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One of the signs caught my eye, the "oben ohne" which generally means "topless" in German ... many people use it to mean something else given its naughty connotations. In this case it's another advertisement for the new U-Bahn.
Another great Tram Day in Vienna. This year in the Vienna Tram Museum. Too many people to get any good photos of trams, but I'll certainly some back.
Here's an English language link: www.wien.gv.at/english/culture/museums/tram.html
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.
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
Andy Magee
Sex Smells
Acrylic on paper
2009
Image size: approx. 27 x 62 inches
Paper size: 31 x 66 inches
Frame size: 70 x 35 inches
Price: $2400 U.S.
amagee@sbcglobal.net
According to Alan R. Hirsch, MD, and Neurological Director of the Smell and Taste Treatment and Research Foundation in Chicago, the smell of Good & Plenty candy subconciously triggers sexual arousal in women.
I always found this connection amusing and loaded with interesting connotations. The juxtaposition of the words "Sex," "Good," and "Plenty," is a coincidence too powerful (and humorous) to ignore. Another curious discovery was the design of the Good & Plenty package. When the boxes are arranged in a grid with every other box inverted, a dramatic pattern emerges. To me it is reminiscent of chromosomal strands of tightly wound DNA - another link to the subliminal sexual implications.
The painting was made with Thermafax screens - a technique very similar to silkscreening. The process required over 150 individual paint passes, each hand registered and applied, to create the complete image.
and I love colors as well. I'm getting tired of black and white and clean stuff, back to the messy origins.
there's no reality to portrait, no instant to capture, it's all a waste of time... beyond stories and connotations, on a pure aesthetic level, photography is just about meaningless shape and color put into a frame, the mind that experience them, and the archetypes in it. b/w just enhances shape and reduces cromathic distractions. Photoshop or not, it's always an illusion.
I believe the most realistic pics I made are my fractals:
At first glance these objects look like they are in motion, almost live every object is falling down, especially the "strawberry blanket". In
reality they are actually natural materials, like feathers, fruits and flowers, attached to nylon threads. Sculptor Claire Morgan from Belfast is
the creator of this magnificent art work. She has among other things achieved a first class degree in Sculpture from Northumbria University.
Since graduating she has pursued a career solely as a visual artist. She has exhibited internationally, with solo shows, residencies and comissions
across the UK, as well as group exhibitions in Europe. At an early stage she developed a strong interest in the organic, in natural proceses, and in the
bodily connotations of natural materials. This formed the basis for her practice as an artist creating sculptural installations and continues to
influence her work at present.
Forward 2 Friends - forward2friends.blogspot.com
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
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
All is miraculous in these puzzle. The idea. The connection. Colours, contours. The rarity of the occurrence. The leitmotiv of the painting that is the figures transfer us to the the world of the literature. I like such connotations very much.
For my Final Integrated project I am going to take photographs of highly stylized fashion portraits working in built up sets and using a large number of props and also having a model to interact in the situation. I have been looking at the work of Tim Walker and Denise Grunstein and was inspired by the scale and colour of their work.
The overall significance of these images is to illustrate and enhance the idea of a fantasy world, and to display its connotation can be found anywhere if we look hard enough. I took much influence from various types of media production, such as ‘Alice in Wonderland’ by Lewis Carroll.
Model - Emma Sudall
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.
My wife has a love for the sea, and a small dislike of cameras. After 22 years of marriage and 22 years of dealing with Navy Deployments, it's refreshing that looking out over the ocean doesn't come with that negative connotation of 'waiting'. And that despite the hand.. there's a smile.
Wigan Pier
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On the right, the reconstructed Wigan pier
Wigan Pier is the name given today to the area around the canal at the bottom of the Wigan flight of locks on the Leeds and Liverpool Canal.[1] It is a popular location for visitors and the local community in Wigan, Greater Manchester, England, situated just a few hundred yards south-west of the town centre. The name "Wigan Pier" has humorous connotations since it conjures an image of a seaside pleasure pier, whereas Wigan is in fact an inland and traditionally industrial town.
Contents [hide]
1 History
2 Existing buildings
3 Future
4 References
5 External links
History[edit]
The original "pier" at Wigan was a coal loading staithe, probably a wooden jetty, where wagons from a nearby colliery were unloaded into waiting barges on the canal. The original wooden pier is believed to have been demolished in 1929, with the iron from the tippler (a mechanism for tipping coal into the barges) being sold as scrap.[1]
The name Wigan Pier was possibly invented by and was brought to popular attention by George Formby, Sr. in the Music Halls of the early twentieth century and later by George Formby, Jr. who incorporated it into his songs. Someone looking out of an excursion train to Southport in the fog and seeing a coal gantry asked "Where are we?" and was told "Wigan Pier".[2] The tippler became the favoured location when people subsequently wanted to see it. There are references to it in songs such as On the Wigan Boat Express.[3]
In 1937, Wigan was featured in the title of George Orwell's The Road to Wigan Pier, which dealt, in large part, with the living conditions of England's working poor. In response to a critic, Orwell insisted "He [Orwell] liked Wigan very much — the people, not the scenery. Indeed, he has only one fault to find with it, and that is in respect of the celebrated Wigan Pier, which he had set his heart on seeing. Alas! Wigan Pier had been demolished, and even the spot where it used to stand is no longer certain."[4] Some have embraced the Orwellian link, as it has provided the area with a modest tourist base over the years. "It seems funny to celebrate Orwell for highlighting all our bad points, but Wigan wouldn't be anywhere near as famous without him," said the Wigan Pier Experience's manager, Carole Tyldesley. "In the end George Orwell has proved to be a strong marketing tool."[5] Others regard this connection as disappointing, considering it an insinuation that Wigan is no better now than it was at the time of Orwell's writing.[6]
To see the difference, it is worth recalling a description of the canal scene from The Road to Wigan Pier: "I remember a winter afternoon in the dreadful environs of Wigan. All round was the lunar landscape of slag-heaps, and to the north, through the passes, as it were, between the mountains of slag, you could see the factory chimneys sending out their plumes of smoke. The canal path was a mixture of cinders and frozen mud, criss-crossed by the imprints of innumerable clogs, and all round, as far as the slag-heaps in the distance, stretched the ‘flashes’ — pools of stagnant water that had seeped into the hollows caused by the subsidence of ancient pits. It was horribly cold. The ‘flashes’ were covered with ice the colour of raw umber, the bargemen were muffled to the eyes in sacks, the lock gates wore beards of ice. It seemed a world from which vegetation had been banished; nothing existed except smoke, shale, ice, mud, ashes, and foul water."[7]
Today, the slag heaps have been removed or landscaped with trees, the factories are closed or converted to housing and the canal is only used for recreational boating and fishing.
Existing buildings[edit]
The pier was at the end of a narrow gauge tramway from a colliery. The wagons would be brought right to the edge of the canal to be tippled so that their contents went straight into the waiting barges. The original wooden pier is believed to have been demolished in 1929, with the iron from the tippler being sold as scrap. Because of the more recent pride in the area's heritage, a replica tippler, consisting of two curved rails, has been erected at the original location.[1]
The original terminus of the canal, completed 1777
The former Wigan Terminus Warehouses were built in the 18th century and refurbished in the 1980s. Boats could moor inside the building and off-load directly into the warehouse.[8]
A warehouse with covered loading bays, converted into a museum of Victorian life (often mistakenly thought to be Wigan Pier), and the home to The Way We Were museum,[9] was part of the Wigan Pier Experience museum and exhibition centre. The exhibition featured a Victorian school room, a colliery disaster, the Second Boer War and (on the top floor) a complete pub transported from Hope Street and reconstructed by shopping centre developers. The Wigan Pier Theatre Company used these displays to remind present generations of "The Way We Were" – not always a happy life.[10] The attraction closed on 20 December 2007.[11]
Gibson's Warehouse is a Victorian cotton warehouse, originally built in 1777, re-built in 1984 as The Orwell at Wigan Pier, is situated on the canalside.[12]
Trencherfield Mill is a former cotton mill, located across the road from Wigan Pier - currently[when?] being converted into luxury apartments.[13] It still contains the massive working steam engine which will be kept in the new development.
There are several bridges across the canal. Bridge #51 Pottery Changeline is a roving bridge, one which swaps the tow path from one side of the canal to the other, usually in such a way as to allow the horse pulling the barge to pass easily and without disconnecting its tow-rope.[14] Bridge #50 Seven Stars Bridge is adjacent to the Seven Stars public house, taking its name from "The Plough" star constellation.[15]
There is a goldfish gallery in Ocean Park in Hong Kong which was made according to the traditional Chinese philosophy on feeding goldfish as pet and as something good can bring you wealth and fortune. I like it, well, I mean the interior design of this gallery. However, what is showed in the photo is not for everyone, only rich people have the money to make a special room only for goldfish, well, and the chinaware. Today, people in China still feed goldfish as pet at home with the same perspective on bringing in wealth and fortune. Well, I like goldfishes as well, although some of them really looked odd, weird and not so lovely for me. But, in general, I like them, or maybe I should say that I focus more on the cultural connotations refer to pet the goldfish. That's a unique and interesting cultural context in China.
date: June 11, 2010
by Rollei 35 with Konica Minolta Centuria Super 200.
There's something rather nice about the juxtaposition of a style of clothing intended to meet religious sensibilities combined with a material that has distinctly kinky connotations. :)
article courtesy
www.almuntazar.com/?section=Moharram&source=84&ar...
The Honor of Hazrat Abbas (a.s.)
The sacred religion of Islam has defined the terms of honor and support in separate connotations. But in this context, intense defense of modesty, wealth, government, religion and law is termed as honor. Especially if a certain thing was earmarked for one particular group, family or individual and others want to partake in it, seize it or destroy it. And at this critical moment, the possessor of the thing rises in its defense.
The Almighty has threatened three types of people in this verse, hypocrites, sick at heart and slaves of desires.
'If the hypocrites and those in whose hearts is a disease and the agitators in the city do not desist, We shall most certainly set you over them, then they shall not be your neighbors in it but for a little while; Cursed: wherever they are found they shall be seized and murdered, a (horrible) murdering.'
(Surah Ahzaab: Verses 60-62)
Similarly, Allah mentions the honor of Hazrat Yusuf (a.s.) in the following manner:
'He said: My Lord! The prison house is dearer to me than that to which they invite me.'
(Surah Yusuf: Verses 33)
In both verses, the implication of honor is made with the same concept as defined earlier. Besides, traditions have explained that honor is among the divine traits.
Surely Allah is Honorable, He loves all those who are honorable. And it is due to His Honor that He prohibited all the evils, in its apparent and hidden form.
(Mizanul Hikmah, pg. 357, tradition 15,263)
In another tradition it is said:
"There is none more honorable than Allah."
(Mizanul Hikmah, 357, hadith no 15265)
The Holy Prophet (s.a.w.a.) said:
"My ancestor Ibrahim was honorable, while I am more honorable than him"
Imam Baqir (a.s.) narrated an incident during the time of the Holy Prophet (s.a.w.a.) when some prisoners were brought to him. Since the captives were dangerous and treacherous, the Holy Prophet (s.a.w.a.) ordered all, except one of them, to be executed. When the freed man inquired from the Holy Prophet (s.a.w.a.) about the reason for his pardon and subsequent freedom, the Holy Prophet (s.a.w.a.) said that Jibraeel (a.s.) informed me that you have five characteristics, which are liked by Allah and His Prophet. They are extreme honor for the family, generosity, cordial disposition, truthfulness of tongue and bravery. When the man heard this, he embraced Islam and gained prominence among the companions of the Holy Prophet (s.a.w.a.). Later he got martyred in the battle of Yaak.
(Wasaelush-Shiah, vol. 14, pg 109, chap 77, tradition 10, Akhlaq in Quran)
Honor has become a rarity in the contemporary world. Arabs and non-Arabs alike have become alien to honor. However, there was an era when the Arab honorwas at the lips of everybody. The following incident should serve as an example of the Arab's famed honor.
Behram Gaur lived under the tutelage of Noman Ibne Maqdar. Behram was learning etiquette and social propriety from Noman. One day he went on hunting and began chasing a deer. The deer got tired of constant running and entered a tent to seek refuge. Behram reached the tent and wanted to pounce on the deer. The owner of the tent, whose name was Qabiza, intervened. He told Behram that since the deer had taken refuge in his tent, he cannot allow Behram to lay his hands on the deer. If at all he intended to do any such thing, he will have to kill Qabiza first, only then he can proceed further. If Behram wanted anything else, he could take Qabiza's horse, he suggested. Behram was stunned at Qabiza's defiance for a mere deer.
(Zindagani-e-Qamar-e-Bani Hashim, pg. 94, compiled by Emaduddeen Husain Isfahani)
The readers would have understood the extent of the Arab's honor from this incident. If an ordinary Arab could be so honorable, then imagine the extent of Hazrat Abbas' (a.s.) honor, the like of which cannot be found in history. Abbas was an Arab stalwart from a noble family; his legacy of honor was inherited from both sides of his family. Although history provides only a few glimpses of his honor, he was unsurpassed even in that.
The author of Zindagani-e-Qamar-e-Bani Hashim, Emaddudeen Husain Isfahani writes that Abbas' honor was so exalted that he never tolerated any inappropriate behavior or speech. It was due to this reason that Imam Husain (a.s.) had entrusted the task of the women folk's embarkation atop camel's back or alighting from it to Hazrat Abbas (a.s.). No mortal dare be around when Hazrat Abbas (a.s.) executed his responsibility. Also Hazrat Abbas' (a.s.) presence ensured that there remained quite a distance between the women folks' transports and the rest of the caravan.
(Zindagani-e-Qamar-e-Bani Hashim, pg. 96)
The author of Maqatil writes that the caravan of Imam Husain (a.s.) had reached Karbala on the second of Muharram. Hazrat Abbas (a.s.) had erected the tents on the banks of Euphrates river. But the enemy did not allow Ahle Bait (a.s.) to camp on Euphrates and asked them to shift farther from the river. When Hazrat Abbas (a.s.) heard this, he was enraged and dared the enemy to come forward with the proposal.
Even as the heated exchange was on, Hazrat Zainab (s.a.) summoned Hazrat Abbas (a.s.). Before leaving, Hazrat Abbas (a.s.) drew a line in front of the tents and announced aloud,
'Whoever dares to step beyond this line will find his head separated from his body.'
During the conversation, Hazrat Zainab (s.a.) requested Hazrat Abbas (a.s.) to shift the tents farther. Much as Abbas (a.s.) did not want to budge from the spot, he did not say a single word. Quietly he returned to his earlier position and with his own hands removed the pegs of the tents and began shifting the camp away.
Hazrat Abbas' (a.s.) honor did not allow him to protest against the command of Imam and let his own intention dominate his intellect. His reverence of Imam was much more than his own uncompromising principles. Abbas' (a.s.) honor came out much more dazzling in obedience to Imam than his unrelenting attitude against the enemies.
In yet another example of Abbas' (a.s.) honor, historians quote the following incident. Since the morning of Ashoora until noon, Abbas (a.s.) had actively assisted Imam Husain (a.s.) in carrying the wounded/martyred supporters of Imam from the battlefield to the camp. Despite this, Abbas (a.s.) never moved a step without the consent of Imam Husain (a.s.). At the same time, Abbas (a.s.) exhorted his brothers towards the glory of martyrdom and ensured that they all met death in front of his eyes.
When all the companions and relatives of Imam (a.s.) had departed, Abbas (a.s.), the proverbial last man standing, folded his hands and with extreme politeness sought Imam's (a.s.) consent to leave for battlefield. Reluctance was writ large on the countenance of Imam (a.s.). He asked Abbas (a.s.) to make provision for thirsty children first and then leave for battle.
Abbas (a.s.) did as commanded and left to fetch water. Cutting through the hostile ranks and files of the enemy army, Abbas (a.s.) managed to reach the Euphrates. He filled the water bag with the river water. He cupped a little water in his own palm and said,
'How can I taste you while my master and his children are thirsty?'
He threw the water back. History can never reproduce a more shining example of honor. His honor does not end here, but transcends even beyond this selfless act of sacrifice. As he headed towards the camp, enemies regrouped and launched a desperate onslaught. Abbas (a.s.) lost his right hand first and subsequently the emboldened enemies even severed his left hand. But Abbas' (a.s.) fortitude and valour was such that he proclaimed - "Even if I am cut to pieces, I will not desist from my support and assistance to my Imam."
The words uttered actually epitomize his innate sentiments for the defense of his Imam. These are worth pondering over. Indeed this is honor. Certainly the honor of
Hazrat Abbas (a.s.) shall remain unparalleled forever.
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.
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.
Library @UCSD, San Diego.
About the Geisel Library Building: libraries.ucsd.edu/about/geisel-building.html
On December 1, 1995 The University Library Building was renamed Geisel Library in honor of Audrey and Theodor Geisel (Dr. Seuss) for the generous contributions they have made to the library and their devotion to improving literacy.
In the tower, Floors 4 through 8 house much of the Library's collection and study space, while Floors 1 and 2 house service desks and staff work areas. Some of the austerity of the original building has been lessened by the addition of the coved ceilings, painted walls, and carpeting throughout levels 1 and 2. The new color scheme complements the color scheme in the addition.
The library addition, designed by Gunnar Birkerts, was deliberately designed to be subordinated to the strong, geometrical form of the existing library. The library, designed in the late 1960's by William Pereira, is an eight story, concrete structure sited at the head of a canyon near the center of the campus. The lower two stories form a pedestal for the six story, stepped tower that has become a visual symbol for Geisel Library. Whatever its metaphorical connotation, its image is preserved and enhanced by the concept for the addition.
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
Janet's revelation would have different connotations today but in the Britain of 1939, it was all down to her bad breath. A vintage Colgate dental cream (when did it start being called tooth paste?) advertisement found in a July 1939 copy of The Belfast Telegraph.
Front view.
To describe bogttrotters as ‘shy’ might seem strange given that they are, by their very nature, elusive creatures. But the ‘Squeegee Bird’, as is popularly known, would seem to be shy as well as elusive or reclusive. You are lucky to see one as it typically hides in the shade or shelter of gorse, larger heather, scrub or natural features of earth or rock, and it could sometimes be mistaken for a branch of a bush.
The origin of the term ‘Squeegee’ for this bogtrotter is unknown but would seem to be fairly modern, perhaps because its long beak might be thought to resemble a ‘squeegee’ rubber window dryer; although the word ‘squeegee’ may date back to the 18th century, its modern connotation comes from the early 20th century. One theory regarding its name combines the ‘beak like a squeegee’ theory with part of its Irish language name “scáthach” (‘shady’ in English); while this may be unlikely there have been stranger transliterations from Irish to English. Yet another theory is that its name is onomatopoeic, coming from its call; however as few people have heard the squeegee bird since it is generally, though not always, outside of the register audible to humans, this has been discounted by others including bogtrotter expert Dr Aisling Scéal.
Another feature of the squeegee bird is its twisted looking nature, with its feet, body and head often looking out of alignment. This is natural and Aisling Scéal has surmised that it has actually given it an evolutionary advantage. Its feet look like it might be about to start some mad dance – in fact males do dance as part of a mating ritual.
There are creatures who can fly, birds, which are designated Irish bog’trotters’ because of commonalities with ground-bound bogtrotters. The Squeegee Bird’s survival mechanism, in not drawing attention to itself, is to be on the ground in the shade among plant life – gorse/furze/whins/aiteann and heather for example – most of the time. When it does fly it tends to glide quite silently at less than a metre above the ground or what foliage there is – so it literally keeps a ‘low profile’. So even when it is in flight nearby, many people will miss it.
The Squeegee Bird does on occasions fly longer distances, to find new feeding grounds or for mating, but it is rarely seen because even when going a distance it still keeps very low, and when travelling further afield it tends to go around dawn or dusk when it is less likely to be noticed, and not travel too far at one time. Its ability to ‘hug the ground’ while in flight is one remarkable aspect of its abilities and behaviour.
However, and very unfortunately, its low flying habit sometimes results in collisions with motor vehicles and roadkill would seem to have made this amazing creature even rarer. Fortunately, although rare, it does seem to be distributed quite widely around Ireland, even if there are few in any one location; recent sightings include the Glens of Antrim, Sperrins, Donegal, Leitrim, west Mayo, Connemara, Kerry, Cork, the Comeraghs and Wicklow, and it seems well established around some midland bogs (and cleared bogs) where there are numerous reports of their presence.
So although at risk because of its low numbers, there are hopes that its fairly wide distribution will help it survive; it is willing to travel, as indicated above, albeit in its own way.
This specimen is presented in typical pose, head and beak down. Depicted around life size. For further details of the Squeegee Bird, see Sean Scéal’s book, “Telling Tails – Ireland’s lesser known animals” (Brobdingnagian Nature Books, 1997), page 123 and also the Index.
Co Mayo bog pine mounted on a base of bog oak (from Lough Neagh basin). Oiled and varnished. Black acrylic paint was used to mask between its legs; it was necessary to leave the wood that is there in order to mount it on the base. 58 cm high.
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
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
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.
A small series of 3 photos showing a materiality and photoshop exploration of milk and tapioca. they are both foods that are very deeply rooted in my childhood and also somewhat in my culture. I enjoy the many connotation that you could derive from these visually "explicit" looking materials when the intention is so innocent. This exploration also plays into my fascination with context in a photo. Depending on scale, lighting, coloring, etc the objects being photographed lose their original, apparent identity and become something very ambiguous.
materials: tapioca, milk, beet juice, flour
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.
U.S. Route 491 (US 491) is a north–south U.S. Highway serving the Four Corners region of the United States. One of the newest designations in the U.S. Highway System, it was created in 2003 as a renumbering of U.S. Route 666 (US 666). With the 666 designation, this road was nicknamed the "Devil's Highway" because of the belief by many Christians that 666 is the Number of the Beast.[1] This Satanic connotation, combined with a high fatality rate along the New Mexico portion, convinced some people the highway was cursed. The problem was compounded by persistent sign theft. These factors led to two efforts to renumber the highway, first by officials in Arizona, later in New Mexico. There have been safety improvement projects in recent years, and fatality rates have subsequently decreased.[3]
The highway runs through Colorado, New Mexico and Utah, as well as the tribal nations of the Navajo Nation and Ute Mountain Ute Tribe. The highway passes by two mountains considered sacred by native Americans, Ute Mountain and an extinct volcanic core named Shiprock. Other features along the route include Mesa Verde National Park and Dove Creek, Colorado, the self-proclaimed pinto-bean capital of the world.
en.wikipedia.org/wiki/U.S._491
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
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
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.
View from head.
To describe bogttrotters as ‘shy’ might seem strange given that they are, by their very nature, elusive creatures. But the ‘Squeegee Bird’, as is popularly known, would seem to be shy as well as elusive or reclusive. You are lucky to see one as it typically hides in the shade or shelter of gorse, larger heather, scrub or natural features of earth or rock, and it could sometimes be mistaken for a branch of a bush.
The origin of the term ‘Squeegee’ for this bogtrotter is unknown but would seem to be fairly modern, perhaps because its long beak might be thought to resemble a ‘squeegee’ rubber window dryer; although the word ‘squeegee’ may date back to the 18th century, its modern connotation comes from the early 20th century. One theory regarding its name combines the ‘beak like a squeegee’ theory with part of its Irish language name “scáthach” (‘shady’ in English); while this may be unlikely there have been stranger transliterations from Irish to English. Yet another theory is that its name is onomatopoeic, coming from its call; however as few people have heard the squeegee bird since it is generally, though not always, outside of the register audible to humans, this has been discounted by others including bogtrotter expert Dr Aisling Scéal.
Another feature of the squeegee bird is its twisted looking nature, with its feet, body and head often looking out of alignment. This is natural and Aisling Scéal has surmised that it has actually given it an evolutionary advantage. Its feet look like it might be about to start some mad dance – in fact males do dance as part of a mating ritual.
There are creatures who can fly, birds, which are designated Irish bog’trotters’ because of commonalities with ground-bound bogtrotters. The Squeegee Bird’s survival mechanism, in not drawing attention to itself, is to be on the ground in the shade among plant life – gorse/furze/whins/aiteann and heather for example – most of the time. When it does fly it tends to glide quite silently at less than a metre above the ground or what foliage there is – so it literally keeps a ‘low profile’. So even when it is in flight nearby, many people will miss it.
The Squeegee Bird does on occasions fly longer distances, to find new feeding grounds or for mating, but it is rarely seen because even when going a distance it still keeps very low, and when travelling further afield it tends to go around dawn or dusk when it is less likely to be noticed, and not travel too far at one time. Its ability to ‘hug the ground’ while in flight is one remarkable aspect of its abilities and behaviour.
However, and very unfortunately, its low flying habit sometimes results in collisions with motor vehicles and roadkill would seem to have made this amazing creature even rarer. Fortunately, although rare, it does seem to be distributed quite widely around Ireland, even if there are few in any one location; recent sightings include the Glens of Antrim, Sperrins, Donegal, Leitrim, west Mayo, Connemara, Kerry, Cork, the Comeraghs and Wicklow, and it seems well established around some midland bogs (and cleared bogs) where there are numerous reports of their presence.
So although at risk because of its low numbers, there are hopes that its fairly wide distribution will help it survive; it is willing to travel, as indicated above, albeit in its own way.
This specimen is presented in typical pose, head and beak down. Depicted around life size. For further details of the Squeegee Bird, see Sean Scéal’s book, “Telling Tails – Ireland’s lesser known animals” (Brobdingnagian Nature Books, 1997), page 123 and also the Index.
Co Mayo bog pine mounted on a base of bog oak (from Lough Neagh basin). Oiled and varnished. Black acrylic paint was used to mask between its legs; it was necessary to leave the wood that is there in order to mount it on the base. 58 cm high.
Courage
I chose this quote because it has religious connotations. The sculpture was created by Bruce Papitto of Las Cruces, New Mexico. The depiction is one of a Spanish padre and another man carrying a church bell to safety because the adobe church that it hung from had washed away in a flood. Pappito said: "The spirit I was trying to capture was of persevering in the face of the harsh environment of that time."
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.
In my country, Greece a peaceful protest by the citizens of this country start, to change the economic measures that has been taken. For the first time in history without a political party “colour”, all together as one. As citizen of one country. (In the past civil wars have occurred that have divided my country.) The crowd who came in front of the parliament, apart from the various posters, hissers, lasers, some had brought a spoon and a pot. The noise that came out did a big fuss and I think there is a symbolic connotation to it. One of the slogans that were said was "Bread, education, freedom." The spoon in the pot for me was stated for the word "bread". Referring to better wages and better everyday life of families, which is the basis of a country.
I was lucky because the spoon and the pot woke me from a (small) artistic lethargy that had fallen.
A solid gold Minoan pendant depicting two bees clutching a honeycomb (1800-1700 BCE), found in the Old Palace cemetery at Chrysolakkos near Malia, Crete. (Herakleion Archaeological Museum, Crete) (museum copy from Santorini, in genuin gold).
The Bees pendant is one of the most famous exhibits in the Herakleion Museum, in the island of Crete in Greece.
It has been found in the Old Palace cemetery at Chrysolakkos, outside the palace of Malia, the third largest Minoan palace.
The pendant dates back to the Bronze Age, to the Protopalatial Period (1800 - 1700 BC) and it's an amazing, very detailed representation of two bees carrying a drop of honey to their honeycomb.
This jewelry piece is an evidence of the artist's mastery in the process of faience or granulation, the technique of soldering tiny pieces of metal, on the surface of the cast jewel.
Bees have a symbolic and important connotation in many cultures worldwide. Bees were very important in the Minoan, matriarchal civilization. It is believed that the Great Mother of Mother Goddess was related to bees, while honey was used in rituals. As a symbol of the Mother Goddess, bees represent the mutual support and fertility.
Later on, Greek Goddess priestesses were called melissae (bees) and bees were associated with Demeter and Artemis.
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
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
For MacroMondays - "Personal Soundtrack"
Ella Fitzgerald's "Everytime we say goodbye" has sad connotations for me. I had a miscarriage a couple of years before having my son, and this song came on the radio the day that baby should have been born. It was a sad time, but I've adjusted to it now. Miscarriage is amazingly common, and if that pregnancy had worked out I wouldn't have gone on to have my son. It was meant to be. But it's good to have a reminder from time to time of what might have been.
Everytime we say goodbye, I die a little,
Everytime we say goodbye, I wonder why a little,
Why the Gods above me, who must be in the know.
Think so little of me, they allow you to go.
When you're near, there's such an air of spring about it,
I can hear a lark somewhere, begin to sing about it,
There's no love song finer, but how strange the change
from major to minor,
Everytime we say goodbye.
When you're near, there's such an air of spring about it,
I can hear a lark somewhere, begin to sing about it,
There's no love song finer, but how strange the change
from major to minor,
Everytime we say goodbye.
Made by the Standard Motor Company of India.
The four door Heralds never got beyond the prototype stage in Britain, but the assoiciated Indian company made them until the late '70s.
Standard-Triumph had, since the late 1950s, used only the Triumph name in the western world, as 'Standard' had too many connotations of 'basic' or 'commonplace'..
When the company had started 50 years before, it was the 'standard' to which others aspired. How language changes !
Photo taken by eskaycee.
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.
The Great Synagogue, also known as Dohány Street Synagogue or Tabakgasse Synagogue, is located in Erzsébetváros, the 7th district of Budapest. It is the largest synagogue in Eurasia and the second largest in the world, after the Temple Emanu-El in New York City. It seats 3,000 people and is a centre of Neolog Judaism.
The synagogue is 75m long and 27m wide, and was built between 1854 and 1859 in the Moorish Revival style, with the decoration based chiefly on Islamic models from North Africa and medieval Spain (the Alhambra). The synagogue's Viennese architect, Christian Friedrich Ludwig Förster, believed that no distinctively Jewish architecture could be identified, and thus chose "architectural forms that have been used by oriental ethnic groups that are related to the Israelite people, and in particular the Arabs." The interior design is partly by Frigyes Feszl.
Theodore Herzl's house of birth was next to the Dohány street Synagogue. In the place of his house stands the Jewish Museum, which holds the Jewish Religious and Historical Collection, built in 1930 in accordance with the synagogue's architectural style and attached in 1931 to the main building.
Dohány Street itself, a leafy street in the city center, carries strong Holocaust connotations as it constituted the border of the Budapest Ghetto.
(Wikipedia)
-----
Magnificent and awesome sight, Budapest's Great Synagogue is a truly monumental place to visit and admire.
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
Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before developing passenger cars. The name was changed to Jaguar after WWII to avoid the unfavourable connotations of the SS initials.
(Wikipedia)
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.
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.
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
Jardin des Tuileries
naked women in the garden!
imagine real naked people walking through this garden, just for the aesthetics of it, I think it would look great! try to disinfect your thoughts from sexual connotations (if possible). it's freedom. sadly lost in the maze.
Photo showing Nick Ervinck's (BE) work Viunap.
He uses traditional cottages, which he turns into absurd buildings. The cottages become figures with connotations to crabs and other sea animals that walk along the beach, resembling the impossible structures in the engravings of the mathematician Escher (1898-1972).
credit: Florian Voggeneder