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Both Malay and Indonesian use the word Peranakan to mean "descendant" - with no connotation of the ethnicity of descent unless followed by a subsequent qualifying noun, such as for example Cina (Chinese) or Belanda (Dutch).
Baba is a Persian loan-word borrowed by Malaysian as an honorific solely for grandparents; it was used to refer to the Straits-Chinese males. The term originated with Hindustani speakers, such as vendors and traders, and became part of common vernacular. Female Straits-Chinese descendants were either called or styled themselves Nyonyas. The word nyonya is a Javanese loan honorific word from Italian Nona (grandma) meaning: foreign married Madam. Or more likely from the word Dona, from the Portuguese word for lady. Because Javanese at the time had a tendency to address all foreign women (and perhaps those who appeared foreign) as nyonya, they used that term for Straits-Chinese women, too, and it was gradually associated more exclusively with them. Nona in Javanese means lady.
Straits-Chinese were defined as those born or living in the Straits Settlements: a British colonial construct of Penang, Malacca and Singapore constituted in 1826. Straits-Chinese were not considered Baba Nyonya unless they displayed certain Sino-Malay syncretic physical attributes.
Picture showing on the balcony of first floor looking west.
EOS 5D + EF 24-70mm f/2.8L USM
see my selected pics here: www.500px.com/alcuinlai
Crohan (near Clogheen), Co. Tipperary, Ireland.
From www.buildingsofireland.ie:
Freestanding memorial, erected 1935, in form of round tower. Tapering rubble sandstone walling, set on base with four bronze wolfhounds set on limestone slabs on rubble sandstone pedestals around it at remove. Corbelled conical stone roof with projecting dressed stone eaves course, and cut stone cross finial. Triangular-headed openings near top, with timber fittings and rubble sandstone block-and-start surrounds and sills. Round-headed carved limestone plaque in blind doorway, with rubble sandstone voussoirs and sill. Square carved limestone plaque to base inserted 1973. Rubble sandstone lectern with limestone slab top and podium to site. Two humpback bridges with continuous rubble sandstone parapet walls to access.
This striking fifty foot tower by Denis Doyle of Clonmel is based on the form of the Irish round tower, a freestanding belltower associated with monastic settlements. Often thought to have provided protection for monks and their valuables from Viking raids, its connotations of strength and resilience would have made it a fitting motif for a monument for Liam Lynch, an important figure in Irish military history. The cast bronze Irish Wolfhounds at the base, by Albert Power, are another Irish motif, famously featuring in the myth of Cú Chulainn. These iconic Irish images are evidence of the growing confidence in Irish culture in the Irish Free State in 1935.
Judas, with a horrible devil as consultant, receives from the Jews a purseful of coins as payment for his sale of Christ. The treacherous Apostle is portrayed as a Jew with a large yellow cape. This religious grouping identifies him as not only sharing the root of his name but also the responsibility for the death of Christ.
Yellow was a striking colour which served to identify the Jews and distinguish them from the Christians, hence the bad luck and sinister connotations of this tonality.
From the beginning of the 13th century The Popes put special emphasis on this: that the Jews use distinctive clothing that would differentiate them from the Christians so that these latter would not enter into economic pacts with them. The distinctive elements were many and diverse, from a yellow brooch to a peaked cap to a special cloak which in the Kingdom of Aragon was called the ‘clochard’ for its resemblance to a bell. That is why in medieval iconography, the Jews are portrayed with a cloak of this colour. As we see in this scene representing the pact of Judas in the Scrovegni Chapel in Padua (beginning of the 14th century), and in scenes like this where the Jews appear as wizards and necromancers, as they are those related to diabolical pact.
You can continue reading in the following post:
diabloenelarte.blogspot.com.es/
Prohibido el amarillo
Judas asesorado por un horrible diablo recibe la bolsa de monedas de los judíos como pago por la venta de Cristo. El falso Apóstol está caracterizado como un judío con un gran manto amarillo, grupo religioso que también le identifica al compartir la raiz de su nombre y la culpabilidad en la muerte de Jesús.
El amarillo era un color llamativo que servía para identificar a los judíos y distinguirlos de los cristianos, de ahí el mal fario y contenido siniestro de esta tonalidad. Desde los primeros años del s.XIII los Papas pusieron especial énfasis en que los judios usaran ropas distintivas que los diferenciaran de los cristianos para que estos últimos no llegaran a pactos económicos con ellos. Los elementos distintivos eran muy variados desde un broche de color gualdo, un gorro picudo o una capa especial que en el Reino de Aragón se llamaba "clochard" por su semejanza con la campana, por ello en la iconografía medieval se caracteriza a los judíos con un manto de este color. Así se ve en esta escena del pacto de Judas de la Capilla Scrovegni de Padua (principios del s.XIV), y en escenas donde aparecen los judíos como magos y nigromantes, como son las del pacto diabólico.
Jaguar Cars Ltd., better known simply as Jaguar is a British luxury car manufacturer, headquartered in Coventry, England.
Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before switching to passenger cars. The name was changed to Jaguar after World War II due to the unfavourable connotations of the SS initials.
The Jaguar E-Type (UK) or XK-E (US) is a British automobile manufactured by Jaguar between 1961 and 1974. Its combination of good looks, high performance, and competitive pricing established the marque as an icon of 1960s motoring. A great success for Jaguar, over seventy thousand E-Types were sold during its lifespan.
In March 2008, the Jaguar E-Type ranked first in Daily Telegraph list of the "100 most beautiful cars" of all time. In 2004, Sports Car International magazine placed the E-Type at number one on their list of Top Sports Cars of the 1960s.
The E-Type was initially designed and shown to the public as a grand tourer in two-seater coupé form (FHC or Fixed Head Coupé) and as convertible (OTS or Open Two Seater). The 2+2 version with a lengthened wheelbase was released several years later.
On its release Enzo Ferrari called it "The most beautiful car ever made".
The model was made in three distinct versions which are now generally referred to as "Series 1", "Series 2" and "Series 3". A transitional series between Series 1 and Series 2 is known unofficially as "Series 1½".
The Series 1 was introduced, initially for export only, in March 1961. The domestic market launch came four months later in July 1961.[7] The cars at this time used the triple SU carburetted 3.8 litre 6-cylinder Jaguar XK6 engine from the XK150S. The first 500 cars built had flat floors and external hood (bonnet) latches. These cars are rare and more valuable. After that, the floors were dished to provide more leg room and the twin hood latches moved to inside the car. The 3.8 litre engine was increased to 4.2 litres in October 1964.[7]
All E-Types featured independent coil spring rear suspension with torsion bar front ends, and four wheel disc brakes, in-board at the rear, all were power-assisted. Jaguar was one of the first auto manufacturer to equip cars with disc brakes as standard from the XK150 in 1958. The Series 1 can be recognised by glass covered headlights (up to 1967), small "mouth" opening at the front, signal lights and tail-lights above bumpers and exhaust tips under the licence plate in the rear.
3.8 litre cars have leather-upholstered bucket seats, an aluminium-trimmed centre instrument panel and console (changed to vinyl and leather in 1963), and a 4-speed gearbox that lacks synchromesh for 1st gear ("Moss box"). 4.2 litre cars have more comfortable seats, improved brakes and electrical systems, and an all-synchromesh 4-speed gearbox. 4.2 litre cars also have a badge on the boot proclaiming "Jaguar 4.2 Litre E-Type" (3.8 cars have a simple "Jaguar" badge). Optional extras included Chrome Spoked wheels and a detachable hard top for the Open Two Seater.
There was a transitional series of cars built in 1967-68, unofficially called "Series 1½", which are externally similar to Series 1 cars. Due to American pressure the new features were open headlights, different switches, and some de-tuning (with a downgrade of twin Zenith-Stromberg carbs from the original triple SU carbs) for US models. Some Series 1½ cars also have twin cooling fans and adjustable seat backs. Series 2 features were gradually introduced into the Series 1, creating the unofficial Series 1½ cars, but always with the Series 1 body style.
Less widely known, there was also right at the end of Series 1 production and prior to the transitional "Series 1½" referred to above, a very small number of Series 1 cars produced with open headlights. These are sometimes referred to as "Series 1¼" cars. Production dates on these machines vary but in right hand drive form production has been verified as late as March 1968.[ It is thought that the low number of these cars produced relative to the other Series make them amongst the rarest of all production E Types.
An open 3.8 litre car, actually the first such production car to be completed, was tested by the British magazine The Motor in 1961 and had a top speed of 149.1 mph (240.0 km/h) and could accelerate from 0-60 mph (97 km/h) in 7.1 seconds. A fuel consumption of 21.3 miles per imperial gallon (13.3 L/100 km; 17.7 mpg-US) was recorded. The test car cost £2097 including taxes
A street procession in Recife in honor of Brazil's patroness, Nossa Senhora Aparecida, on her feast day, Oct 12 (screen shot from tonight's Globo news).
This reminds me of an expression I love in Brazilian Portuguese: nossa! (= "our!")--which is short for "Our Lady," but used in everyday language with no religious connotation.
To Newfie's Car Wash goes the distinction of supplying the subject for picture no. 2000 in my photostream! For non- or new Canadians who may be unfamiliar with the word, "Newfie" designates a resident or native of Newfoundland. Originally, it carried a slightly derogatory connotation ("Newfie" jokes, for instance, tended to characterize individuals from that province as being a bit below average in intelligence and kind of goofy to boot). Nowadays, it has pretty much lost its edge of meanness and is generally considered a term of affectionate regard.
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
Dear Flickr,
I’m volunteering in Nepal in September 2012 and am now trying to raise money to go towards much needed supplies for the kids. check the blog for more details (also for verification of the fundraiser’s legitimacy) and to make a contribution.
thank you
凤凰(Phoenix Red)，是中国古代传说中的百鸟之王，和龙一样为汉族的民族图腾。羽毛一般被描述为赤红色，凤凰和麒麟一样，是雌雄统称，雄为凤，雌为凰，其总称为凤凰，因此凤凰一词为合成词结构。凤凰齐飞，是吉祥和谐的象征，是一种代表幸福的灵物。但叫凤凰的时候均代表女性。
Fenghuang are mythological birds of East Asia that reign over all other birds. The males are called Feng and the females Huang. In modern times, however, such a distinction of gender is often no longer made and the Feng and Huang are blurred into a single feminine entity so that the bird can be paired with the Chinese dragon, which has male connotations.
The Fenghuang is also called the "August Rooster" since it sometimes takes the place of the Rooster in the Chinese Zodiac. In the West, it is commonly referred to as the Chinese phoenix or simply Phoenix. Fenghuang Ancient City is an ancient community in Hunan Province.
------------Wikipedia
the Bay - Yonge & Bloor, Toronto [ www.thebay.com/ ]
"'Sub-culture' is a single by New Order, released in November 1985.
It was the second and final single that also appeared on the group's album release of the same year, Low-Life. The mix (by John Robie) is different from the one that appears on the album. "Sub-culture" has only a regular black sleeve, as graphic designer Peter Saville reportedly deemed the mix of the song unworthy of his talents. The song has stirred some controversy with attempts to understand the lyrics being unsubstantiated by the group itself, particularly the use of the word shaft with its possible sexual connotations. The b-side is a remix of the A-side titled 'Dub-vulture.' 'Sub-culture' also appears on the group's 1987 compilation, Substance.
The 12' & 7' single mixes provide for a significant departure from the album version, with prominent usage of female backing singers." en.wikipedia.org/wiki/Sub-culture_(song)
Jaguar Cars Ltd., better known simply as Jaguar is a British luxury car manufacturer, headquartered in Coventry, England. It has been a wholly-owned subsidiary of the Indian company Tata Motors Ltd. since March 2008 and is operated as part of the Jaguar Land Rover business.
Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before switching to passenger cars. The name was changed to Jaguar after World War II due to the unfavourable connotations of the SS initials.
The Jaguar D-Type, like its predecessor the C-Type, was a factory-built race car. Although it shared the basic straight-6 XK engine design (initially 3.4L and eventually uprated to 3.8 litres in the late fifties) with the C-Type, the majority of the car was radically different. Perhaps its most ground-breaking innovation was the introduction of a monocoque chassis, which not only introduced aircraft-style engineering to competition car design, but also an aeronautical understanding of aerodynamic efficiency. The D-Type was introduced purely for competition, but after Jaguar withdrew from racing, the company offered the remaining, unfinished chassis as the roadgoing Jaguar XKSS, by making changes to the racers: adding an extra seat, another door, a full-width windshield and primitive folding top, as concessions to practicality. However, on the evening of 12 February 1957, a fire broke out at the Browns Lane plant destroying nine of the twenty five cars that had already been completed or in semi-completion. Production is thought to have included 53 customer D-Types, 18 factory team cars, and 16 XKSS versions.
The new chassis followed aircraft engineering practice, being manufactured according to monocoque principles. The central tub, within which the driver sat, was formed from sheets of aluminium alloy. To this was attached an aluminium tubing subframe carrying the bonnet, engine, front suspension, and steering assembly. The rear suspension and final drive were mounted directly onto the monocoque itself. Fuel was carried in deformable bags inside cells within the monocoque; another aircraft innovation.
The highly efficient, aerodynamic bodywork was largely the work of Malcolm Sayer, who joined Jaguar following a stint with the Bristol Aeroplane Company during World War II. Although he also worked on the C-Type, the limitations of the conventional separate-chassis did not allow full expression of his talent. For the D-Type, Sayer insisted on a minimal frontal area. To reduce its height, Haynes and former-Bentley engineer Walter Hassan developed dry sump lubrication for the XK engine. By also canting the engine over by 8° (resulting in the trademark, off-centre bonnet bulge) the reduction in area was achieved. Care was taken to reduce drag due to the underbody, resulting in an unusually high top speed; for the long Mulsanne Straight at Le Mans, a large vertical stabiliser was mounted behind the driver's head for aerodynamic stability with minimum drag. For the 1955 season, factory cars were fitted with a revised, long-nose version of the bodywork, which increased top speed even further.
Mechanically, many features were shared with the outgoing C-Type. The ground-breaking disc brakes were retained, as was the XK engine. Apart from the new lubrication system, as development progressed during the D-Type's competition life the engine was also revised. 1955 saw the introduction of larger valves, and an asymmetrical cylinder head design within which to accommodate them. The Jaguar D-Type was the second racing car to have Dunlop disk brakes. The Citroën DS, introduced a year later, was the first production car with disk brakes in Europe. The Crosley Hotshot was the first American automobile with disk brakes, in 1949.
Jaguar Cars Ltd., better known simply as Jaguar is a British luxury car manufacturer, headquartered in Coventry, England. It has been a wholly-owned subsidiary of the Indian company Tata Motors Ltd. since March 2008 and is operated as part of the Jaguar Land Rover business.
Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before switching to passenger cars. The name was changed to Jaguar after World War II due to the unfavourable connotations of the SS initials.
The Jaguar XK120 is a sports car which was manufactured by Jaguar between 1948 and 1954. Jaguar's first post-war sports car, it succeeded the SS 100, which ceased production in 1940.
The XK120 was launched in roadster form at the 1948 London Motor Show as a testbed and show car for the new Jaguar XK engine. It caused a sensation, which persuaded William Lyons to put it into production.
The "120" in its name referred to its 120 mph (193 km/h) top speed (faster with the windscreen removed), which made the XK120 the world's fastest standard production car at the time of its launch.[3].
It was available in two convertible versions — first as the roadster (designated OTS, for open two-seater, in America), then also as a drophead coupé, or DHC, from 1953 — and as a closed, or "fixed-head" coupé (FHC) from 1951. The DHC was a more deluxe model, featuring a beautiful wood dashboard and wood features on the door interiors.
The roadster version was successful in racing.
The first 242 cars, all roadsters hand-built between late 1948 and early 1950, had aluminium bodies on ash frames. To meet demand it was necessary for the mass-production versions, beginning with the 1950 model year, to have pressed-steel bodies. They retained aluminium doors, bonnet, and boot lid.
With alloy cylinder head and twin side draft SU carburetors, the dual overhead-cam 3.4 L straight-6 XK engine was comparatively advanced for a mass-produced unit of the time. With standard 8:1 compression ratio it developed 160 bhp (119 kW). [2] A 7:1 low compression version was also available to cope with low quality fuel. This same basic design of the XK engine, later modified into 3.8L and 4.2L versions, survived into the late 1980s.
All XK120s had independent torsion bar front suspension, semi-elliptic leaf springs at the rear, recirculating-ball steering, telescopically adjustable steering column, and all-round drum brakes that were prone to fade. Some cars were fitted with Alfin brake drums to help overcome this brake fade.
The roadster's lightweight canvas top and detachable sidescreens stowed out of sight behind the seats, and its barchetta-style doors had no external handles; instead there was an interior pull-cord which was accessible through a flap in the sidescreens when the weather equipment was in place. The windscreen could be removed for aeroscreens to be fitted.
The drophead coupé had a padded canvas top, which folded onto the rear deck behind the seats when not in use, and roll-up windows. The windscreen was fixed. Dashboards and door caps in both the FHC and DHC were wood-veneered, whereas the roadster's were leather-trimmed. All models had removable spats ("fender skirts" in America) covering the rear wheel arches, which enhanced the streamlined look. On cars fitted with optional centre-lock wire wheels (available from 1951), the spats were omitted as they gave insufficient clearance for the two-eared Rudge-Whitworth knockoff hubs.
In addition to wire wheels, upgrades on the Special Equipment, or SE, version (called the M version in the United States) included increased power, stiffer suspension and dual exhaust system.
I really didn't set out to make a ring that reminded me of a cyclops... but somehow that focal bead, surrounded by thick brass wire (like heavy, wrinkled eyelids) just screams "cyclops!" in my overactive imagination.
If no one else sees this, I won't be too disappointed.
Despite the monstrous connotations, it's extremely fun to wear.
The English Rose
The English rose is an iconic symbol of the British isles that evokes royalty, war and beautiful women - a potent combination. For this project i wanted to celebrate the beauty of the roses from which these connotations are born.
To capture these wonderful blooms i worked with David Austin Roses, the most renowned grower of English roses.
Over the course of two summers I set up a small studio at the headquarters of David Austin in Wolverhampton, using a bright blue background as a stark contrast to the array of colours you find in roses.
I was assisted by senior rosarian Michael Marriott who selected the best examples of each variety of rose for me to photograph.
My goal was simple to capture the diversity and beauty of this symbolic flower.
I love this image. It looks like a painting and I think the woman who created this image ( I never like the word capture..even though it's appropriate...there are too many negative connotations associated with such a word ) captures women in a unique way.
I'm getting ready for my first showcase at ICP ( NYC ) come mid March. Be on the look out.
West Africa.
Benin.
Cotonou
Le temple de Mami Dan.
Tchêtoula.
Voodoo is completely normal in Benin.
People across West Africa, especially Togo, Ghana and Nigeria hold similar beliefs but in Benin it is recognised as an official religion, followed by some 40% of the population.
Voodoo Day is a public holiday and there is a national Voodoo museum.
It has none of the negative connotations it has in the West and many of those who are officially Christian or Muslim also incorporate some Voodoo elements into their beliefs, especially in times of crisis.
But Voodoo is more than a belief system, it is a complete way of life, including culture, philosophy, language, art, dance, music and medicine.
The Voodoo spiritual world consists of Mahou, the supreme being and about 100 divinities - or Voodoos - who represent different phenomena, such as war and blacksmiths (Gou), illness, healing and earth (Sakpata), storms, lightning and justice (Heviosso) or water (Mami Wata).
Voodoo priests ask these gods to intervene on behalf of ordinary people but local adherents stress that they have nothing to do with sorcery or black magic.
People here do not stick needles into dolls to cause misfortune to their enemies, as you see in some Western films - this image may have arisen from the icons of a particular god which a priest may have in their shrine.
Some Voodoo priests use herbs to cure the sick - and possibly to poison enemies.
They also sometimes ask for offerings, such as a chicken or a sheep, which is then sacrificed to the divinity, or some alcohol is poured onto the floor.
This can happen when asking for help or when you wish has been granted.
People seek help on a variety of issues - to be cured of a disease, find a job, complete a business deal, find a spouse or have a child.
The Kaapse Klopse (or simply Klopse) is a minstrel festival that takes place annually on January 2, in Cape Town. As many as 13,000 minstrels take to the streets garbed in bright colours, either carrying colourful umbrellas or playing an array of musical instruments.
The minstrels are grouped into klopse ("clubs" in Cape Dutch, but more accurately translated as troupes in English). Participants are typically from Afrikaans-speaking working class "coloured" families who have preserved the custom since the mid-19th century.
Although it was called the 'Coon Carnival' by Capetonians, local authorities have renamed the festival the Cape Town Minstrel Carnival as the word "coon" has, in recent years become a term with derogatory and racial connotations.
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
This rare fresco of Jesus holding a sword is located inside the Deçan/Dečani Monastery, in Kosovo. The sword has a rather spiritual meaning and does not have the connotation of war. It is supposed to be a sword that cuts the sin from men.
The English Rose
The English rose is an iconic symbol of the British isles that evokes royalty, war and beautiful women - a potent combination. For this project i wanted to celebrate the beauty of the roses from which these connotations are born.
To capture these wonderful blooms i worked with David Austin Roses, the most renowned grower of English roses.
Over the course of two summers I set up a small studio at the headquarters of David Austin in Wolverhampton, using a bright blue background as a stark contrast to the array of colours you find in roses.
I was assisted by senior rosarian Michael Marriott who selected the best examples of each variety of rose for me to photograph.
My goal was simple to capture the diversity and beauty of this symbolic flower.
Jaguar Cars Ltd., better known simply as Jaguar is a British luxury car manufacturer, headquartered in Coventry, England.
Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before switching to passenger cars. The name was changed to Jaguar after World War II due to the unfavourable connotations of the SS initials.
The Jaguar E-Type (UK) or XK-E (US) is a British automobile manufactured by Jaguar between 1961 and 1974. Its combination of good looks, high performance, and competitive pricing established the marque as an icon of 1960s motoring. A great success for Jaguar, over seventy thousand E-Types were sold during its lifespan.
In March 2008, the Jaguar E-Type ranked first in Daily Telegraph list of the "100 most beautiful cars" of all time. In 2004, Sports Car International magazine placed the E-Type at number one on their list of Top Sports Cars of the 1960s.
The E-Type was initially designed and shown to the public as a grand tourer in two-seater coupé form (FHC or Fixed Head Coupé) and as convertible (OTS or Open Two Seater). The 2+2 version with a lengthened wheelbase was released several years later.
On its release Enzo Ferrari called it "The most beautiful car ever made".
The model was made in three distinct versions which are now generally referred to as "Series 1", "Series 2" and "Series 3". A transitional series between Series 1 and Series 2 is known unofficially as "Series 1½".
The Series 1 was introduced, initially for export only, in March 1961. The domestic market launch came four months later in July 1961.[7] The cars at this time used the triple SU carburetted 3.8 litre 6-cylinder Jaguar XK6 engine from the XK150S. The first 500 cars built had flat floors and external hood (bonnet) latches. These cars are rare and more valuable. After that, the floors were dished to provide more leg room and the twin hood latches moved to inside the car. The 3.8 litre engine was increased to 4.2 litres in October 1964.[7]
All E-Types featured independent coil spring rear suspension with torsion bar front ends, and four wheel disc brakes, in-board at the rear, all were power-assisted. Jaguar was one of the first auto manufacturer to equip cars with disc brakes as standard from the XK150 in 1958. The Series 1 can be recognised by glass covered headlights (up to 1967), small "mouth" opening at the front, signal lights and tail-lights above bumpers and exhaust tips under the licence plate in the rear.
3.8 litre cars have leather-upholstered bucket seats, an aluminium-trimmed centre instrument panel and console (changed to vinyl and leather in 1963), and a 4-speed gearbox that lacks synchromesh for 1st gear ("Moss box"). 4.2 litre cars have more comfortable seats, improved brakes and electrical systems, and an all-synchromesh 4-speed gearbox. 4.2 litre cars also have a badge on the boot proclaiming "Jaguar 4.2 Litre E-Type" (3.8 cars have a simple "Jaguar" badge). Optional extras included Chrome Spoked wheels and a detachable hard top for the Open Two Seater.
There was a transitional series of cars built in 1967-68, unofficially called "Series 1½", which are externally similar to Series 1 cars. Due to American pressure the new features were open headlights, different switches, and some de-tuning (with a downgrade of twin Zenith-Stromberg carbs from the original triple SU carbs) for US models. Some Series 1½ cars also have twin cooling fans and adjustable seat backs. Series 2 features were gradually introduced into the Series 1, creating the unofficial Series 1½ cars, but always with the Series 1 body style.
Less widely known, there was also right at the end of Series 1 production and prior to the transitional "Series 1½" referred to above, a very small number of Series 1 cars produced with open headlights. These are sometimes referred to as "Series 1¼" cars. Production dates on these machines vary but in right hand drive form production has been verified as late as March 1968.[ It is thought that the low number of these cars produced relative to the other Series make them amongst the rarest of all production E Types.
An open 3.8 litre car, actually the first such production car to be completed, was tested by the British magazine The Motor in 1961 and had a top speed of 149.1 mph (240.0 km/h) and could accelerate from 0-60 mph (97 km/h) in 7.1 seconds. A fuel consumption of 21.3 miles per imperial gallon (13.3 L/100 km; 17.7 mpg-US) was recorded. The test car cost £2097 including taxes
The Asian water monitor (Varanus salvator) is a large varanid lizard native to South and Southeast Asia. It is one of the most common monitor lizards in Asia, ranging from coastal northeast India, Bangladesh, Sri Lanka, mainland Southeast Asia, and southern China to Indonesian islands where it lives close to water. It is listed as Least Concern on the IUCN Red List. It was described by Laurenti in 1768 and is among the largest squamates in the world.
Etymology
The generic name Varanus is derived from the Arabic waral (ورل), which translates as "monitor". The specific name is the Latin word for "saviour", denoting a possible religious connotation. The water monitor is occasionally confused with the crocodile monitor (V. salvadorii) because of their similar scientific names.
Some common names for the species are Malayan water monitor, common water monitor, two-banded monitor, rice lizard, ring lizard, plain lizard, no-mark lizard and water monitor etc.
Taxonomy
Stellio salvator was the scientific name used by Josephus Nicolaus Laurenti in 1768 for a water monitor specimen.
The family Varanidae contains nearly 80 species of monitor lizards, all of which belong to the genus Varanus. There is a significant amount of taxonomic uncertainty within this species complex. Morphological analyses have begun to unravel this taxonomic uncertainty but molecular studies are needed to test and confirm the validity of certain groupings within this genus. Research initiatives such as these are very important to assess changes in conservation assessments.
Subspecies
V. s. salvator is the nominate subspecies and is now restricted to Sri Lanka, where it is known as the kabaragoya (කබරගොයා) in Sinhala and kalawathan in Tamil.
V. s. andamanensis, the Andaman Islands water monitor, inhabits the Andaman Islands and the Southern Nicobar Islands.; the type locality is Port Blair.
V. s. bivittatus (Mertens 1959), the two-striped water monitor, is common to Java, Bali, Lombok, Sumbawa, Flores, Alor, Wetar, and some neighbouring islands within the Sunda archipelago in Indonesia; the type locality is Java.
V. s. macromaculatus, the Southeast Asian water monitor, is found in mainland Southeast Asia, Singapore, Sumatra, Borneo, and smaller associated offshore islands. The type specimen was captured in Thailand.
V. s. ziegleri, Ziegler's water monitor, is from Obi Island.
Melanistic V. s. macromaculatus
Varanus cumingi, Varanus marmoratus, and Varanus nuchalis were classified as subspecies until 2007, when they were elevated to full species.
The black water monitor from Thailand (type locality: Amphoe La-ngu, Satun Province and Thai-Malaysian border area was formerly the subspecies V. s. komaini, but now is regarded as a junior synonym and melanistic population of V. s. macromaculatus.
Description
The water monitor is a large species of monitor lizard. Breeding maturity is attained for males when they are a relatively modest 40 cm (16 in) long and weigh 1 kg (2.2 lb), and for females at 50 cm (20 in). However, they grow much larger throughout life, with males being larger than females. Adults rarely exceed 1.5–2 m (4 ft 11 in – 6 ft 7 in) in length, but the largest specimen on record, from Sri Lanka, measured 3.21 m (10.5 ft). A common mature weight of V. salvator can be 19.5 kg (43 lb). However, 80 males killed for the leather trade in Sumatra averaged only 3.42 kg (7.5 lb) and 56.6 cm (22.3 in) snout-to-vent and 142 cm (56 in) in total length; 42 females averaged only 3.52 kg (7.8 lb) and 59 cm (23 in) snout-to-vent and 149.6 cm (58.9 in) in total length, although unskinned outsized specimens weighed 16 to 20 kg (35 to 44 lb).
Another study from the same area by the same authors similarly estimated mean body mass for mature specimens at 20 kg (44 lb) while yet another study found a series of adults to weigh 7.6 kg (17 lb). A sample of 55 Asian water monitors found them in the weight range of 2 to 32 kg (4.4 to 70.5 lb). The maximum weight of the species is over 50 kg (110 lb). In exceptional cases, the species has been reported to reach 75 to 90 kg (165 to 198 lb), though most such reports are unverified and may be unreliable.
They are the world's second-heaviest lizard, after the Komodo dragon. Their bodies are muscular, with long, powerful, laterally compressed tails. The scales in this species are keeled; scales found on top of the head have been noted to be larger than those located on the back. Water monitors are often defined by their dark brown or blackish coloration with yellow spots found on their underside - these yellow markings have a tendency to disappear gradually with age. This species is also denoted by the blackish band with yellow edges extending back from each eye. These monitors have very long necks and an elongated snout. They use their powerful jaws, serrated teeth and sharp claws for both predation and defense.
In captivity, Asian water monitors' life expectancy has been determined to be anywhere between 11 and 25 years depending on conditions, in the wild it is considerably shorter.
Distribution and habitat
The Asian water monitor is widely distributed from India, Bangladesh, Sri Lanka, Myanmar and Thailand, Cambodia, Laos, Vietnam, the Chinese Guangxi and Hainan provinces, Malaysia, Singapore to the Sunda islands Sumatra, Java, Bali, Borneo and Sulawesi. It inhabits primarily lowland freshwater and brackish wetlands. It has been recorded up to an elevation of 1,800 m (5,900 ft).
The Asian water monitor is semiaquatic and opportunistic; it inhabits a variety of natural habitats though predominantly resides in primary forests and mangrove swamps. It has been noted that it is not deterred from living in areas of human disturbance. In fact, it has been known to adapt and thrive in agricultural areas as well as cities with canal systems, such as in Sri Lanka, where they are not hunted or persecuted. Habitats that are considered to be most important are mangrove vegetation, swamps, wetlands, and elevations below 1,000 m (3,300 ft). It does not thrive in habitats with extensive loss of natural vegetation and aquatic resources.
Behaviour and ecology
Water monitors defend themselves using their tails, claws, and jaws. They are excellent swimmers, using the raised fin on their tails to steer through water. When encountering smaller prey items, the water monitor will subdue it in its jaws and proceed to violently thrash its neck, destroying the prey's organs and spine which leaves it dead or incapacitated. The lizard will then swallow it whole.
In dominantly aquatic habitats their semiaquatic behavior is considered to provide a measure of safety from predators. Paired with their generalist diet, this is thought to contribute to their ecological plasticity. When hunted by predators such as the king cobra (Ophiophagus hannah) they will climb trees using their powerful legs and claws. If this evasion is not enough to escape danger, they have also been known to jump from trees into streams for safety, a tactic similar to that of the green iguana (Iguana iguana).
Like the Komodo dragon, the water monitor will often eat carrion. They have a keen sense of smell and can smell a carcass from far away. They are known to feed on dead human bodies. While on the one hand their presence can be helpful in locating a missing person in forensic investigations, on the other hand they can inflict further injuries to the corpse, complicating ascertainment of the cause of death.
The first description of the water monitor and its behaviour in English literature was made in 1681 by Robert Knox, who observed it during his long confinement in the Kingdom of Kandy: "There is a Creature here called Kobberaguion, resembling an Alligator. The biggest may be five or six feet long, speckled black and white. He lives most upon the Land, but will take the water and dive under it: hath a long blue forked tongue like a sting, which he puts forth and hisseth and gapeth, but doth not bite nor sting, tho the appearance of him would scare those that knew not what he was. He is not afraid of people, but will lie gaping and hissing at them in the way, and will scarce stir out of it. He will come and eat Carrion with the Dogs and Jackals, and will not be scared away by them, but if they come near to bark or snap at him, with his tail, which is long like a whip, he will so slash them, that they will run away and howl."
Water monitors are prone to attacking humans when threatened, and should be handled with caution. The bite of a water monitor can inflict a severe injury.
Diet
They are carnivores, and consume a wide range of prey. They are known to eat fish, frogs, rodents, birds, crabs, and snakes. They have also been known to eat turtles, as well as young crocodiles and crocodile eggs. Water monitors have been observed eating catfish in a fashion similar to a mammalian carnivore, tearing off chunks of meat with their sharp teeth while holding it with their front legs and then separating different parts of the fish for sequential consumption.
The diet of the Asian water monitor in an urban area in central Thailand includes fish, crabs, Malayan snail-eating turtles (Malayemys macrocephala), Chinese edible frogs (Hoplobatrachus rugulosus), birds, small rodents, domestic cats (Felis catus) and dogs (Canis familiaris), chickens (Gallus gallus domesticus), food scraps and carcass. The stomachs of 20 adult Asian water monitors caught on Redang Island contained mostly human food waste, followed by turtle eggs and hatchlings, crabs and lizard eggs.
Venom
The possibility of venom in the genus Varanus is widely debated. Previously, venom was thought to be unique to Serpentes (snakes) and Heloderma (venomous lizards). The aftereffects of a Varanus bite were thought to be due to oral bacteria alone, but recent studies have shown venom glands are likely to be present in the mouths of several, if not all, of the species. The venom may be used as a defensive mechanism to fend off predators, to help digest food, to sustain oral hygiene, and possibly to help in capturing and killing prey.
Predation
Adult water monitors have few natural predators, and are only known to be preyed on by saltwater crocodiles (Crocodylus porosus).
Threats
Monitor lizards are traded globally and are the most common type of lizard to be exported from Southeast Asia, with 8.1 million exported between 1998 and 2007 for the international leather market.[28] The Asian water monitor is one of the most exploited varanids; its skin is used for fashion accessories such as shoes, belts and handbags which are shipped globally, with as many as 1.5 million skins traded annually. Other uses include a perceived remedy for skin ailments and eczema, novelty food in Indonesia, and a perceived aphrodisiac, and as pets. In India, several tribal communities hunt these monitor lizards for their meat, fat and skin and the eggs are also harvested. They are often considered as pests and their populations are also threatened by habitat loss and habitat fragmentation.
Conservation
In Nepal, it is a protected species under the Wild Animals Protection Act of 2002. In Hong Kong, it is a protected species under Wild Animals Protection Ordinance Cap 170. In Malaysia, this species is one of the most common wild animals, with numbers comparable to the population of macaques there. Although many fall victim to humans via roadkill and animal cruelty, they still thrive in most states of Malaysia, especially in the shrubs of the east coast states such as Pahang and Terengganu. In Thailand, all monitor lizards are protected species. It is still common in large urban areas in Thailand and is frequently seen in Bangkok's canals and parks. Because of this, it is currently listed as Least Concern in the IUCN Red List. These classifications have been made on the basis that this species maintains a geographically wide distribution, can be found in a variety of habitats, adapts to habitats disturbed by humans, and is abundant in portions of its range despite large levels of harvesting.
Loss of habitat and hunting has exterminated water monitors from most of mainland India. In other areas they survive despite being hunted, due in part to the fact that larger ones, including large females that breed large numbers of eggs, have tough skins that are not desirable.
In Sri Lanka, it is protected by local people who value its predation of "crabs that would otherwise undermine the banks of rice fields". It is also protected as it eats venomous snakes.
The species is listed in Appendix II of the Convention on International Trade in Endangered Species (CITES) meaning international trade (import/export) in specimens (including parts and derivatives) is regulated.
Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before switching to passenger cars. The name was changed to Jaguar after World War II due to the unfavourable connotations of the SS initials.
(Wikipedia)
Jaguar wurde 1922 von Sir William Lyons als Swallow Sidecar Company gegründet. Ursprünglich fertigte das Unternehmen Seitenwagen für Motorräder, bevor man sich auf die Produktion von PKW verlegte. Der Name wurde nach dem zweiten Weltkrieg in Jaguar geändert, um Assoziationen mit der NSDAP-Organisation „SS“ zu vermeiden.
ATLANTA—A 60-pound pear is to be installed at the High Museum of Art in Atlanta on November 12th. Made from reinforced plastic, the enormous fruit is part of a larger pop-art sculpture by the husband-wife team of Claes Oldenburg and Coosje van Bruggen, according to today's New York Times. The couple has been creating large, whimsical sculptures for American cities for decades.
Called informally Peaches and Pears, the work is a still life, of sorts, with 18 pieces of fruit. It's also a reference to 19th century novelist Honore de Balzac, "who hailed from the abundant wine country of the Loire Valley, and a French lawn bowling game."
The deputy director of the High Museum, Philip Verre, says the cost of the Balzac/Petanque sculpture is a "1 million-plus." 8.5 tons of sand will be added next month to install the sculpture.
"The way it is set up on the terrace could not be more beautiful," said Van Bruggen during an interview from the couple's New York studio. "I'm not necessarily preferring peaches over pears, but now the piece is situated near Peachtree. That's a very interesting new connotation."
West Africa.
Benin.
Cotonou
Le temple de Mami Dan.
Tchêtoula.
Voodoo is completely normal in Benin.
People across West Africa, especially Togo, Ghana and Nigeria hold similar beliefs but in Benin it is recognised as an official religion, followed by some 40% of the population.
Voodoo Day is a public holiday and there is a national Voodoo museum.
It has none of the negative connotations it has in the West and many of those who are officially Christian or Muslim also incorporate some Voodoo elements into their beliefs, especially in times of crisis.
But Voodoo is more than a belief system, it is a complete way of life, including culture, philosophy, language, art, dance, music and medicine.
The Voodoo spiritual world consists of Mahou, the supreme being and about 100 divinities - or Voodoos - who represent different phenomena, such as war and blacksmiths (Gou), illness, healing and earth (Sakpata), storms, lightning and justice (Heviosso) or water (Mami Wata).
Voodoo priests ask these gods to intervene on behalf of ordinary people but local adherents stress that they have nothing to do with sorcery or black magic.
People here do not stick needles into dolls to cause misfortune to their enemies, as you see in some Western films - this image may have arisen from the icons of a particular god which a priest may have in their shrine.
Some Voodoo priests use herbs to cure the sick - and possibly to poison enemies.
They also sometimes ask for offerings, such as a chicken or a sheep, which is then sacrificed to the divinity, or some alcohol is poured onto the floor.
This can happen when asking for help or when you wish has been granted.
People seek help on a variety of issues - to be cured of a disease, find a job, complete a business deal, find a spouse or have a child.
The English Rose
The English rose is an iconic symbol of the British isles that evokes royalty, war and beautiful women - a potent combination. For this project i wanted to celebrate the beauty of the roses from which these connotations are born.
To capture these wonderful blooms i worked with David Austin Roses, the most renowned grower of English roses.
Over the course of two summers I set up a small studio at the headquarters of David Austin in Wolverhampton, using a bright blue background as a stark contrast to the array of colours you find in roses.
I was assisted by senior rosarian Michael Marriott who selected the best examples of each variety of rose for me to photograph.
My goal was simple to capture the diversity and beauty of this symbolic flower.
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
A great deal of boudoir; is now created in the photographer's studio or in luxury hotel suites, where it has become very fashionable to create a set of sensual images for women in boudoir style. This often takes the shape of partly clothed images or images in lingerie, and has become more than just a passing fad for brides to surprise their future husbands. Although in the past there were many negative connotations associated with boudoir photography, in recent years the trend has begun to gain momentum, and the entire look of boudoir photography has begun to change...
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
Protestors marched down Central Ave. across from the University of New Mexico as part of the nationwide Occupy Together movement.
The local movement changed its name from Occupy Albuquerque after concerns were raised about the negative connotations of the word 'occupy' in a city with a large Native American population.
If anything can show the change in the English language, or rather the connotation associated with various words - this advert does it! Actually I rather enjoy the 'slip off the tongue" captions - not only couldn't they agree on just one advertising caption but "You get more health and happiness for 2d on Clacton Pier than anywhere else in Europe" - I wonder who checked that out! Clacton's heyday as a seaside down has possibly long gone but it is still a pleasant day out.
An hour at the dentist's office - just a cleaning! :) Very precise tools and delicate maneuvering contribute to a successful result. Dentist visits can be quite unappealing, but over the years the tools have more finesse and, at least for my dentist, the people are very understanding and caring....making the trip less stressful.
For some students, the daily visit to school can be just as much a 'turn-off' and though, I'm not a proponent of creating environments without the appropriate seriousness, we could take an important message from those 'negative' connotations of sitting in the dentist chair! Dr. Brick's office, Central Ave, Naples, FL
German Mark 1940
Despite its evil connotation & the swastika it sits upon, I love the Gothic Eagle depicted on this wartime Deutche Mark coin. The font is pretty ominous too... this coin just oozes history, I can just imagine it being buried in rubble at some point after it's owner was killed in an Allied Bombing Raid in WWII.
Only by teaching the horrors of Humanity's darkest hour can we truly go forward as one collective human race.
Evil, Narcissistic, Murderous Dictators like Hitler and Stalin will always be a dark element in any civilization. The best way to suppress them is democracy, widespread firearm ownership by the civilian population & freedom of speech / press.
See more car pics on my facebook page!
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The Jaguar SS100 is a British 2-seat sports car built between 1936 and 1940 by SS Cars Ltd of Coventry, England. The last one is thought to have been delivered in 1941.
The SS Cars Ltd Model 100 "Jaguar" was so named as the '100' reflected the capability of the 3.5-litre model to exceed 100 mph - then a remarkable speed for a production vehicle. In common with many products of the thirties, the adoption of an animal name was deemed appropriate, and once approved by Bill Lyons the name "Jaguar" was given to a new saloon car in 1936, and from that point to all the cars. .
Following the Second World War, because of the connotations then attached to the initials ""SS", the company was renamed Jaguar in 1945.
(Wikipedia)
In 1936, only five years after beginning production, SS Cars startled the motoring public with the Jaguar 2.5-liter saloon, the company’s first car to feature overhead valves. The engine was the robust seven-bearing, six-cylinder unit built by Standard, but with a new cylinder head designed by Harry Weslake and Bill Heynes. With 104 bhp, smoothly delivered, flowing lines, a gearbox which made the best of the power, and a new chassis, it was the model which made the company’s reputation. Jaguar was then only a model name, but it was adopted as the company’s name after “SS” had acquired unfortunate connotations during the war.
If the Jaguar saloon epitomized excitement, it was as nothing compared to the Jaguar SS 100. No sports car better epitomizes the late 1930s, which is why it has been the model for so many modern “nostalgia” cars. It looked right from every angle and age has not withered its beauty.
Every aspect was in harmony. Stone guards over the large headlights, the long louvered bonnet and large wire wheels were aggressive, yet the flowing lines were silkily feline. It has the grace of a prowling cat. At Brooklands in 1936 a tuned and lightened version lapped at 104.1 mph, but normally owners tended not to race them. Instead they appeared in the rallies, trials and sprints which formed the bulk of British motorsport and they were successful because of their superb power-to-weight ratio, gearbox, brakes and handling. They were great all-rounders.
Chassis number 39030 was originally dispatched to Glovers, the early SS Jaguar dealers for Ripon on January 13, 1938. The Jaguar Daimler Heritage Trust, who have issued a Heritage Certificate for the car, record that it was originally delivered finished in lavender with blue trim. Purchased from Coys of Kensington in 1975, this beautiful example subsequently spent twenty years with a French enthusiast, before returning to home shores in the late 1990s. During its spell in France it underwent a comprehensive restoration by specialists Le Coq, in which the chassis and fittings were meticulously overhauled. The car comes with its original 3.5-liter engine and gearbox, although it is currently fitted with a competition power unit and uprated gearbox. These items were assembled in the vendor’s own workshops, specifically for competitive motoring and detail work included gas flowing of the cylinder head, the fitment of bronze liners to guides and conversion to use unleaded fuel. Further work was subsequently carried out to the suspension and shock absorbers as well as the gearbox by SS Jaguar specialists TRAC at a cost of over $6,400. Much attention was paid to detail, so that components such as the body tub and petrol tank were carefully and discreetly flexibly mounted to avoid damage on the arduous road rallies in which 39030 has become a competitor.
By any usage, the SS 100 must be considered a true classic. It is rare, lovely, iconic, and best of all, enjoyable. Only 118 of these cars were ever built and yet so many still survive that it is a rare classic car gathering that doesn’t have at least one out for the day. Above all, they are cars that are used and enjoyed by their owners rather than being kept in hermetically-sealed display cases. And they are practical. Even with the original four-speed gearbox, the seven-bearing engine can stand long distances at modern highway speeds without undue risk. Speeds over 80 mph are not excessive, though one must bear in mind that the car will be brought to a stop with rod-operated drum brakes slowing narrow tires.
This example is not particularly original in its detailing. One specialist noted incorrect chroming used on many pieces and substitutions of modern parts for some components. However, this car was restored to stand up to challenging secondary roads rather than straw-hatted concours scrutineers. The substitution of a competition-built engine (probably from a 3.5-liter Jaguar saloon) and a modern five-speed gearbox are in keeping with this intention, though the original drivetrain was included. If the new owner had the same intention of driving this car hard and enjoying its rugged power, then the price for this attractive, event-proven car was reasonable. It can easily be enjoyed for a season or two of vintage rallying and then cleaned up and sold, with very little net cost to the owner
The original stone may have been a megalithic marker. The oldest depictions show a larger stone and site it at a different place to that of the cage protected current lithic marker. The outdoor rural court at the larger Birlay Stone under the shade of the Birley Tree first found Marion Lillie who was locally called either the Rigwoodie, or the Ringwoody Witch not guilty. The Rigwoody Witch was later accused again, the Rigwoody attached to her name and label of witch is from the Scots Rigwoody meaning thin, or bony. Her second recorded trial has her sent to further courts with a guilty verdict to present to them. Some suppose that she would have been found guilty there and put to death as a witch. Before the imperfect legal process was concluded Marion died and was buried in Spott Church grounds showing she was not convicted at the time of her demise.
Whether the either the process of accusation and defence were contributing factors in Marion’s death, or not the records are not present to say, yet there is a record, “Many witches burnt on Spott Loan,” this follows Marion’s death and some believe that these many were 13, maybe a number not recorded, as 13 are considered by some an ideal number for a coven and 13 has several wicked and even evil connotations for some. The records and several authors comments are visible through the links below. Some record Marion and link her to a Marion Lillie and some record her as the last witch burned in Scotland. We will never have that perspective that ran throughout the times when Europeans thought Witches were to be discovered, tortured and put to death. That perspective that allowed many to dispose of often elderly women who some saw as hanging on to what they waited too long for. Through the death of the falsely accused person others could be rid of the living obstacle by convicting them and killing them as a witch.
Before society could allow for people differing from ‘the norm’ there were many targets to haul before what passed for justice. Those times for some are not that far away and we can at times act like such victimisation is still completely acceptable. Every culture has people at risk as we seem to realise that high ideals are for art, culture and dreams and that low acceptance is still fuelling violence and inherited intolerance is still simmering ready to burn any that happen to be seen as Witch, whatever it meant back then and for whatever it means today. Witch is a word we say, for some it is used as an insult and a slander. Witches past and present are the ones victimised and victorious in reclaiming our rights to be different and to accepted, to be in need as we all are of the harmony and the balance that comes through tolerance. Witch is just one word that people have used to label and dehumanise another person to such extreme that a Witch being murdered was seen a blessing.
The links below give the history better than I have above.
This was part of a journey to other sites. Some are listed below.
© PHH Sykes 2022
phhsykes@gmail.com
The Witches Stone. Spott Community Association
www.spottvillage.org.uk/witches-stone-2/
Witches' Stone, Spott
canmore.org.uk/site/57667/witches-stone-spott
Witches' Stone, Spott
www.themodernantiquarian.com/site/6453/witches_stone.html
Witches' Stone, Spott
www.megalithic.co.uk/article.php?sid=8239
Witches' Stone, Spott
www.johngraycentre.org/collections/getrecord/ELHER_MEL1560/
Spott Church
Easter Broomhouse Standing Stone (Prehistoric)
canmore.org.uk/site/57622/easter-broomhouse
Also The Modern Antiquarian and The Megalithic Portal
Easter Broomhouse Standing Stone
www.themodernantiquarian.com/site/1492/
Easter Broomhouse Standing Stone
www.megalithic.co.uk/article.php?x=368000&y=676600
Pencraig Hill Standing Stone (Prehistoric)
www.themodernantiquarian.com/site/1494/pencraig_hill_stan...
Pencraig Hill Standing Stone (Prehistoric)
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
A great deal of boudoir; is now created in the photographer's studio or in luxury hotel suites, where it has become very fashionable to create a set of sensual images for women in boudoir style. This often takes the shape of partly clothed images or images in lingerie, and has become more than just a passing fad for brides to surprise their future husbands. Although in the past there were many negative connotations associated with boudoir photography, in recent years the trend has begun to gain momentum, and the entire look of boudoir photography has begun to change...
The English Rose
The English rose is an iconic symbol of the British isles that evokes royalty, war and beautiful women - a potent combination. For this project i wanted to celebrate the beauty of the roses from which these connotations are born.
To capture these wonderful blooms i worked with David Austin Roses, the most renowned grower of English roses.
Over the course of two summers I set up a small studio at the headquarters of David Austin in Wolverhampton, using a bright blue background as a stark contrast to the array of colours you find in roses.
I was assisted by senior rosarian Michael Marriott who selected the best examples of each variety of rose for me to photograph.
My goal was simple to capture the diversity and beauty of this symbolic flower.
Actually scones sit I think rather than stand but that spoils the connotations of the title, and no I left it alone, late in the day, I like them fresh.
At least typing I avoid the pronunciation issue LOL.
I'm generously letting them off the plural as there may have been more to start with.
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
I shot this from the boat. Pope's Eye is the uncompleted foundation for an island fort intended to defend the entrance to Port Phillip in the state of Victoria, Australia. It is less than a kilometre south-west of the former Chinaman's Hat.
It has been protected as a marine reserve since 1979 and is now part of the Port Phillip Heads Marine National Park. It is located about 7 km inside Port Phillip Heads, 3 km east of Queenscliff and 5 km north of Portsea. It is named after a naval midshipman and has no religious connotations.
Construction of Pope’s Eye began in the 1880s, under the supervision of Sir William Jervois, by dumping bluestone boulders on a submerged (12 m deep) sandbank until they formed a horse-shoe shaped artificial reef, open to the north-east, just above high-water level. Construction ceased before completion as a fort because improvements in naval gunnery enabled the entrance to Port Phillip (The Rip) and the associated shipping channel to be protected by guns at the nearby Swan Island fort, as well as at Fort Queenscliff and Fort Nepean, making Pope’s Eye redundant for military purposes. The reef now now hosts a navigation beacon.
The inside of the ‘eye’ is only about 2 m deep and is accessible to small boats as a sheltered anchorage. It is protected from strong currents and the whole structure is popular with snorkelers and scuba-divers.
The Jaguar SS100 is a British 2-seat sports car built between 1936 and 1940 by SS Cars Ltd of Coventry, England. The last one is thought to have been delivered in 1941.
The SS Cars Ltd Model 100 "Jaguar" was so named as the '100' reflected the capability of the 3.5-litre model to exceed 100 mph - then a remarkable speed for a production vehicle. In common with many products of the thirties, the adoption of an animal name was deemed appropriate, and once approved by Bill Lyons the name "Jaguar" was given to a new saloon car in 1936, and from that point to all the cars. .
Following the Second World War, because of the connotations then attached to the initials ""SS", the company was renamed Jaguar in 1945.
(Wikipedia)
- - -
Der S.S. 100 wurde im Herbst 1935 parallel zum S.S. Jaguar 2 ½ Litre von der S.S. Cars Ltd auf den Markt gebracht, und zwar, wie sein Vorgänger S.S.90, als zweisitziger Roadster. Es ist das erste Fahrzeug, das den Namen Jaguar trägt. Im März 1945 wurde der Firmenname auf Jaguar umgeändert, da der Nationalsozialismus dem Kürzel SS ein negatives Image bescherte.
Der S.S. 100 hatte den gleichen Sechszylinder-Reihenmotor mit 2663 cm³ Hubraum und 102 bhp wie der S.S. Jaguar 2 ½ Litre, der von der Standard Motor Company mitsamt fertig montiertem Fahrwerk zugeliefert wurde. Über ein Viergang-Getriebe mit Mittelschaltung wurden die Hinterräder angetrieben. Der Roadster erreicht eine Höchstgeschwindigkeit von knapp 160 km/h - ca. 100 mph, daher die Ziffernbezeichnung im Namen.
(Wikipedia)
Performance Café with Perforated Sides, 2010
Dan Graham - New York City, USA
Installation
In Performance Café with Perforated Sides (2010), Dan Graham creates a structure that is intended to function as a space for performance and encounter. The pavilion evokes connotations of performer and audience, even when it is encountered alone, as viewers see themselves reflected in its shimmering surface. Conceptually, Performance Café is a stage. Two walls of the pavilion are made with perforated stainless steel. The two alternate ends of the pavilion are made of semi-reflective two-way mirror glass. Both mirror and steel create optical effects, unique experiences for each viewer. The perforations in the steel create a moiré pattern, an effect of visual interference, created by the two-different sized perforations. These quasi-hallucinogenic effects are reminiscent of the optical effects of rock shows and the psychedelic drug experiences associated with youth and rock culture. As a stage, or in its alternate potential use as a café, the pavilion beckons as a space for human interaction on a grand or intimate scale.
Co-produced by Plug In Institute of Contemporary Art, Winnipeg www.plugin.org
Dan Graham (New York) was born in Urbana, Illinois, and grew up in New Jersey. His diverse art practice encompasses performance, installation, writing, and video, and he is a leading figure in the history of 20th century art. In the late 1970s Graham began creating his pavilions, steel and semi-reflective glass architectural structures that are the logical continuation of his research into subjectivity and objectivity, performer and audience, self and other, an exploration he began in the 1960s in video and performance art.
#1882 - 2013 Day 55: This piece of driftwood has been part of our household decor for longer than I can remember. It has taken 1882 days to get around to making something of it for the lens.
I am always hoping that there are imaginative shapes and connotations that others will see in objects like this. I could have given it a cutesy title to give away my thoughts, but no; I'll leave it to you ...
A great deal of boudoir; is now created in the photographer's studio or in luxury hotel suites, where it has become very fashionable to create a set of sensual images for women in boudoir style. This often takes the shape of partly clothed images or images in lingerie, and has become more than just a passing fad for brides to surprise their future husbands. Although in the past there were many negative connotations associated with boudoir photography, in recent years the trend has begun to gain momentum, and the entire look of boudoir photography has begun to change...
Jaguar Cars Ltd., better known simply as Jaguar is a British luxury car manufacturer, headquartered in Coventry, England. It has been a wholly-owned subsidiary of the Indian company Tata Motors Ltd. since March 2008 and is operated as part of the Jaguar Land Rover business.
Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before switching to passenger cars. The name was changed to Jaguar after World War II due to the unfavourable connotations of the SS initials.
The Jaguar XK120 is a sports car which was manufactured by Jaguar between 1948 and 1954. Jaguar's first post-war sports car, it succeeded the SS 100, which ceased production in 1940.
The XK120 was launched in roadster form at the 1948 London Motor Show as a testbed and show car for the new Jaguar XK engine. It caused a sensation, which persuaded William Lyons to put it into production.
The "120" in its name referred to its 120 mph (193 km/h) top speed (faster with the windscreen removed), which made the XK120 the world's fastest standard production car at the time of its launch.[3].
It was available in two convertible versions — first as the roadster (designated OTS, for open two-seater, in America), then also as a drophead coupé, or DHC, from 1953 — and as a closed, or "fixed-head" coupé (FHC) from 1951. The DHC was a more deluxe model, featuring a beautiful wood dashboard and wood features on the door interiors.
The roadster version was successful in racing.
The first 242 cars, all roadsters hand-built between late 1948 and early 1950, had aluminium bodies on ash frames. To meet demand it was necessary for the mass-production versions, beginning with the 1950 model year, to have pressed-steel bodies. They retained aluminium doors, bonnet, and boot lid.
With alloy cylinder head and twin side draft SU carburetors, the dual overhead-cam 3.4 L straight-6 XK engine was comparatively advanced for a mass-produced unit of the time. With standard 8:1 compression ratio it developed 160 bhp (119 kW). [2] A 7:1 low compression version was also available to cope with low quality fuel. This same basic design of the XK engine, later modified into 3.8L and 4.2L versions, survived into the late 1980s.
All XK120s had independent torsion bar front suspension, semi-elliptic leaf springs at the rear, recirculating-ball steering, telescopically adjustable steering column, and all-round drum brakes that were prone to fade. Some cars were fitted with Alfin brake drums to help overcome this brake fade.
The roadster's lightweight canvas top and detachable sidescreens stowed out of sight behind the seats, and its barchetta-style doors had no external handles; instead there was an interior pull-cord which was accessible through a flap in the sidescreens when the weather equipment was in place. The windscreen could be removed for aeroscreens to be fitted.
The drophead coupé had a padded canvas top, which folded onto the rear deck behind the seats when not in use, and roll-up windows. The windscreen was fixed. Dashboards and door caps in both the FHC and DHC were wood-veneered, whereas the roadster's were leather-trimmed. All models had removable spats ("fender skirts" in America) covering the rear wheel arches, which enhanced the streamlined look. On cars fitted with optional centre-lock wire wheels (available from 1951), the spats were omitted as they gave insufficient clearance for the two-eared Rudge-Whitworth knockoff hubs.
In addition to wire wheels, upgrades on the Special Equipment, or SE, version (called the M version in the United States) included increased power, stiffer suspension and dual exhaust system.
This is something you would never see in the West. ... I even saw a 15-yr-old Thai Boxer with a swastika tattooed on his chest.
Edit: I researched the Swastika and found out Hitler actually stole it from the Buddhists. It originally means peace...
Connotations are weird.
Former Swedish Shell filling station at Strandvägen, Stockholm
by Peter Celsing in 1954-56
In my eyes the construction of this building has always been a reminiscence of Mies van der Rohe's Farnsworth House in Plano finished in 1951. The state of emptiness it is in right now, enhances this connotation even more and turns the building into some kind of "Everyday-Mies".
Replacing the 3.3 litre V12 275 Series Ferraris in 1966 was the new 330, featuring a 4.0 litre version of the Colombo engine. Launched first at the Geneva Motor Show as the GTC Berlinetta, the GTS Spider followed, at the Paris Motor Show.
The 330 used a development of the chassis from the 275, including the independent rear suspension and short wheelbase. The GTS even looked very alike to the earlier 275 GTS model.
The 330 was replaced in 1968 by the 4.4 litre 365 series, which was all but identical in style.
All models were styled by Pinifarina, except for a Zagato one-off for American Ferrari importer Luigi Chinetti.
This lego model 330 GTS Spider has been created for Flickr LUGNuts 60th Build Challenge, our fifth birthday to the 13th Build Challenge theme, - 'Fear and Loathing' - in light of the arachnid connotation in the model name. Interestingly, the term 'Spider' or 'Spyder' come from the name given to an open topped, lightweight and manouvreable horse-drawn carriage - which reflects the terms usage in open topped sportscars.