in Doctor Nubillo's traveling show. He was inspired to wear turbans and capes in his career by Nubillo, who also:
"Carried a black stick and exhibited
something he called 'the devil's child'—
supposedly the dried-up body of a
baby, with claw feet like a bird, and
horns on its head."
Nubillo told Richard:
"You're gonna be famous, but you'll
have to go where the grass is greener".
Before entering the tenth grade, Richard left his family home and joined Hudson's Medicine Show in 1949, performing Louis Jordan's "Caldonia". Richard recalled that the song was the first secular R&B song he learned, since his family had strict rules against playing R&B music, which they considered "devil music".
Little Richard was influenced by Jordan. In fact, the whoop sound on Jordan's record "Caldonia" sounds eerily like the vocal tone Little Richard adopted, in addition to the "Jordan-style pencil-thin mustache".
Richard also performed in drag during this time, performing under the name "Princess LaVonne".
In 1950, Richard joined his first musical band, Buster Brown's Orchestra, where Brown gave him the name Little Richard. Performing in the minstrel show circuit, Richard, in and out of drag, performed for various vaudeville acts such as Sugarfoot Sam from Alabam, the Tidy Jolly Steppers, the King Brothers Circus, and Broadway Follies.
Having settled in Atlanta at this point, Richard began listening to rhythm and blues, and frequented Atlanta clubs, including the Harlem Theater and the Royal Peacock, where he saw performers such as Roy Brown and Billy Wright onstage.
Richard was further influenced by Brown's and Wright's flashy style of showmanship, and was even more influenced by Wright's flamboyant persona. Inspired by Brown and Wright, he decided to become a rhythm-and-blues singer, and after befriending Wright, began to learn how to be an entertainer from him.
Richard began to sport a pompadour hairdo similar to Wright's, as well as a pencil mustache, using Wright's brand of facial pancake makeup and wearing flashier clothes.
Impressed by his singing voice, Wright put him in contact with Zenas Sears, a local D. J. Sears recorded Richard at his station, backed by Wright's band. The recordings led to a contract that year with RCA Victor. Richard recorded a total of eight sides for RCA Victor, including the blues ballad, "Every Hour", which became his first single, and a hit in Georgia.
The release of "Every Hour" improved his relationship with his father, who began regularly playing the song on his nightclub jukebox. Shortly after the release of "Every Hour", Richard was hired to front Perry Welch and His Orchestra, and played at clubs and army bases for $100 a week.
Richard left RCA Victor in February 1952 after his records for the label failed to chart; the recordings were marketed with little promotion from RCA Victor, although ads for the records showed up in Billboard Magazine.
After his father´s death in 1952, Richard began to find success, RCA Victor re-issued the recordings on the budget RCA Camden label. He continued to perform during this time, and Clint Brantley agreed to manage Richard's career.
Moving to Houston, he formed a band called the Tempo Toppers, performing as part of blues package tours in Southern clubs such as Club Tijuana in New Orleans, and Club Matinee in Houston.
Richard signed with Don Robey's Peacock Records in February 1953, recording eight sides, including four with Johnny Otis and his band that were unreleased at the time. Like Richard's venture with RCA Victor, none of his Peacock singles charted, despite Richard getting knocked out by Robey during a scuffle.
Disillusioned by the record business, Richard returned to Macon in 1954. Struggling with poverty, he settled for work as a dishwasher for Greyhound Lines.
While in Macon, he met Esquerita, whose flamboyant onstage persona and dynamic piano playing deeply influenced Richard's approach to performance. That year, he disbanded the Tempo Toppers, and formed a harder-driving rhythm and blues band, the Upsetters, which included drummer Charles Connor and saxophonist Wilbert "Lee Diamond" Smith.
In 1954, Richard signed on to a Southern tour with Little Johnny Taylor. The band supported R&B singer Christine Kittrell on some recordings, then began to tour successfully, even without a bass guitarist, forcing drummer Connor to thump "real hard" on his bass drum in order to get a "bass fiddle effect". Around this time, Richard signed a contract to tour with fellow R&B singer Little Johnny Taylor.
At the suggestion of Lloyd Price, Richard sent a demo to Price's label, Specialty Records, in February 1955. Months passed before Richard got a call from the label. Finally, in September of that year, Specialty owner Art Rupe loaned Richard money to buy out of his Peacock contract, and set him to work with producer Robert "Bumps" Blackwell.
Upon hearing the demo, Blackwell felt that Richard was Specialty's answer to Ray Charles. However, Richard told him that he preferred the sound of Fats Domino. Blackwell sent him to New Orleans, where he recorded at Cosimo Matassa's J&M Studios, recording there with several of Domino's session musicians, including drummer Earl Palmer and saxophonist Lee Allen.
Richard's recordings that day failed to produce much inspiration or interest (although Blackwell saw some promise). Frustrated, Blackwell and Richard went to relax at the Dew Drop Inn nightclub. According to Blackwell, Richard then launched into a risqué dirty blues he titled "Tutti Frutti".
Blackwell felt that the song had hit potential, and hired songwriter Dorothy LaBostrie to replace some of Richard's sexual lyrics with less controversial ones. He also changed the microphone placement, and pushed Richard's voice forward.
Recorded in three takes in September 1955, "Tutti Frutti" was released as a single that November, and became an instant hit, reaching No. 2 on Billboard magazine's Rhythm and Blues Best-Sellers chart and crossing over to the pop charts in both the United States and the United Kingdom. It reached No. 21 on the Billboard Top 100 in America, and No. 29 on the British singles chart, eventually selling a million copies.
(b) 1956–1962: Initial Success and Conversion
Richard's next hit single, "Long Tall Sally" (1956), hit number one on the R&B chart and number thirteen on the Top 100 while reaching the top ten in Great Britain. Like "Tutti Frutti", it sold over a million copies.
Following his success, Richard built up his backup band, The Upsetters, with the addition of saxophonists Clifford "Gene" Burks and leader Grady Gaines, bassist Olsie "Baysee" Robinson and guitarist Nathaniel "Buster" Douglas.
Richard began performing on package tours across the United States. Art Rupe described the differences between Richard and a similar hitmaker of the early rock and roll period by stating that:
"While the similarities between Little Richard
and Fats Domino for recording purposes were
close, Richard would sometimes stand up at
the piano while he was recording and onstage,
whereas Domino was plodding, and very slow,
Richard was very dynamic, completely uninhibited,
unpredictable, and wild. So the band took on
the ambience of the vocalist."
Richard's performances, like most early rock and roll shows, resulted in integrated audience reaction during an era where public places were divided into "white" and "colored" domains. In these package tours, Richard and other artists such as Fats Domino and Chuck Berry would enable audiences of both races to enter the building, albeit still segregated (e.g. blacks on the balcony and whites on the main floor).
As his later Producer H. B. Barnum, explained, Richard's performances enabled audiences to come together to dance. Despite broadcasts on television from local supremacist groups such as the North Alabama White Citizens Council warning that rock and roll "brings the races together", Richard's popularity was helping to shatter the myth that black performers could not successfully perform at "white-only venues", especially in the South where racism was most overt.
Richard's high-energy antics included lifting his leg while playing the piano, climbing on top of his piano, running on and off the stage and throwing souvenirs to the audience. He also began using capes and suits studded with multi-colored stones and sequins. Richard said he began to be more flamboyant onstage so that no one would think he was "after the white girls".
Little Richard recalled:
"A lot of songs I sang to crowds first
to watch their reaction. That's how I
knew they'd hit."
Richard claims that a show at Baltimore's Royal Theatre in June 1956 led to some women throwing their panties onstage at him, resulting in other female fans repeating the action, saying that it was "the first time" that had happened to any artist.
Richard's show stopped several times that night due to fans being restrained from jumping off the balcony and then rushing to the stage to touch him.
Overall, Richard produced seven singles in the United States alone in 1956, with five of them also charting in the UK, including "Slippin' and Slidin'", "Rip It Up", "Ready Teddy", "The Girl Can't Help It" and "Lucille".
Immediately after releasing "Tutti Frutti", which was then protocol for the industry, "safer" white recording artists such as Pat Boone covered the song, sending the song to the top twenty of the charts, several positions higher than Richard's.
His fellow rock and roll peers Elvis Presley and Bill Haley also recorded his songs later that same year. Befriending Alan Freed, Richard was given a role in "rock and roll" movies such as Don't Knock the Rock, and Mister Rock and Roll.
Richard was given a larger singing role in the 1956 film, The Girl Can't Help It starring Jayne Mansfield. That year, he scored more hit successes with songs such as "Jenny, Jenny" and "Keep A-Knockin,'" the latter becoming his first top ten single on the Billboard Top 100.
By the time he left Specialty in 1959, Richard had scored a total of nine top 40 pop singles and seventeen top 40 R&B singles.
Richard performed at the famed twelfth Cavalcade of Jazz held at Wrigley Field in Los Angeles on the 2nd. September 1956.
Also performing that day were Dinah Washington, The Mel Williams Dots, Chuck Higgins' Orchestra, Bo Rhambo, Willie Hayden & Five Black Birds, The Premiers, Gerald Wilson and his 20-Piece Recording Orchestra, and Jerry Gray and his Orchestra.
Shortly after the release of "Tutti Frutti", Richard relocated to Los Angeles. After achieving success as a recording artist and live performer, Richard moved into a wealthy, formerly predominantly white neighborhood, living close to black celebrities such as boxer Joe Louis.
Richard's first album, Here's Little Richard, was released by Specialty in March 1957, and peaked at number thirteen on the Billboard Top LPs chart. Similar to most albums released during that era, the album featured six released singles and a number of "filler" tracks.
In October 1957, Richard embarked on a package tour in Australia with Gene Vincent and Eddie Cochran. During the middle of the tour, he shocked the public by announcing that he intended to follow a life in the ministry.
Richard claimed in his autobiography that during a flight from Melbourne to Sydney, his plane was experiencing some difficulty, and he claimed to have seen the plane's red hot engines, and felt that angels were "holding it up".
At the end of his Sydney performance, Richard saw a bright red fireball flying across the sky above him, and claimed that he was "deeply shaken". Though he was eventually told that it was the launching of the first artificial Earth satellite Sputnik 1, Richard took it as a "sign from God" to repent from performing secular music and his wild lifestyle at the time.
Returning to the States ten days earlier than expected, Richard later read that the flight he had originally planned to take had crashed into the Pacific Ocean, He regarded this as a further sign to "do as God wanted".
After a "farewell performance" at the Apollo Theater and a "final" recording session with Specialty later that month, Richard enrolled at Oakwood College in Huntsville, Alabama, to study theology.
Despite his claims of spiritual rebirth, Richard admitted his reasons for leaving were more monetary. During his tenure at Specialty, despite earning millions for the label, Richard complained that he was unaware that Speciality had reduced the percentage of royalties he was to earn from his recordings.
In early 1958, Specialty released Richard's second album, Little Richard, which didn't chart.
Specialty continued to release Richard's recordings, including "Good Golly, Miss Molly" and his unique version of "Kansas City", until 1960. Finally ending his contract with the label, Richard agreed to relinquish any royalties for his material.
In 1958, Richard formed the Little Richard Evangelistic Team, traveling across the country to preach. A month after his decision to leave secular music, Richard met Ernestine Harvin, a secretary from Washington, D.C., and the couple married on the 11th. July 1959.
Richard ventured into gospel music, first recording for End Records, before signing with Mercury Records in 1961, where he eventually released King of the Gospel Singers, in 1962, produced by Quincy Jones, who later remarked that Richard's vocals impressed him more than any other vocalist that he had worked with.
Richard's childhood heroine, Mahalia Jackson, wrote in the notes of the album that:
"Richard sings gospel the
way it should be sung".
While Richard was no longer charting in the U.S. with pop music, some of his gospel songs such as "He's Not Just a Soldier" and "He Got What He Wanted", and "Crying in the Chapel", reached the pop charts in the U.S. and in the UK.
(c) 1962–1979: Return to Secular Music
Mick Jagger said of Richard:
"I heard so much about the audience
reaction, I thought there must be some
exaggeration. But it was all true.
He drove the whole house into a
complete frenzy ... I couldn't believe
the power of Little Richard onstage.
He was amazing."
In 1962, concert promoter Don Arden persuaded Little Richard to tour Europe after telling him his records were still selling well there.
With soul singer Sam Cooke as an opening act, Richard, who featured a teenage Billy Preston in his gospel band, figured it was a gospel tour and, after Cooke's delayed arrival forced him to cancel his show on the opening date, performed only gospel material during the show. This led to boos from the audience, who were expecting Richard to sing his rock and roll hits.
The following night, Richard viewed Cooke's well-received performance. Bringing back his competitive drive, Richard and Preston warmed up in darkness before launching into "Long Tall Sally", resulting in frenetic, hysterical responses from the audience.
A show at Mansfield's Granada Theatre ended early after fans rushed the stage. Hearing of Richard's shows, Brian Epstein, manager of the Beatles, asked Don Arden to allow his band to open for Richard on some tour dates, to which he agreed.
The first show for which the Beatles opened was at New Brighton's Tower Ballroom that October. The following month they, along with Swedish singer Jerry Williams and his band The Violents, opened for Richard at the Star-Club in Hamburg.
During this time, Richard advised the group on how to perform his songs, and taught Paul McCartney his distinctive vocalizations.
Back in the United States, Richard recorded six rock and roll songs with his 1950's band, the Upsetters for Little Star Records, under the name "World Famous Upsetters", hoping this would keep his options open in maintaining his position as a minister.
In the fall of 1963, Richard was called by a concert promoter to rescue a sagging tour featuring The Everly Brothers, Bo Diddley and the Rolling Stones. Richard agreed, and helped to save the tour from flopping.
At the end of that tour, Richard was given his own television special for Granada Television titled The Little Richard Spectacular. The special became a ratings hit, and after 60,000 fan letters, was rebroadcast twice.
In 1964, now openly re-embracing rock and roll, Richard released "Bama Lama Bama Loo" on Specialty Records. Due to his UK exposure, the song reached the top twenty there, but only climbed to number 82 in the U.S.
Later in the year, he signed with Vee-Jay Records, then on its dying legs, to release his "comeback" album, Little Richard Is Back. Due to the arrival of the Beatles and other British bands as well as the rise of soul labels such as Motown and Stax Records and the popularity of James Brown, Richard's new releases were not well promoted, nor well received by radio stations.
In November 1964, Jimi Hendrix joined Richard's Upsetters band as a full member.
In December 1964, Richard brought Hendrix and childhood friend and piano teacher Eskew Reeder to a New York studio to re-record an album's worth of his greatest hits. He went on tour with his new group the Upsetters to promote the album.
In early 1965, Richard took Hendrix and Billy Preston to a New York studio where they recorded the Don Covay soul ballad, "I Don't Know What You've Got (But It's Got Me)", which became a number 12 R&B hit.
Three other songs were recorded during the sessions, "Dance a Go Go" aka "Dancin' All Around the World", "You Better Stop", and "Come See About Me." However "You Better Stop" was not issued until 1971, and "Come See About Me" has yet to see official release.
Around this time, Richard and Jimi appeared in a show starring Soupy Sales at the Brooklyn Paramount, New York. Richard's flamboyance and drive for dominance reportedly got him thrown off the show.
Hendrix and Richard clashed over the spotlight, as well as Hendrix's tardiness, wardrobe and stage antics. Hendrix also complained over not being properly paid by Richard. In early July 1965, Richard's brother Robert Penniman "fired" Jimi. However, Jimi wrote to his father, Al Hendrix, that he quit Richard because:
"You can't live on promises when
you're on the road, so I had to cut
that mess aloose".
Hendrix had not been paid for five-and-a-half weeks, and was owed 1,000 dollars. Hendrix then rejoined the Isley Brothers' band, the IB Specials.
Richard later signed with Modern Records, releasing a modest charter, "Do You Feel It?" before leaving for Okeh Records in early 1966.
His former Specialty labelmate Larry Williams produced two albums for Richard on Okeh - the studio release The Explosive Little Richard, which utilised a Motown-influenced sound and produced the modest charters "Poor Dog" and "Commandments of Love." Secondly Little Richard's Greatest Hits: Recorded Live! which returned him to the album charts.
Richard was later scathing about this period, declaring Larry Williams "the worst producer in the world". In 1967, Richard signed with Brunswick Records, but after clashing with the label over musical direction, he left the label the following year.
Richard felt that producers on his labels failed to promote his records during this period. Later, he claimed they kept trying to push him to record in a style similar to Motown, and felt he wasn't treated with appropriate respect.
Richard often performed in dingy clubs and lounges with little support from his label. While Richard managed to perform at huge venues in England and France, in the U.S. Richard had to perform on the Chitlin' Circuit.
Richard's flamboyant look, while a hit during the 1950's, failed to help his labels to promote him to more conservative black record buyers. Richard later claimed that his decision to "backslide" from his ministry, led religious clergymen to criticise his new recordings.
Making matters worse, Richard said, was his insistence on performing in front of integrated audiences at the time of the black liberation movement shortly after the Watts riots and the formation of the Black Panthers. This caused many black radio disk jockeys in certain areas of the country, including Los Angeles, to choose not to play his music.
By then acting as his manager, Larry Williams convinced Richard to focus on his live shows. By 1968, he had ditched the Upsetters for his new backup band, the Crown Jewels, performing on the Canadian TV show, "Where It's At".
Richard was also featured on the Monkees' TV special 33⅓ Revolutions per Monkee in April 1969.
Williams booked Richard shows in Las Vegas casinos and resorts, leading Richard to adopt a wilder, flamboyant, and androgynous look, inspired by the success of his former backing guitarist Jimi Hendrix.
Richard was soon booked at rock festivals such as the Atlantic City Pop Festival, where he stole the show from headliner Janis Joplin. Richard produced a similar show stealer at the Toronto Pop Festival with John Lennon as the headliner.
These successes brought Little Richard to talk shows such as the Tonight Show Starring Johnny Carson, and the Dick Cavett Show, making him a major celebrity again.
Responding to his reputation as a successful concert performer, Reprise Records signed Richard in 1970, and he released the album, The Rill Thing, with the philosophical single, "Freedom Blues", becoming his biggest charted single in years.
In May 1970, Richard made the cover of Rolling Stone magazine. Despite the success of "Freedom Blues", none of Richard's other Reprise singles charted, with the exception of "Greenwood, Mississippi", a swamp rock original by guitar hero, Travis Wammack, who incidentally played on the track.
It charted only briefly on the Billboard Hot 100 and Cash Box pop chart, also on the Billboard Country charts; it made a strong showing on WWRL in New York, before disappearing.
Richard became a featured guest instrumentalist and vocalist on recordings by acts such as Delaney and Bonnie, Joey Covington and Joe Walsh, and was prominently featured on Canned Heat's 1972 hit single, "Rockin' with the King".
To keep up with his finances and bookings, Richard and three of his brothers formed a management company, Bud Hole Incorporated. On American TV, Richard announced that he would appear in a Rock Hudson motion picture, playing "The Insane Minister". (The appearance has never seen the light of day.)
Richard also mentioned a new project involving Mick Jagger and Joe Cocker, celebrating his 20 years in show business, though it was never realized.
By 1972, Richard had entered the rock and roll revival circuit, and that year, he co-headlined the London Rock and Roll Show at Wembley Stadium with his musical peer Chuck Berry, Richard would come on stage and announce himself as "The King of Rock and Roll", fittingly also the title of his 1971 album with Reprise, and told the packed audience there to "let it all hang out".
Richard, however, was booed during the show when he climbed on top of his piano and stopped singing; he also seemed to ignore much of the crowd. To make matters worse, he showed up with just five musicians, and struggled through low lighting and bad microphones.
When the concert film documenting the show came out, his performance was considered generally strong, though his fans noticed a drop in energy and vocal artistry. Two songs he performed did not make the final cut of the film.
The following year, he recorded a charting soul ballad, "In the Middle of the Night", released with proceeds donated to victims of tornadoes that had caused damage in twelve states.
Richard did no new recordings in 1974, although two "new" albums were released. In the summer, came a major surprise for fans, "Talkin' 'bout Soul", a collection of released and unreleased Vee Jay recordings, all never before on a domestic LP. Two tracks were new to the world: the title tune and "You'd Better Stop", both uptempo.
Later that year came a set recorded in one night, early the previous year, called "Right Now!", and featuring "roots" material, including a vocal version of an unreleased Reprise instrumental "Mississippi", released in 1972 as "Funky Dish Rag"; his third try at his gospel-rock "In the Name"; and a 6 minute plus rocker, "Hot Nuts", based upon a 1936 song by Li'l Johnson ("Get 'Em From The Peanut Man").
1975 was a big year for Richard, with a world tour, and acclaim over high energy performances throughout England and France. His band was perhaps his best to date. He cut a top 40 single (US and Canada), with Bachman-Turner Overdrive, "Take It Like a Man".
Richard worked on new songs with sideman, Seabrun "Candy" Hunter. He told Dee-Jay, Wolfman Jack, that he planned on releasing a new album with Sly Stone, but it never materialized.
In 1976, he decided to retire again, being physically and mentally exhausted, having experienced family tragedy and the drug culture. He was talked into once again re-cutting his greatest hits, for Stan Shulman in Nashville. This time, they did not use new arrangements, but stuck to the original arrangements.
Richard re-recorded eighteen of his classic rock and roll hits for K-Tel Records, in high-tech stereo recreations, with a single featuring the new versions of "Good Golly Miss Molly" and "Rip It Up," with both tracks reaching the UK singles chart.
Richard later admitted that he was heavily addicted to drugs and alcohol. By 1977, worn out from years of drug abuse and wild partying, as well as a string of personal tragedies, Richard quit rock and roll again and returned to evangelism, releasing one gospel album, God's Beautiful City, in 1979.
At the same time, while touring once again as a minister and returning to talk shows, a controversial album was released by the discount label, Koala, taken from a 1974 concert.
It includes an 11 minute discordant version of "Good Golly, Miss Molly". The performances are widely panned as subpar, and the album has gained some notoriety amongst record collectors.
(d) 1984–1999: Comeback
In 1984, Richard filed a $112 million lawsuit against Specialty Records, Art Rupe and his publishing company, Venice Music, and ATV Music for not paying royalties to him after he left the label in 1959. The suit was settled out of court in 1986.
According to some reports, Michael Jackson allegedly gave him monetary compensation for his work, which he co-owned with Sony-ATV, songs by the Beatles and Richard.
In September 1984, Charles White released the singer's authorized biography, Quasar of Rock: The Life and Times of Little Richard, which put Richard back in the spotlight. Richard returned to show business in what Rolling Stone referred to as "a formidable comeback" following the book's release.
Reconciling his roles as evangelist and rock and roll musician for the first time, Richard stated that the genre could be used for good or evil. After accepting a role in the film Down and Out in Beverly Hills, Richard and Billy Preston penned the faith-based rock and roll song "Great Gosh A'Mighty" for its soundtrack.
Richard won critical acclaim for his film role, and the song found success in the American and British charts. The hit led to the release of the album Lifetime Friend (1986) on Warner Bros. Records, with songs deemed "messages in rhythm", including a gospel rap track.
In addition to a version of "Great Gosh A'Mighty", cut in England, the album featured two singles that charted in the UK, "Somebody's Comin,'" and "Operator".
Richard spent much of the rest of the decade as a guest on television shows and appearing in films, winning new fans with what was referred to as his "unique comedic timing."
In 1988, he surprised fans with a serious tribute to Otis Redding at his Rock and Roll of Fame induction ceremony, singing several Redding songs, including "Fa Fa Fa (sad song)", "These arms of mine", and "Dock of the Bay ".
He told Otis' story, and explained how his 1956 tune "All Around the World" was Redding's reference on his 1963 side, "Hey, Hey Baby".
In 1989, Richard provided rhythmic preaching and background vocals on the extended live version of the U2–B.B. King hit "When Love Comes to Town". That same year, Richard returned to singing his classic hits following a performance of "Lucille" at an AIDS benefit concert.
In 1990, Richard contributed a spoken-word rap on Living Colour's hit song, "Elvis Is Dead", from their album Time's Up. That same year he appeared in a cameo for the music video of Cinderella's "Shelter Me".
In 1991, he was one of the featured performers on the hit single and video "Voices That Care" that was produced to help boost the morale of U.S. troops involved in Operation Desert Storm.
The same year, he recorded a version of "The Itsy Bitsy Spider" for the Pediatric AIDS Foundation benefit album For Our Children. The album's success led to a deal with Walt Disney Records, resulting in the release of a hit 1992 children's album, Shake It All About.
In 1994, Richard sang the theme song to the award-winning PBS Kids and TLC animated television series The Magic School Bus based on the book series created by Joanna Cole and Bruce Degen. He also opened Wrestlemania X from Madison Square Garden on the 20th. March that year, miming to his reworked rendition of "America the Beautiful".
Throughout the 1990's, Richard performed around the world and appeared on TV, film, and tracks with other artists, including Jon Bon Jovi, Elton John and Solomon Burke.
In 1992 he released his final album, Little Richard Meets Masayoshi Takanaka, featuring members of Richard's then current touring band.
(e) 2000–2020: The Later years
In 2000, Richard's life was dramatized for the biographical film Little Richard, which focused on his early years, including his heyday, his religious conversion and his return to secular music in the early 1960's.
Richard was played by Leon Robinson, who earned an NAACP Image Award nomination for his performance.
In 2002, Richard contributed to the Johnny Cash tribute album, Kindred Spirits: A Tribute to the Songs of Johnny Cash. In 2004–2005, he released two sets of unreleased and rare cuts, from the Okeh label 1966/67 and the Reprise label 1970/72. Included was the full Southern Child album, produced and composed mostly by Richard, scheduled for release in 1972, but shelved.
In 2006, Little Richard was featured in a popular advertisement for the GEICO brand. A 2005 recording of his duet vocals with Jerry Lee Lewis on a cover of the Beatles' "I Saw Her Standing There" was included on Lewis's 2006 album, Last Man Standing.
The same year, Richard was a guest judge on the TV series Celebrity Duets. Richard and Lewis performed alongside John Fogerty at the 2008 Grammy Awards in a tribute to the two artists considered to be cornerstones of rock and roll by the NARAS.
That same year, Richard appeared on radio host Don Imus' benefit album for sick children, The Imus Ranch Record. In June 2010, Richard recorded a gospel track for an upcoming tribute album to songwriting legend Dottie Rambo.
In 2009, Richard was Inducted into The Louisiana Music Hall Of Fame in a concert in New Orleans, attended by Fats Domino.
Throughout the first decade of the new millennium, Richard kept up a stringent touring schedule, performing primarily in the United States and Europe. However, sciatic nerve pain in his left leg and then replacement of the involved hip began affecting the frequency of his performances by 2010.
Despite his health problems, Richard continued to perform to receptive audiences and critics. Rolling Stone reported that at a performance at the Howard Theater in Washington, D.C., in June 2012:
"Richard was still full of fire, still a master
showman, his voice still loaded with deep
gospel and raunchy power."
Richard performed a full 90-minute show at the Pensacola Interstate Fair in Pensacola, Florida, in October 2012, at the age of 79, and headlined at the Orleans Hotel in Las Vegas during Viva Las Vegas Rockabilly Weekend in March 2013.
In September 2013, Rolling Stone published an interview with Richard who said that he would be retiring from performing. He told the magazine:
"I am done, in a sense, because I don't
feel like doing anything right now.
I think my legacy should be that when I
started in showbusiness there wasn't no
such thing as rock'n'roll.
When I started with 'Tutti Frutti', that's
when rock really started rocking."
Richard performed one last concert in Murfreesboro, Tennessee in 2014.
In June 2015, Richard appeared before a benefit concert audience, clad in sparkly boots and a brightly colored jacket at the Wildhorse Saloon in Nashville to receive the Rhapsody & Rhythm Award from and raise funds for the National Museum of African American Music.
He charmed the crowd by reminiscing about his early days working in Nashville nightclubs. In May 2016, the National Museum of African American Music issued a press release indicating that Richard was one of the key artists and music industry leaders that attended its third annual Celebration of Legends Luncheon in Nashville.
In 2016, a new CD was released on Hitman Records, California (I'm Comin') with released and previously unreleased material from the 1970's, including a cappella version of his 1975 single release, "Try to Help Your Brother".
On the 6th. September 2017, Richard participated in a long television interview for the Christian Three Angels Broadcasting Network, appearing in a wheelchair, clean-shaven, without make-up, dressed in a blue paisley coat and tie, where he discussed his lifelong Christian faith.
On the 23rd. October 2019, Richard addressed the audience after appearing to receive the Distinguished Artist Award at the 2019 Tennessee Governor's Arts Awards at the Governor's Residence in Nashville, Tennessee.
Little Richard's Personal Life
(i) Relationships and Family
Around 1956, Richard became involved with Audrey Robinson, a sixteen-year-old college student, originally from Savannah, Georgia. Richard and Robinson quickly got acquainted, despite Robinson not being a fan of rock and roll music.
Richard said in his 1984 autobiography that he invited other men to have sexual encounters with her, including Buddy Holly, although Audrey denied those statements.
Richard proposed marriage to Robinson, but she refused. Robinson later became known under the name Lee Angel as a stripper and socialite. Richard re-connected with Robinson in the 1960's, though she left him again after his drug abuse worsened.
Robinson was interviewed for Richard's 1985 documentary on The South Bank Show, and denied Richard's statements. According to Robinson, Richard would use her to buy food in whites-only fast food stores, as he could not enter any, due to the color of his skin.
Richard met his only wife, Ernestine Harvin, at an evangelical rally in October 1957. They began dating that year, and wed on the 12th. July 1959 in California. According to Harvin, she and Richard initially enjoyed a happy marriage with "normal" sexual relations.
When the marriage ended in divorce in 1964, Harvin said it was due to her husband's celebrity status, which had made life difficult for her. Richard said the marriage fell apart due to his being a neglectful husband and because of his sexuality.
Both Robinson and Harvin denied Richard's statements that he was gay, and Richard believed they did not know it because:
"I was such a pumper
in those days".
During the marriage, Richard and Harvin adopted a one-year-old boy, Danny Jones, from a late church associate. Richard and his son remained close, with Jones often acting as one of his bodyguards. Harvin later married McDonald Campbell in Santa Barbara, California, on the 23rd. March 1975.
(ii) Little Richard's Sexuality
In 1984, Richard said that he just played with girls as a child, and was subjected to homosexual jokes and ridicule because of his manner of walking and talking. His father brutally punished him whenever he caught him wearing his mother's makeup and clothing.
The singer said he had been sexually involved with both sexes as a teenager. Because of his effeminate mannerisms, his father kicked him out of their family home when he was fifteen. In 1985, on The South Bank Show, Richard explained:
"My daddy put me out of the house.
He said he wanted seven boys, and
I had spoiled it, because I was gay."
Richard got involved in voyeurism in his early twenties. A female friend would drive him around picking up men who would allow him to watch them having sex in the backseat of cars.
Richard's activity caught the attention of the Macon police in 1955, and he was arrested after a gas station attendant reported sexual activity in a car Richard was occupying with a heterosexual couple. Cited on a sexual misconduct charge, he spent three days in jail, and was temporarily banned from performing in Macon.
In the early 1950's, Richard became acquainted with openly gay musician Billy Wright, who helped in establishing Richard's look. Billy advised Richard to use pancake makeup, and to wear his hair in a long-haired pompadour style similar to his.
As Richard got used to the makeup, he ordered his band, the Upsetters, to wear makeup too, in order to gain entry into predominantly white venues. He later stated:
"I wore the make-up so that white
men wouldn't think I was after the
white girls.
It made things easier for me, plus
it was colorful too."
In 2000, Richard told Jet magazine:
"I figure if being called a sissy would
make me famous, let them say what
they want to."
Richard's look, however, still attracted female audiences, who would send him naked photos and their phone numbers.
During Richard's heyday, his obsession with voyeurism and group sex continued, with his girlfriend Audrey Robinson participating. Richard wrote that Robinson would have sex with men while she sexually stimulated Richard.
Despite saying he was "born again" after leaving rock and roll for the church in 1957, Richard left Oakwood College after exposing himself to a male student. The incident was reported to the student's father, and Richard withdrew from the college.
In 1962, Richard was arrested for spying on men urinating in toilets at a Trailways bus station in Long Beach, California. However he still participated in orgies, and continued to be a voyeur.
On the 4th. May 1982, on Late Night with David Letterman, Richard said:
"God gave me the victory. I'm not gay
now, but, you know, I was gay all my
life. I believe I was one of the first gay
people to come out.
But God let me know that he made
Adam be with Eve, not Steve.
So, I gave my heart to Christ."
In his 1984 book, while demeaning homosexuality as "unnatural" and "contagious", he told Charles White that he was "omnisexual".
In 1995, Richard told Penthouse that he always knew he was gay, saying "I've been gay all my life". In 2007, Mojo Magazine referred to Richard as "bisexual".
In October 2017, Richard once again denounced homosexuality in an interview with the Christian Three Angels Broadcasting Network, stating that:
"Homosexual and transgender identity
is an unnatural affectation that goes
against the way God wants you to live."
(iii) Little Richard's Drug Use
During his initial heyday in the 1950's rock and roll scene, Richard was a teetotaler, abstaining from alcohol, cigarettes, and drugs. Richard often fined bandmates for drug and alcohol use during this era.
By the mid-1960's, however, Richard began drinking large amounts of alcohol, as well as smoking cigarettes and marijuana. By 1972, he had developed an addiction to cocaine. He later lamented that period:
"They should have called me
Lil Cocaine, I was sniffing so
much of that stuff!"
By 1975, he had developed addictions to both heroin and PCP, otherwise known as "angel dust". His drug and alcohol misuse began to affect his professional career and personal life. He later recalled:
"I lost my reasoning."
Of his cocaine addiction, Richard said that he did whatever he could to use cocaine. Richard admitted that his addictions to cocaine, PCP and heroin were costing him as much as $1,000 a day.
In 1977, longtime friend Larry Williams once showed up with a gun and threatened to kill Richard for failing to pay his drug debt. Richard said that this was the most fearful moment of his life; Williams' own drug addiction made him wildly unpredictable.
Richard did acknowledge that he and Williams were "very close friends," and when reminiscing about the drug-fueled clash, he recalled thinking:
"I knew he loved me—
I hoped he did!"
Within that same year, Richard had several devastating personal experiences, including his brother Tony's death from a heart attack, the accidental shooting of his nephew whom he loved like a son, and the murder of two close personal friends – one a valet at "the heroin man's house."
These experiences convinced the singer to give up drugs and alcohol, along with rock and roll, and return to the ministry.
(iv) Little Richard and Religion
Richard's family had deep evangelical (Baptist and African Methodist Episcopal) Christian roots, including two uncles and a grandfather who were preachers. He also took part in Macon's Pentecostal churches, which were his favorites, mainly due to their music, charismatic praise, dancing in the Holy Spirit and speaking in tongues.
At the age of ten, influenced by Pentecostalism, he would go around saying that he was a faith healer, singing gospel music to people who were feeling sick, and touching them.
He later recalled that they would often say that they felt better after he prayed for them, and would sometimes give him money. Richard had aspirations of being a preacher due to the influence of singing evangelist Brother Joe May.
After he was born again in 1957, Richard enrolled at Oakwood College in Huntsville, Alabama, a mostly black Seventh-day Adventist college, to study theology. It was also at this time that he became a vegetarian.
Richard returned to secular music in the early 1960's. He was eventually ordained a minister in 1970, and resumed evangelical activities in 1977. Richard represented Memorial Bibles International, and sold their Black Heritage Bible, which highlighted the Book's many black characters.
As a preacher, he evangelized in anything from small churches to packed auditoriums of 20,000 or more. His preaching focused on uniting the races, and bringing lost souls to repentance through God's love.
In 1984, Richard's mother, Leva Mae, died following a period of illness. Only a few months prior to her death, Richard promised her that he would remain a Christian.
During the 1980's and 1990's, Richard officiated at celebrity weddings. In 2006, in one ceremony, Richard wedded twenty couples who had won a contest.
Richard used his experience and knowledge as an elder statesman of rock and roll to preach at funerals of musical friends such as Wilson Pickett and Ike Turner.
At a benefit concert in 2009 to raise funds to help rebuild children's playgrounds that were destroyed by Hurricane Katrina, Richard asked guest of honor Fats Domino to pray with him and others. His assistants handed out inspirational booklets at the concert, a common practice at Richard's shows.
Richard told a Howard Theatre, Washington, D.C. audience in June 2012:
"I know this is not Church, but
get close to the Lord. The world
is getting close to the end. Get
close to the Lord."
In 2013, Richard elaborated on his spiritual philosophies, stating:
"God talked to me the other night.
He said He's getting ready to come.
The world's getting ready to end,
and He's coming, wrapped in flames
of fire with a rainbow around His
throne."
Rolling Stone reported that Richard's apocalyptic prophesies generated snickers from some audience members as well as cheers of support. He responded to the laughter by stating:
"When I talk to you about Jesus, I'm
not playing. I'm almost 81 years old.
Without God, I wouldn't be here."
Little Richard's Health Problems and Death
In October 1985, having finished his album Lifetime Friend, Richard returned from England to film a guest spot on the show Miami Vice. Following the taping, he accidentally crashed his sports car into a telephone pole in West Hollywood. He suffered a broken right leg, broken ribs and head and facial injuries.
Richard's recovery from the accident took several months, preventing him from attending the inaugural Rock and Roll Hall of Fame ceremony in January 1986 where he was one of several inductees. He instead supplied a recorded message.
In 2007, Richard began having problems walking due to sciatica in his left leg, requiring him to use crutches. In November 2009, he entered hospital to have replacement surgery on his left hip.
Despite returning to performing the following year, Richard's problems with his hip continued, and he was brought onstage in a wheelchair, only being able to play sitting down.
On the 30th. September 2013, he revealed to CeeLo Green at a Recording Academy fundraiser that he had suffered a heart attack at home the week before. Taking aspirin and having his son turn on the air conditioner saved his life, according to his doctor. Richard stated:
"Jesus had something for me.
He brought me through."
On the 28th. April 2016, Richard's friend Bootsy Collins stated on his Facebook page that:
"Richard is not in the best of
health, so I ask all the Funkateers
to lift him up."
Reports began being posted on the internet stating that Richard was in grave health, and that his family were gathering at his bedside. On the 3rd. May 2016, Rolling Stone issued a rebuttal by Richard and his lawyer. Richard stated:
"Not only is my family not gathering
around me because I'm ill, but I'm still
singing. I don't perform like I used to,
but I have my singing voice, I walk
around, I had hip surgery a while ago,
but I'm healthy.'"
His lawyer said:
"He's 83. I don't know how many
83-year-olds still get up and rock
it out every week, but in light of
the rumors, I wanted to tell you
that he's vivacious and conversant
about a ton of different things, and
he's still very active in a daily routine."
Though Richard continued to sing into his eighties, he kept away from the stage.
On the 9th. May 2020, after a two month illness, Richard died at the age of 87 at his home in Tullahoma, Tennessee, from a cause related to bone cancer. His brother, sister, and son were with him at the time.
Richard received tributes from many popular musicians, including Bob Dylan, Paul McCartney, Mick Jagger, John Fogerty, Elton John, and Lenny Kravitz, as well as many others, such as film director John Waters, who were influenced by Richard's music and persona.
Richard was laid to rest at Oakwood University Memorial Gardens Cemetery in Huntsville, Alabama.
Little Richard's Legacy
Richard claimed to be "The Architect of Rock and Roll", and history would seem to bear out his boast. More than any other performer—save, perhaps, for Elvis Presley, Little Richard blew the lid off the Fifties, laying the foundation for rock and roll with his explosive music and charismatic persona.
On record, he made spine-tingling rock and roll. His frantically charged piano playing and raspy, shouted vocals on such classics as "Tutti Frutti", "Long Tall Sally" and "Good Golly, Miss Molly" defined the dynamic sound of rock and roll.
Richard's music and performance style had a pivotal effect on the sound and style of popular music genres of the 20th. century. As a rock and roll pioneer, Richard embodied its spirit more flamboyantly than any other performer.
Richard's raspy shouting style gave the genre one of its most identifiable and influential vocal sounds, and his fusion of boogie-woogie, New Orleans R&B and gospel music blazed its rhythmic trail.
Richard's innovative emotive vocalizations and uptempo rhythmic music also played a key role in the formation of other popular music genres, including soul and funk.
He influenced numerous singers and musicians across musical genres from rock to hip hop; his music helped shape rhythm and blues for generations to come.
Combining elements of boogie, gospel, and blues, Richard introduced several of rock music's most characteristic musical features, including its loud volume and vocal style emphasizing power, and its distinctive beat and innovative visceral rhythms.
He departed from boogie-woogie's shuffle rhythm, and introduced a new distinctive rock beat, where the beat division is even at all tempos. He reinforced the new rock rhythm with a two-handed approach, playing patterns with his right hand, with the rhythm typically popping out in the piano's high register.
His new rhythm, which he introduced with "Tutti Frutti" (1955), became the basis for the standard rock beat, which was later consolidated by Chuck Berry.
"Lucille" (1957) foreshadowed the rhythmic feel of 1960's classic rock in several ways, including its heavy bassline, slower tempo, strong rock beat played by the entire band, and verse–chorus form similar to blues.
Richard's voice was able to generate croons, wails, and screams unprecedented in popular music. He was cited by two of soul music's pioneers, Otis Redding and Sam Cooke, as contributing to the genre's early development.
Redding stated that most of his music was patterned after Richard's, referring to his 1953 recording "Directly From My Heart To You" as the personification of soul, and that:
"Richard has done a lot for
me and my soul brothers
in the music business."
Cooke said in 1962 that:
"Richard has done so
much for our music".
Cooke had a top 40 hit in 1963 with his cover of Richard's 1956 hit "Send Me Some Loving".
James Brown and others credited Richard and his mid-1950's backing band, The Upsetters, with having been the first to put funk in the rock beat. This innovation sparked the transition from 1950's rock and roll to 1960's funk.
Richard's hits of the mid-1950's, such as "Tutti Frutti", "Long Tall Sally", "Keep A-Knockin'" and "Good Golly, Miss Molly", were generally characterized by playful lyrics with sexually suggestive connotations.
AllMusic writer Richie Unterberger stated that:
"Little Richard merged the fire of
gospel with New Orleans R&B,
pounding the piano and wailing
with gleeful abandon. While other
R&B greats of the early 1950's had
been moving in a similar direction,
none of them matched the sheer
electricity of Richard's vocals.
With his high-speed deliveries,
ecstatic trills, and the overjoyed
force of personality in his singing,
he was crucial in upping the voltage
from high-powered R&B into the
similar, yet different, guise of rock
and roll."
Emphasizing the folk influences of Richard, English professor W. T. Lhamon Jr. wrote:
"His songs were literally good
booty. They were the repressed
stuff of underground lore.
And in Little Richard they found
a vehicle prepared to bear their
chocked energy, at least for his
capsulated moment."
Ray Charles introduced him at a concert in 1988 as:
"A man that started a kind of music
that set the pace for a lot of what's
happening today."
Richard's contemporaries, including Elvis Presley, Buddy Holly, Bill Haley, Jerry Lee Lewis, Pat Boone, the Everly Brothers, Gene Vincent and Eddie Cochran, all recorded covers of his works.
As they wrote about him for their Man of the Year – Legend Category in 2010, GQ magazine stated that:
"Richard is, without question, the
boldest and most influential of the
founding fathers of rock'n'roll."
Little Richard's Influence on Society
In addition to his musical style, Richard was cited as one of the first crossover black artists, reaching audiences of all races. His music and concerts broke the color line, despite attempts to sustain segregation.
As H. B. Barnum explained in Quasar of Rock:
"Little Richard opened the door.
He brought the races together."
Barnum described Richard's music as follows:
"It wasn't boy-meets-girl-girl-meets-boy,
they were fun records, all fun. And they
had a lot to say sociologically in our
country and the world."
Barnum also stated that:
"Richard's charisma was a whole
new thing to the music business.
He would burst onto the stage
from anywhere, and you wouldn't
be able to hear anything but the
roar of the audience. He might
come out and walk on the piano.
He might go out into the audience."
Barnum also stated that Richard was innovative in that he would wear colorful capes, blouse shirts, makeup and suits studded with multi-colored stones and sequins, and that he also brought flickering stage lighting from his show business experience into performance venues where rock and roll artists performed.
In 2015, the National Museum of African American Music honored Richard for helping to shatter the color line on the music charts and changing American culture for ever.
Ian "Lemmy" Kilmister of the heavy metal band Motörhead spoke highly of Little Richard, stating:
"Little Richard was always my main
man. How hard must it have been
for him: gay, black and singing in
the South? But his records are a
joyous good time from beginning
to end."
The Influence of Little Richard
Richard influenced generations of performers across musical genres. Quincy Jones stated that:
"Richard was an innovator whose
influence spans America's musical
diaspora from Gospel, the Blues &
R&B, to Rock & Roll, & Hip-Hop."
James Brown and Otis Redding both idolized him. Brown allegedly came up with the Famous Flames debut hit, "Please, Please, Please", after Richard had written the words on a napkin.
Redding started his professional career with Richard's band, The Upsetters, and first entered a talent show performing Richard's "Heeby Jeebies", winning for fifteen consecutive weeks.
Ike Turner claimed that most of Tina Turner's early vocal delivery was based on Richard, something Richard reiterated in the introduction to Turner's autobiography, Takin' Back My Name.
Bob Dylan first performed covers of Richard's songs on piano in high school with his rock and roll group, the Golden Chords; in 1959 when leaving school, he wrote in his yearbook under "Ambition": "to join Little Richard".
Jimi Hendrix was influenced in appearance (clothing and hairstyle/mustache) and sound by Richard. He was quoted in 1966 saying:
"I want to do with my guitar what
Little Richard does with his voice."
This small xenia (still life) depicts a rabbit nuzzling four figs. It may be exactly what it seems, or may have a deeper meaning. The rabbit is an animal of Venus (given its precocious reproduction), and figs frequently had sexual connotations. So perhaps this little still life was a wink and a nod to some hanky-panky.
From Pompeii (signage from exhibitions it's been a part of say Herculaneum), and supposedly discovered in 1745. Dated ca. 45-79 CE.
Museo Archeologico Nazionale di Napoli (MANN inv. 8630)
The Clothes Future Shop by Daniel Arrhakis (2024)
At the end of the shopping center, the central giant treadmill took us through the clothes area, while we walked we could choose or if we wanted to see better we just got off the central treadmill !
The idea of so-called shopping tunnels was here to stay and many Malls adopted this new concept; as a joke people generally called these new shops "The Moles Shopping" .
______________________________________________________
Attribution-NonCommercial 2.0 Generic
You are free to:
Share — copy and redistribute the material in any medium or format
Adapt — remix, transform, and build upon the material
Attribution — You must give appropriate credit , provide a link to the license, and indicate if changes were made . You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
NonCommercial — You may not use the material for commercial purposes .
Exception or limitation political or moral: The work cannot be used in articles, blogs, news or advertising of a Populist, Fascist, Social-Nationalist, Nazi, Racist, Homophobic nature, against any religion or with Anti-Democratic or Autocratic connotations. The Author reserves the right to contest this use through legal means.
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
Way of Roses, cross stitch embroidery on car parts, by Severija Incirauskaite-Kriauneviciene (LT) at the Strich & Faden - Heimat, Folk-art and Travesty art exhibition at Kunstraum Richard Sorge, Berlin, May/June 2009.
Lithuanian textile artist, teacher and curator Severija Incirauskaite-Kriauneviciene takes pleasure in things that are only insignificant details to most people. Proletarian concepts of beauty and utilitarian objects inspire her and form the basis of her cross stitch embroideries on car parts, "Way of Roses".
Severija's "female car tuning" is not only bringing an unexpected poetic touch to car decoration, it is turning everything that is expected of embroidery on its head: homely becomes worldly, static becomes mobile, feminine becomes masculine, decoration becomes social critique.
About the Strich & Faden exhibition:
The folksy German expression "nach Strich und Faden" means to do something thoroughly, with great artistry and precision, or according to the rules of an art or craft. In contemporary language the term has gained connotations of trickery, deceit and travesty: our belief in authenticity has gone. Travesty is a device present in many works in this show, either as an artistic attitude, or as a subject matter. The participating artists use it to subvert both the traditions of Art & Crafts and our expectations of art.
The new edition of Strich und Faden presents representatives of the thriving US-american Neocraft scene - some of which are shown in Germany (or Europe) for the first time - and presents them alongside their (Eastern) European colleagues. Strich und Faden II goes beyond crafting however, also incorporating conceptual and neo-traditional works on folklore and regionalism.
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
Please please listen to the music it is completely enchanting and one of the most wondrous pieces of music I have found for ages. It is Hem Na Nkosi Bo by Miriam Stockley (originally South African born in the big smoke, Johannesburg). The music is Purcell's Rondeau and comes from Stockley's album "Eternal". Now what will you ask do these Zulu lyrics have to do with me driving through an essentially Xhosa village on a Sunday afternoon? Well its a long shot really the words translate to "Rule our king" which obviously has religious connotations and only Sunday fits into that it is just that it seemed to go so well with the African theme and I did want you most particularly to hear the gorgeous music.
www.youtube.com/watch?v=OvPmEqwsawc
Rule our king
On a cold, wintry, snowy Sunday I spent some pleasant time in the National Gallery of Scotland, paying my respects to Mr Turner. The gallery has a large collection of Turner's works left as a bequest to the nation, and by tradition they are exhibited during January, when the winter light best suits to the paintings.
Even today in an era of artificial lighting the tradition holds, and each January I find myself having to return to revisit those remarkable works, where brush and pigment somehow, magically, capture the light of the vista Turner looked out over; artistic alchemy.
It was growing dark as I left, the Mound was covered in slushy snow and very slippery. I took one freehand monochrome shot, bracing the camera against at streetlamp, looking back across the Mound, the edge of the Royal Scottish Academy on the right, the National Gallery of Scotland, which I had just left, in the centre distance.
And then, of course, I retreated to the pub for ale by a roaring fire. Appropriately enough given some of the paintings I just saw were from Turner's time visiting Sir Walter Scott, I repaired to a pub named after Scott's home, the Abbotsford. In Edinburgh even just going for a pint in the pub can have literary, artistic and historic connotations - a fine excuse for an ale!
Real Life 16 - La petite mort/ The little death
La piccola morte è un'espressione francese che indica l'orgasmo.
The little death is a translation from the French "la petite mort" (Le Petit Mort/Le Petit Morte/La petite morte), a popular reference for a sexual orgasm. The term has generally been interpreted to describe the postorgasmic fainting spells some lovers suffer from. Also it can refer to spiritual release that come with orgasm, or a short period of transendence, an expenditure or spending of life force.
Speculations to its origin include current connotations of the phrase, including
- Greco-Roman belief that the oversecretion of bodily fluids would "dry out" one of the believed four humours, leading to death
- Islam's reference to sleep
*** Teenage Jesus update***
Marie-Catherine-Hortense de Villedieu nel 17esimo secolo scriveva:
Une douce langueur m'ôte le sentiment,
Je meurs entre les bras de mon fidèle Amant,
Et c'est dans cette mort que je trouve la vie.
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
鳳凰，亦稱丹鳥、火鳥、鶤雞、威鳳，是中國古代傳說中的百鳥之王，在中華文化中的地位和龍相同。其羽毛一般被描述為赤紅色，“鳳”為雄性，“凰”為雌性[1]。其圖徽常用來象徵祥瑞。
受中國文化的影響，鳳凰的形象在漢字文化圈各區域中普遍出現。英文稱之為Chinese Phoenix或簡稱Phoenix（實際上Phoenix指的是西方傳說裡的不死鳥）。
在甲骨文中，鳳與風為同字，皆寫為鳳凰之形，而後鳳加上凡聲，之後又將鳳形改為虫形創造出風字，由此可見鳳凰與風的關係
據《爾雅·釋鳥》郭璞注，鳳凰特徵是：「雞頭、燕頷、蛇頸、龜背、魚尾、五彩色，高六尺許」。
《山海經·圖贊》說有五種像字紋：「首文曰德，翼文曰順，背文曰義，腹文曰信，膺文曰仁。」[3]
《廣雅》：「鳳凰，雞頭燕頷，蛇頸鴻身，魚尾骿翼。五色：首文曰德，翼文曰順，背文義，腹文信，膺文仁。雄鳴曰卽卽，雌鳴曰足足，昬鳴曰固常，晨鳴曰發明，晝鳴曰保長，舉鳴曰上翔，集鳴曰歸昌。」
另，《說文》云：「鳳之象也，鴻前麟後，鸛顙鴛腮，龍文龜背，燕頷雞啄，五色備舉。」
鳳是人們心目中的瑞鳥，天下太平的象徵。古人認為時逢太平盛世，便有鳳凰飛來。
鳳凰也是中國皇權的象徵，常和龍一起使用，鳳從屬於龍，用於皇后嬪妃，龍鳳呈祥是最具中國特色的圖騰。民間美術中也有大量的類似造型。鳳也代表陰，儘管鳳凰也分雄雌，更一般的是將其看作陰性。「鳳」、「凰」常見於女性名。宋朝就常使用龍鳳旗，還使用龍鳳作為吉祥標記，使用在物品上，比如龍鳳團茶。
鳳凰被認為是百鳥中最尊貴者，為鳥中之王，有「百鳥朝鳳」之說。
按陰陽五行之說，鳳色赤，五行屬火，是南方七宿朱雀之象。另也為中國民間指的四靈之一（《禮運》，龍、鳳凰、麒麟、龜）。
而鳳凰亦有「愛情」、「夫妻」的意思；語本詩經大雅卷阿：『鳳皇於飛，翽翽其羽。』李白·早夏於將軍叔宅與諸昆季送傅八之江南序：「重傅侯玉潤之德，妻以其子，鳳凰于飛，潘楊之好，斯為睦矣」。因此鳳凰在中國文學中常比喻為「真摯的愛情。」[來源請求]
中華龍鳳文化研究中心主任龐進認為，在中國的象徵文化體系中，鳳凰是完美主義的化身，鳳凰文化的精髓是「和美」。通過研究，龐進發現鳳凰是「合」的神物，它的出現是中國古人對自然界各種生物理解、尊重、敬畏、愛戀、審美的結果，這與道家強調的「天道自然之和」即「天和」相一致。
而凰，古音與光相通，有的研究者[谁？]認為是一種與光有關的鳥，即太陽鳥。
鳳則同風相通，也可理解為「風神」。
鳳亦被視為火神。《初學記》卷三十引緯書《孔演圖》說：「鳳，火精」。
《鶡冠子·度萬第八》：「鳳凰者，鶉火之禽，陽之精也。」
《抱朴子》說：「夫木行為仁，為青。鳳頭上青，故曰戴仁也。金行為義，為白。鳳頸白，故曰纓義也。火行為禮，為赤。鳳嘴赤，故曰負禮也。水行為智，為黑，鳳胸黑，故曰尚知也。土行為信，為黃。鳳足下黃，故曰蹈信也。」——頭部呈青色，頸部呈白色，喙部呈赤色，胸、背部呈黑色，趾、爪呈黃色。
中華民國初期的國旗為五色旗，一說取自鳳凰五色，同時也代表仁，義，禮，智，信五德。[來源請求]
香港中文大學以鳳作為校徽。原因是自漢代以來，鳳即被視為「南方之鳥」，且素為高貴、美麗、忠耿及莊嚴之象徵。以紫與金為校色，取意在紫色象徵熱誠與忠耿，金色象徵堅毅與果敢
楚人尊鳳是由其遠祖拜日、尊鳳的原始信仰衍化而來的，迄今已逾七千多年有文物可考的歷史。楚人的祖先祝融是火神兼雷神。漢代《白虎通》說，祝融「其精為鳥，離為鸞。」《卞鴉·絳鳥》注曰：「鳳凰屬也」。可見，祝融也是鳳的化身。《山海經·大荒北經》中說：「大荒之中，有山名曰北極櫃。海水北注焉。有神九首，人面鳥身，句曰九鳳」。楚文化遺跡中除了龍以外還存在大量人首蛇身、人首鳥身和九頭神鳥的圖騰，開啟了中國傳說文化中「龍鳳呈祥」的文化淵源。從圖騰崇拜在氏族制時期所反映出的突出特點來看，鳳為楚人的祖先，故被楚人作為本氏族的圖騰加以崇拜、尊愛便是必然的事了。
鳳不僅是神鳥，也是楚人、楚國尊嚴的象徵。楚人尊鳳的影響便透到各個領域。如在楚國的文物中，鳳的圖像、繡像和雕像不勝枚舉，楚人衣服上的刺繡圖案也是以鳳為主要內容。此外，還有「鳳鳥雙連環」、「虎座鳳架鼓」、「鳳龍虎繡羅禪衣」等，楚國的鳳紋彩繪可謂千姿百態，無奇不有。
《論衡校釋》：「五鳥之記：『四方中央皆有大鳥，其出，眾鳥皆從，小大毛色類鳳皇。』」；《說文解字》：「五方神鳥：東方發明，南方焦明，西方鷫鷞，北方幽昌，中央鳳皇。」（注：焦明即鷦明。）[7]
《禽經》：「青鳳謂之鶡，赤鳳謂之鶉，黃鳳謂之焉，白鳳謂之肅，紫鳳謂之鷟。
天方國古有不死鳥「菲尼克司」（Phoenix，常見譯名為「鳳凰」），滿五百歲後，集香木自焚，復從死灰中更生，鮮美異常，不再死。郭沫若所作詩歌《鳳凰涅槃》中的鳳凰，即指西方傳說中的不死鳥。古埃及神話中也有一種稱為「貝努」的鳥。古埃及人認為，貝努和鷹一般大小，全身長有金色的羽毛，閃閃發光的翅膀、斑斕的外表、鳴聲悅耳，能給人降福添壽；同時認為世界上只有一隻貝努，而壽命為五百年。在臨死之時，貝努會採集芳香植物的樹枝、香草築成一個巢，然後點火自焚，在熊熊火燄中，一隻幼貝努誕生了。新生的幼貝努就將老貝努的骨灰裝進藥蛋中，在蛋上塗上防腐的香料油，帶著它飛到太陽神那裡，由太陽神將它放在太陽廟的神壇上。
以上所提及的「火鳥」，與中國傳說中的鳳凰有一定的差別，但華人在翻譯與認知上習慣把不死鳥當成鳳凰。然而西方傳說中的火鳥形象上比較像老鷹，東方傳說中的鳳凰在形象上則是較像雞、雉。此外，中國神話傳說並無鳳凰會浴火重生的說法，「凤凰涅槃」此詞是郭沫若所作詩歌《鳳凰涅槃》中歌頌不死鳥所創的詞，混淆了不死鳥與鳳凰。比較相近的是從佛教傳說中會因吞食那伽而自燃而死的迦樓羅（金翅鳥）。不過中國不會把鳳凰與迦樓羅混淆在一起，而且迦樓羅也不會重生。
zh.wikipedia.org/wiki/%E5%87%A4%E5%87%B0
Fenghuang:The fenghuang has very positive connotations. It is a symbol of high virtue and grace. The fenghuang also symbolizes the union of yin and yang. Shan Hai Jing's 1st chapter “Nanshang Jing” records each part of fenghuang's body symbolizes a word, the head represents virtue (德), the wing represents duty (義), the back represents propriety (禮), the abdomen says credibility (信) and the chest represents mercy (仁).[4]
Portrait of an empress, possibly Empress Xiaoxianchun, (wife of the Qianlong Emperor) sitting on a chair decorated with Phoenix
In ancient and modern Chinese culture, they can often be found in the decorations for weddings or royalty, along with dragons. This is because the Chinese considered the dragon and phoenix symbolic of blissful relations between husband and wife, another common yang and yin metaphor.
Bowl with dragons, phoenixes, gourds, and characters for happiness, used on Guangxu Emperor's wedding ceremony, from Peabody Essex Museum. In some traditions it appears in good times but hides during times of trouble, while in other traditions it appeared only to mark the beginning of a new era. In China and Japan it was a symbol of the imperial house, and it represented "fire, the sun, justice, obedience, and fidelity.When describing chinoiserie or authentic Asian ceramics and other artworks, English-speaking art historians and antique collectors sometimes refer to it as hoho bird,[6] a name derived from hō-ō, with a second extraneous h added. Hō-ō is simply the Japanese pronunciation of fenghuang. The seemingly vast difference between hō-ō and fenghuang is due to Chinese vowels with ng usually being converted to ō in Go-on reading. The Japanese also use the word fushichō for this image.
Phoenix talons (S:凤爪 T:鳳爪) is a Chinese term for chicken claws in any Chinese dish cooked with them.
Fèng or Fènghuáng is a common element in given names of Chinese women (likewise, "Dragon" is used for men's names).
"Dragon-and-phoenix infants" (S:龙凤胎 T:龍鳳胎) is an expression meaning a set of male and female fraternal twins.
Fenghuang is a common place name throughout China. The best known is Fenghuang county in western Hunan, southern China, formerly a sub-prefecture. Its name is written with the same Chinese characters as the mythological bird.
In Korea, this bird is known as Bong Hwang 봉황, this merely being the Korean pronunciation of fenghuang. An alternate term of Bul Sa Jo 불사조 (不死鳥), or "immortal bird" is used to refer to the type of phoenix that never dies (i.e. the Greek "phoenix"), with bong hwang being reserved for the Asian variety. Bong Hwang is often seen used within the royal emblem (especially for queens - the dragon being the emblem of the king) and appears twice in the current presidential emblem.[citation needed] North Jeolla's football club uses it as its symbol.
The Vermilion Bird, (Suzaku in Japanese) one of the Four Symbols of Chinese myth, sometimes confused with the fenghuang, from which it is a distinct entity.[7]
Phoenix Television (鳳凰衛星電視) is a Hong Kong-based media company
Typhoon Fung-wong has been a meteorological name for three tropical cyclones. The term was contributed by Hong Kong and is the Cantonese pronunciation of fenghuang.A common depiction of fenghuang was of it attacking snakes with its talons and its wings spread. According to the Erya's chapter 17 Shiniao, fenghuang is made up of the beak of a rooster, the face of a swallow, the forehead of a fowl, the neck of a snake, the breast of a goose, the back of a tortoise, the hindquarters of a stag and the tail of a fish.[1] Today, however, it is often described as a composite of many birds including the head of a golden pheasant, the body of a mandarin duck, the tail of a peacock, the legs of a crane, the mouth of a parrot, and the wings of a swallow.
The fenghuang's body symbolizes the celestial bodies: the head is the sky, the eyes are the sun, the back is the moon, the wings are the wind, the feet are the earth, and the tail is the planets.[2] The fenghuang is said to have originated in the sun.[2] Its body contain the five fundamental colors: black, white, red, yellow, and green.[2] It sometimes carries scrolls or a box with sacred books.[2] It is sometimes depicted with a fireball.[2] It is sometimes depicted as having three legs.[citation needed] It is believed that the bird only appears in areas or places that are blessed with utmost peace and prosperity or happiness.
Chinese tradition cites it as living atop the Kunlun Mountains in northern China.
en.wikipedia.org/wiki/Fenghuang
The bird is generally thought to be a symbol of freedom.
They can walk on the earth and swim in the sea as humans do but they also have the ability to soar into the sky.
Birds are free to roam to earth and the sky. Many cultures believe that they are a symbol of eternal life; the link between heaven and earth.A comprehensive guide to Peacock Symbol:
Meaning of Peacock symbol
Peacock symbol - Facts
Dream explanation, what is the significance of seeing a Peacock in a dream?Peacock SymbolThere is no exact definition for any symbol; each symbol is open to interpretation and birds are no exception to this. Their symbolism can vary greatly depending on different cultures and religion. The Peacock is a male peafowl and is generally thought to be a symbol of the sun.
It is believed that the round tail of the peacock symbolizes heaven and the markings or 'eyes' on the tail are the stars.
In Buddhism, the 'eyes' in the peacocks tail is a symbol of watchfulness.
Peacock Symbol - Meaning; The definition of a Peacock is a male peafowl; having a crested head and very large fanlike tail marked with iridescent eyes or spots. The peacock is the male of the species and has large colorful feathers which it uses to attract a mate. The female is known as a peahen and unlike the
Peacock feathers are considered to be unlucky, it is thought the 'evil' eye on the feather will be a symbol of bad luck for the owner... The peacock is often used as a symbol of vanity due to its beauty and the way it displays his tail feathers The Hindu god Murugan is a popular Hindu deity among Tamil Hindus. In Tolkāppiyam literature, Murugan, is described as being "the red god seated on the blue peacock, who is ever young and resplendent," as " the favoured god of the Tamils."Muruga rides a peacock and wields a bow in battle His peacock mount is a symbol of the destruction of the ego... Native Aborigines believed that birds carried stories..The Peacock's beautiful tail feathers are more than a metre in length... Peacocks are always males! The female of the species is called a peahen and lacks the beautiful coloring of the male (as shown in the image below)
Peacock Symbol - Seeing a peacock in your dream is a symbol of spring, birth, and new growth... A Peacock is a symbol of a good omen, signalling prestige and success and contentment with your career
It is also a symbol of your confidence and even arrogance over your success
Peacock Symbol - Christian Significance
The following definition of the peacock is taken from the Easton Bible Dictionary:(Heb. tuk, apparently borrowed from the Tamil tokei). This bird is indigenous to India. It was brought to Solomon by his ships from Tarshish (1 Kings 10:22; 2 Chr. 9:21), which in this case was probably a district on the Malabar coast of India, or in Ceylon. Dream Interpretation - Significance of Bird Symbol..The following explanation of dreams involving birds in general is taken from the book entitled 'Dream Dictionary (10,000 Dreams Interpreted - by Gustavus Hindman Miller)':
It is a favorable symbol in a dream to see birds of beautiful plumage. A wealthy and happy partner is near if a woman has dreams of this nature..Moulting and song less birds, could denote merciless and inhuman treatment of the outcast and fallen by people of wealth... To see a wounded bird, is a symbol of fateful of deep sadness caused by erring offspring
To see flying birds, is a symbol of prosperity to the dreamer. All disagreeable environments will vanish before the wave of prospective good...To catch birds, is not at all bad. To hear them speak, is owning one's inability to perform tasks that demand great clearness of perception.Peacock is a bird that has symbolized different things in different religions and cultures.
Christians associate it with immortality, ancient Mesopotamians associated a symbol of a tree flanked by two peacocks with the dualistic mind, while the bird and its feathers have been used in Hindu religion and mythology. In Buddhism, it represents wisdom.Peacocks are associated with bodhisattvas. Peacocks are capable of eating poisonous plants with out any harmful effect and similarly a Bodhisattva is able to transform ignorance into enlightenment, desire and hatred to positive feelings.
When a person comes across an enlightened thought or bodhichitta his mind opens just like an open tail of a peacock that exhibits all colors. Excatly how a peacock uses poison to nurture his body and become healthy a bodhisattva uses negativity to emerge more beautiful in all colors. They are considered to be a vehicle of Buddha amitabha representing desire and attachment.In Asia, the feathers of the peacock are considered auspicious and protective. However in the early part of the 20th-century in the West, it was considered very bad luck to keep them in the home. Lucky treasure pot from a home in Bhutan.One silly explanation for this superstition is that it was promoted intentionally to prevent people from eating this large, delicious member of the pheasant family. In that way, the bird would be protected from extinction, for many people thought it was rare -- a quintessential rara avis.The reason for the superstition has more to do with the eye-like markings at the tips of the feathers which, around the Mediterranean, recall the dreaded "evil eye"-- the ever watchful and envious glance of the she-demon, Lilith.
She was blamed for otherwise inexplicable deaths of infants, among other misfortunes.Only partly as a result of this association with the evil eye was it believed that the flesh of the peacock is poisonous. But in any case, that is nonsense.
At the height of both the Greek and Roman cultures, the bird was served at formal dinners with its feathers cunningly pasted back on, possibly with a honey mixture used as glue, so that the dramatic beauty concealed the roasted fowl. At the excessive and luxurious banquets of European kings and queens of the Renaissance, there was an epicurean delight consisting of stuffed roast birds one inside the other like the famous Russian wooden mamushka dolls. The outermost shell was the glorious peacock, its many-eyed train stretching the length of the middle of the "groaning board." As Margaret Visser, in Much Depends On Dinner points out: People have always thought that what looks amazing must certainly taste wonderful, too. From the time of Cicero until the Renaissance, no truly sumptuous European feast was held without a dish of peacock, often adorned with the bird's feathered head and fan of tail feathers.
(A dish of swan could also be similarly displayed, the impressive wings taking pride of place instead of the fan.)
According to "Food fashions of the Renaissance" in Food:
The History of Taste, where you can see illustrations of tables set with these extravagant dishes, it was the rapid rise in popularity of the meat of the North American turkey that ended the reign of "peacock supreme."Deities and Royalty..The peacock was associated with the Middle Eastern deity, Tammuz, consort of the goddess, Anat. In Greece, it was sacred to Hera, queen of heaven and lawful wife of Zeus -- a pair of them drew her chariot --, and they were kept at her temples. In the Roman Empire, peacocks were Juno's birds and on coins symbolized the females of the ruling houses, the lineage princesses. In both the Hindu and the Buddhist traditions, the peacock's influence is mainly in the realm of worldly appearance. (This is in contrast to the swan which is a symbol of the higher realms. ) Hence, the Mother-of-Buddhas, Mahamayuri-vidyarajni (Skt.) has a peacock as her vehicle. In Japan, she appears as Kujaku. Skanda (also called Murugan,) one of the two sons of Indian god, Shiva, has a peacock for his mount. Lord of the elements of form, he is also a war god. A standard made of peacock feathers used to indicate the presence of a 19th-century rajah, whose power is worldly.
In the old Chinese bureaucratic system, members of the third highest level displayed a peacock as the insignia of rank. These badges were in the form of large embroidered squares applied to the front of an official's formal gown. (A similar system for indicating status was used in the Byzantine Empire.) Peacocks are considered sacred in India, especially in the north where its feathers may be burnt to ward off disease, and even to cure snakebite. In a Buddhist tale about the travels of some Indian merchants to Baveru or Babylon, we learn that the inhabitants of that great city marvelled at the gorgeous bird which the merchants had brought with them.The motif of two peacocks, one on each side of the Tree of Life, is a well-known feature of Persian decorative arts. A pair of peacocks stands for the "psychic duality of man" similar to the role played by the Gemini in western astrology, says Cirlot (A Dictionary of Symbols.) However it must be said that the notion of two natures -- in man or in the world that surrounds him -- is certainly not a universal one.
Because of that, in the iconography of European alchemy and hermaneutics, the peacock represents the soul. In Christianity, it stands for immortality and the incorruptibility of the soul, as in this XIth-century Byzantine image.
It is an obvious solar symbol, too, because of the resemblance between the rays of the sun and the circular fan of the tail in full display.
J.E. Cirlot points out that in the Ars Symbolica of Hieronymus Bosch this blue-green bird represents the blending of all the colours of the spectrum (rainbow) and hence, the idea of totality. Tibetan culture among many others also views green as the mixture of all hues.
Among the Muslims of Java in Indonesia there is a myth about how the peacock guarding the gates to Paradise ate the devil, and that is how he managed to get inside.
This myth makes a unity of the duality of good and evil, and also explains the bird's mysterious iridescent colour. It also incorporates the Indian notion of the incorruptibility of the peacock.
Purification
As we have seen, in the Hindu tradition the peacock is the vehicle [Skt.: vahana) of, or animal associated with, Kartikkeya, a.k.a. Skanda the 6-armed, 6-headed god of war who is a son of Lord Shiva.
Kumari (Skanda/Subrahamanya's shakti) rides a peacock in the retinue of the Goddess Durga.
Its [[[Wikipedia:Latin|Latin]]] scientific name, pavo, derives from a Sanskrit epithet, Pavana (purity) that refers to the Hindu deity Vayu, the wind who is also the breath of life and the father of the hero Rama's friend, Hanuman.
It is said that at the time of Creation of the universe, when the primordial poison was churned out of the Sea of Milk and transmuted into the amrita of immortality, it was a peacock that absorbed the negative effects. Thus the bird is thought of as a protector, though its flesh is consequently considered to be poisonous.
Since a potentially deadly emotion such as anger is depicted as a serpent, and the peacock is immune, the peacock also symbolizes victory over poisonous tendencies in sentient beings. Hence the title of a well-known text for training the mind, Peacock in the Poison Grove by Dharmarakshita, a Tibetan classic in translation.
In the discourse, The Wheel of Sharp Weapons, another Buddhist treatise by Dharmarakshita, the peacock is credited with an ability to neutralize and use black aconite (aconitum ferox) as a nutriment. This highly toxic plant, also known as “'wolf-bane,” is an important ingredient in traditional Asian medicine including that of Tibet. Mixed with other ingredients, it was used in treatments for mental illness, among other complaints.
Goldenglow
Long ago, Brahmadutta was king of Benares, and he had wealth, treasure and possessions galore. He also had a most beautiful and elegant wife with a face that was lovely beyond compare, and her name was Peerless. This noblewoman was especially dear to the King, and he gladly satisfied her every whim.
At the time, on the southern slope of Kâilâsh, king of mountains, there lived a peacock whose name was Goldenglow, and he ruled a flock of five hundred followers. His limbs and body gleamed and his beak was like a jewel. Everywhere he went, he was acknowledged the grandest of all the peacocks.
One night, within the city of Benares, the call of the peacock-king rang out in the middle of the night and the following day, every one in the city was talking about it. The wife of Brahmadutta happened to be on the her terrace that night, so she asked the king, "Sire, whose stirring and mellifluous voice was that, last night?"
The King answered, "Princess, though I have never seen him, from its remarkable qualities, that voice must belong to Goldenglow, king of the peacocks, who lives on the southern slope of Kâilâsh.
Then the Queen said, "Sire, please have the king of peacocks brought here." The King replied, "But what good is it to see him going through the air?"
But the Queen said, "Sire, if you do not let me see this Suvar.naprabhâsa, I shall surely die."
So the King, who was very much in love with her, gave in saying, "All right, I will send for my huntsmen and fowlers." This he did, and he said to them, "They say that on the southern slope of Kâilâsh, chief of mountains, lives the peacock king, Suvarnaprabhâsa, whose limbs and body are glossy, and whose bill is like a jewel. Go, net or snare him, and bring him back. If you succeed, fine. But if you fail, I will have all of you put to death."
So the hunters and fowlers, in fear of losing their lives, took up their nets and snares and started off for Kâilâsh's southern slope. When they arrived at their destination, they set up their nets and set their traps all over the peacock- king's terrain, but though they waited seven days, they couldn't catch him, and they were all out of provisions, and very hungry.
Finally, out of compassion for them, the king of peacocks appeared and said, "You are hunters. Why do you stay here in this one place when you are starving?"
They replied, "This is the reason, Peacock-king: King Brahmadutta given us orders to 'Go, and with your nets and snares, catch me Suvarna-prabhâsa, the peacock king, whose limbs and body are glossy, whose bill is like a jewel, and who lives with five hundred followers on the southern slope of Kâilâsh, chief of mountains. If you bring him here, well and good, but if you do not, you shall all be put to death;' so in fear of our lives, we have come to try and capture you."
The king of peacocks responded, "Violent Ones, I cannot be taken by means of snares and nets, but if the King of Benares wants to see me, let him have the city swept, sprinkled with scented water, and decorated with flowers. And let him raise white awnings and banners, and burn incense. Let him prepare chariots bedecked with the seven jewels, and then, if in seven days he arrives in the company of his
entire army, I will go back to Benares with him, of my own free will."
So the hunters packed up their nets and snares, and returned to the King and told him everything that had happened, and what Suvarnaprabhâsa had proposed.
King Brahmadatta decided to take the King Peacock up on his offer, and he had the city of Benares prepared as the bird had instructed and then, his chariots ornamented with the seven kinds of precious stones, and surrounded by his cohorts he went off to the southern slope of Kâilâsh, chief of mountains.
The king of the peacocks, Suvarnaprabhâsa, also riding in a chariot decked with seven kinds of precious stones, uttered a cry which was heard by the whole army. King Brahmadatta was thrilled, and such joy filled his heart that he felt impelled to do homage to the bird. He prostrated to him and made offerings; and honouring him, they all went back together to Benares.
When they arrived at the town gates, the peacock again uttered his cry, and it was heard throughout the whole city. From all quarters, men, women, boys and girls all rushed to the gates. Then King Brahmadatta again honoured the peacock king, paying homage, making offerings, and bowing to him.
Once at the palace, he went to get the queen, and said to her, "Princess, the king of the peacocks, Suvarnaprabhâsa, has arrived at your dwelling."
Now King Brahmadatta had undertaken to make daily offerings of fruits and flowers to the great Peacock, but it so happened that there came a day that the King was very busy, and so he thought, "Who can make the proper offerings to Suvarnaprabhâsa?" and it occurred to him that Princess Peerless was both knowledgeable and skillful, and that she could certainly do it.
So King Brahmadatta sent for her and said, "Princess, please make the offerings to the king of the peacocks exactly as I have done," and the King's consort did so.
Time passed, and it so happened that the peerless queen had an affair and found out that she was pregnant. She realized that if she did not want the King to find out her adultery and have her put to death, she would have to silence the bird. So this
woman tried to poison the king of the peacocks by feeding him poisoned food and drink, but the more she gave him, the healthier he appeared -- he became even more lovely and resplendent, and the Queen was amazed.
Then Suvarnaprabhâsa called out, "Shame, shame on you! I know your kind. Because you are carrying another man's child, and this bird knows about it , you think that you can poison me so that the King will not find out from me and put you to death. But you never kill me with poison!
On hearing that, the Queen fainted and lost a great deal of bright blood. She wasted away, and when she finally died, she was born in hell.
"The King of Benares is now Shariputra, and I (Buddha) was Goldenglow, king of the peacocks."
~ Edited from the "Shariputra Sutra" as translated by Wm. Woodville Rockhill (1897.)
Protector and Preserver
One of Green Tara's many epithets is The Peahen ( Skt. Mayuri.)
Mahamayuri is green with 8 arms and 3 heads. Her faces are white, green and blue. Her eight hands display: Right side -- varadamudra, a sword, vajra and jewel; left side -- a bowl, a treasure jar, a bell and a flower. Seated on a lotus throne, she wears all the ornaments and celestial garments of a bodhisattva.
According to the Mahamayuri Sutra of Pancharaksha, there was a bhikshu in the Buddha's sangha called Svati, who was newly ordained. He was unfortunately bitten by a poisonous snake and fainted. Seeing his condition, Ananda reported this incident to Buddha Shakyamuni. Out of compassion for the newly ordained monk and for the future ones, Lord Buddha disclosed a dharani capable of eliminating poisonous harm and malignant diseases. This is the dharani of Arya Mahamayuri.
Maha-Mayuri became in Japan, a male figure called Kujaku Myo-o. This Buddhist wisdom deity associated with the peacock (whose call is believed to herald the rain) protects against calamity, especially drought. Palden Lhamo, (pron. Penden Hamo, Skt. Shri Devi) the dark blue protector of all Tibetan Buddhist denominations who rides her mule through a burning [with wisdom) sea of blood (life in bodily form] is sheltered by a peacock-feather umbrella.
Lakshmi, wife of the Hindu god, Vishnu, sometimes is depicted with armbands in the form of peacocks. The birds are sacred to her since their cries are associated with the rainy season and hence, fertility. The hero of the Indian epic, Mahabharat is called Arjun, a name that refers to the peacock. Also, there is a north Indian/Nepali deity called Janguli who protects against snakebite and poisoning. Described as having 3 faces, 6 arms, her vehicle is, not surprisingly, a peacock.n Nepal, practitioners of Jhankrism, a shamanic tradition pre-dating both Buddhism and Hinduism, wear a tall head-dress of peacock feathers as an essential part of their regalia. Also notice the type of drum that is typical among shamans.
The peacock's beautiful and distinctive colouring is said to be a gift from the god, Indra. One day the King of Gods was doing battle with Ravana, the Demon King. The peacock, which in those days resembled his plain brown hen, took pity on Indra and raised its tail to form a blind or screen behind which Indra could hide himself. As a reward for this act of compassion, the bird was honored with the jewel-like blue-green plumage that it bears to this day.
Krishna, the avatar of Vishnu who is God-as-the-one-responding -to-devotion, is also depicted in the company of peacocks. One of Krishna's roles is as the irresistible divine suitor. Perhaps that is the link to the recommendation in The Kama Sutra that, if a man wishes to appear attractive to others, he can wear a peacock's bone covered in gold tied to his right hand.
Amitabha
The association of this jewel-tone bird with its sun-like fan of a tail evocative of the Wheel of Dharma -- the Buddha's teachings; its connection to the ideas of immortality and compassion, and the unification of views or opposites, as well as the correspondence with the Garden which is the Pure Land, demonstrates in Mahayana Buddhism the archetypical nature of the relationship between the peacock and Amitabha.
In the depiction of this Buddha of Eternal Light, he is seated under a tree; we see its flowers and leaves peeking through the pavilion. Tenga Rinpoche says, " . . . birds, in particular, have strong desire and craving, so, as a symbol of craving transformed into discriminating wisdom, Amitabha's throne is supported by peacocks."
There are actually eight peacocks that support his throne, one at each corner of the base. They stand for the idea that no matter the misdeeds committed during one's lifetime[s], rebirth is possible in Sukhavati, the Pure Land of Great Bliss that is the Western Paradise of Opameh (Tibetan for Amitabha). Any and all evil-doing is eventually absorbed.
Six peacock feathers arranged as a fan ornament the vase (bumpa) and sprinkling utensil used for distributing the blessing or purifying water in Tibetan Buddhist empowerments and other rituals. In this role they are not only a symbol of compassion, but also a symbol of immortality by virtue of their capacity to absorb and neutralize, and to act as a universal antidote against poisons including the kleshas [imperfections or obscurations) such as anger, greed and ignorance that are inherently human.
Natural History
The peacock is the male of a variety of the pheasant species, pavo cristatus. The female is a peahen; both are known as peafowl. It is native to India and Shri Lanka. A green variety, p. muticus, is found in neighbouring countries of south Asia. The Phoenicians introduced the peafowl to the pharaohs of Egypt, then it made its way to Europe among the spoils of Alexander of Macedon's returning army.
Each mature male may keep a harem of around 5 hens which it wins in fierce competition with other males. Screeching, preening, displaying [strutting and raising and lowering the "fan"] and a vigorous rustling of the tail-feathers are some elements in the courtship competitions. After the mating, the female lays a clutch of 4 to 6 spotted eggs in a hidden nest.
Peafowl spend most of the day on the ground pecking for food but as evening falls, they roost in the trees. In the spring, and when disturbed, the male can produce a sound very like that of a diesel truck's air horn. These birds are fairly intelligent, and can be trained to come when called. They are very hardy, adapting to fairly extreme temperatures. They are sometimes kept on estates not only as decorative birds, but as reliable "watchdogs."
3rd domestic bird on page is the peafowl. Hear its usual cry.
The peacock flies beautifully, but requires at least a 5-metre "runway" in order to get the lift required for take off. A surreal sequence of a white peacock in flight through lightly falling snow at the beginning of the 1973 Fellini film Amarcord is reason alone to get the dvd.
Two important writers who featured the peacock are Flannery O'Connor (1925-1964) who knew them well, and Raymond Carver (1938-1988) in Feathers.
Treasure pot: Buried or kept to attract prosperity or otherwise benefit a dwelling. Read about the Peace Vase Project for the types of contents.rara avis: A Latin expression used to emphasize, often ironically, the exotic singularity of an individual. Of course the peacock is not rare at all and should not be confused with Birds of Paradise, the paradisidae species that are rapidly disappearing from New Guinea due to loss of habitat as well as the demand for gorgeous feathers. Dharmarakshita: Known as Serlingpa in Tibetan, for having come from Sumatra, "the land of gold," he was Atisha's teacher (11th century.) He is the author of Wheel of Sharp Weapons. An earlier monk (ca. 261 BCE) of that name, who some say was a Greek, was invited to India by King Ashoka.Goldenglow: Skt. Suvarnaprabhasa or Suparna, for short. Rockhill calls him "Golden-Sheen." At the time of the Churning: An alternate view is that Lord Shiva's throat is dark because it was He who drank the poison, thus his epithet, Neelakantha. Shiva is also Mahakala, meaning both "Great Dark One" and "Great Time," the embodiment of Impermanence.
www.chinabuddhismencyclopedia.com/en/index.php/Peacock_Sy...
The Hmong/Mong people (RPA: Hmoob/Moob, Nyiakeng Puachue: "", Pahawh Hmong: "" Hmong pronunciation: [ʰmɔ́ŋ]) are a Southeast Asian ethnic group living mainly in southern China, Vietnam, Laos, Thailand, and Myanmar. They have been members of the Unrepresented Nations and Peoples Organization (UNPO) since 2007. In China they are classified as a subgroup of the Miao people.
During the first and Second Indochina Wars, France and the United States' Central Intelligence Agency (CIA) recruited thousands of Hmong people in Laos to fight against forces from North and South Vietnam and the communist Pathet Lao insurgents. This CIA operation is known as the Secret War.
HISTORY OF HMONG
The Hmong traditions and legends indicate that they originated near the Yellow River region of China. According to linguist Martha Ratliff, there is linguistic evidence to suggest that they have occupied some of the same areas of southern China for over 8,000 years. Evidence from mitochondrial DNA in Hmong–Mien–speaking populations supports the southern origins of maternal lineages even further back in time, although it has been shown that Hmong-speaking populations had comparatively more contact with northern East Asians than had the Mien.
The ancient town of Zhuolu is considered to be the birthplace of the widely proclaimed legendary Hmong king, Chi You. Today, a statue of Chi You has been erected in the town. The author of the Guoyu, authored in the 4th to 5th century, considered Chi You’s Jiu Li tribe to be related to the ancient ancestors of the Hmong, the San-Miao people.
In 2011, White Hmong DNA was sampled and found to contain 7.84% D-M15 and 6%N(Tat) DNA. The researchers posited a genetic relationship between Hmong-Mien peoples and Mon-Khmer people groups dating to the Last Glacial Maximum approximately 15-18,000 years ago.
Conflict between the Hmong of southern China and newly arrived Han settlers increased during the 18th century under repressive economic and cultural reforms imposed by the Qing dynasty. This led to armed conflict and large-scale migrations well into the late 19th century, the period during which many Hmong people emigrated to Southeast Asia. The migration process had begun as early as the late-17th century, however, before the time of major social unrest, when small groups went in search of better agricultural opportunities.
The Hmong people were subjected to persecution and genocide by the Qing dynasty government. Kim Lacy Rogers wrote: "In the eighteenth and nineteenth centuries, while the Hmong lived in south-western China, their Manchu overlords had labeled them 'Miao' ('barbarian' or 'savage') and targeted them for genocide when they defied being humiliated, oppressed, and enslaved."
Since 1949, the Miao people (Chinese: 苗族; pinyin: miáo zú) has been an official term for one of the 55 official minority groups recognized by the government of the People's Republic of China. The Miao live mainly in southern China, in the provinces of Guizhou, Hunan, Yunnan, Sichuan, Guangxi, Hainan, Guangdong, and Hubei. According to the 2000 censuses, the number of 'Miao' in China was estimated to be about 9.6 million. The Miao nationality includes Hmong people as well as other culturally and linguistically related ethnic groups who do not call themselves Hmong. These include the Hmu, Kho (Qho) Xiong, and A Hmao. The White Miao (Bai Miao) and Green Miao (Qing Miao) are Hmong groups.
HMONG CLANS OF HAN ORIGN
A number of Miao lineage clans are also believed to have been founded by Chinese men who had married Miao women. These distinct Chinese-descended clans practice Chinese burial customs instead of Hmong style burials. In Sichuan, they were known as "Chinese Hmong" ("Hmong Sua"). The Hmong were instructed in military tactics by fugitive Chinese rebels.
Chinese men who had married into Hmong clans have established several Hmong clans. Chinese "surname groups" are comparable to the Hmong clans which are patrilineal, and practice exogamy. Hmong women married Han Chinese men who pacified the Ah rebels who were fighting against the Ming dynasty, and founded the Wang clan among the Hmong in Gongxian county, of Sichuan's Yibin district. Hmong women who married Chinese men founded a Xem clan in a Hmong village among Northern Thailand's Hmong. Lauj clan in Northern Thailand is another example of a clan created through Han and Hmong intermarriage. A Han Chinese with the family name of Deng found another Hmong clan there as well.
Jiangxi Han Chinese have held a claim as the forefathers of the southeast Guizhou Miao. Children were born to the many Miao women who had married Han Chinese soldiers in Taijiang before the second half of the 19th century. The Hmong Tian clan in Sizhou began in the seventh century as a migrant Han Chinese clan.
Non-Han women such as the Miao became wives of Han soldiers. These soldiers fought against the Miao rebellions during the Qing and Ming dynasties and at that time Han women were not available. The origin of the Tunbao people can be traced to the Ming dynasty, when the Hongwu Emperor sent 300,000 Han Chinese male soldiers in 1381 to conquer Yunnan and the men married Yao and Miao women.
The presence of women presiding over weddings was a feature noted in "Southeast Asian" marriages, such as in 1667 when a Miao woman in Yunnan married a Chinese official. In Yunnan, a Miao chief's daughter married a scholar in the 1600s who wrote that she could read, write, and listen in Chinese and read Chinese classics.
The Sichuan Hmong village of Wangwu was visited by Nicholas Tapp who wrote that the "clan ancestral origin legend" of the Wang Hmong clan, had said that there were several intermarriages with Han Chinese and possibly one of these was their ancestor Wang Wu; there were two types of Hmong, "cooked", who sided with Chinese, and "raw", who rebelled against the Chinese. The Chinese were supported by the Wang Hmong clan. A Hmong woman was married by the non-Hmong Wang Wu according to The Story of the Ha Kings in Wangwu village.
CULTURE
Hmong people have their own terms for their subcultural divisions. Hmong Der (Hmoob Dawb), and Hmong Leng (Hmoob Leeg) are the terms for two of the largest groups in the United States and Southeast Asia. These subgroups are also known as the White Hmong, and Blue or Green Hmong, respectively. These names originate from the color and designs of women's dresses in each respective group, with the White Hmong distinguished by the white dresses women wear on special occasions, and the Blue/Green Hmong by the blue batiked dresses that the women wear. The name and pronunciation "Hmong" is exclusively used by the White Hmong to refer to themselves, and many dictionaries use only the White Hmong dialect.
In the Romanized Popular Alphabet, developed in the 1950s in Laos, these terms are written Hmoob Dawb (White Hmong) and Hmoob Leeg (Green Hmong). The final consonants indicate with which of the eight lexical tones the word is pronounced.
White Hmong and Green Hmong speak mutually intelligible dialects of the Hmong language, with some differences in pronunciation and vocabulary. One of the most characteristic differences is the use of the voiceless /m̥/ in White Hmong, indicated by a preceding "H" in Romanized Popular Alphabet. Voiceless nasals are not found in the Green Hmong dialect. Hmong groups are often named after the dominant colors or patterns of their traditional clothing, style of head-dress, or the provinces from which they come.
VIETNAM AND LAOS
The Hmong groups in Vietnam and Laos, from the 18th century to the present day, are known as Black Hmong (Hmoob Dub), Striped Hmong (Hmoob Txaij), White Hmong (Hmoob Dawb), Hmong Leng (Hmoob Leeg) and Green Hmong (Hmoob Ntsuab). In other places in Asia, groups are also known as Black Hmong (Hmoob Dub or Hmong Dou), Striped Hmong (Hmoob Txaij or Hmoob Quas Npab), Hmong Shi, Hmong Pe, Hmong Pua, and Hmong Xau, Hmong Xanh (Green Hmong), Hmong Do (Red Hmong), Na Mieo and various other subgroups. These include the Flower Hmong or the Variegated Hmong (Hmong Lenh or Hmong Hoa), so named because of their bright, colorful embroidery work (called pa ndau or paj ntaub, literally "flower cloth").
NOMENCLATURE
CHINA
Usage of the term "Miao" (苗) in Chinese documents dates back to the Shi Ji (1st century BC) and the Zhan Guo Ce (late Western Han Dynasty). During this time, it was generally applied to people of the southern regions thought to be descendants of the San Miao kingdom (dated to around the 3rd millennium BC.) The term does not appear again until the Ming dynasty (1368–1644), by which time it had taken on the connotation of "barbarian." Being a variation of Nanman, it was used to refer to one kind of indigenous people in the southern China who had not been assimilated into Han culture. During this time, references to Unfamiliar (生 Sheng) and Familiar (熟 Shu) Miao appear, referring to level of assimilation and political cooperation of the two groups. Not until the Qing dynasty (1644–1911) do more finely grained distinctions appear in writing. Even then, discerning which ethnic groups are included in various classifications can be problematic.
This inconsistent usage of "Miao" makes it difficult to say for sure if Hmong and Mong people are always included in these historical writings. Christian Culas and Jean Michaud note: "In all these early accounts, then, until roughly the middle of the 19th century, there is perpetual confusion about the exact identity of the population groups designated by the term Miao. We should, therefore, be cautious with respect to the historical value of any early associations."
Linguistic evidence, however, places Hmong and Mong people in the same regions of southern China that they inhabit today for at least the past 2,000 years. By the mid-18th century, classifications become specific enough that it is easier to identify references to Hmong and Mong people.
The term 'Miao' is used today by the Chinese government to denote a group of linguistically and culturally related people (including the Hmong, Hmu, Kho Xiong, and A Hmao). The Hmong and Miao of China today believe they are one people with cultural and linguistic affiliations that transcend oceans and national boundaries. The educated elites of the two groups maintain close transnational contacts with one another.
SOUTHEAST ASIA
In Southeast Asia, Hmong people are referred to by other names, including: Vietnamese: Mèo, Mông or H'Mông; Lao: ແມ້ວ (Maew) or ມົ້ງ (Mong); Thai: แม้ว (Maew) or ม้ง (Mong); Burmese: မုံလူမျိုး (mun lu-myo). The xenonym, "Mèo", and variants thereof, are considered highly derogatory by some Hmong people in the USA.
A recent DNA research in Thailand found that Hmong paternal lineage is quite different from those lu Mien and other Southeast Asian tribes. The Hmong-Mien (HM) and Sino-Tibetan (ST) speaking groups are known as hill tribes in Thailand; they were the subject of the first studies to show an impact of patrilocality vs. matrilocality on patterns of mitochondrial (mt) DNA vs. male-specific portion of the Y chromosome (MSY) variation. However, HM and ST groups have not been studied in as much detail as other Thai groups; here we report and analyze 234 partial MSY sequences (∼2.3 mB) and 416 complete mtDNA sequences from 14 populations that, when combined with our previous published data, provides the largest dataset yet for the hill tribes. We find a striking difference between Hmong and IuMien (Mien-speaking) groups: the Hmong are genetically different from both the IuMien and all other Thai groups, whereas the IuMien are genetically more similar to other linguistic groups than to the Hmong. In general, we find less of an impact of patrilocality vs. matrilocality on patterns of mtDNA vs. MSY variation than previous studies. However, there is a dramatic difference in the frequency of MSY and mtDNA lineages of Northeast Asian (NEA) origin vs. Southeast Asian (SEA) origin in HM vs. ST groups: HM groups have high frequencies of NEA MSY lineages but lower frequencies of NEA mtDNA lineages, while ST groups show the opposite. A potential explanation is that the ancestors of Thai HM groups were patrilocal, while the ancestors of Thai ST groups were matrilocal. Overall, these results attest to the impact of cultural practices on patterns of mtDNA vs. MSY variation.
HMONG/MONG CONTROVERSY
When Western authors came in contact with Hmong people, beginning in the 18th century, they referred to them in writing by ethnonyms assigned by the Chinese (i.e., Miao, or variants). This practice continued into the 20th century. Even ethnographers studying the Hmong people in Southeast Asia often referred to them as Meo, a corruption of Miao applied by Thai and Lao people to the Hmong. Although "Meo" was an official term, it was often used as an insult against the Hmong people, and it is considered to be derogatory.
The issue came to a head during the passage of California State Assembly Bill (AB) 78, in the 2003–2004 season. Introduced by Doua Vu and Assembly Member Sarah Reyes, District 31 (Fresno), the bill encouraged changes in secondary education curriculum to include information about the Secret War and the role of Hmong people in the war. Furthermore, the bill called for the use of oral histories and first-hand accounts from Hmong people who had participated in the war and who were caught up in the aftermath. Originally, the language of the bill mentioned only "Hmong" people, intending to include the entire community. Several Mong Leng activists, led by Dr. Paoze Thao (Professor of Linguistics and Education at California State University, Monterey Bay), drew attention to the problems associated with omitting "Mong" from the language of the bill. They noted that despite nearly equal numbers of Hmong Der and Mong Leng in the United States, resources are disproportionately directed toward the Hmong Der community. This includes not only scholarly research but also the translation of materials, potentially including the curriculum proposed by the bill. Despite these arguments, "Mong" was not added to the bill. In the version that passed the assembly, "Hmong" was replaced by "Southeast Asians", a more broadly inclusive term.
Dr. Paoze Thao and some others feel strongly that "Hmong" can refer to only Hmong Der people and does not include "Mong" Leng people. He feels that the usage of "Hmong" about both groups perpetuates the marginalization of Mong Leng language and culture. Thus, he advocates the usage of both "Hmong" and "Mong" when referring to the entire ethnic group. Other scholars, including anthropologist Dr. Gary Yia Lee (a Hmong Der person), suggest that "Hmong" has been used for the past 30 years to refer to the entire community and that the inclusion of Mong Leng people is understood. Some argue that such distinctions create unnecessary divisions within the global community and will only confuse non-Hmong and Mong people trying to learn more about Hmong and Mong history and culture.
As a compromise alternative, multiple iterations of "Hmong" are proposed. A Hmong theologian, Rev. Dr. Paul Joseph T. Khamdy Yang has proposed the term “HMong” to encompass both the Hmong and Mong community by capitalizing the H and the M. The ethnologist Jacques Lemoine has also begun to use the term (H)mong when referring to the entirety of the Hmong and Mong community.
HMONG, MONG AND MIAO
Some non-Chinese Hmong advocate that the term Hmong be used not only for designating their dialect group but also for the other Miao groups living in China. They generally claim that the word "Miao" or "Meo" is a derogatory term, with connotations of barbarism, that probably should not be used at all. The term was later adopted by Tai-speaking groups in Southeast Asia where it took on especially insulting associations for Hmong people despite its official status.
In modern China, the term "Miao" does not carry these negative associations and people of the various sub-groups that constitute this officially recognized nationality freely identify themselves as Miao or Chinese, typically reserving more specific ethnonyms for intra-ethnic communication. During the struggle for political recognition after 1949, it was members of these ethnic minorities who campaigned for identification under the umbrella term "Miao"—taking advantage of its familiarity and associations of historical political oppression.
Contemporary transnational interactions between Hmong in the West and Miao groups in China, following the 1975 Hmong diaspora, have led to the development of a global Hmong identity that includes linguistically and culturally related minorities in China that previously had no ethnic affiliation. Scholarly and commercial exchanges, increasingly communicated via the Internet, have also resulted in an exchange of terminology, including Hmu and A Hmao people identifying as Hmong and, to a lesser extent, Hmong people accepting the designation "Miao," within the context of China. Such realignments of identity, while largely the concern of economically elite community leaders reflects a trend towards the interchangeability of the terms "Hmong" and "Miao.
DIASPORA
Roughly 95% of the Hmong live in Asia. Linguistic data show that the Hmong of the Peninsula stem from the Miao of southern China as one among a set of ethnic groups belonging to the Hmong–Mien language family. Linguistically and culturally speaking, the Hmong and the other sub-groups of the Miao have little in common.
Vietnam, where their presence is attested from the late 18th century onwards and characterized with both assimilation, cooperation and hostility, is likely to be the first Indochinese country into which the Hmong migrated. During the colonization of 'Tonkin' (north Vietnam) between 1883 and 1954, a number of Hmong decided to join the Vietnamese Nationalists and Communists, while many Christianized Hmong sided with the French. After the Viet Minh victory, numerous pro-French Hmong had to fall back to Laos and South Vietnam.
At the 2019 national census, there were 1,393,547 Hmong living in Vietnam, the vast majority of them in the north of the country. The traditional trade in coffin wood with China and the cultivation of the Opium Poppy – both prohibited only in 1993 in Vietnam – long guaranteed a regular cash income. Today, converting to cash cropping is the main economic activity. As in China and Laos, there is a certain degree of participation of Hmong in the local and regional administration. In the late 1990s, several thousands of Hmong started moving to the Central Highlands and some crossed the border into Cambodia, constituting the first attested presence of Hmong settlers in that country.
In 2015, the Hmong in Laos numbered 595,028. Hmong settlement there is nearly as ancient as in Vietnam. After decades of distant relations with the Lao kingdoms, closer relations between the French military and some Hmong on the Xieng Khouang plateau were set up after World War II. There, a particular rivalry between members of the Lo and Ly clans developed into open enmity, also affecting those connected with them by kinship. Clan leaders took opposite sides and as a consequence, several thousand Hmong participated in the fighting against the Pathet Lao Communists, while perhaps as many were enrolled in the People's Liberation Army. As in Vietnam, numerous Hmong in Laos also genuinely tried to avoid getting involved in the conflict in spite of the extremely difficult material conditions under which they lived during wartime.
After the 1975 Communist victory, thousands of Hmong from Laos had to seek refuge abroad (see Laos below). Approximately 30 percent of the Hmong left, although the only concrete figure we have is that of 116,000 Hmong from Laos and Vietnam together seeking refuge in Thailand up to 1990.
In 2002 the Hmong in Thailand numbered 151,080. The presence of Hmong settlements there is documented from the end of the 19th century. Initially, the Siamese paid little attention to them. But in the early 1950s, the state suddenly took a number of initiatives aimed at establishing links. Decolonization and nationalism were gaining momentum in the Peninsula and wars of independence were raging. Armed opposition to the state in northern Thailand, triggered by outside influence, started in 1967 while here again, much Hmong refused to take sides in the conflict. Communist guerrilla warfare stopped by 1982 as a result of an international concurrence of events that rendered it pointless. Priority is since given by the Thai state to sedentarizing the mountain population, introducing commercially viable agricultural techniques and national education, with the aim of integrating these non-Tai animists within the national identity.
Myanmar most likely includes a modest number of Hmong (perhaps around 2,500) but no reliable census has been conducted there recently.
As result of refugee movements in the wake of the Indochina Wars (1946–1975), in particular, in Laos, the largest Hmong community to settle outside Asia went to the United States where approximately 100,000 individuals had already arrived by 1990. By the same date, 10,000 Hmong had migrated to France, including 1,400 in French Guyana. Canada admitted 900 individuals, while another 360 went to Australia, 260 to China, and 250 to Argentina. Over the following years and until the definitive closure of the last refugee camps in Thailand in 1998, additional numbers of Hmong have left Asia, but the definitive figures are still to be produced.
In the rest of the world, where about 5% of the world Hmong population now lives, the United States is home to the largest Hmong population. The 2008 Census counted 171,316 people solely of Hmong ancestry, and 221,948 persons of at least partial Hmong ancestry. Other countries with significant populations include:
France: 15,000
Australia: 2,000
French Guiana: 1,500
Canada: 835
Argentina: 600
The Hmong population within the United States is centered in the Upper Midwest (Wisconsin, Minnesota) and California.
HMONG IN VIETNAM
Hmongs in Vietnam today are perceived very differently between various political organizations and changed throughout times. The Hmongs of Vietnam are a small minority and because of this, their loyalty toward the Vietnamese state has also been under question. Nonetheless, most Hmongs in Vietnam are fiercely loyal to the Vietnamese state, regardless of the current ideologies of the government with only those minorities supportive of Hmong resistance in Laos and Cambodia. These are mostly Christian Hmongs who have fallen under target and poverty strike by alienation of both three Indochinese governments, since there has been no Hmong armed separatism in the country. The Hmongs in Vietnam also receive cultural and political promotion from the government alike. This unique feature distanced Vietnamese Hmongs from Laotian Hmongs, as their Laotian cousins are strongly anti-Vietnamese.
LAOS
U.S. AND LAOTIAN CIVIL WAR
In the early 1960s, partially as a result of the North Vietnamese invasion of Laos, the U.S. Central Intelligence Agency's (CIA) Special Activities Division began to recruit, train and lead the indigenous Hmong people in Laos to fight against North Vietnamese Army divisions invading Laos during the Vietnam War. This "Secret Army" was organized into various mobile regiments and divisions, including various Special Guerrilla Units, all of whom were led by General Vang Pao. An estimated sixty-percent (60%) of Hmong men in Laos joined up.
While Hmong soldiers were known to assist the North Vietnamese in many situations, Hmong soldiers were also recognized for serving in combat against the NVA and the Pathet Lao, helping block Hanoi's Ho Chi Minh trail inside Laos and rescuing downed American pilots. Though their role was generally kept secret in the early stages of the conflict, they made great sacrifices to help the U.S.
Thousands of economic and political refugees have resettled in Western countries in two separate waves. The first wave resettled in the late 1970s, mostly in the United States, after the North Vietnamese and Pathet Lao takeovers of the pro-US governments in South Vietnam and Laos respectively. The Lao Veterans of America, and Lao Veterans of America Institute, helped to assist in the resettlement of many Laotian and Hmong refugees and asylum seekers in the United States, especially former Hmong veterans and their family members who served in the "U.S. Secret Army" in Laos during the Vietnam War.
HMONG LAO RESISTANCE
For many years, the Neo Hom resistance and political movement played a key role in resistance to the Vietnam People's Army in Laos following the U.S. withdrawal in 1975. Vang Pao played a significant role in this movement. Additionally, a spiritual leader Zong Zoua Her, as well as other Hmong leaders, including Pa Kao Her or Pa Khao Her, rallied some of their followers in an additional factionalized guerrilla resistance movement called ChaoFa (RPA: Cob Fab, Pahawh Hmong: ChaoFaPahawh.png). These events led to the yellow rain controversy when the United States accused the Soviet Union of supplying and using chemical weapons in this conflict.
Small groups of Hmong people, many of the second or third generation descendants of former CIA soldiers, remain internally displaced in remote parts of Laos, in fear of government reprisals. Faced with continuing military operations against them by the government and a scarcity of food, some groups have begun coming out of hiding, while others have sought asylum in Thailand and other countries. Hmongs in Laos, in particularly, develop a stronger and deeper anti-Vietnamese sentiment than its Vietnamese Hmong cousins, due to historic persecution perpetrated by the Vietnamese against them.
CONTROVERSY OVER REPATRIATION
In June 1991, after talks with the UNHCR and the Thai government, Laos agreed to the repatriation of over 60,000 Lao refugees living in Thailand, including tens of thousands of Hmong people. Very few of the Lao refugees, however, were willing to return voluntarily. Pressure to resettle the refugees grew as the Thai government worked to close its remaining refugee camps. While some Hmong people returned to Laos voluntarily, with development assistance from UNHCR, coercive measures and forced repatriation was used to send thousands of Hmong back to the communist regime they had fled. Of those Hmong who did return to Laos, some quickly escaped back to Thailand, describing discrimination and brutal treatment at the hands of Lao authorities.
In the 1980s, 1990s and early 2000s, The Center for Public Policy Analysis, a non-governmental public policy research organization, and its Executive Director, Philip Smith, played a key role in raising awareness in the U.S. Congress and policy making circles in Washington, D.C. about the plight of the Hmong and Laotian refugees in Thailand and Laos. The CPPA, backed by a bipartisan coalition of Members of the U.S. Congress as well as human rights organizations, conducted numerous research missions to the Hmong and Laotian refugee camps along the Mekong River in Thailand, as well as the Buddhist temple of Wat Tham Krabok.
Amnesty International, the Lao Veterans of America, Inc., the United League for Democracy in Laos, Inc., Lao Human Rights Council, Inc. (led by Dr. Pobzeb Vang Vang Pobzeb, and later Vaughn Vang) and other non-governmental organizations (NGOs) and human rights organizations joined the opposition to forced repatriation.
Although some accusations of forced repatriation were denied, thousands of Hmong people refused to return to Laos. In 1996, as the deadline for the closure of Thai refugee camps approached, and under mounting political pressure, the U.S. agreed to resettle Hmong refugees who passed a new screening process. Around 5,000 Hmong people who were not resettled at the time of the camp closures sought asylum at Wat Tham Krabok, a Buddhist monastery in central Thailand where more than 10,000 Hmong refugees were already living. The Thai government attempted to repatriate these refugees, but the Wat Tham Krabok Hmong refused to leave and the Lao government refused to accept them, claiming they were involved in the illegal drug trade and were of non-Lao origin.
In 2003, following threats of forcible removal by the Thai government, the U.S., in a significant victory for the Hmong, agreed to accept 15,000 of the refugees. Several thousand Hmong people, fearing forced repatriation to Laos if they were not accepted for resettlement in the U.S., fled the camp to live elsewhere within Thailand where a sizable Hmong population has been present since the 19th century.
In 2004 and 2005, thousands of Hmong fled from the jungles of Laos to a temporary refugee camp in the Thai province of Phetchabun.
The European Union, UNHCHR, and international groups have since spoken out about the forced repatriation.
ALLEGED PLOT TO OVERTHROW THE GOVERMENT OF LAOS
On 4 June 2007, as part of an investigation labeled "Operation Tarnished Eagle," warrants were issued by U.S. federal courts ordering the arrest of Vang Pao and nine others for plotting to overthrow the government of Laos in violation of the federal Neutrality Acts and for multiple weapons charges. The federal charges allege that members of the group inspected weapons, including AK-47s, smoke grenades, and Stinger missiles, with the intent of purchasing them and smuggling them into Thailand in June 2007 where they were intended to be used by Hmong resistance forces in Laos. The one non-Hmong person of the nine arrested, Harrison Jack, a 1968 West Point graduate and retired Army infantry officer, allegedly attempted to recruit Special Operations veterans to act as mercenaries.
In an effort to obtain the weapons, Jack allegedly met unknowingly with undercover U.S. federal agents posing as weapons dealers, which prompted the issuance of the warrants as part of a long-running investigation into the activities of the U.S.-based Hmong leadership and its supporters.
On 15 June, the defendants were indicted by a grand jury and a warrant was also issued for the arrest of an 11th man, allegedly involved in the plot. Simultaneous raids of the defendants' homes and work locations, involving over 200 federal, state and local law enforcement officials, were conducted in approximately 15 cities in Central and Southern California in the US.
Multiple protest rallies in support of the suspects, designed to raise awareness of the treatment of Hmong peoples in the jungles of Laos, took place in California, Minnesota, Wisconsin, Alaska, and several of Vang Pao's high-level supporters in the U.S. criticized the California court that issued the arrest warrants, arguing that Vang is a historically important American ally and a valued leader of U.S. and foreign-based Hmong. However, calls for then Californian Republican Governor Arnold Schwarzenegger and then President George W. Bush to pardon the defendants were not answered, presumably pending a conclusion of the large and then still-ongoing federal investigation.
On 18 September 2009, the US federal government dropped all charges against Vang Pao, announcing in a release that the federal government was permitted to consider "the probable sentence or other consequences if the person is convicted." On 10 January 2011, after Vang Pao's death, the federal government dropped all charges against the remaining defendants saying, "Based on the totality of the circumstances in the case, the government believes, as a discretionary matter, that continued prosecution of defendants is no longer warranted," according to court documents.
THAILAND
The Hmong presence in Thailand dates back, according to most authors, to the turn of the 20th century when families migrated from China through Laos and Burma. A relatively small population, they still settled dozens of villages and hamlets throughout the northern provinces. The Hmong were then registered by the state as the Meo hill tribe. Then, more Hmong migrated from Laos to Thailand following the victory of the Pathet Lao in 1975. While some ended up in refugee camps, others settled in mountainous areas among more ancient Hill Tribes.
AMERICAS
Many Hmong refugees resettled in the United States after the Vietnam War. Beginning in December 1975, the first Hmong refugees arrived in the U.S., mainly from refugee camps in Thailand; however, only 3,466 were granted asylum at that time under the Indochina Migration and Refugee Assistance Act of 1975. In May 1976, another 11,000 were allowed to enter the United States, and by 1978 some 30,000 Hmong people had immigrated. This first wave was made up predominantly of men directly associated with General Vang Pao's secret army. It was not until the passage of the Refugee Act of 1980 that families were able to enter the U.S., becoming the second wave of Hmong immigrants. Hmong families scattered across all 50 states but most found their way to each other, building large communities in California, Minnesota and Wisconsin. As of the 2010 census, 260,073 Hmong people reside in the United States the majority of whom live in California (91,224), Minnesota (66,181), and Wisconsin (49,240), an increase from 186,310 in 2000. Of them, 247,595 or 95.2% are Hmong alone, and the remaining 12,478 are mixed Hmong with some other ethnicity or race. The vast majority of part-Hmong are under 10 years old.
The Hmong people, who are a distinct ethnic group with ancient roots and ancestry in China, began settling in Minnesota in 1975. The Hmong came to Minnesota as refugees from the destructive wars that had ravaged and taken place in their homelands in Laos. Today, there are 150,000 Hmong in the U.S. states of Minnesota, Wisconsin, and California. More than 66,000 Hmong reside in Minnesota with the majority living in the St. Paul area. The Twin Cities metro is home to the largest concentration of Hmong in America. For decades, the Hmong have not only made a profound impact on their adopted home in Minnesota, but the Hmong culture has collaborated with the community to document this remarkable story by collecting images, artifacts, oral histories, sharing stories, and by publishing articles and books on the Hmong experience.
In terms of cities and towns, the largest Hmong-American community is in St. Paul (29,662), followed by Fresno (24,328), Sacramento (16,676), Milwaukee (10,245), and Minneapolis (7,512).
There are smaller Hmong communities scattered across the United States, including those in Minnesota (Rochester, Mankato, Duluth) Michigan (Detroit and Warren); Anchorage, Alaska; Denver, Colorado; Portland, Oregon; Washington; North Carolina (Charlotte, Morganton); South Carolina (Spartanburg); Georgia (Auburn, Duluth, Monroe, Atlanta, and Winder); Florida (Tampa Bay); Wisconsin (Madison, Eau Claire, Appleton, Green Bay, Milwaukee, Oshkosh, La Crosse, Sheboygan, Manitowoc, and Wausau); Aurora, Illinois; Kansas City, Kansas; Tulsa, Oklahoma; Missoula, Montana; Des Moines, Iowa; Springfield, Missouri; Arkansas, Fitchburg, Massachusetts, and Providence, Rhode Island.
Canada's small Hmong population is mostly concentrated within the province of Ontario. Kitchener, Ontario has 515 residents of Hmong descent, and has a Hmong church.
There is also a small community of several thousand Hmong who migrated to French Guiana in the late 1970s and early 1980s, that can be mainly found in the Hmong villages of Javouhey (1200 individuals) and Cacao (950 individuals).
RELIGIOUS PERSECUTION
Some Laos- and Vietnam-based Hmong Animists and Christians, including Protestant and Catholic believers, have been subjected to military attacks, police arrest, imprisonment, forced disappearances, extrajudicial killings, and torture on anti-religious grounds.
The deportation of Zoua Yang and her 27 children from Thailand in December 19, 2005 after the group was arrested attending a Christian church in Ban Kho Noi, Phetchabun Province, Thailand, where upon arrival back in Laos, Ms. Yang and her children were detained, after which the whereabouts of much of the family are still unknown.
For example, in 2013, a Hmong Christian pastor, Vam Ngaij Vaj (Va Ngai Vang), was beaten to death by police and security forces. In February 2014, in Hanoi, Vietnamese government officials refused to allow medical treatment for a Hmong Christian leader, Duong Van Minh, who was suffering from a serious kidney illness. In 2011, Vietnam People's Army troops were used to crush a peaceful demonstration by Hmong Catholic, Protestant and Evangelical Christian believers who gathered in Dien Bien Province and the Dien Bien Phu area of northwestern Vietnam, according to Philip Smith of the Center for Public Policy Analysis, independent journalists and others.
The U.S. Commission on International Religious Freedom has documented official and ongoing religious persecution, religious freedom violations against the Laotian and Hmong people in both Laos and Vietnam by the governments. In April 2011, the Center for Public Policy Analysis also researched and documented cases of Hmong Christians being attacked and summarily executed, including four Lao Hmong Christians.
WIKIPEDIA
In every spiritual tradition, we talk about basic elements that are material and energetic, but since we know that every manifested thing is a trinity of matter, energy, and Consciousness, then we have to understand that the basic elements are also elements of Consciousness, not just matter and energy. The four primary elements—air, fire, water, earth—make up everything that we are, on every level. The important question we need to answer practically in our lives is how the four elements relate to the fifth element. How are we working with the fifth element? That is what we talked about in the previous lecture. The fifth element, literally “the quintessence,” relates to the Akash, the ether. In Sanskrit terms, we can also say that it is Kundalini. It is the Prakriti, the root energy that in some religions is symbolized as the Divine Mother.. The Divine Mother is that creative force or intelligence in nature that gives life to everything. If we want spiritual life, we need to know our Divine Mother. Her active agent is the quintessence, which is an energy in us. We need that energy to be active, and right now it is not. In us, it is passive, latent, what in science we could call "static, non-kinetic energy." Aphrodite Urania, the pure light of the Divine Mother. The method to awaken that energy, to activate it, has been hidden in every religion and mystical tradition. In the West, it is most famously known in the tradition we call Alchemy. The entire tradition of Alchemy is a symbolic presentation of a practical science. Alchemy hides the knowledge of how to elaborate the full potential of the human being, which is hidden in all of our atoms and cells. To do that, we need to know about transmutation. The Divine Mother is the fire of the Tree of Life
This word transmutation gets utilized a lot in esoteric traditions, but it appears as if it utilized without much knowledge of what the word really means. So it is important that we analyze this word and understand what it means, where it comes from, and what it implies. The word transmutation came into use because of the tradition of Alchemy, and is derived from Latin roots. The implications of the word transmutation are far beyond what most esoteric traditions attribute to it. Trans means “thoroughly,” and mutare means “change.” To transmute means to completely change something. In the modern Gnostic movement, for example, most students use this word transmutation exclusively in relation to sexual energy, which is a valid use of the word, but it is not its full meaning and not its original use. The word transmutation originally applied to our entire being, to everything about us. Really, to transmute comes from that famous phrase from Alchemy, "to transmute lead into gold." It means to purge the lead, which is a dense, heavy, and impure metal, and reduce it into its quintessence—in other words, to reduce it to the most basic components that originally made it, and from that, to perfect it. Everything that exists is constructed out of the basic elements that we explained in the previous lecture. First is the Akash or ether, and that becomes particularized into air, fire, water, and earth. Those four basic elements, which are physical, energetic, and conscious, become everything that exists. Everything that we are is made of four elements arranged and particularized into particular sequences. Physically, we call this encoding DNA, which is not merely physical chemicals, but also encodes energetic and spiritual data, as combinations of elements. Those elements are physically sequenced in series combinations of molecules that are arranged in infinite combinations to create everything that we are. Those sequences of four are reflections of the four elements. Similarly, the four subtle elements are reflected in the four basic components of physical matter:“For the most comprehensive and lucid exposition of occult pneumatology (the branch of philosophy dealing with spiritual substances) extant, mankind is indebted to Philippus Aureolus Paracelsus (Theophrastus Bombastus von Hohenheim), prince of alchemists and Hermetic philosophers and true possessor of the Royal Secret (the Philosopher's Stone and the Elixir of Life). Paracelsus believed that each of the four primary elements known to the ancients (earth, fire, air, and water) consisted of a subtle, vaporous principle and a gross corporeal substance.“Air is, therefore, twofold in nature-tangible atmosphere and an intangible, volatile substratum which may be termed spiritual air. Fire is visible and invisible, discernible and indiscernible--a spiritual, ethereal flame manifesting through a material, substantial flame. Carrying the analogy further, water consists of a dense fluid and a potential essence of a fluidic nature. Earth has likewise two essential parts--the lower being fixed, terreous, immobile; the higher, rarefied, mobile, and virtual. The general term elements has been applied to the lower, or physical, phases of these four primary principles, and the name elemental essences to their corresponding invisible, spiritual constitutions. Minerals, plants, animals, and men live in a world composed of the gross side of these four elements, and from various combinations of them construct their living organisms.“Henry Drummond, in Natural Law in the Spiritual World, describes this process as follows: "If we analyse this material point at which all life starts, we shall find it to consist of a clear structureless, jelly-like substance resembling albumen or white of egg. It is made of Carbon, Hydrogen, Oxygen and Nitrogen. Its name is protoplasm. And it is not only the structural unit with which all living bodies start in life, but with which they are subsequently built up. 'Protoplasm,' says Huxley, 'simple or nucleated, is the formal basis of all life. It is the clay of the Potter.'"“The water element of the ancient philosophers has been metamorphosed into the hydrogen of modern science; the air has become oxygen; the fire, nitrogen; the earth, carbon.” - Manly P. Hall, The Secret Teachings of All Ages For us to become something new, we need to unzip the sequence that makes who we are, and reconnect it in a superior way. But how are you going to disarrange everything about yourself, and rearrange it? Especially when you are the one trying to do it. Not easy! But this is what to "transmute" really means. It means “to thoroughly change.” Gnosis is a science of transmutation. Yes, it begins with sexual energy, that is the root energy that makes the full and complete transmutation possible, but we do not seek to only transmute sexual energy. We want to transmute all of our matter, all of our Consciousness, our psyche, our soul: everything. We want to thoroughly change: to transmute. Interestingly, the result of that transmutation is a mutant. A mutant is someone who is different, who is changed. This word “mutant” has a negative connotation nowadays, but in reality every existing creature is a mutation, a mutant. What we want is a conscious mutation, a change for the better. We want a change towards something beneficial and positive, something useful, something that will bring harmony and peace, not discord and violence. We want a change that will bring about goodness, equality, harmony, love. For that type of change, we need to thoroughly change the causes of discord, the causes of suffering, and those causes are within us, in our matter, our energy, and our Consciousness. A genuine transmutation requires that the causes or the origins of problems and pain, suffering, are changed thoroughly, so that new effects can emerge. That change is not easy. If you consider how anything in nature changes, fundamentally changes, its a process of birth, growth, decline, death, rebirth, growth, decline and death. This is how evolution advances, through small mutations over time. If you have ever studied biology or evolution, you can see that this is how species grow. They grow because of the pressures put on them by their environment. They change, and adapt, and hopefully improve. We need the same thing. Unfortunately, we are not responding properly to the pressures that are upon us. In response to the psychological, material, social, and physical pressures that are on us now, we are not mutating ourselves properly. If we were, we would be transcending the problems. We would be adapting and overcoming them so that they would not be problems anymore. Instead, we see that the problems are deepening, that we are not changing fast enough, and in the right way. We need to know how to do it, how to transmute. Samael Aun Weor said:“No one can Self-realize without transmutation.” - Samael Aun Weor, Tarot and Kabbalah .In this context, he was not talking about sexual transmutation, he was talking about transmutation of the psyche, the mind, the heart, and the body: to change thoroughly. Stated in another way, you can transmute your sexual energy, but if you do not transmute your mind, you will not self-realize. three-pillarsWhen we study the Tree of Life, our primary interest is how it applies to us here and now. The Tree of Life maps all of the levels of existence. But those levels of existence are meaningless if we cannot access them. Studying and memorizing scriptures and teachings mean nothing if we cannot experience what they point towards. We need to examine this Tree of Life in relation with ourselves, and understand that these ten sephiroth relate to levels of being within us. Here on this graphic we see not only our physical state but our psychological state, so on this image while we see a physical body to remind us that this relates to us here and now, really all these spheres or levels show our levels of psychology. Symbolized here are two divisions, two sides. The superior part is related to the heavens or superior aspects of being. The inferior part that hangs below is called Klipoth or hell, and this aspect relates to the inferior or inverted aspect of our psyche. Everything on this map is composed of elements: air, fire, water and earth. All of this is suspended in or supported by the Akash.
So in this context, if we use our imagination and we look at how this applies to us here and now, everything about us is encoded, in elements. Here physically, we can sense those physical aspects: our physical body is an encoded series of elements, which is reflected in our DNA. But as well, our entire psychological make up is encoded in us. Sadly, we only hazily perceive it. We hazily perceive it as thoughts and feelings, and certain types of sensations physically. But we do not perceive or comprehend that all of the thoughts, feelings, and impulses are driven by matter and energy that is not physical. This is a real problem that we have. Really, open up your imagination, and analyze yourself: look at how you have a physical body here and now. This body is composed of a trinity of elements: matter, energy, and Consciousness. The Consciousness here is not awake, it is very asleep, but there is some degree of Consciousness or perception. Thoughts, feelings, and other impulses are more subtle that physical matter, but still we can perceive that they have some level of manifestation. We can verify that they are there, somehow. They also have matter, energy, and Consciousness, but not in the physical dimension. Those thoughts that you sense, and the feelings that you sense, are modifications of Consciousness that have matter and energy associated with them, but not physically. What we experience physically is their reflection, like light being bounced through a mirror. We have the mirror of our mind, which reflects the contents of our thoughts and feelings, but where are the thoughts? Where are the feelings? They are not in the brain, because you can experience thoughts and feelings when you are out of your body. So where are they? This is the problem we have: we do not know. The problem is compounded because we need to change. Rapidly. Otherwise, we are threatened with grave problems, even worse problems then we have now. We need to transmute all of these psychological elements, very quickly. How, if we cannot see them? If we cannot sense them, how can we change them? How can you work in the dark? How can a blind person create a piece of art if he cannot even see what he is doing? This is our fundamental challenge. Psychologically, spiritually, we are blind. How then can we create a perfect soul, if we cannot see what we are doing? How can we transmute ourselves into something better, if we cannot even see who we really are? For this, we need help. We need to understand how these elements work, in all of the levels of nature. So to remind you, these are the five elements. Space
Air Fire Water Earth All things are composed by these elements; understanding that, we need to look at how those elements manifest in us. We need to analyze our psychology, to see it for what it is. Let me remind you of the previous lecture: these elements do not refer to the literal physical aspects, they are psychological. Expansiveness Mobility
Temperature Fluidity Solidity In order to transmute yourself, you need to know what you are working with, you need to see yourself, you need to see how your mind and heart functions, how all of the sensations you experience flow. You need to see what parts of your psyche are expansive, what is the relative mobility of your thinking and feeling, what about its temperature? Its fluidity and solidity? In this way, you can analyze the elements that are involved. You can understand how to manage the elements in your experiences, psychologically. As we explained in the previous lecture, we get help with that process through what we call ordeals, psychological challenges that are given by our own Innermost, through our psychological trainer, who presents us with scenarios designed to bring out those parts of ourselves that we need to work on. If we are not prepared to see it, we will respond poorly, the way that we have been doing previously, and we will make our situation worse. If we are not psychologically trained to watch ourselves and look for the patterns in our psychology, we will not see what is really happening to us, and we will make mistakes. When you enter into this type of work and the process of starting to transmute yourself, you are given challenges, opportunities to see yourself as you are, and those opportunities will come every day. If you are really attentive, you will find that those opportunities are continually arising, all the time. We do not call them opportunities physically, we call them adversities, problems, suffering. We have all of our complaints. We have an old psychological habit that is a very serious obstacle in this type of study, this type of work. That is the habit of self-esteem. Its an old habit that thinks we deserve things that we do not deserve, and that wants things to be ideal, the way that we want it, and we get very frustrated and upset when things do not go the way that we want or expect. I am curious: what percentage of people listening to the lecture today are very disappointed they did not win the lottery last night? I would like to find that out, but I do not think anyone would tell me.
We all have this self-esteem, and it is in direct conflict with the Innermost, with the Being, because this “self” of self-esteem is the ego. The Being wants the ego dead. Dead. Dissolved. Transmuted...But we do not want to transmute it. We want things the way we want them, and when we do not get things the way we want them, what do we do? We complain. We complain in our mind, and we complain with our mouth. Many of us complain all the time. That is a sign, a very significant sign, that we are not transmuting. Another word for transmutation is transformation. We use that in a very important phrase in this teaching: the transformation of impressions. Someone who is transforming impressions has serenity, acceptance. In other words, they have no complaints.
So if we have a lot of complaints, we need to analyze the desires that are complaining: the complaining pride, the lust, the envy, the greed, the gluttony, the fear, the avarice, the laziness, all of those egos. And we need to analyze them in relation with the elements: space, air, fire, water and earth, to understand how they are made, how they work, how they function. In this work, we need to learn to not just go with the flow of our psychological river, but to fight it. The psychological river of our mind is flowing into hell. It is not taking us to God. To reach God, divinity, purity, you have to fight against everything that comes up in yourself that is impure, that is selfish. That fight is not easy. four-ordeals
The four elements are the basic tools that our psychological trainer uses in order to show us ourselves, to show us what we're made of—literally, what we (as a psyche) are made of. Not physically, psychologically. The physical part is impermanent and irrelevant. Spiritually speaking, we have had so many physical bodies in the past and may have more in the future, thus in the long term perspective the physical part is not as important as the psychological part, because the psychological part lasts, and is the determining factor as to whether we get more physical bodies, and what kind, and in what circumstances. Focusing on physicality is foolish. Focusing on psychology is wise. In the psychological point of view, what are we made of? We are made of these elements in different combinations, but unfortunately corrupted with desire. In order to transmute these elements, we have to break them down. Imagine if you were a weaver and you got really drunk and wove something, using up all your good cloth, your good fibers and materials; then you sobered up and realized that what you wove was a complete disaster and wouldn't do anybody any good, in fact it was a waste of all that material, but it was the only material that you had, and you need clothes... What do you do? You have to take it apart. You have to go back to zero. You have to be naked, and start again. We need to do that psychologically; we need to strip our identity completely: this self-esteem has to die. We have to renounce everything except God. To only hold fast to divinity. Nothing else. This is the only way that you can fully and completely transmute. Remember: transmute means to throughly change—thoroughly, not partially. Thoroughly, from the ground up, from zero. It is the only way to build something properly. This is why that Jesus told us that we need a new wineskin. “No man putteth a piece of a new garment upon an old; if otherwise, then both the new maketh a rent, and the piece that was [taken] out of the new agreeth not with the old. And no man putteth new wine into old bottles; else the new wine will burst the bottles, and be spilled, and the bottles shall perish. But new wine must be put into new bottles; and both are preserved.” - Jesus, in Luke 5 We need a new garment. A new mind. A new heart. A new body. That transmutation comes through these elements, so we are tested, every day, constantly, by our trainer, through these elements, to pull things out psychologically so we will see them for what they are. This is not for fun or games or just to punish us and humiliate us, it is not to make us suffer, just because we deserve it. It is to help us. It is the medicine we need; we are sick. To be healed, we need a very profound surgery, very deep, very painful. It is not easy. It is not easy to die psychologically. It is not pleasant. It is not something that you will enjoy. You will be in pain. You will cry. You will have regret. You will have remorse. You will be ashamed of yourself. And you should be. Don't avoid it. Embrace it, yet do not attach to it. Look squarely at the facts, accept them, and change. This is how you become spiritually mature. You do not avoid the facts. You look them in the face, you see them for what they are, and you change them. Thoroughly. When you are getting your psychological challenges every day, look them square in the face, accept them, accept responsibility for yourself, do not blame others, do not blame God, accept it, look at it and say, "I deserve this, I created this, now I'm going to change it". This is what a Master comes from. Everybody wonders, "How do the Masters become so beautiful? How do they become so humble, so pure?"... because they are honest. That is how. Because they are honest. They do not avoid the facts. They work hard to change, to become worthy of reflecting God.
The way that this is done is through this fifth element. Everything that we are is constructed of these basic elements. So our pride for example is constructed of the four elements. The humility of an angel is constructed from the same elements that your pride is made from. Isn't that odd? Its constructed of the same light, but arranged differently. The “pride” of an angel—that element, that light, that has to do with virtue of esteem or self nature—is not corrupted by desire, whereas ours is corrupted. What we call “pride” is a modified light that comes from the sun. It is the same light that shines in an angel, but in an angel it shines as humility. Its the same light, but in us, it is modified, corrupted. What shines in that psychological component is the quintessence. But in us, it is impure. In an angel, in a master, it is pure. The word quintessence comes from a root word which means: "To be":
esse "to be." Sanskrit asmi, Hittite eimi, O.C.S. jesmi, Lith. esmi, Goth. imi, O.E. eom "I am"The quintessence hidden in each element within us is the Being, the light of the Being, that shines through any psychological element. Everything that we are as a psyche is the light of the Being, but in us that light is trapped in corruption. If you want that light to shine pure, you need to break apart the lens and reform it to make it perfect, clean. This is the basic science of Alchemy: to purge the metals and make them pure. We could remove the word metals and instead use crystals or lenses, and it would mean the same thing. The quintessence is that light, what in Hebrew is called Shekinah, the light of the Divine Mother. That light shines through everything that we are, psychologically and physically. It shines as all of those elements arranged in all of those different patterns that make up all of the different people and things and plants and animals and minerals and everything that exist; everything is that light, but modified. What we are as a person is a huge complication of all those lights. “And אלהים Elohim said, Let there be מארת ma'owroth [lights] in the firmament of שמים shamayim to divide the day from ליל layil [night]. And let them be מאורת ma'owroth in the firmament of שמים shamayim to give איר owr [light] upon ארץ erets [the earth]...” - Genesis 1:15 We do not see the lights for what they are. We need to analyze ourselves physically, energetically, emotionally, intellectually, and consciously.
This graphic shows the basic psyche that we can perceive here and now, if we look. All of the psychological elements that we can perceive here and now are related to other forms of matter. Physically, we perceive our physical body. If you pay attention, you will recognize that this physical body has energy that allows it to be active and move, the energy of digestion and the circulation of blood, and the energy that flows through the muscles, in the senses and nerves. five-bodies. We also have energy that flows through the psyche, that let us us have imagination and memory and thought, feeling. All of those energies are related with the vital body, what in the Tree of Life is called Yesod (“foundation”). The vital body reflects the contents of thought, emotion, and will into the physical body. Everything we perceive physically is reflected, either through the five physical senses, or through the internal senses that we perceive inside. The vital body reflects those contents into our brain, into our heart. This is important to understand so that we have a clear perspective on how to analyze ourselves. When we are feeling emotions, those emotions do not originate in the physical body. They are not just imaginary. They are reflected forms of light. They are light that we feel and sense emotionally in the physical body, but is being reflected to the physical body from our Astral body, through the vital body. The light of emotion originates in the Astral body. That means that if we are feeling a negative emotion, full comprehension and elimination of that defect is only possible by working on it at that level, with the Astral body in the fifth dimension, where its originating. But how many of us have clairvoyance? How many of us are awake in the astral plane, in the fifth dimension, to work on that discursive negative emotion? None of us, we are asleep! Moreover, when we sleep at night and we are dreaming with those emotions, we do not remember them when we come back to our body. So our trainer has no choice but to give us ordeals in the physical world so that we can see and experience what is happening in that Astral body, so that it is reflected here physically, so that it can come up and we will work on it. Internally, consciously, we are asleep and enslaved, so to help us, our trainer gives us ordeals. Our trainer puts us in circumstances where we feel those emotions, so that our Consciousness, our willpower, can see it, and can respond consciously, not mechanically, but can comprehend and free itself. This is why we have ordeals. We need them. Do not complain about your problems. Learn from them. They are your path to liberation. In several places of the Bible it states very clearly: “For whom יהוה loveth he correcteth; even as a father the son [in whom] he delighteth.” - Proverbs 3:12 The chastisement or ordeals are given as help to help us and aid us, otherwise we will not see who we are, and what is stopping us from reaching God. So this applies to all of our emotions, all of our thoughts, all of our problems, all of our situations, all of our circumstances, everything thats bothering us or that we think is limiting us, or is a problem for us, is actually something that we need to take advantage of. That is why Samael Aun Weor said: “We must learn how to take advantage of the worst adversities. The worst adversities bring us the best opportunities. We must learn to smile before all adversities.” “People protest because of the difficulties that interaction offers them. They do not want to realize that those difficulties are precisely providing them with the necessary opportunities for the dissolution of their “I.” So why are all the spiritual students, including the so-called Gnostics , looking for easy lives? Students are trying to win the lottery, longing to retire in the countryside and grow sunflowers, longing to retreat from their problems. Listen: if you have an easy, laid back life, you will stagnate spiritually. You will rot. If you want to grow spiritually, you need to die psychologically. The only way you will do that is by seeing the garbage in your mind and in your heart. That is why we are given ordeals. “During times of rigorous temptations [ordeals], discouragement and desolation, one must appeal to the intimate Remembering of the Self.“Deep within each one of us is the Aztec Tonantzin, Stella Maris, the Egyptian Isis, God the Mother, waiting for us in order to heal our painful heart.“When one gives to oneself the shock of “Self-remembering,” then indeed, a miraculous change [transmutation] in the entire work of the body is produced, so that the cells receive a different nourishment.” - Samael Aun Weor. That is why Samael said:“We can disintegrate our defects and dissolve the psychological “I” only by means of this science of transmutations. We can modify our errors, transmute the vile metals into pure gold and command only by means of the science of transmutations.” - Samael Aun Weor, Tarot and Kabbalah. In The Gnostic Bible, The Pistis Sophia Unveiled, he said: “It is possible to crystallize the Soul within ourselves by dissolving the animal ego.“We need to dissolve the undesirable psychological elements in order to crystallize the Soul within ourselves.
“We must convert ourselves into pure Soul. With patience you will possess your Soul.“This is possible based on conscious work and voluntary sufferings. “The Souls of the people reside in a superior level of the Being.“The Soul is the conjunction of all the forces, powers, virtues, essences, etc., that crystallize within us when the entire animal ego has been dissolved.
“Each time that a psychological defect is dissolved, a virtue, a power, etc., crystallizes within our interior. “The complete dissolution of all the defects implies the integral crystallization of the Soul within ourselves. “If the water does not boil at one hundred degrees, that which must be crystallized does not crystallize, and that which must be dissolved is not dissolved.
“In similar form, we say that it is necessary to pass through great emotional crisis in order to dissolve psychological defects and crystallize the Soul.” Firstly, this is accomplished based on conscious work and voluntary suffering. Voluntary suffering means that we accept our suffering, we do not fight it, in the sense of resisting it or denying it or trying to change our physical circumstances all of the time. Instead we accept it, we do what we need to do in order to survive, and care for our responsibilities, and that's enough. The rest of our effort should be focused on changing ourselves. The soul is the conjunction of all the powers, virtues, etc., and they crystalize within us when the animal ego has been dissolved: that is transmutation. Each construction in the psyche is made of the elements. We dissolve each ego in order to liberate the light in each of the elements that are there, then automatically, spontaneously, the light emerges as the soul. In other words, the quintessence is freed. From there is a great range of potential. What happens with that energy next depends on the nature of our path. But whatever the nature of that path, it will be positive, since the light has been liberated. The other important point here is “if the water does not boil at one hundred degrees, that which must be crystalized does not crystalize, and that which must dissolve does not dissolve.” What is that water? Water is one of the elements. Where is the water in us? What water is it that must boil? Anybody know? Well, this is a sort of trick question, because everything about us is based on water. There is no exception. In the Hebrew letters are the three mother letters that we mentioned previously. mother-letters-three-brains..The element of water is represented by the letter Mem. The element water and the letter Mem are related with the vital body. That is the lower Eden or Mayim in the book of Genesis. “And אלהים Elohiym said, Let the מים mayim (waters) under שמים shamayim be gathered together unto one place…” - Genesis 1:9 yesod-body-croppedThe sephirah Yesod, the ninth sphere, is our creative waters, from which we create everything, physically, spiritually, psychologically. Those are our creative waters, the waters of Genesis within us. From Yesod, the sexual organs, was made our earth, our physical body. “And אלהים Elohiym said, Let the מים mayim (waters) under שמים shamayim be gathered together unto one place, and let the dry [land] appear: and it was so. And אלהים Elohiym called the dry [land] ארץ 'erets [earth, our body]; and the gathering together of the waters called he ים yam [seas]…” - Genesis 1:9-10 The physical body is mostly water. Without it we cannot live. The emotional body (Astral body) is very strongly influenced by water. Our emotions are a sea. The Mental body also is constructed with the element of water. The Causal body is made from the waters. Water is in everything. Everything that exists depends on water. Physically, energetically and consciously. So when the water must boil, that means that our entire psyche must boil. What is the boiling? The problems, difficulties. When you study how physics works, when you study how nature works, you find that crystallization and dissolution are very closely related. The entire science of Alchemy is based upon this understanding. This is why if you study any of the old alchemical texts, they always talk about the need to dissolve and coagulate or crystalize. The entire science of Alchemy is based upon that. One short example is from the Bosom Book of George Ripley (circa 1476): “Then mingle with this white calx [dusty residue remaining after a mineral or metal has been calcined or roasted] the fiery water [שמים shamayim], and distil it with a strong fire all off as before, and calcine the earth [ארץ 'erets] again that remaineth in the bottom of the still, and then distil it again with a strong fire as before, and again calcine it, and thus distil and calcine it seven times, until all the substance of the calx be lifted up by the limbec: and then thou hast the water [מים mayim] of life rectified and made indeed spiritual; and so hast thou the four elements exalted in the virtue of their quintessence. This water will dissolve all bodies, and putrefy them, and purge them: and this is our Mercury and our Lunary; and whosoever thinketh there is any other water than this is an ignorant and a fool, and shall never be able to come to the effect.”This is only one example of hundreds of writings like it. This excerpt explains that the process of purification and the elaboration of the quintessence is a process of dissolution and crystallization.
For centuries, foolish people lacking initiation into the actual science read these things literally and thought they were talking about literal water, literal physical mercury, literal physical elements. That is wrong. These scriptures are about the psyche, the mind. The dissolution is psychological, and it is accomplished through ordeals, through analyzing and dissolving impurities in the mind. Symbolically, we analyze the elements of the mind as having seven fundamental qualities, related to the seven lights that organize all things.
gnosticteachings.org/courses/alchemy/3076-transmutation.html
This is the first time I'm encountering this photographer and I love him. He reminds me of Terry Gilliam (filmmaker, member of Monty Python) in that he's creating fantastical worlds and visions, yet they are down-to-earth. Every photo tells a story. It was hard to find just one image to put up here, but I went with this one. I like the misdirection of where the "real" hands are and the costuming and make-up that went into making her look like a mannequin/wind-up doll.
Denotation: white, doll, whimsical, dotted, busy
Connotation: transporting, wistful, remote, inspiring, resourceful
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
What appears to be an albino white Learleaf slug without eyeholes. A large seldom seen white slug that spends its time foraging and eating decaying vegetation that may lack light sensitivity. I hesitate to say "blind" because we have negative connotations around that term.
Meet Sam.
Her bold look instantly made me stop in my tracks. It was one of those days when I didn't have much luck in approaching people and was on my way back home. I always think that these types of encounters tend to be special, when you least expect them - just round the corner.
Sam wants to become a tattoo artist. She said the idea of women having tattoos still has negative connotations, while the same with men is not a big deal. She hopes to change that, and also by designing her own designs as she is also an artist of sorts.
This picture is #094 in my second round of the 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
Rapeseed - Brassica napus - is very popular here as a Spring ornamental for park borders, for roadsides and the sidings of railways. Mustard seed's wonderful yellow forms a beautiful combination, too, with blue skies. And it's a good bottom frame for this photo of the Nippon Maru.
Walking along the harbor and admiring what was left of the Tall Ships Show of the last few days in Nagasaki - how could I not be reminded of Robert Louis Stevenson's (1850-1894) novel Kidnapped (1886)! (Especially, too, of course, because for someone with a bit of etymological knowledge 'rape' doesn't have to have that modern sexual connotation but can 'merely' mean 'stolen' or 'kidnapped'.)
I've been fortunate enough to visit Hawes Inn in South Queensferry on the Firth of Forth near Edinburgh where Stevenson had David Balfour's adventure take its maritime turn. But long before that I'd dreamed of his kind of story...
Whatever the case, here I am in Nagasaki on an adventure of another kind. My heroes now are the sailors and scholars of Dejima and scientists such as Philipp Franz von Siebold (1796-1866) - also a spy -, and his daughter Kusumoto Ine (1827-1903), the first 'western' obstetrician in Japan. They all travelled here on sailing ships under many hardships...
My heart beat faster remembering both novel and history as I walked the quay here yesterday and today.
But the sails of the Nippon Maru weren't unfurled... and there was no call for me... much less a kdinapping. I guess I should be grateful!
West German postcard by Rüdel-Verlag, Hamburg-Bergedorf, no. 3073. Photo: FFP / Europa / Gabriele. Juliette Mayniel in Kirmes/The Fair (Wolfgang Staudte, 1960).
On 21 July 2023, doe-eyed French actress Juliette Mayniel (1936) passed away in San Miguel de Allende in Mexico. She appeared in 35 films and TV films between 1958 and 1978. Her film career made a jump start with two masterpieces, Claude Chabrol’s Les Cousins (1959) and the horror film Les Yeux Sans Visage (1960). Juliette Mayniel was 87.
Juliette Mayniel was born in Saint Hippolyte, France in 1936. Her first film appearance was an uncredited bit role in the comedy Premier mai (1958, Luis Saslavsky) starring Yves Montand, but she had her breakthrough with her second film, the classic Nouvelle Vague film Les Cousins/The Cousins (Claude Chabrol, 1959). She is the girl between the two cousins Jean-Claude Brialy and Gérard Blain. The film was an immediate success and remains one of Chabrol’s most striking films. Next Mayniel had unwillingly her face removed by a mad doctor (Pierre Brasseur) in the masterpiece Les Yeux Sans Visage/Eyes Without a Face (Georges Franju, 1960). Hal Erickson at AllMovie calls the film ‘an unsettling, sometimes poetic horror film’: “Franju's haunting, muted handling of basic horror material is what lifts Eyes Without a Face out of the ordinary and into the realm of near-classic.” James Travers adds at Films de France: “Les Yeux sans visage differs from virtually all other films in the fantasy-horror genre. It doesn’t set out to shock us with gruesome images or insult our intelligence with an implausible plot or fantastic characters. Everything it shows us is frighteningly plausible, but presented to us in a dreamlike manner which, if anything, softens the horror of the situation. Crucially, it is not evil which provides the stimulus for the horror, but love, the love of a father determined to give his daughter back her life. In the end, it is the film’s haunting poetry, not its horror connotations, which have the deepest impact on the spectator.” In the compelling WW II drama Kirmes/The Fair (Wolfgang Staudte, 1960) a young soldier (Götz George) who had often been ordered to execute women and children deserts the German army and tries to find a hiding place in his native village. He is sheltered by a priest and a young French woman (Mayniel) with whom he falls in love. At the 10th Berlin International Film Festival, Mayniel won the Silver Bear for Best Actress for her role.
Juliette Mayniel had a small part in Les Godelureaux/The Wise Guys (Claude Chabrol, 1961), a Nouvelle Vague drama about a trio of youths (including Jean-Claude Brialy and Bernadette Lafont) looking to debunk hypocrisy wherever they find it. In Italy, she appeared in the Peplum La Guerra di Troia/The Trojan Horse (Giorgio Ferroni, 1962), a retelling of the final year of the siege of Troy from the point of view of Aeneas (Steve Reeves). Bruce Eder at AllMovie calls it: “one of the best examples of Italy's sword-and-sandal genre”. She reunited with director Claude Chabrol for Ophelia (1962), a curious, modern version of Hamlet, co-starring André Jocelyn and Alida Valli, and for Landru/Bluebeard (Claude Chabrol, 1963), a black comedy based on the dastardly deeds of serial killer Henri-Desire Landru (Charles Denner), who wined, dined, scammed, and dismembered over 10 women (including Danielle Darrieux and Michele Morgan) during WW I. Juliette Mayniel was married to Robert Auboyneau till 1964. From 1964 until 1968 she was the partner of actor Vittorio Gassman. They have a son, actor Alessandro Gassman. During this period Mayniel didn’t work in the cinema. In 1968 she returned as Circe in the Italian TV series L'odissea/The Odyssee (Franco Rossi, Piero Schivazappa, Mario Bava, 1968) based on Homer and starring Bekim Fehmiu and Irene Papas. She then appeared in the drama Scusi, Facciamo L'Amore?/Listen, Let's Make Love? (Vittorio Caprioli, 1968) about a young gigolo (Pierre Clementi). In Quella Piccola Differenza/That Little Difference (Duccio Tessari, 1970) she was the wife of a virile macho (Pino Caruso) who changes in three days into a woman. Mayniel played the female lead in the Bud Spencer comedy Piedone Lo Sbirro/A Fistful of Hell (Steno, 1973) and in the soft sex comedy Peccati in Famiglia/Sins in the Family (Bruno Gaburro, 1975) opposite Michele Placido. On TV she appeared in Un anno di scuola/A Year of School (Franco Giraldi, 1977) with Mario Adorf and in the mini-series Madame Bovary (Daniele D'Anza, 1978) with Carla Gravina as the heroin of Gustave Flaubert’s novel. Her last film roles were a supporting part in the Giallo thriller Solamente Nero/The Blood Stained Shadow (Antonio Bido, 1978) with Stefania Casini and Massimo Serato, and eight years later another small part in Molly O (Gino Bortoloni, 1986). As herself, Juliette Mayniel appeared in the TV documentaries Portrait de Vittorio Gassman (Pierre Laforêt, 1979) and Di padre in figlio/From Father To Son (Alessandro Gassman, Vittorio Gassman, 1982). Juliette Mayniel died on 21 July 2023, at the age of 87.
Sources: James Travers (Films de France), Hal Erickson (AllMovie), John Conomos (Senses of Cinema), Wikipedia, and IMDb.
A deep compassion to maintain a myth about social networking and make a fashion trend with stylized skull's selfie to become wallpaper.“The Skull and cross bones are a continual reminder that the spiritual nature obtains liberation only after the philosophical death of man’s sensuous personality.”—Albert Pike (1809 – 1891)
Skull symbolism is the attachment of symbolic meaning to the human skull. The most common symbolic use of the skull is as a representation of death and mortality.Anamorphosis with wallpaper and skulls was distorted projection or perspective requiring the viewer to use special devices or occupy a specific vantage point (or both) to reconstitute the image. The word "anamorphosis" is derived from the Greek prefix ana‑, meaning "back" or "again", and the word morphe, meaning "shape" or "form". An optical anamorphism is the visualization of a mathematical operation called an affine transformation.[1] The process of extreme anamorphosis has been used by artists to disguise caricatures, erotic and scatological scenes, and other furtive images from a casual viewer, while revealing an undistorted image to the knowledgeable spectator.
For centuries the skull has been used for a vast amount of different symbolic meanings.For a true sorcerer the Skull & Cross Bones is a reminder that we are the great power in the heavens that has created our own mortal body on earth. We are in heaven right now, but we are dreaming that we are alive on earth. When death comes, the dream will be over, and we will awaken to this truth.The Skull & Cross Bones motif was used by many American college fraternities, sororities and secret societies founded in the nineteenth and twentieth centuries. The most well-known example of this usage is the Skull & Bones society, a secret society at Yale University which derives its very name from the symbol.
As Christians, when deciding on the use of anything symbolic, we should look to the scriptures to see if the Bible contains any information on anything that we may have questions about. This is where we should get our guidance from. If it was not a practice of the Christians in the Bible, it is best to discontinue the use of anything that is used in symbolic ways that is not Biblical.
1st. question. Did they use the skull for symbolic reasons in the Bible? NO
2nd. question. Does the Bible mention the skull in the scripture? Yes, but it was the name of a hill where the crucifixion took place.
Matthew 27:33
They came to a place called Golgotha (which means "the place of the skull").
Mark 15:22
They brought Jesus to the place called Golgotha (which means "the place of the skull").
Luke 23:33
And when they were come to the place, which is called Calvary (skull), there they crucified him, and the malefactors, one on the right hand, and the other on the left.
John 19:17
Carrying his own cross, he went out to the place of the Skull (which in Aramaic is called Golgotha).
Calvary definition. The hill near Jerusalem on which Jesus was crucified. The name is Latin for “Place of the Skull”; it is also called Golgotha. (See Crucifixion.)
The skull has always been associated with death and most historic uses considered it a representation of spiritual origins and deities.
Historically, the first account of the name of the skull was in the Bible. if we look the the scriptures, we see it is associated with a hill that they used to hang criminals until they suffered a long and torturing death. In the case of Jesus, he was arrested, tried, and sentenced by Pontius Pilate to be scourged, and finally crucified.
_
Skull symbolism is the attachment of symbolic meaning to the human skull. The most common symbolic use of the skull is as a representation of death and mortality. You can find more HERE with the references of where they get their information.
Satanism and Witchcraft: One can also find that many who practice Satanism and Witchcraft also use the symbol of the skull in their evil practices.
PLEASE PRAY FOR PROTECTION BEFORE YOU LOOK AT THESE VERY EVIL PHOTOS!
There are also other symbols that should be avoided that represents Satanic practices and some of them can be found HERE. ►Skulls HERE ►Satanic Santeria is very wide spread in America, especially New York, Florida, California and your larger cities. HERE
)
God knows knows when people do not understand something like certain symbols and may have worn clothes or some type of use of them, however after one has been saved, the Holy Spirit will lead you to find out the true meaning of it.
The Skull & Cross Bones is an ancient symbol with a powerful, hidden meaning. Today the Skull & Cross Bones signifies “poison” and we’re warned to “stay away.” But this is an intentional deception by the elite to hide the symbol’s true meaning. In fact, the Skull & Cross Bones is an ancient instrument used by sorcerers to gain spiritual power.
Humans can often recognize the buried fragments of an only partially revealed cranium even when other bones may look like shards of stone. The human brain has a specific region for recognizing faces,[1] and is so attuned to finding them that it can see faces in a few dots and lines or punctuation marks; the human brain cannot separate the image of the human skull from the familiar human face. Because of this, both the death and the now past life of the skull are symbolized.
Moreover, a human skull with its large eye sockets displays a degree of neoteny, which humans often find visually appealing—yet a skull is also obviously dead. As such, human skulls often have a greater visual appeal than the other bones of the human skeleton, and can fascinate even as they repel. Our present society predominantly associates skulls with death and evil. However, to some ancient societies it is believed to have had the opposite association, where objects like crystal skulls represent "life": the honoring of humanity in the flesh and the embodiment of consciousness.
Unicode reserves character U+1F480 (💀) for a human skull pictogram.
The skull that is often engraved or carved on the head of early New England tombstones might be merely a symbol of mortality, but the skull is also often backed by an angelic pair of wings,[2] lofting mortality beyond its own death.
lady at round mirror and dressing table resembling a skull "All is Vanity" by C. Allan Gilbert
"All is Vanity" by C. Allan Gilbert, 1873-1929
One of the best-known examples of skull symbolism occurs in Shakespeare's Hamlet, where the title character recognizes the skull of an old friend: "Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest. . ." Hamlet is inspired to utter a bitter soliloquy of despair and rough ironic humor.
Compare Hamlet's words "Here hung those lips that I have kissed I know not how oft" to Talmudic sources: "...Rabi Ishmael [the High Priest]... put [the severed head of a martyr] in his lap... and cried: oh sacred mouth!...who buried you in ashes...!". The skull was a symbol of melancholy for Shakespeare's contemporaries.[3]
In Elizabethan England, The Death's-Head Skull, usually a depiction without the lower jawbone, was emblematic of bawds, rakes, Sexual Adventurers and prostitutes; The term Deaths-Head was actually parlance for these rakes, and most of them wore half-skull rings to advertise their station, either professionally or otherwise. The original Rings were wide silver objects, with a half-skull decoration not much wider than the rest of the band; This allowed it to be rotated around the finger to hide the skull in polite company, and to reposition it in the presence of likely conquests.
Sugar skull given for the Day of the Dead, made with chocolate and amaranth from Mexico
Sugar skull given for the Day of the Dead, made with chocolate and amaranth
Skulls and skeletons are the main symbol of the Mexican holiday, Day of the Dead.
Venetian painters of the 16th century elaborated moral allegories for their patrons, and memento mori was a common theme. The theme carried by an inscription on a rustic tomb, "Et in Arcadia ego"—"I too [am] in Arcadia", if it is Death that is speaking—is made famous by two paintings by Nicholas Poussin, but the motto made its pictorial debut in Guercino's version, 1618-22 (in the Galleria Barberini, Rome): in it, two awestruck young shepherds come upon an inscribed plinth, in which the inscription ET IN ARCADIA EGO gains force from the prominent presence of a wormy skull in the foreground.
Next to the Magdalene's dressing-mirror, in a convention of Baroque painting[citation needed], the Skull has quite different connotations and reminds the viewer that the Magdalene has become a symbol for repentance. In C. Allan Gilbert's much-reproduced lithograph of a lovely Gibson Girl seated at her fashionable toilette, an observer can witness its transformation into an alternate image. A ghostly echo of the worldly Magdalene's repentance motif lurks behind this turn-of-the 20th century icon.
The skull becomes an icon itself when its painted representation becomes a substitute for the real thing. Simon Schama chronicled the ambivalence of the Dutch to their own worldly success during the Dutch Golden Age of the first half of the 17th century in The Embarrassment of Riches. The possibly frivolous and merely decorative nature of the still life genre was avoided by Pieter Claesz in his "Vanitas" (illustration, below right): Skull, opened case-watch, overturned emptied wineglasses, snuffed candle, book: "Lo, the wine of life runs out, the spirit is snuffed, oh Man, for all your learning, time yet runs on: Vanity!" The visual cues of the hurry and violence of life are contrasted with eternity in this somber, still and utterly silent painting.
Skull on table 'Vanitas, by Pieter Claesz, painted in 1630 from the Mauritzhuis, The Hague
Vanitas, by Pieter Claesz, 1630 (Mauritzhuis, The Hague)
When the skull appears in Nazi SS insignia, the death's-head (Totenkopf) represents loyalty unto death. However, when tattooed on the forearm its apotropaic power helps an outlaw biker cheat death.[4] The skull and crossbones signify "Poison" when they appear on a glass bottle containing a white powder, or any container in general. But it is not the same emblem when it flies high above the deck as the Jolly Roger: there the pirate death's-head epitomizes the pirates' ruthlessness and despair; their usage of death imagery might be paralleled with their occupation challenging the natural order of things.[5] "Pirates also affirmed their unity symbolically", Marcus Rediker asserts, remarking the skeleton or skull symbol with bleeding heart and hourglass on the black pirate ensign, and asserting "it triad of interlocking symbols— death, violence, limited time—simultaneously pointed to meaningful parts of the seaman's experience, and eloquently bespoke the pirates' own consciousness of themselves as preyed upon in turn. Pirates seized the symbol of mortality from ship captains who used the skull 'as a marginal sign in their logs to indicate the record of a death'"[6]
Today, humans typically note the skull and crossbones sign as the almost universal symbol for toxicity.
The skull of Adam at the foot of the Cross: detail from a Crucifixion by Fra Angelico, from 1435
The skull of Adam at the foot of the Cross: detail from a Crucifixion by Fra Angelico, 1435
The English translation of the German words reads as follows:
“Who was the fool, who the wise man, beggar or king? Whether poor or rich, all’s the same in death.”
And what does that mean?
This is first a reference to the fact that we are all equal in life, and equal in death as well. Second it teaches that you will live many lives, because you are an eternal deity living in heaven, dreaming of these temporary lives. YOU are the fool, YOU are the wise man, YOU are the beggar and YOU are the king! However, since none of these lives are permanent, none of them are real. The only thing that is real is your eternal reincarnating soul.
Other well-known college fraternal organizations which use the skull and bones in some capacity in their public symbols include, but are not limited to: Dom-I-Necher, Kappa Sigma, Sigma Phi Epsilon, Phi Kappa Sigma, Tau Kappa Epsilon and Zeta Beta Tau Fraternities and Sigma Sigma Sigma and Chi Omega Sororities.
Other fraternal groups also use the skull and crossbones in their symbolism and/or in their secret fraternal rituals. These groups include the Knights of Columbus as well as the Knights Templar degree of Alchemy.
When a skull was worn as a trophy on the belt of the Lombard king Alboin, it was a constant grim triumph over his old enemy, and he drank from it. In the same way a skull is a warning when it decorates the palisade of a city, or deteriorates on a pike at a Traitor's Gate. The Skull Tower, with the embedded skulls of Serbian rebels, was built in 1809 on the highway near Niš, Serbia, as a stark political warning from the Ottoman government. In this case the skulls are the statement: that the current owner had the power to kill the former. "Drinking out of a skull the blood of slain (sacrificial) enemies is mentioned by Ammianus and Livy,[7] and Solinus describes the Irish custom of bathing the face in the blood of the slain and drinking it."[8] The rafters of a traditional Jívaro medicine house in Peru,[9] or in New Guinea. The temple of Kali is veneered with skulls, but the goddess Kali offers life through the welter of blood. The late medieval and Early Renaissance Northern and Italian painters place the skull where it lies at the foot of the Cross at Golgotha (Aramaic for the place of the skull). But for them it has become quite specifically the skull of Adam.
The Serpent crawling through the eyes of a skull is a familiar image that survives in contemporary Goth subculture. The serpent is a chthonic god of knowledge and of immortality, because he sloughs off his skin. The serpent guards the Tree in the Greek Garden of the Hesperides and, later, a Tree in the Garden of Eden. The serpent in the skull is always making its way through the socket that was the eye: knowledge persists beyond death, the emblem says, and the serpent has the secret.
Symbolism of Fortuna's wheel divine justice and Skull mortality in a Pompeiian mosaic
Symbolism of chance (Fortuna's wheel) divine justice (right angle and plumb-bob) and mortality in a Pompeiian mosaic
The skull speaks. It says "Et in Arcadia ego" or simply "Vanitas." In a first-century mosaic tabletop from a Pompeiian triclinium (now in Naples), the skull is crowned with a carpenter's square and plumb-bob, which dangles before its empty eyesockets (Death as the great leveller), while below is an image of the ephemeral and changeable nature of life: a butterfly atop a wheel—a table for a philosopher's symposium.
Skull in lady's hat "Calavera de la Catrina" by José Guadalupe Posada
"Calavera de la Catrina" by José Guadalupe Posada (1851-1913)
Similarly, a skull might be seen crowned by a chaplet of dried roses, a "Carpe diem", though rarely as bedecked as Mexican printmaker José Guadalupe Posada's Catrina. In Mesoamerican architecture, stacks of skulls (real or sculpted) represented the result of human sacrifices. The skull speaks in the catacombs of the Capuchin brothers beneath the church of Santa Maria della Concezione in Rome,[10] where disassembled bones and teeth and skulls of the departed Capuchins have been rearranged to form a rich Baroque architecture of the human condition, in a series of anterooms and subterranean chapels with the inscription, set in bones:
Noi eravamo quello che voi siete, e quello che noi siamo voi sarete.
"We were what you are; and what we are, you will be."
An old Yoruba folktale[11] tells of a man who encountered a skull mounted on a post by the wayside. To his astonishment, the skull spoke. The man asked the skull why it was mounted there. The skull said that it was mounted there for talking. The man then went to the king, and told the king of the marvel he had found, a talking skull. The king and the man returned to the place where the skull was mounted; the skull remained silent. The king then commanded that the man be beheaded, and ordered that his head be mounted in place of the skull.
In Vajrayana Buddhist iconography, skull symbolism is often used in depictions of wrathful deities and of dakinis.
Women, in our society, are usually associated with the connotations of being the fairer sex, being the nurturer and the care giver. However, in the wild every so often we are greeted by the dominance of the females. They can be both the defender and the caretaker of their 'nest'. A female can be far more ferocious than a male when the time calls for it. In a lion pack, it is the female mentality in which leads the pack and it is the females who are the principal hunters. The males are the ones who usually hang back, as it were, who wait at home for the huntsman to return. It seems the dynamics of what roles are to be placed onto the males, and what roles are to be placed onto females, are very much dependent upon how it is our species sees itself.
"For the female of the species is more deadly than the male." - Rudyard Kipling
(P.S. The fur in this image is synthetic.)
Copyright © 2013 Amy Morris. All Rights Reserved.
City Hopes - The Street Art Guys by Daniel Arrhakis (2024)
The Street Art Guys - During the afternoon, Carlos Pedro and Ana they get together to make murals, but there are often no places to do it!
_______________________________________________________
At a time when racism and the culture of violence on social media is reaching worrying levels in my country, I decided to try to make a difference!
I decided to make two new series dedicated to people who are often discriminated in Portugal, especially in recent times with the emergence of a Racist and Xenophobic Far Right: "The Other Portuguese" and "City Hopes"
______________________________________________________________
Attribution-NonCommercial 2.0 Generic
You are free to:
Share — copy and redistribute the material in any medium or format
Adapt — remix, transform, and build upon the material
Attribution — You must give appropriate credit , provide a link to the license, and indicate if changes were made . You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
NonCommercial — You may not use the material for commercial purposes .
Exception or limitation political or moral: The work cannot be used in articles, blogs, news or advertising of a Populist, Fascist, Social-Nationalist, Nazi, Racist, Homophobic nature, against any religion or with Anti-Democratic or Autocratic connotations. The Author reserves the right to contest this use through legal means.