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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
Armored wheeled vehicles were developed early in Germany, since they were not subject to the restrictions of the Versailles Treaty. The Sd.Kfz. 234 (Sonder-Kraftfahrzeug, or Special Purpose Vehicle) belonged to the so-called ARK series vehicles (the type designation of the chassis) and was the successor to the earlier, eight-wheeled Sd.Kfz. 231/232/233 heavy scout car family. The Sd.Kfz. 234 was a considerable step forward and incorporated several innovative features, including a monocoque chassis with eight wheels and an air-cooled Tatra 103 diesel engine that was originally chosen for use in North Africa. The latter gave the vehicle an extraordinary range of more than 600 miles (1.000 km) and a very good performance. The vehicle had eight-wheel steering and drive and was able to quickly change direction thanks to a second, rear-facing driver's seat, what made quick retreats and unexpected position changes easier.
Chassis were built by Büssing-NAG in Leipzig-Wahren, while armoured bodies were provided by Deutsche Edelstahlwerke of Krefeld and turrets by Daimler Benz in Berlin-Marienfelde and Schichau of Elbing, with engines from Ringhoffer-Tatra-Werke AG of Nesseldorf. The first and possibly best known version to reach frontline service was the Sd.Kfz. 234/2 ‘Puma’. It had a horseshoe-shaped turret armed with a 5cm L/60 gun, which had originally been developed for the VK 16.02 Leopard light tank which never made into production. Even though it was a dedicated reconnaissance vehicle, the armament made it possible to defend the vehicle effectively and even take on light armored vehicles. The Sd.Kfz. 234/2 was produced from late 1943 to mid-1944 and replaced in production by the second version, the Sd.Kfz. 234/1, which was less complex and easier to build. It had a simpler open turret and was armed only with a light 2 cm KwK 38 gun (in the so-called Hängelafette 38). It was manufactured from mid-1944 to early 1945 and became the standard reconnaissance vehicle in this period.
Other versions were derived from the Sd.Kfz. 234, too. The Sd.Kfz. 234/3, produced simultaneously with the 234/1, served as a support for the lightly armed reconnaissance vehicles with more firepower. It had an open-topped superstructure, too, but carried a short-barreled 7.5cm K51 L/24 gun. This gun was intended primarily for use against soft targets, but when using a hollow charge shell, the penetration power exceeded that of the 5cm L/60 gun. This variant was produced until late 1944, before switching production to the 234/4. This version replaced the L/24 gun with the 7.5cm L/46 PaK 40 and was primarily another attempt to increase the mobility of this anti-tank gun and not a reconnaissance vehicle. It was not very successful, though: the heavy weapon stretched the light 234 chassis to its limits and only a very limited ammunition load of just twelve rounds could be carried on board due to lack of storage space. This variant was manufactured from the end of 1944 on only in limited numbers.
In mid-1945 another reconnaissance variant appeared, the Sd.Kfz. 234/5. It was a kind of hybrid between the earlier 234/1 and 234/2 variants, combining the light armament with a fully closed turret that offered the crew better protection from enemy fire and climatic conditions. The origins of the Sd.Kfz. 234/5 remain a little unclear – in fact, this variant started as a field conversion of a handful of Sd.Kfz. 234/2s in Hungary in mid-1944, which were retrofitted in field workshops with turrets from damaged Panzer-Spähwagen (neue Art) II ‘Luchs’ (also known as ‘Panzer II Ausf. L’, ‘Sd.Kfz. 123 mit 2-cm-KwK 38’ and VK 13.03 during the vehicle’s development phase). This simple combination of existing components turned out to be so effective and popular among the crews that it was quickly ordered into production.
Both chassis and turret remained unchanged, with a maximum armor of 30 mm (1.18 in), but the small turret with its light weapon (which had been adapted from a 20 mm anti-aircraft gun with a higher rate of fire than earlier guns of this type) reduced the overall weight to a little under 11 tons. This, and a slightly more powerful variant of the Tatra 103 V12 diesel engine, raised the vehicle’s top speed by 10 km/h (6 mph). In service the Sd.Kfz. 234/5 was generally known as ‘Puma II’ and the frontline units frequently modified their vehicles.
Among these field updates were commander cupolas, transplanted from damaged Panzer III and IV and sometimes outfitted with a mount for a light Fla-MG (anti-aircraft machine gun), as well as more effective exhaust mufflers for a reduced noise signature. Additional thin, spaced armor plates were sometimes bolted to the hull and/or to the turret front to better protect the vehicle from armor-piercing weapons, esp. against rounds from Russian 14.5 mm tank rifles. Makeshift wire mesh shields against hollow charges, similar to heavier Thoma shields on battle tanks, were occasionally added, too, as well as smoke dischargers, mounted to the turret sides or to the vehicle’s front. Night vision devices (Infrarot-Nachtsichtgerät F.G. 1250 or F.G. 1252) were fitted when available, and some late-production Sd.Kfz. 234/5s had a 140 cm (55 in) Telemeter KDO 44 stereoscopic rangefinder/telescope integrated into the turret, protruding from it on both sides. Vehicles that were almost exclusively operated on roads frequently had the wheels of the 2nd axle removed in order to reduce overall weight, rolling resistance and save precious rubber/tires.
Since production could not meet the operational units’ demand the Sd.Kfz. 234/5s were issued very selectively to Panzerspähwagen companies of the Panzer Aufklärung battalions. They were operated alongside other Sd.Kfz. 234 versions and Panzer II, III and 38(t) Spähpanzer versions to provide artillery, AA and AT support. The Puma IIs were mostly given to veteran crews and equipped primarily Panzerdivision units operating in Russia, even though a few were sent to the Western front, too.
Exact production numbers remain uncertain because the original production of 81 new vehicles by Büssing-NAG was complemented by an uncertain number of field conversions that allowed older/damaged Sd.Kfz. 234/1 and 2s to be repaired and/or updated with the light ‘Luchs’ turret. The total number of operational Sd.Kfz. 234/5s remained less than 100, though.
Specifications:
Crew: Four (commander, gunner, driver, radio operator/2nd driver)
Weight: 10,600 kg (25,330 lb)
Length: 6.02 m (19 ft 9 in)
Width: 2.36 m (7 ft 9 in)
Height: 2.32 meters (7 ft 7¼ in)
2.53 meters (8 ft 3½ in) when outfitted with a commander cupola
Suspension: Wheeled (Tires: 270–20, bulletproof), with leaf springs
Track width: 1.95 m (6 ft 4 1/2 in)
Wading depth: 1.2 m (3 ft 11 in)
Trench crossing capability: 2m (6 ft 6 1/2 in)
Ground clearance: 350 mm (13 3/4 in)
Climbing capability: 30°
Fuel capacity: 360 l
Fuel consumption: 40 l/100 km on roads, 60 l/100 km off-road
Armor:
9 — 30 mm (0.35-1.18 in), sometimes augmented with
additional 5 — 10 mm (0.2-0.4 in) armor plates on the front of hull and/or turret
Performance:
Maximum road speed: 90 km/h (56 mph)
Operational range: 1,000 km (625 mi) on-road
600 km (373 mi) off-road
Power/weight: 20,75 PS/t
Engine:
Air-cooled 14,825 cc (905³ in) Tatra 103 V12 diesel engine,
with 157 kW (220 hp) output at 2.200 RPM
Transmission:
Büssing-NAG "GS" with 3 forward and reverse gears, eight-wheel drive
Armament:
1× 20mm KwK 38 L/55 machine cannon with 330 rounds
1× co-axial 7.92 mm Maschinengewehr 42 with 2.550 rounds
The kit and its assembly:
A straightforward conversion, and at its core this is not a what-if model because the Sd.Kfz. 234 was actually outfitted with the light ‘Luchs’ turret – even though this was probably only a field-modified, single vehicle that was eventually captured by Allied troops in Czechoslovakia in 1945. It was not an official variant (yet). However, as exotic as this combo seems, there is a complete 1:72 kit of this exotic vehicle from Attack Kits, but it’s pricey, and ModelTrans/Silesian Models from Germany does a resin conversion kit with the ‘Luchs’ turret. The latter set was used for this model and mated it with a Hasegawa Sd.Kfz. 234/2 hull, IMHO the best model of this vehicle, and even as a combo cheaper than the Attack kit.
Building the fictional Sd.Kfz. 234/5 from these ingredients was a very simple affair, everything was basically taken over OOB. For a more sophisticated in-service vehicle, I took over the smoke dischargers from the Hasegawa kit, added a leftover Panzer IV cupola as well as scratched fairings for a stereoscopic rangefinder, and replaced the original twin exhaust mufflers on the rear fenders with a different/bigger piece from an early Panzer IV, placed above the spare tire. This made enough room to add stowage boxes and no less than six jerry cans (all from the Hasegawa kit).
The antennae were made from heated sprue material and the gun barrels are brass pieces, left over from a First To Fight Sd.Kfz. 232, which looked better than the (already fine and good, though) parts from the ModelTrans conversion set. The commander figure came from the Hasegawa kit.
Painting and markings:
A conservative approach, and I stuck to German late-war practice to apply a uniform Dunkelgelb (RAL 7028) livery over a red primer base upon delivery. Individual camouflage in medium green and dark brown was later applied in the field on top of that – a classic ‘Hinterhalt’ scheme.
Initially, the hull’s underside was sprayed with Oxidrot (RAL 3009) from the rattle can, while the upper surfaces received a primer coat with a sandy brown. On top of the sand brown came a thin layer of RAL 7028 (thinned Tamiya XF-60, which is a rather desert-yellowish and pale interpretation of the tone, it should AFAIK have a slight greenish hue) to all directly visible surfaces, wheel hubs and the turret, for a cloudy and uneven basic camouflage. The individual, disruptive ‘tiger stripe’ camouflage was inspired by a late-war Panther battle tank from literature.
The stripes were applied to the Dunkelgelb basis with a small brush and thinned Tamiya XF-58 (Olive Green) and XF-64 (Red Brown), for a makeshift camouflage with scarce paint that still meets official regulations. Following these, the wheel hubs remained in just a single color (making them less obvious when on the move), and the light Dunkelgelb was chosen to lighten the lower vehicle areas up, esp. with the rel. dark interior of the wheelhouses. The interior of the turret and the hatch were painted in a yellowish ivory tone (Revell 314), the tires were painted with Revell 09 (Anthracite) and later dry-brushed with light grey and beige.
A thin black-brown ink wash and some dry-brushing along the many edges with grey and beige were used to weather the model and emphasize details. After decals had been applied (taken from the Hasegawa kit), the kit was sealed with matt acrylic varnish and grey-brown mineral pigments were very lightly dusted onto the model with a soft brush around the wheels and the lower hull to simulate some dust.
Well, this can be considered a semi-whif since such a vehicle actually existed – but there never was a serial production, and I tried to enhance the fictional aspect with some added details like the commander cupola or the rangefinder. It’s a subtle conversion, though. I was initially skeptical about the “tiger stripe” livery, but when it was applied, I was surprised how effective it is! It really blurs the vehicle’s outlines and details – making the turret conversion even less apparent.
HPD pupils are developing concept models as part of their Developing Design Proposals Unit. As usual lighting remains a popular choice. Pupils are also developing proposals on themes as diverse as seating, kitchen utensils and sportswear equipment.
Good to see evidencs of great strides being made in quich modeling techniques using materials like plasticine, copper wire, plywood and foam. The glue gun gets a lot of use at the moment as does the bandsaw and fretsaw.
Fortunately, Cathy, our cleaner has been very understanding. The mess at times you would not believe!
Good work everybody. Have a great Christmas break, get some rest. You'll need all your energy for the new year!
Scription Chronodex Weekly Planner 2012 - free download with the cost of a prayer
(www.flickr.com/photos/moleskineart/6364230271/in/photostream)
Finally made up my mind to create my own diary for 2012 a week ago, here I go sharing with you all! But first please give me a little support, my Dad recovered from prostate cancer but at the same time developed Parkinson's disease a few years ago. In the past week he has deteriorated a lot, bed bound finally, no more speech, I'm the last person he can recognize. It is so tough for Mom as a care taker. All I ask for is your sincere prayers, as you download this creation, for my Dad and Mom, so that he can go peacefully proud of his sons, and she can start to explore this new world with us. What a courageous woman she is.
(www.flickr.com/photos/moleskineart/6361903821/in/photostream)
Thanks to my Dad's dedication to Chinese painting and art, I had my implicit training early in life and became a visual person yet unafraid to look deep into the subject matters. For years, I bought diaries but none of them satisfied my visual and creative needs.
(www.flickr.com/photos/moleskineart/6335595394/in/photostream)
Since the beginning of the diary making business, every single diary is made by representing time in fixed grids. To challenge this right representation, after exploring in deep thoughts the essence of my own perfect diary, I present to you my Chronodex idea.
Come to think of it, the paper which makes up a diary originated from trees, when the sheets of paper are bound together in the middle, it is almost like foliages stemming from a tree's trunk. Each page is like a branch, each opened page is a week, each day is like a beautiful flower grew from that page, consist of petals of your day's time slices.
You may argue that this format is still slicing time into blocks and far from the fractal nature, but soon as you start using it, you will find that time is no longer right, instead you will find fluidity through free notations.
The more important time slices can be drawn larger, activities can be dots or pies (petals if you will) depending on duration or importance, space on a page is no longer limited to grids. Basically you can roam freely and be amazed how beautiful your week can be.
What's more is that your mind gradually deviate from the rigid format a typical diary imposes on you, reactivity soon flourishes. Imagine the effect happening in weeks! And I'm not kidding.
(www.flickr.com/photos/moleskineart/6364164607/in/photostream)
Scription Chronodex Weekly Planner 2012 (Jan - Jun) Download
(just remember to pray for my Dad and Mom, sincerely)
It is done with the Midori Traveler's Notebook size in mind, even if you don't own a Traveler's Notebook, you can still use it without the leather cover.
Hong Kong Holiday version
Japanese Holiday version
Free of Holidays version
To grow your own diary, after downloading the PDF version of your choice, print it out double sided (duplex) in landscape mode on A4 papers. Be sure to print it out 100% without scale, left/right binding (try the first few pages on your printer and settings and you'll see what I mean). Check the sequence after the print out.
(www.flickr.com/photos/moleskineart/6364170655/in/photostream)
(www.flickr.com/photos/moleskineart/6364175293/in/photostream)
(www.flickr.com/photos/moleskineart/6364180447/in/photostream)
Next, cut away the left and right portion of the A4 paper according to the cut line.
(www.flickr.com/photos/moleskineart/6364185407/in/photostream)
(www.flickr.com/photos/moleskineart/6364191991/in/photostream)
Now here's the interesting part of the binding. Use a chisel to punch holes on both ends of the spine and stitch the pages up. You can staple them together just the same. This method will get you a bound notebook but ready for a cool bookmark which I will mention in a moment.
(www.flickr.com/photos/moleskineart/6364194541/in/photostream)
(www.flickr.com/photos/moleskineart/6364200541/in/photostream)
(www.flickr.com/photos/moleskineart/6364206651/in/photostream)
(www.flickr.com/photos/moleskineart/6364210857/in/photostream)
(www.flickr.com/photos/moleskineart/6364216463/in/photostream)
To create a bookmark, simple take a piece of hard paper, cut it the way I showed above. Slide it between the papers of the current week, the slide 90 degree up following the spine to have the tab exposed on top of the diary (I hope I'm describing it right). There you go! a bookmark with a tab extruding from the top of your diary.
This cool bookmark invention based on the way you bind your diary is so useful and flexible, you will find it amazing when you reach the 12th week of the year! Tell me about that in a few months.
(www.flickr.com/photos/moleskineart/6364223093/in/photostream)
The last part of my Chronodex journey was to make a cool diary cover. Thanks for my family's tolerance, I had a little free time in broad daylight having fun doing it, 2 cups of coffee, listening to audiobook through my iPhone/Jambox combo.
(www.flickr.com/photos/oxothuk/6352848866/)
Small features are infused into the diary, I hope you will enjoy the little tibits, do explore the "Boarding pass to success" idea. If you are interested, I will be sharing the July - December version, which is still in stage zero. Fellow Scription reader Boris from Russia already had a taste of the Chronodex, so go ahead and try yours. Your feedback and comment is what keeps me going, please do pray.
More on Scription blog: scription.typepad.com/blog/2011/11/scription-chronodex-we...
The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency.
Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.
Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.
An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.
From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm. For his last day in Venice, Geoffroy addressed the Syrian situation.
The work produced during this intervention is displayed until 30 September. The presentation is based on Geoffroy's concept of "Delay Museum" where art created for past emergencies is exhibited, while new work enters the Mobile Emergency Room.
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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa
venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni
Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,
Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,
Slovak Republic, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia,
Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore
Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe
the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
Eight countries will also participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay. In 2011, 89 international pavilions, the most ever, were accessible in the Giardini and across the city.
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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lists of artists participating at the Venice Biennale
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra
Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer
Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De Grandis
Venue: Arsenale di Venezia, Nappa 90
Angola
Artist: Edson Chagas
Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Venue: Palazzo Cini, San Vio, Dorsoduro 864
Argentina
Artist: Nicola Costantino
Commissioner: Magdalena Faillace
Curator: Fernando Farina
Venue: Pavilion at Arsenale
Armenia
Artist: Ararat Sarkissian
Commissioner: Ministry of Culture
Curator: Arman Grogoryan
Venue: Isola di San Lazzaro degli Armeni, everyday from 2:30 p.m. to 5:30 p.m.
Australia
Artist: Simryn Gill
Commissioner: Simon Mordant
Deputy Commissioner: Penelope Seidler
Curator: Catherine de Zegher
Venue: Pavilion at Giardini
Austria
Artist: Mathias Poledna
Commissioner/Curator: Jasper Sharp
Venue: Pavilion at Giardini
Azerbaijan
Artists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov
Commissioner: Heydar Aliyev Foundation
Curator: Hervé Mikaeloff
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
Bahamas
Artist: Tavares Strachan
Commissioner: Nalini Bethel, Ministry of Tourism
Curators: Jean Crutchfield, Robert Hobbs
Deputy Curator: Stamatina Gregory
Venue: Arsenale, Tese Cinquecentesche
Bangladesh
Chhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School
Commissioner/Curator: Francesco Elisei.
Curator: Fabio Anselmi.
Venue: Officina delle Zattere, Dorsoduro 947
Bahrain
Artists: Mariam Haji, Waheeda Malullah, Camille Zakharia
Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture
Curator: Melissa Enders-Bhatiaa
Venue: Pavilion at Arsenale
Belgium
Artist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture
Curator: J. M. Coetzee
Deputy Curator: Philippe Van Cauteren
Venue: Pavilion at Giardini
Bosnia and Herzegovina
Artist: Mladen Miljanovic
Commissioners: Sarita Vujković, Irfan Hošić
Venue: Palazzo Malipiero, San Marco
Brazil
Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo
Curator: Luis Pérez-Oramas
Deputy Curator: André Severo
Venue: Pavilion at Giardini
Canada
Artist: Shary Boyle
Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada
Curator: Josée Drouin-Brisebois
Venue: Pavilion at Giardini
Central Asia
Artists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
Venue: Palazzo Malipiero, San Marco 3199-3201
Chile
Artist: Alfredo Jaar
Commissioner: CNCA, National Council of Culture and the Arts
Curator: Madeleine Grynsztejn
Venue: Pavilion at Arsenale
China
Artists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG)
Curator: Wang Chunchen
Venue: Pavilion at Arsenale
Costa Rica
Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco Elisei
Curator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Venue: Ca’ Bonvicini, Santa Croce
Croatia
Artist: Kata Mijatovic
Commissioner/Curator: Branko Franceschi.
Venue: Sala Tiziano, Opera don Orione Artigianelli, Fondamenta delle Zattere ai Gesuati 919
Cuba
Artists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone
Commissioner: Miria Vicini
Curators: Jorge Fernández Torres, Giacomo Zaza
Venue: Museo Archeologico Nazionale di Venezia, Palazzo Reale, Piazza San Marco 17
Cyprus
Artists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioner: Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou
Curator: Raimundas Malašauskas
Czech Republic & Slovak Republic
Artists: Petra Feriancova, Zbynek Baladran
Commissioner: Monika Palcova
Curator: Marek Pokorny
Venue: Pavilion at Giardini
Denmark
Artist: Jesper Just in collaboration with Project Projects
Commissioners: The Danish Arts Council Committee for International Visual Arts: Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Anna Krogh
Curator: Lotte S. Lederballe Pedersen
Venue: Pavilion at Giardini
Egypt
Artists: Mohamed Banawy, Khaled Zaki
Commissioner: Ministry of Culture
Venue: Pavilion at Giardini
Estonia
Artist: Dénes Farkas
Commissioner: Maria Arusoo
Curator: Adam Budak
Venue: Palazzo Malipiero, San Marco 3199, San Samuele
Finland
Artist: Antti Laitinen
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
France
Artist: Anri Sala
Commissioner: Institut français
Curator: Christine Macel
Venue: Pavilion of Germany at the Giardini
Georgia
Artists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze
Commissioner: Marine Mizandari, First Deputy Minister of Culture
Curator: Joanna Warsza
Venue: Pavilion at Arsenale
Germany
Artists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh
Commissioner/Curator: Susanne Gaensheimer
Venue: Pavilion of France at Giardini
Great Britain
Artist: Jeremy Deller
Commissioner: Andrea Rose
Curator: Emma Gifford-Mead
Venue: Pavilion at Giardini
Greece
Artist: Stefanos Tsivopoulos
Commissioner: Hellenic Ministry of Education and Religious Affairs, Culture and Sports
Curator: Syrago Tsiara
Venue: Pavilion at Giardini
Holy See
Artists: Lawrence Carroll, Josef Koudelka, Studio Azzurro
Curator: Antonio Paolucci
Venue: Pavilion at Arsenale
Hungary
Artist: Zsolt Asztalos
Commissioner: Kunstahalle (Art Hall)
Curator: Gabriella Uhl
Venue: Pavilion at Giardini
Iceland
Artist: Katrín Sigurðardóttir
Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa
Venue: Lavanderia, Palazzo Zenobio, Collegio Armeno Moorat-Raphael, Fondamenta del Soccorso, Dorsoduro 2596
Indonesia
Artists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Commissioner: Soedarmadji JH Damais
Deputy Commissioner: Achille Bonito Oliva
Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
Venue: Pavilion at Arsenale
Iraq
Artists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)
Deputy Commissioner: Vittorio Urbani
Curator: Jonathan Watkins.
Venue: Ca' Dandolo, San Tomà, Venezia
Ireland
Artist: Richard Mosse
Commissioner, Curator: Anna O’Sullivan
Venue: Fondaco Marcello, San Marco 3415
Israel
Artist: Gilad Ratman
Commissioners: Arad Turgeman, Michael Gov
Curator: Sergio Edelstein
Venue: Pavilion at Giardini
Italy
Artists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa
Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi
Venue: Italian Pavilion, Tese delle Vergini at Arsenale
Ivory Coast
Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis
Curator: Yacouba Konaté
Venue: Spiazzi, Arsenale, Castello 3865
Japan
Artist: Koki Tanaka
Commissioner: The Japan Foundation
Curator: Mika Kuraya
Venue: Pavilion at Giardini
Kenya
Artists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César Meneghetti
Commissioner: Paola Poponi
Curators: Sandro Orlandi, Paola Poponi
Venue: Caserma Cornoldi, Castello 4142 and San Servolo island
Korea (Republic of)
Artist: Kimsooja
Commissioner/Curator: Seungduk Kim
Deputy Commissioner: Kyungyun Ho
Venue: Pavilion at Giardini
Kosovo
Artist: Petrit Halilaj
Commissioner: Erzen Shkololli
Curator: Kathrin Rhomberg
Venue: Pavilion at Arsenale
Kuwait
Artists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts and Letters)
Curator: Ala Younis
Venue: Palazzo Michiel, Sestriere Cannaregio, Strada Nuova
Latin America
Istituto Italo-Latino Americano
Artists:
Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi.
Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski
Commissioner: Sylvia Irrazábal
Curator: Alfons Hug
Deputy Curator: Paz Guevara
Venue: Pavilion at Arsenale
Latvia
Artists: Kaspars Podnieks, Krišs Salmanis
Commissioners: Zane Culkstena, Zane Onckule
Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
Venue: Pavilion at Arsenale
Lebanon
Artist: Akram Zaatari
Commissioner: Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL)
Curators: Sam Bardaouil, Till Fellrath
Venue: Pavilion at Arsenale
Lithuania
Artist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioners: Jonas Žokaitis, Aurime Aleksandraviciute
Curator: Raimundas Malašauskas
Venue: Palasport Arsenale, Calle San Biagio 2132, Castello
Luxembourg
Artist: Catherine Lorent
Commissioner: Clément Minighetti
Curator: Anna Loporcaro
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
Macedonia
Artist: Elpida Hadzi-Vasileva
Commissioner: Halide Paloshi
Curator: Ana Frangovska
Venue: Scuola dei Laneri, Santa Croce 113/A
Maldives
Participants: Paul Miller (aka DJ Spooky), Thierry Geoffrey (aka Colonel), Gregory Niemeyer, Stefano Cagol, Hanna Husberg, Laura McLean & Kalliopi, Tsipni-Kolaza, Khaled Ramadan, Moomin Fouad, Mohamed Ali, Sama Alshaibi, Patrizio Travagli, Achilleas Kentonis & Maria Papacaharalambous, Wooloo, Khaled Hafez in collaboration with Wael Darwesh, Ursula Biemann, Heidrun Holzfeind & Christoph Draeger, Klaus Schafler
Commissioner: Ministry of Tourism, Arts & Culture
Curators: CPS – Chamber of Public Secrets (Alfredo Cramerotti, Aida Eltorie, Khaled
Ramadan)
Deputy Curators: Maren Richter, Camilla Boemio
Venue: Gervasuti Foundation, Via Garibaldi
Mexico
Artist: Ariel Guzik
Commissioner: Gastón Ramírez Feltrín
Curator: Itala Schmelz
Venue: Ex Chiesa di San Lorenzo, Campo San Lorenzo
Montenegro
Artist: Irena Lagator Pejovic
Commissioner/Curator: Nataša Nikcevic
Venue: Palazzo Malipiero, San Marco 3078-3079/A, Ramo Malipiero Venezia – Ground Floor
The Netherlands
Artist: Mark Manders
Commissioner: Mondriaan Fund
Curator: Lorenzo Benedetti
Venue: Pavilion at Giardini
New Zealand
Artist: Bill Culbert
Commissioner: Jenny Harper
Deputy Commissioner: Heather Galbraith
Curator: Justin Paton
Venue: Santa Maria della Pietà, Calle della Pietà, Castello
Nordic Pavilion (Finland, Norway)
Finland:
Artist: Terike Haapoja
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
Norway:
Artists: Edvard Munch, Lene Berg
Commissioner: Office for Contemporary Art Norway (OCA)
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Venue: Galleria di Piazza San Marco, Fondazione Bevilacqua La Masa
Paraguay
Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi
Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck
Curator: Osvaldo González Real
Venue: Palazzo Carminati, Santa Croce 1882
Poland
Artist: Konrad Smolenski
Commissioner: Hanna Wróblewska
Curators: Agnieszka Pindera, Daniel Muzyczuk
Venue: Pavilion at Giardini
Portugal
Artist: Joana Vasconcelos
Commissioner: Direção-Geral das Artes/Secretário de Estado da Cultura, Governo de Portugal
Curator: Miguel Amado
Venue: Riva dei Partigiani
Romania
Artists: Maria Alexandra Pirici, Manuel Pelmus
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Raluca Voinea
Venue: Pavilion at Giardini
Artists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian Moldovan
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Anca Mihulet
Venue: Nuova Galleria dell'Istituto Romeno di Venezia, Palazzo Correr, Campo Santa Fosca, Cannaregio 2214
Russia
Artist: Vadim Zakharov
Commissioner: Stella Kasaeva
Curator: Udo Kittelmann
Venue: Pavilion at Giardini
Serbia
Artists: Vladimir Peric, Miloš Tomic
Commissioner: Maja Ciric
Venue: Pavilion at Giardini
Singapore
Cancelled the participation
Slovenia
Artist: Jasmina Cibic
Commissioner: Blaž Peršin
Curator: Tevž Logar
Venue: Galleria A+A, San Marco 3073
South Africa
Contemporary South African Art and the Archive
Commissioner: Saul Molobi
Curator: Brenton Maart
Venue: Pavilion at Arsenale
Spain
Artist: Lara Almarcegui
Commissioner/Curator: Octavio Zaya
Venue: Pavilion at Giardini
Switzerland
Artist: Valentin Carron
Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Deputy Commissioner: Pro Helvetia - Rachele Giudici Legittimo
Curator: Giovanni Carmine
Venue: Pavilion at Giardini
Syrian Arab Republic
Artists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti
Curator: Duccio Trombadori
Venue: Isola di San Servolo
Taiwan
Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU
Curator: Esther Lu
Organizer: Taipei Fine Arts Museum
Venue: Palazzo delle Prigioni, Castello 4209, San Marco
Thailand
Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Commissioner: Office of Contemporary Art and Culture, Ministry of Culture
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Venue: Santa Croce 556
Turkey
Artist: Ali Kazma
Commissioner: Istanbul Foundation for Culture and Arts
Curator: Emre Baykal
Venue: Pavilion at Arsenale
Tuvalu
Artist: Vincent J.F.Huang
Commissioners: Apisai Ielemia, Minister of Foreign Affair, Trade, Tourism, Environment & Labour; Tapugao Falefou, Permanent Secretary of Foreign Affairs, Tourism, Environment & Labour
Curators: An-Yi Pan, Szu Hsien Li, Shu Ping Shih
Venue: Forte Marghera, via Forte Marghera, 30
Ukraine
Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna
Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
Venue: Palazzo Loredan, Istituto Veneto di Scienze, Lettere ed Arti, Campo Santo Stefano
United Arab Emirates
Artist: Mohammed Kazem
Commissioner: Dr. Lamees Hamdan
Curator: Reem Fadda
Venue: Pavilion at Arsenale, Sale d'Armi
Uruguay
Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale
Curators: Carlos Capelán, Verónica Cordeiro
Venue: Pavilion at Giardini
USA
Artist: Sarah Sze
Commissioners/Curators: Carey Lovelace, Holly Block
Venue: Pavilion at Giardini
Venezuela
Colectivo de Artistas Urbanos Venezolanos
Commissioner: Edgar Ernesto González
Curator: Juan Calzadilla
Venue: Pavilion at Giardini
Zimbabwe
Artists: Portia Zvavahera, Michele Mathison, Rashid Jogee, Voti Thebe, Virginia Chihota
Commissioner: Doreen Sibanda
Curator: Raphael Chikukwa
Venue: Santa Maria della Pietà, Calle della Pietà, Castello 3701
---
July 10th - 16th, 2017. Iwamizawa, Hokkaido.
Canon AV-1, FD 135mm F2.5, negative for recording ISO 100 from Fujifilm, exposed as ISO 400, developed with C-41 based reversal process by Michitaro Kohno as below, scanned at 7200DPI with Plustek OptikFilm 8100 + VueScan, edited with GIMP.
******************************:
Expose as ISO 400.
1st Dev.: Papitol ( B&W paper developer ) 37Deg.C for 7 minutes and 15 seconds. KSCN added ( 0.2-0.3g / 500ml ).
Rinse.
Reexposure
2nd Dev: C41 about 37 Deg.C for about 7 minutes.
Rinse.
Bleach.
Rinse.
Fix.
Rinse and wash
Dry
*****************************
The method is open to all. Any questions are very much welcome.
In 2019, we created the Nestlé Institute of Packaging Sciences, to help us deliver on our commitment to only using 100% reusable or recyclable packaging by 2025.
Daughter of a dear friend of mine. Shot taken on Tara mountain on 12.08.2012.
Leica R3, Summicron f2/50mm, shot at f2.8@1/90 (x)
Rollei RPX100, stand developed in Rodinal 1+125 for 2hrs with borax added to dillution. Temp going from 15-23Cdeg.
Canoscan 9000F
Another job is to be a programmer. They write and develop the codes that make a video game work. www.ronyasoft.com/products/poster-forge/templates/funny-s...
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The ZSU-62 (Zenitnaya Samokhodnaya Ustanovka = anti-aircraft self-propelled mount) was a potential successor for the Soviet ZSU-57-2 SPAAG, developed in parallel with the ZSU-23-4. But unlike its brethren, the ZSU-62 was only produced in limited numbers, but it received limited fame during its late operational second-line career when it was successfully deployed to Afghanistan.
The ZSU’62’s roots were laid down just after WWII with the ZSU-57-2. The first prototype (Objekt 500) was completed in the summer of 1950, production began in 1955. The vehicle was built using a modified chassis of the new T-54 tank and was armed with two S-68 57 mm cannons – at the time the most powerful guns mounted in an anti-aircraft system. The modification of the chassis included reducing the road wheels per side to four and using lighter armor. The ZSU-57-2 was powered by a V-54 12-cylinder diesel engine providing 520 hp. Despite the weight of 28 tons, thanks to the strong engine, the maximum speed was 50 km/h. With a fuel load of 850 liters, the operational range was 420 km.
Each cannon had a (theoretical) rate of fire of 240 rounds per minute with a muzzle velocity of 1,000 m/s. Maximum horizontal range was 12 km (with an effective range against ground targets of up to 4 km / 2.5 miles), maximum vertical range was 8.8 km (with a maximum effective vertical range of 4.5 km / 14,750 ft). The effective range, when used against flying targets, was 6 km. Armor-piercing rounds were able to penetrate 110 mm armor at 500 m or 70 mm armor at 2,000 m (at 90° impact angle).
Rate of fire was 120 RPM, but this was only a theoretical number, because each gun was fed with separate four-shot magazines so that only bursts and no continuous fire was possible. Both fragmentation and armor-piercing ammunition were available. The ZSU-57-2’s total ammunition load was 300 rounds, with 176 rounds being stored inside the turret and the remaining in the hull. To efficiently operate the vehicle, six crew members were needed: commander, gunner, loader, driver, and two sight adjusters.
The ZSU-57-2 had serious firepower that could easily destroy any aerial target but had many issues. The greatest weaknesses were the lack of modern range-finding and radar equipment, the impossibility of engaging targets at night or while on the move, the lack of protection for its crew (being open-topped), and low ammunition count. Nevertheless, more than 2.000 ZSU-57-2s were eventually built. While many would be sold to other Warsaw Pact countries, like East Germany, Romania, and Poland, its service within the Soviet Army was limited, because of its many operational deficiencies.
This led in 1957 to a new SPAAG program for the Soviet Army and initiated the development of the ZSU-23-4 "Shilka", the ZSU-37-2 "Yenisei" and a new ZSU-57-2 “Kama” (all baptized after Russian rivers) with the outlook to replace the original ZSU-57-2 by the mid to late Sixties. These vehicles were intended for AA defense of military facilities, troops, and mechanized columns on the march. “Shilka” was intended for close range defense (esp. against low-flying attack helicopters) while the more powerful guns of "Yenisei" and “Kama” were judged to be effective at covering the inner dead-zone of Soviet surface-to-air missile systems between 1.000 and 6.000 m altitude, with a focus on attack aircraft and more heavily armored targets.
All designs were based on existing tracked chassis’ and featured completely enclosed turrets as well as a proven radar system, the RPK-2 "Tobol" radar (NATO designator: "Gun Dish"). The ZSU-37-2 was soon dropped in favor of the higher firepower and range of the 57mm guns, so that both “Shilka” and “Kama” entered the hardware stage at Omsk Works No. 174.
However, “Kama” lagged behind the “Shilka” development because several technical and conceptual problems had to be solved. For instance, even though the armament still consisted of two proven S-68 cannon, the weapons’ mount had to be developed new to fit into the enclosed cast turret. To save space, both weapons were now mounted directly side-by-side. Their feeding system was furthermore changed from magazines to belts, what considerably improved the SPAAG’s firepower and now allowed continuous fire at a higher rate of fire of 150 RPM per gun. For sufficient flexibility, a belt-switching mechanism allowed to choose between two different ammunition supplies: each gun had supplies of 220 and 35 rounds, normally occupied with HE fragmentation and armor-piercing tracer (AP-T) shells, respectively, against aerial and armored ground targets. Changing between the two feeds just took a couple of seconds.
The twin S-68s were recoil-operated and the whole mount (without feeding mechanism) weighed 4,500 kg. The guns had a recoil of between 325 and 370 mm, and each air-cooled gun barrel, fitted with a muzzle brake, was 4365 mm long (76.6 calibers). The weapons could be elevated or depressed between −5° and +80° at a speed of between 0.3° and 32° per second, while the turret could traverse 360° at a speed of between 0.2° and 52° per second. Drive was from a direct current electric motor and universal hydraulic speed gears.
The “Kama” crew numbered four: driver (in the hull), commander, gunner and radar operator (all in the turret). The heavy guns, their ammunition supply and the radar system had to be housed in a turret, together with decent armor, and this resulted in a considerable volume and weight (a single 57 mm projectile alone already weighed 2.8 kg). Several layouts were tested, but weight and volume of the systems made it impossible to mate the “Kama” turret on the T-54/55 chassis, which was available in ample numbers for conversions. The limiting factor was the T-54/55’s relatively small turret bearing diameter.
To solve this problem, the “Kama” designers chose the more modern T-62 as chassis basis. It was outwardly very similar to the former T-54/55, but it featured a 2245 mm turret ring (250 mm more than the T-54/55’s bearing) that was able to take a much bigger/wider/heavier turret than its predecessor. Furthermore, the T-62 represented the Soviet Army’s “state of the art”. The choice of the T-62 ensured many component and maintenance communalities with the operational MBT and it also meant that the “Kama” SPAAG could operate in the same environment and the same pace as the T-62. In order to save costs and development time, the T-62 chassis was taken “as is”, with the same engine and armor level as the MBT. There were only minor changes in the electric components, e. g. a more powerful generator for the radar system.
In this combination, “Kama” eventually entered tests and state acceptance trials as “Object 503”. During these tests, some final changes to layout and equipment were made; for instance, the RPK-2’s dish-shaped radome received a retractable mount that allowed the antenna to be raised higher above the turret in order to avoid clutter and to protect the antenna when the vehicle was on the move.
The tests lasted until 1963 and were successful, so that an initial batch of 100 serial production tanks was ordered the same year. In order to avoid confusion with the old ZSU-57-2 from 1955, the new tank with the same armament was pragmatically designated ZSU-62.
Alas, while production of the “Kama” turrets ran up to be mated with T-62 hulls at the Uralvagonzavod factory in Nizhny Tagil, the ZSU-62’s future had already been sealed by the fast pace of technical developments: in the meantime MANPADS (Man Portable Air Defense System) had taken the medium-range SPAAG’s place and a foot soldier could now fulfill the same mission as an expensive and bulky 40 ton tank, so that the medium range/altitude gap between the ZSU-23-4 (which had already entered service) and heavier surface-to-air missile systems would not be filled with a dedicated vehicle anymore. The ZSU-62 had become superfluous the moment it had reached the first frontline units, and large-scale production was immediately stopped.
However, the initial production run was nevertheless completed until 1967, and the ZSU-62s were primarily sent to training units, where the vehicles were – due to their turrets’ shape – nicknamed “черепаха“ (turtle).
This could have been the ZSU-62’s fate, but the Soviet Union’s intervention in Afghanistan brought it back into frontline service. Since December 1978, the Afghan government called on Soviet forces, which were introduced in the spring and summer of 1979 to provide security and to assist in the fight against the mujaheddin rebels. After the killing of Soviet technicians in Herat by rioting mobs, the Soviet government sold several Mi-24 helicopters to the Afghan military and increased the number of military advisers in the country to 3,000. In April 1979, the Afghan government requested that the USSR send 15 to 20 helicopters with their crews to Afghanistan, and on June 16, the Soviet government responded and sent a detachment of tanks, BMPs, and crews to guard the government in Kabul and to secure the Bagram and Shindand airfields. In response to this request, an airborne battalion arrived at the Bagram Air Base on July 7, and ground forces were deployed from Turkmenistan territory into northern Afghanistan, securing the supply lines.
Experience in the mountainous Afghan landscape soon made the shortcomings of standard MBTs apparent, namely their lack of gun elevation, esp. when attacking hideouts and posts in high locations. While the ZSU-23-4 “Shilka” was readily available and used against such targets, it lacked range and firepower to take out protected posts at distances more than 2.000 m away. This led to the decision to send roundabout 40 ZSU-62s to the Afghan theatre of operations, where they were primarily used against ground targets – both fortifications as well as armored and unarmored vehicles. The weapons’ precision and range proved to be valuable assets, with devastating effect, and the vehicles remained in active service until 1985 when their role was more and more taken over by helicopters and aircraft like the new Su-25. The ZSU-62 were, nevertheless, still employed for aerial airfield defense and as a deterrent against ground attacks.
With the USSR’s withdrawal from Afghanistan in 1988 and 1989, the last operational ZSU-62s were retired. In the training units, the vehicles had already been replaced by ZSU-23-4s by 1984.
Specifications:
Crew: Four (commander, gunner, radar operator, driver)
Weight: 37 t (41 short tons; 36 long tons)
Length: 6.63 m (21 ft 9 in) hull only
9.22 m (30 ft 3½ in) with barrel in forward position
Width: 3.30 m (10 ft 10 in)
Height: 3.88 m (12 ft 9 in) with search radar fully extended,
2.84 m (9 ft 3¾ in) with search radar stowed
Suspension: Torsion bar
Ground clearance: 425 mm (16.7 in)
Fuel capacity: 960 l
Armor:
20 mm (hull bottom) – 102 mm (hull front)
Performance:
Speed: 50 km/h (31 mph) on roads,
40 km/h (25 mph) cross country)
Range: 450 km (280 mi) on road;
650 km (400 mi) with two 200 l (53 US gal; 44 imp gal) extra fuel tanks;
320 km (200 mi) cross-country
450 km (280 mi) with two 200-liter extra fuel tanks
Climbing ability: 0.7 m (2.3')
Maximum climb gradient: 30°
Trench crossing ability: 2.5 m (8.2')
Fording depth: 1.0 m (3.3')
Operational range: 500 km (310 mi)
Power/weight: 14.5 hp/tonne (10.8 kW/tonne)
Engine:
1x V-55 12-cylinder 4-stroke one-chamber 38.88 liter water-cooled diesel engine
with 581 hp (433 kW) at 2,000 rpm
Transmission:
Hydromechanical
Armament:
2× S-68 57mm (1.5 in) cannon with 255 rounds each
The kit and its assembly:
This fictional tank model came to be as a classic what-if, based on the question “what could have been a successor of the Soviet ZSU-57-2 SPAAG?”. Not an existential question that comes to your mind frequently, but it made me wonder – also because the real-world successor, the ZSU-23-4 “Shilka”, lacked the ZSU-57-2’s range and large-caliber firepower.
From this conceptual basis I decided to retain the 57mm twin guns, add an RPK-2 radar and mount these into a fully enclosed turret. The latter became a leftover M48 turret, which was suitably bulky, and the gun mount was taken from a Modelcollect E-75 SPAAG. However, both were heavily modified: the gun mount lost its boxy armor protection, just the brass barrels and the joint at the base were retained, the rest was scratched from styrene bits and wire. To accept the much taller weapon mount, the turret front had to be re-sculpted with putty, resulting in a boxier shape with steeper side walls – but the whole affair looks very organic. A simpler commander cupola was used and the whole radar dish arrangement on the rear roof was scratched, too.
The hull came from a Trumpeter T-62, just for the reasons explained in the background: the T-54/55 had a relatively small turret ring, and this caused severe development problems, because the MBT could not take a bigger turret and with it a more powerful cannon. Since this SPAAG would have been developed a couple of years later than the T-54/55, its successor, the T-62, appeared logical, and the “marriage” with the M48 turret worked like a charm. Even the turret’s adapter had the same diameter as the hull opening, I just had to modify the notches that hold it in place! The hull itself remained unmodified.
Painting and markings:
I wanted to place this SPAAG into the Afghanistan theatre of operations, and this was historically not very easy since I had to bridge some fifteen years of service to make this idea work. However, I found a story for the background, and the model received an appropriate paint scheme, based on real world vehicles around 1980 (actually from a BMP-1 operated in northern Afghanistan).
The camouflage consists of three tones, a pale/greyish sand, an olive drab tone and some contrasts in a dark, dull brown – it reminds of the US Army’s more complex MERDC scheme. The paints became Humbrol 167 (Hemp), Tamiya XF-62 (Olive Drab) and Humbrol 98 (Chocolate), even though the green appears darker than expected due to the high contrast with the sand tone.
The model received an overall washing with dark brown, highly thinned acrylic paint, and some dry-brushing with cream, faded olive drab and light grey. The few markings/decals were taken from the T-62 kit, and everything was sealed with matt acrylic varnish before the lower areas were finally dusted with a greyish-sand brown mix of artist pigments, simulating dust.
A plausible result, even though a cast turret might not appear to be a natural choice for a SPAAG? But the AMX-30 SPAAG from 1969 had a very similar design and there was a German prototype called “MATADOR” (a Gepard forerunner from 1968) that had a turret of similar shape, too. However, the kitbashed/scratched turret looks really good and convincing, and the T-62 hull is a great match for it in shape, size and timeframe. The ZSU-62 turned out way better than hoped for! :D
Canonet QL17, Ilford HP5 Plus, self developed at カメラのアマノ. These are the store scans, which are low resolution. I do not know what I am gonna get out of this roll when I scan it at hope, as I am used to working with chromogenic XP2 Super.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Flakpanzer Coelian comprised a family of self-propelled anti-aircraft gun tanks, designed by Rheinmetall during World War II for the German armed forces. In the first years of the war, the Wehrmacht had only little interest in developing self-propelled anti-aircraft guns, but as the Allies developed air superiority, the need for more mobile and better-armed self-propelled anti-aircraft guns increased.
As a stopgap solution the Wehrmacht had adapted a variety of wheeled, half-track and tracked vehicles to serve as mobile forward air defense positions to protect armor and infantry units in the field as well as for temporary forward area positions such as mobile headquarters and logistic points. As Allied fighter bombers and other ground attack aircraft moved from machine gun armament and bombing to air-to-ground rockets, the air defense positions were even more vulnerable. The answer was to adapt a tank chassis with a specialized turret that would protect the gun crews while they fired upon approaching Allied aircraft.
Initial AA-tank designs were the ‘Möbelwagen’ and the ‘Wirbelwind’, effectively both conversions of refurbished Panzer IV combat tank chassis’ with open platforms or open turrets with four 20mm cannon. Alternatively, a single 37mm AA gun was mounted, too, resulting in the more effective ‘Ostwind’ tank – but all these vehicles were just compromises and suffered from light armor and lack of crew protection.
Further developments led to the ‘Kugelblitz’, another Panzer IV variant, but this time the ball-shaped turret was effectively integrated into the hull, resulting in a low silhouette and a fully protected crew. Another new feature was the use of the Mauser MK 103 machine cannon – a lightweight, belt-fed aircraft gun with a gas-powered action mechanism, first employed on board of the Hs 129 attack aircraft against ground targets, including tanks. The Mk 103 had a weight of only 141 kg (311 lb) and a length of 235 cm (93 in) (with muzzle brake). Barrel length was 134 cm (53 in), resulting in Kaliber L/44.7 (44.7 calibres).
Anyway, the Kugelblitz could only mount two of these guns in its very cramped and complicated tilting turret. Venting and ammunition feed problems could also not be solved, so that the innovative vehicle never made it beyond the prototype and evaluation stage, even though the integration of the Kugelblitz turret into the hull of the Jagdpanzer ‘Hetzer’ was considered for some time.
In parallel, the promising MK 103 was also tested in the four-gun carriage of the Wirlbelwind’s 20 mm Flakvierling 38 mount, resulting in the ‘3 cm Flakvierling 103/38’ and the respective ‘Zerstörer 45’ tank prototype. But this was, effectively, only a juiced up version of the obsolete ‘Wirbelwind’, again with only a roofless and vulnerable turret and the obsolete Panzer IV as base. The ‘Zerstörer 45’ was consequently rejected, but the firepower of the four guns was immense: Rate of fire of a single MK 103 was 400 - 450 RPM, and the rounds carried three times as much explosive charge as a Soviet 37 mm round. Both HE/M and APCR rounds were available for the MK 103. Muzzle velocity was 860-940 m/sec, paired with a high degree of accuracy. The armor penetration for APCR was 42–52 mm (1.7–2.0 in) / 60° / 300 m (980 ft) or 75–95 mm (3.0–3.7 in) / 90° / 300 m (980 ft) – more than enough for aircraft, and even dangerous for many combat tanks when hitting more lightly armored areas. Anyway, it was not possible to combine four of these 30mm guns with a favorably shaped, completely enclosed turret for an effective front line anti-aircraft tank that could stand its own among the armored combat units.
The solution to this problem eventually materialized in 1943 with the decision to completely abandon the limiting Panzer IV chassis and build a new generation of anti-aircraft tanks on the basis of the larger (and heavier) Panzer V medium battle tank, the ‘Panther’. Its chassis had in the meantime become available in considerably numbers from damaged and/or recovered combat tanks, and updated details like new turrets or different wheels were gradually introduced into production and during refurbishments.
The Panther could mount a considerably larger and heavier turret than the previous standard tank chassis like the Panzer III and IV, and this potential was full exploited – as well as the possibility to increase the weapon system’s weight, thanks to the sturdier chassis. Rheinmetall’s new, fully enclosed, 360° rotating turret could carry a wide array of weapons and ammunition (all were belt-fed), a crew of three and also offered a good protection through a sloped, frontal armor of 70mm thickness. Traverse and elevation of the turret was hydraulic, allowing a full elevation in just over four seconds, and a 360° traverse in 15.5 seconds. The initial version was armed with two 3.7 cm FlaK 43 guns, as a compromise between range, firepower and rate of fire. Beyond this initial variant, Rheinmetall developed the ‘Coelian’ turret in various versions, too, including fully enclosed turrets with a single 55 mm gun and with four 20mm MG 151/20 guns.
Eventually, in May 1944, a complete family of turrets with different armament options was cleared for production: the standard Coelian I, with a revised mount for the twin 3.7 cm FlaK 43 guns, a heavier variant with twin 55 mm guns against larger, high-flying targets (Coelian II; the guns were based on another aircraft weapon, the MK 214), and finally the Coelian III with four Mk 103 cannon against low-flying attack aircraft and soft/lightly armored ground targets. The variant with four 20 mm guns had been dropped, since it did not offer and added value compared to the Coelian III. All these vehicles ran under the SdKfz. 171/3 designation, with suffixes (A-C) to distinguish their armament in a more or less standardized turret.
Even though ground-based, mobile radar systems were under development at that time, all these turrets had to rely only on optical sensors, even though very effective optical rangefinders were introduced. All the turrets of the Coelian family were to be mounted on revamped Panzer V chassis, simply replacing the former combat tank turrets (either the original production turret from the A, D and G variant or the newly introduced Schmalturm from the F version). Theoretically, they could have also been mounted onto the Panzer VI ‘Tiger’ chassis, but due to this type’s weight and complexity, this was not carried out.
However, the SdKfz. 171/3 Panther/Coelian family designation had in the meantime also just become an interim solution: Plans had been made to start the production of a completely new, simplified tank vehicle family, the so-called ‘Einheitspanzer’. The resulting standard combat tanks (called E-50 and E-75, based on their weight class in tonnes) and their respective hulls would be based on the large Königstiger battle tank, and potentially accept even bigger turrets and weapons. Consequentially, while production of the Coelian turrets and the conversion of 2nd hand and by the time also new Panther hulls of all variants was just gaining momentum in late 1944, work for the new Einheitspanzer tanks and their weaponry had already started.
Roundabout 300 Coelian tanks reached frontline units, two third of them were factory-built, and in the course of early 1945 the Coelian family had gradually replaced most of the outdated Panzer IV AA variants and SPAAGs with open turrets. The Coelian tanks were soon joined by the newly produced, dedicated Flakpanzer variants of the Einheitspanzer family, including a twin 55 mm gun on the E-50 chassis and also a monstrous 140 ton anti-aircraft variant of the heavy E-100 chassis, equipped with an automatic twin 8.8cm Flak in a fully enclosed and heavily armored turret.
Specifications:
Crew: Five (commander, gunner, loader/2nd gunner, driver, radio-operator/hull machine gunner)
Weight: 44.8 tonnes (44.1 long tons; 49.4 short tons)
Length: 6.87 m (22 ft 6 in)
Width: 3.42 m (11 ft 3 in) with side skirts
Height: 3.13 m (10 ft 3 in)
Suspension: Double torsion bar, interleaved road wheels
Fuel capacity: 720 litres (160 imp gal; 190 US gal)
Armor:
15–80 mm (0.6 – 3.15 in)
Performance:
Maximum road speed: 46 km/h (29 mph)
Operational range: 250 km (160 mi)
Power/weight: 15.39 PS (11.5 kW)/tonne (13.77 hp/ton)
Engine:
Maybach HL230 P30 V-12 petrol engine with 700 PS (690 hp, 515 kW)
ZF AK 7-200 gear; 7 forward 1 reverse
Armament:
4× 30 mm (1.18 in) MK 103 machine cannon with 3.600 rounds
1× 7.92 mm MG 34 machine gun in the front glacis plate with 2.500 rounds
The kit and its assembly:
This was a spontaneous build, in the wake of other recent whif tanks and using some leftover parts from the kit pile(s). Things started with a KORA 1:72 resin conversion kit with a 2x 37mm FlaK Coelian turret for a Panther chassis – but with broken and bent gun barrels. I had actually stashed the parts away for a potential mecha build/conversion, long ago, but while doing legwork for late German WWII tanks I recently came again across the various anti-aircraft tank designs. And I wondered if mounting the Coelian turret on a Panzer IV chassis would be possible and lead to a compact (and whiffy) new vehicle?
Well, it would not work, because the Coelian turret needs a considerably bigger turret bearing diameter than anything the Panzer IV hull could realistically handle (even the Panther’s Schmalturm is actually a little too wide…), and so I folded the idea up again and put it onto the “vague ideas” pile.
…until I stumbled upon the leftover hull from a Hasegawa Panther Ausf. F in the donor kits pile, which had originally given both of its OOB turrets (a Schmalturm and a standard model) to other conversions. While mating the Coelian turret with its originally intended hull was not a sexy project, I eventually did so, because I could effectively use two leftovers for something sound and well-balanced.
Concerning the assembly phase, there’s not much to tell about the Hasegawa Panther Ausf. F. Fit is good, a simple kit, and it comes, as a benefit, with optional all-steel wheels which I used for my conversion, changing the overall look to a true late war model. Only the opening for the turret had to be widened in order to accept the new resin turret.
The latter only consists of two parts: the massive core section and a separate weapon mount. The latter was in so far modified that I added a simple metal peg which can be switched between two holes in the turret hull, for two gun positions.
Since the original gun barrels had to be replaced, anyway, I did a thorough (and fictional) modification: I used four 1:48 20 mm brass barrels for a Flak 38 Flakvierling (from RB Models) and mounted them in two staggered pairs onto the original cannon fairing. The resulting gun array looks impressive and even realistic, and, thanks to the scale-o-rama effect, the 1:48 parts have the perfect size for 30 mm cannon barrels in 1:72!
Painting and markings:
Something “German”, but nothing spectacular, so I ended up with another variant of the Hinterhalt scheme, found on a Jagdpanther from the Ardennenoffensive period. In this case, the prominent colors are Dunkelgelb and Olivgrün in broad stripes, separated by blurred, thin lines made of Rotbraun.
As a little twist I wanted to modify the scheme in so far that this vehicle was to show its conversion heritage in a workshop, so hull and turret received different basic tones as an initial step.
The hull and all wheels were painted with matt RAL 7028 (a modern equivalent to the WWII Dunkelgelb), while the turret received a red primer coat with Oxidrot (RAL 3009). On top of these, wide green bands (RAL 6003 from Modelmaster) and separating russet (Humbrol 113) stripes were painted with brushes. In order to brighten up the relatively dark turret, some yellow mottles were added on the Oxidrot areas (using Revell 16).
Once dry, the whole surface received a sand paper treatment, so that the RAL 7028 would shine through here and there, as if worn out. After a dark brown wash, details were emphasized with dry-brushing in light grey and beige. Decals were puzzled together from various German tank sheets, and the kit finally sealed with matt acrylic varnish.
The black vinyl tracks were also painted/weathered, with a wet-in-wet mix of black, iron and red brown (all acrylics). Once they were mounted into place, mud and dust around the running gear and the lower hull was simulated with a greyish-brown mix of artist mineral pigments.
A bit of recycling and less exotic than originally hoped for – but it’s still a whiffy tank model, and its proximity to the real but unrealized Coelian project makes this one even more subtle. Pile reduction, one by one…
Hadrian's Tower is a residential tower block in Newcastle upon Tyne. Located at 27 Rutherford Street, construction started in 2018 and was completed in September 2020.
History
Hadrian's Tower was designed by Faulkner Browns, built by Tolent Construction, glazed by EVB Facades (UK) Ltd and handed over to the developer, The High Street Group, in September 2020 and opened in December 2020.
Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.
Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.
The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.
Roman settlement
The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.
The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.
Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.
Anglo-Saxon development
The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led an army that attacked and pillaged various monasteries in the area, and it is thought that Monkchester was also pillaged at this time. Little more was heard of it until the coming of the Normans.
Norman period
After the arrival of William the Conqueror in England in 1066, the whole of England was quickly subjected to Norman rule. However, in Northumbria there was great resistance to the Normans, and in 1069 the newly appointed Norman Earl of Northumbria, Robert de Comines and 700 of his men were killed by the local population at Durham. The Northumbrians then marched on York, but William was able to suppress the uprising. That same year, a second uprising occurred when a Danish fleet landed in the Humber. The Northumbrians again attacked York and destroyed the garrison there. William was again able to suppress the uprising, but this time he took revenge. He laid waste to the whole of the Midlands and the land from York to the Tees. In 1080, William Walcher, the Norman bishop of Durham and his followers were brutally murdered at Gateshead. This time Odo, bishop of Bayeux, William's half brother, devastated the land between the Tees and the Tweed. This was known as the 'Harrying of the North'. This devastation is reflected in the Domesday Book. The destruction had such an effect that the North remained poor and backward at least until Tudor times and perhaps until the Industrial Revolution. Newcastle suffered in this respect with the rest of the North.
In 1080 William sent his eldest son, Robert Curthose, north to defend the kingdom against the Scots. After his campaign, he moved to Monkchester and began the building of a 'New Castle'. This was of the "motte-and-bailey" type of construction, a wooden tower on top of an earthen mound (motte), surrounded by a moat and wooden stockade (bailey). It was this castle that gave Newcastle its name. In 1095 the Earl of Northumbria, Robert de Mowbray, rose up against the king, William Rufus, and Rufus sent an army north to recapture the castle. From then on the castle became crown property and was an important base from which the king could control the northern barons. The Northumbrian earldom was abolished and a Sheriff of Northumberland was appointed to administer the region. In 1091 the parish church of St Nicholas was consecrated on the site of the present Anglican cathedral, close by the bailey of the new castle. The church is believed to have been a wooden building on stone footings.
Not a trace of the tower or mound of the motte and bailey castle remains now. Henry II replaced it with a rectangular stone keep, which was built between 1172 and 1177 at a cost of £1,444. A stone bailey, in the form of a triangle, replaced the previous wooden one. The great outer gateway to the castle, called 'the Black Gate', was built later, between 1247 and 1250, in the reign of Henry III. There were at that time no town walls and when attacked by the Scots, the townspeople had to crowd into the bailey for safety. It is probable that the new castle acted as a magnet for local merchants because of the safety it provided. This in turn would help to expand trade in the town. At this time wool, skins and lead were being exported, whilst alum, pepper and ginger were being imported from France and Flanders.
Middle Ages
Throughout the Middle Ages, Newcastle was England's northern fortress, the centre for assembled armies. The Border war against Scotland lasted intermittently for several centuries – possibly the longest border war ever waged. During the civil war between Stephen and Matilda, David 1st of Scotland and his son were granted Cumbria and Northumberland respectively, so that for a period from 1139 to 1157, Newcastle was effectively in Scottish hands. It is believed that during this period, King David may have built the church of St Andrew and the Benedictine nunnery in Newcastle. However, King Stephen's successor, Henry II was strong enough to take back the Earldom of Northumbria from Malcolm IV.
The Scots king William the Lion was imprisoned in Newcastle, in 1174, after being captured at the Battle of Alnwick. Edward I brought the Stone of Scone and William Wallace south through the town and Newcastle was successfully defended against the Scots three times during the 14th century.
Around 1200, stone-faced, clay-filled jetties were starting to project into the river, an indication that trade was increasing in Newcastle. As the Roman roads continued to deteriorate, sea travel was gaining in importance. By 1275 Newcastle was the sixth largest wool exporting port in England. The principal exports at this time were wool, timber, coal, millstones, dairy produce, fish, salt and hides. Much of the developing trade was with the Baltic countries and Germany. Most of the Newcastle merchants were situated near the river, below the Castle. The earliest known charter was dated 1175 in the reign of Henry II, giving the townspeople some control over their town. In 1216 King John granted Newcastle a mayor[8] and also allowed the formation of guilds (known as Mysteries). These were cartels formed within different trades, which restricted trade to guild members. There were initially twelve guilds. Coal was being exported from Newcastle by 1250, and by 1350 the burgesses received a royal licence to export coal. This licence to export coal was jealously guarded by the Newcastle burgesses, and they tried to prevent any one else on the Tyne from exporting coal except through Newcastle. The burgesses similarly tried to prevent fish from being sold anywhere else on the Tyne except Newcastle. This led to conflicts with Gateshead and South Shields.
In 1265, the town was granted permission to impose a 'Wall Tax' or Murage, to pay for the construction of a fortified wall to enclose the town and protect it from Scottish invaders. The town walls were not completed until early in the 14th century. They were two miles (3 km) long, 9 feet (2.7 m) thick and 25 feet (7.6 m) high. They had six main gates, as well as some smaller gates, and had 17 towers. The land within the walls was divided almost equally by the Lort Burn, which flowed southwards and joined the Tyne to the east of the Castle. The town began to expand north of the Castle and west of the Lort Burn with various markets being set up within the walls.
In 1400 Henry IV granted a new charter, creating a County corporate which separated the town, but not the Castle, from the county of Northumberland and recognised it as a "county of itself" with a right to have a sheriff of its own. The burgesses were now allowed to choose six aldermen who, with the mayor would be justices of the peace. The mayor and sheriff were allowed to hold borough courts in the Guildhall.
Religious houses
During the Middle Ages a number of religious houses were established within the walls: the first of these was the Benedictine nunnery of St Bartholomew founded in 1086 near the present-day Nun Street. Both David I of Scotland and Henry I of England were benefactors of the religious house. Nothing of the nunnery remains now.
The friary of Blackfriars, Newcastle (Dominican) was established in 1239. These were also known as the Preaching Friars or Shod Friars, because they wore sandals, as opposed to other orders. The friary was situated in the present-day Friars Street. In 1280 the order was granted royal permission to make a postern in the town walls to communicate with their gardens outside the walls. On 19 June 1334, Edward Balliol, claimant to be King of Scotland, did homage to King Edward III, on behalf of the kingdom of Scotland, in the church of the friary. Much of the original buildings of the friary still exist, mainly because, after the Dissolution of the Monasteries the friary of Blackfriars was rented out by the corporation to nine of the local trade guilds.
The friary of Whitefriars (Carmelite) was established in 1262. The order was originally housed on the Wall Knoll in Pandon, but in 1307 it took over the buildings of another order, which went out of existence, the Friars of the Sac. The land, which had originally been given by Robert the Bruce, was situated in the present-day Hanover Square, behind the Central station. Nothing of the friary remains now.
The friary of Austinfriars (Augustinian) was established in 1290. The friary was on the site where the Holy Jesus Hospital was built in 1682. The friary was traditionally the lodging place of English kings whenever they visited or passed through Newcastle. In 1503 Princess Margaret, eldest daughter of Henry VII of England, stayed two days at the friary on her way to join her new husband James IV of Scotland.
The friary of Greyfriars (Franciscans) was established in 1274. The friary was in the present-day area between Pilgrim Street, Grey Street, Market Street and High Chare. Nothing of the original buildings remains.
The friary of the Order of the Holy Trinity, also known as the Trinitarians, was established in 1360. The order devoted a third of its income to buying back captives of the Saracens, during the Crusades. Their house was on the Wall Knoll, in Pandon, to the east of the city, but within the walls. Wall Knoll had previously been occupied by the White Friars until they moved to new premises in 1307.
All of the above religious houses were closed in about 1540, when Henry VIII dissolved the monasteries.
An important street running through Newcastle at the time was Pilgrim Street, running northwards inside the walls and leading to the Pilgrim Gate on the north wall. The street still exists today as arguably Newcastle's main shopping street.
Tudor period
The Scottish border wars continued for much of the 16th century, so that during that time, Newcastle was often threatened with invasion by the Scots, but also remained important as a border stronghold against them.
During the Reformation begun by Henry VIII in 1536, the five Newcastle friaries and the single nunnery were dissolved and the land was sold to the Corporation and to rich merchants. At this time there were fewer than 60 inmates of the religious houses in Newcastle. The convent of Blackfriars was leased to nine craft guilds to be used as their headquarters. This probably explains why it is the only one of the religious houses whose building survives to the present day. The priories at Tynemouth and Durham were also dissolved, thus ending the long-running rivalry between Newcastle and the church for control of trade on the Tyne. A little later, the property of the nunnery of St Bartholomew and of Grey Friars were bought by Robert Anderson, who had the buildings demolished to build his grand Newe House (also known as Anderson Place).
With the gradual decline of the Scottish border wars the town walls were allowed to decline as well as the castle. By 1547, about 10,000 people were living in Newcastle. At the beginning of the 16th century exports of wool from Newcastle were more than twice the value of exports of coal, but during the century coal exports continued to increase.
Under Edward VI, John Dudley, Duke of Northumberland, sponsored an act allowing Newcastle to annexe Gateshead as its suburb. The main reason for this was to allow the Newcastle Hostmen, who controlled the export of Tyne coal, to get their hands on the Gateshead coal mines, previously controlled by the Bishop of Durham. However, when Mary I came to power, Dudley met his downfall and the decision was reversed. The Reformation allowed private access to coal mines previously owned by Tynemouth and Durham priories and as a result coal exports increase dramatically, from 15,000 tons in 1500 to 35,000 tons in 1565, and to 400,000 tons in 1625.
The plague visited Newcastle four times during the 16th century, in 1579 when 2,000 people died, in 1589 when 1700 died, in 1595 and finally in 1597.
In 1600 Elizabeth I granted Newcastle a charter for an exclusive body of electors, the right to elect the mayor and burgesses. The charter also gave the Hostmen exclusive rights to load coal at any point on the Tyne. The Hostmen developed as an exclusive group within the Merchant Adventurers who had been incorporated by a charter in 1547.
Stuart period
In 1636 there was a serious outbreak of bubonic plague in Newcastle. There had been several previous outbreaks of the disease over the years, but this was the most serious. It is thought to have arrived from the Netherlands via ships that were trading between the Tyne and that country. It first appeared in the lower part of the town near the docks but gradually spread to all parts of the town. As the disease gained hold the authorities took measures to control it by boarding up any properties that contained infected persons, meaning that whole families were locked up together with the infected family members. Other infected persons were put in huts outside the town walls and left to die. Plague pits were dug next to the town's four churches and outside the town walls to receive the bodies in mass burials. Over the course of the outbreak 5,631 deaths were recorded out of an estimated population of 12,000, a death rate of 47%.
In 1637 Charles I tried to raise money by doubling the 'voluntary' tax on coal in return for allowing the Newcastle Hostmen to regulate production and fix prices. This caused outrage amongst the London importers and the East Anglian shippers. Both groups decided to boycott Tyne coal and as a result forced Charles to reverse his decision in 1638.
In 1640 during the Second Bishops' War, the Scots successfully invaded Newcastle. The occupying army demanded £850 per day from the Corporation to billet the Scottish troops. Trade from the Tyne ground to a halt during the occupation. The Scots left in 1641 after receiving a Parliamentary pardon and a £4,000,000 loan from the town.
In 1642 the English Civil War began. King Charles realised the value of the Tyne coal trade and therefore garrisoned Newcastle. A Royalist was appointed as governor. At that time, Newcastle and King's Lynn were the only important seaports to support the crown. In 1644 Parliament blockaded the Tyne to prevent the king from receiving revenue from the Tyne coal trade. Coal exports fell from 450,000 to 3,000 tons and London suffered a hard winter without fuel. Parliament encouraged the coal trade from the Wear to try to replace that lost from Newcastle but that was not enough to make up for the lost Tyneside tonnage.
In 1644 the Scots crossed the border. Newcastle strengthened its defences in preparation. The Scottish army, with 40,000 troops, besieged Newcastle for three months until the garrison of 1,500 surrendered. During the siege, the Scots bombarded the walls with their artillery, situated in Gateshead and Castle Leazes. The Scottish commander threatened to destroy the steeple of St Nicholas's Church by gunfire if the mayor, Sir John Marley, did not surrender the town. The mayor responded by placing Scottish prisoners that they had captured in the steeple, so saving it from destruction. The town walls were finally breached by a combination of artillery and sapping. In gratitude for this defence, Charles gave Newcastle the motto 'Fortiter Defendit Triumphans' to be added to its coat of arms. The Scottish army occupied Northumberland and Durham for two years. The coal taxes had to pay for the Scottish occupation. In 1645 Charles surrendered to the Scots and was imprisoned in Newcastle for nine months. After the Civil War the coal trade on the Tyne soon picked up and exceeded its pre-war levels.
A new Guildhall was completed on the Sandhill next to the river in 1655, replacing an earlier facility damaged by fire in 1639, and became the meeting place of Newcastle Town Council. In 1681 the Hospital of the Holy Jesus was built partly on the site of the Austin Friars. The Guildhall and Holy Jesus Hospital still exist.
Charles II tried to impose a charter on Newcastle to give the king the right to appoint the mayor, sheriff, recorder and town clerk. Charles died before the charter came into effect. In 1685, James II tried to replace Corporation members with named Catholics. However, James' mandate was suspended in 1689 after the Glorious Revolution welcoming William of Orange. In 1689, after the fall of James II, the people of Newcastle tore down his bronze equestrian statue in Sandhill and tossed it into the Tyne. The bronze was later used to make bells for All Saints Church.
In 1689 the Lort Burn was covered over. At this time it was an open sewer. The channel followed by the Lort Burn became the present day Dean Street. At that time, the centre of Newcastle was still the Sandhill area, with many merchants living along the Close or on the Side. The path of the main road through Newcastle ran from the single Tyne bridge, through Sandhill to the Side, a narrow street which climbed steeply on the north-east side of the castle hill until it reached the higher ground alongside St Nicholas' Church. As Newcastle developed, the Side became lined with buildings with projecting upper stories, so that the main street through Newcastle was a narrow, congested, steep thoroughfare.
In 1701 the Keelmen's Hospital was built in the Sandgate area of the city, using funds provided by the keelmen. The building still stands today.
Eighteenth century
In the 18th century, Newcastle was the country's largest print centre after London, Oxford and Cambridge, and the Literary and Philosophical Society of 1793, with its erudite debates and large stock of books in several languages predated the London Library by half a century.
In 1715, during the Jacobite rising in favour of the Old Pretender, an army of Jacobite supporters marched on Newcastle. Many of the Northumbrian gentry joined the rebels. The citizens prepared for its arrival by arresting Jacobite supporters and accepting 700 extra recruits into the local militia. The gates of the city were closed against the rebels. This proved enough to delay an attack until reinforcements arrived forcing the rebel army to move across to the west coast. The rebels finally surrendered at Preston.
In 1745, during a second Jacobite rising in favour of the Young Pretender, a Scottish army crossed the border led by Bonnie Prince Charlie. Once again Newcastle prepared by arresting Jacobite supporters and inducting 800 volunteers into the local militia. The town walls were strengthened, most of the gates were blocked up and some 200 cannon were deployed. 20,000 regulars were billeted on the Town Moor. These preparations were enough to force the rebel army to travel south via the west coast. They were eventually defeated at Culloden in 1746.
Newcastle's actions during the 1715 rising in resisting the rebels and declaring for George I, in contrast to the rest of the region, is the most likely source of the nickname 'Geordie', applied to people from Tyneside, or more accurately Newcastle. Another theory, however, is that the name 'Geordie' came from the inventor of the Geordie lamp, George Stephenson. It was a type of safety lamp used in mining, but was not invented until 1815. Apparently the term 'German Geordie' was in common use during the 18th century.
The city's first hospital, Newcastle Infirmary opened in 1753; it was funded by public subscription. A lying-in hospital was established in Newcastle in 1760. The city's first public hospital for mentally ill patients, Wardens Close Lunatic Hospital was opened in October 1767.
In 1771 a flood swept away much of the bridge at Newcastle. The bridge had been built in 1250 and repaired after a flood in 1339. The bridge supported various houses and three towers and an old chapel. A blue stone was placed in the middle of the bridge to mark the boundary between Newcastle and the Palatinate of Durham. A temporary wooden bridge had to be built, and this remained in use until 1781, when a new stone bridge was completed. The new bridge consisted of nine arches. In 1801, because of the pressure of traffic, the bridge had to be widened.
A permanent military presence was established in the city with the completion of Fenham Barracks in 1806. The facilities at the Castle for holding assizes, which had been condemned for their inconvenience and unhealthiness, were replaced when the Moot Hall opened in August 1812.
Victorian period
Present-day Newcastle owes much of its architecture to the work of the builder Richard Grainger, aided by architects John Dobson, Thomas Oliver, John and Benjamin Green and others. In 1834 Grainger won a competition to produce a new plan for central Newcastle. He put this plan into effect using the above architects as well as architects employed in his own office. Grainger and Oliver had already built Leazes Terrace, Leazes Crescent and Leazes Place between 1829 and 1834. Grainger and Dobson had also built the Royal Arcade at the foot of Pilgrim Street between 1830 and 1832. The most ambitious project covered 12 acres 12 acres (49,000 m2) in central Newcastle, on the site of Newe House (also called Anderson Place). Grainger built three new thoroughfares, Grey Street, Grainger Street and Clayton Street with many connecting streets, as well as the Central Exchange and the Grainger Market. John Wardle and George Walker, working in Grainger's office, designed Clayton Street, Grainger Street and most of Grey Street. Dobson designed the Grainger Market and much of the east side of Grey Street. John and Benjamin Green designed the Theatre Royal at the top of Grey Street, where Grainger placed the column of Grey's Monument as a focus for the whole scheme. Grey Street is considered to be one of the finest streets in the country, with its elegant curve. Unfortunately most of old Eldon Square was demolished in the 1960s in the name of progress. The Royal Arcade met a similar fate.
In 1849 a new bridge was built across the river at Newcastle. This was the High Level Bridge, designed by Robert Stephenson, and slightly up river from the existing bridge. The bridge was designed to carry road and rail traffic across the Tyne Gorge on two decks with rail traffic on the upper deck and road traffic on the lower. The new bridge meant that traffic could pass through Newcastle without having to negotiate the steep, narrow Side, as had been necessary for centuries. The bridge was opened by Queen Victoria, who one year later opened the new Central Station, designed by John Dobson. Trains were now able to cross the river, directly into the centre of Newcastle and carry on up to Scotland. The Army Riding School was also completed in 1849.
In 1854 a large fire started on the Gateshead quayside and an explosion caused it to spread across the river to the Newcastle quayside. A huge conflagration amongst the narrow alleys, or 'chares', destroyed the homes of 800 families as well as many business premises. The narrow alleys that had been destroyed were replaced by streets containing blocks of modern offices.
In 1863 the Town Hall in St Nicholas Square replaced the Guildhall as the meeting place of Newcastle Town Council.
In 1876 the low level bridge was replaced by a new bridge known as the Swing Bridge, so called because the bridge was able to swing horizontally on a central axis and allow ships to pass on either side. This meant that for the first time sizeable ships could pass up-river beyond Newcastle. The bridge was built and paid for by William Armstrong, a local arms manufacturer, who needed to have warships access his Elswick arms factory to fit armaments to them. The Swing Bridge's rotating mechanism is adapted from the cannon mounts developed in Armstrong's arms works. In 1882 the Elswick works began to build ships as well as to arm them. The Barrack Road drill hall was completed in 1890.
Industrialisation
In the 19th century, shipbuilding and heavy engineering were central to the city's prosperity; and the city was a powerhouse of the Industrial Revolution. Newcastle's development as a major city owed most to its central role in the production and export of coal. The phrase "taking coals to Newcastle" was first recorded in 1538; it proverbially denotes bringing a particular commodity to a place that has more than enough of it already.
Innovation in Newcastle and surrounding areas included the following:
George Stephenson developed a miner's safety lamp at the same time that Humphry Davy developed a rival design. The lamp made possible the opening up of ever deeper mines to provide the coal that powered the industrial revolution.
George and his son Robert Stephenson were hugely influential figures in the development of the early railways. George developed Blücher, a locomotive working at Killingworth colliery in 1814, whilst Robert was instrumental in the design of Rocket, a revolutionary design that was the forerunner of modern locomotives. Both men were involved in planning and building railway lines, all over this country and abroad.
Joseph Swan demonstrated a working electric light bulb about a year before Thomas Edison did the same in the USA. This led to a dispute as to who had actually invented the light bulb. Eventually the two rivals agreed to form a mutual company between them, the Edison and Swan Electric Light Company, known as Ediswan.
Charles Algernon Parsons invented the steam turbine, for marine use and for power generation. He used Turbinia, a small, turbine-powered ship, to demonstrate the speed that a steam turbine could generate. Turbinia literally ran rings around the British Fleet at a review at Spithead in 1897.
William Armstrong invented a hydraulic crane that was installed in dockyards up and down the country. He then began to design light, accurate field guns for the British army. These were a vast improvement on the existing guns that were then in use.
The following major industries developed in Newcastle or its surrounding area:
Glassmaking
A small glass industry existed in Newcastle from the mid-15th century. In 1615 restrictions were put on the use of wood for manufacturing glass. It was found that glass could be manufactured using the local coal, and so a glassmaking industry grew up on Tyneside. Huguenot glassmakers came over from France as refugees from persecution and set up glasshouses in the Skinnerburn area of Newcastle. Eventually, glass production moved to the Ouseburn area of Newcastle. In 1684 the Dagnia family, Sephardic Jewish emigrants from Altare, arrived in Newcastle from Stourbridge and established glasshouses along the Close, to manufacture high quality flint glass. The glass manufacturers used sand ballast from the boats arriving in the river as the main raw material. The glassware was then exported in collier brigs. The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.
Locomotive manufacture
In 1823 George Stephenson and his son Robert established the world's first locomotive factory near Forth Street in Newcastle. Here they built locomotives for the Stockton and Darlington Railway and the Liverpool and Manchester Railway, as well as many others. It was here that the famous locomotive Rocket was designed and manufactured in preparation for the Rainhill Trials. Apart from building locomotives for the British market, the Newcastle works also produced locomotives for Europe and America. The Forth Street works continued to build locomotives until 1960.
Shipbuilding
In 1296 a wooden, 135 ft (41 m) long galley was constructed at the mouth of the Lort Burn in Newcastle, as part of a twenty-ship order from the king. The ship cost £205, and is the earliest record of shipbuilding in Newcastle. However the rise of the Tyne as a shipbuilding area was due to the need for collier brigs for the coal export trade. These wooden sailing ships were usually built locally, establishing local expertise in building ships. As ships changed from wood to steel, and from sail to steam, the local shipbuilding industry changed to build the new ships. Although shipbuilding was carried out up and down both sides of the river, the two main areas for building ships in Newcastle were Elswick, to the west, and Walker, to the east. By 1800 Tyneside was the third largest producer of ships in Britain. Unfortunately, after the Second World War, lack of modernisation and competition from abroad gradually caused the local industry to decline and die.
Armaments
In 1847 William Armstrong established a huge factory in Elswick, west of Newcastle. This was initially used to produce hydraulic cranes but subsequently began also to produce guns for both the army and the navy. After the Swing Bridge was built in 1876 allowing ships to pass up river, warships could have their armaments fitted alongside the Elswick works. Armstrong's company took over its industrial rival, Joseph Whitworth of Manchester in 1897.
Steam turbines
Charles Algernon Parsons invented the steam turbine and, in 1889, founded his own company C. A. Parsons and Company in Heaton, Newcastle to make steam turbines. Shortly after this, he realised that steam turbines could be used to propel ships and, in 1897, he founded a second company, Parsons Marine Steam Turbine Company in Wallsend. It is there that he designed and manufactured Turbinia. Parsons turbines were initially used in warships but soon came to be used in merchant and passenger vessels, including the liner Mauretania which held the blue riband for the Atlantic crossing until 1929. Parsons' company in Heaton began to make turbo-generators for power stations and supplied power stations all over the world. The Heaton works, reduced in size, remains as part of the Siemens AG industrial giant.
Pottery
In 1762 the Maling pottery was founded in Sunderland by French Huguenots, but transferred to Newcastle in 1817. A factory was built in the Ouseburn area of the city. The factory was rebuilt twice, finally occupying a 14-acre (57,000 m2) site that was claimed to be the biggest pottery in the world and which had its own railway station. The pottery pioneered use of machines in making potteries as opposed to hand production. In the 1890s the company went up-market and employed in-house designers. The period up to the Second World War was the most profitable with a constant stream of new designs being introduced. However, after the war, production gradually declined and the company closed in 1963.
Expansion of the city
Newcastle was one of the boroughs reformed by the Municipal Corporations Act 1835: the reformed municipal borough included the parishes of Byker, Elswick, Heaton, Jesmond, Newcastle All Saints, Newcastle St Andrew, Newcastle St John, Newcastle St Nicholas, and Westgate. The urban districts of Benwell and Fenham and Walker were added in 1904. In 1935, Newcastle gained Kenton and parts of the parishes of West Brunton, East Denton, Fawdon, Longbenton. The most recent expansion in Newcastle's boundaries took place under the Local Government Act 1972 on 1 April 1974, when Newcastle became a metropolitan borough, also including the urban districts of Gosforth and Newburn, and the parishes of Brunswick, Dinnington, Hazlerigg, North Gosforth and Woolsington from the Castle Ward Rural District, and the village of Westerhope.
Meanwhile Northumberland County Council was formed under the Local Government Act 1888 and benefited from a dedicated meeting place when County Hall was completed in the Castle Garth area of Newcastle in 1910. Following the Local Government Act 1972 County Hall relocated to Morpeth in April 1981.
Twentieth century
In 1925 work began on a new high-level road bridge to span the Tyne Gorge between Newcastle and Gateshead. The capacity of the existing High-Level Bridge and Swing Bridge were being strained to the limit, and an additional bridge had been discussed for a long time. The contract was awarded to the Dorman Long Company and the bridge was finally opened by King George V in 1928. The road deck was 84 feet (26 m) above the river and was supported by a 531 feet (162 m) steel arch. The new Tyne Bridge quickly became a symbol for Newcastle and Tyneside, and remains so today.
During the Second World War, Newcastle was largely spared the horrors inflicted upon other British cities bombed during the Blitz. Although the armaments factories and shipyards along the River Tyne were targeted by the Luftwaffe, they largely escaped unscathed. Manors goods yard and railway terminal, to the east of the city centre, and the suburbs of Jesmond and Heaton suffered bombing during 1941. There were 141 deaths and 587 injuries, a relatively small figure compared to the casualties in other industrial centres of Britain.
In 1963 the city gained its own university, the University of Newcastle upon Tyne, by act of parliament. A School of Medicine and Surgery had been established in Newcastle in 1834. This eventually developed into a college of medicine attached to Durham University. A college of physical science was also founded and became Armstrong College in 1904. In 1934 the two colleges merged to become King's College, Durham. This remained as part of Durham University until the new university was created in 1963. In 1992 the city gained its second university when Newcastle Polytechnic was granted university status as Northumbria University.
Newcastle City Council moved to the new Newcastle Civic Centre in 1968.
As heavy industries declined in the second half of the 20th century, large sections of the city centre were demolished along with many areas of slum housing. The leading political figure in the city during the 1960s was T. Dan Smith who oversaw a massive building programme of highrise housing estates and authorised the demolition of a quarter of the Georgian Grainger Town to make way for Eldon Square Shopping Centre. Smith's control in Newcastle collapsed when it was exposed that he had used public contracts to advantage himself and his business associates and for a time Newcastle became a byword for civic corruption as depicted in the films Get Carter and Stormy Monday and in the television series Our Friends in the North. However, much of the historic Grainger Town area survived and was, for the most part, fully restored in the late 1990s. Northumberland Street, initially the A1, was gradually closed to traffic from the 1970s and completely pedestrianised by 1998.
In 1978 a new rapid transport system, the Metro, was built, linking the Tyneside area. The system opened in August 1980. A new bridge was built to carry the Metro across the river between Gateshead and Newcastle. This was the Queen Elizabeth II Bridge, commonly known as the Metro Bridge. Eventually the Metro system was extended to reach Newcastle Airport in 1991, and in 2002 the Metro system was extended to the nearby city of Sunderland.
As the 20th century progressed, trade on the Newcastle and Gateshead quaysides gradually declined, until by the 1980s both sides of the river were looking rather derelict. Shipping company offices had closed along with offices of firms related to shipping. There were also derelict warehouses lining the riverbank. Local government produced a master plan to re-develop the Newcastle quayside and this was begun in the 1990s. New offices, restaurants, bars and residential accommodation were built and the area has changed in the space of a few years into a vibrant area, partially returning the focus of Newcastle to the riverside, where it was in medieval times.
The Gateshead Millennium Bridge, a foot and cycle bridge, 26 feet (7.9 m) wide and 413 feet (126 m) long, was completed in 2001. The road deck is in the form of a curve and is supported by a steel arch. To allow ships to pass, the whole structure, both arch and road-deck, rotates on huge bearings at either end so that the road deck is lifted. The bridge can be said to open and shut like a human eye. It is an important addition to the re-developed quayside area, providing a vital link between the Newcastle and Gateshead quaysides.
Recent developments
Today the city is a vibrant centre for office and retail employment, but just a short distance away there are impoverished inner-city housing estates, in areas originally built to provide affordable housing for employees of the shipyards and other heavy industries that lined the River Tyne. In the 2010s Newcastle City Council began implementing plans to regenerate these depressed areas, such as those along the Ouseburn Valley.
Developing a style...
A friend of mine commented about a self portrait I took a few weeks ago and mentioned that she didn't like how "gritty" it was and how you could see all the blemishes. I really respect her opinion as she has a good eye when it comes to photography and art in general.
However, I'm kind of partial to a gritty/harsh style and I want to dive into it more and see what kind of results I can get with other subjects besides myself. It's definitely not something that I would do all the time, but I really like the way these shots feel. Personally, I hate the airbrushed look that so many magazines show us and I want to portray people as they are in real life. Obviously that's not what people are going to want for Christmas cards and such, but I think they will be something that might look good in a portrait study of people...
What do you all think?
Finally make the attempt at colour developing and it was easier than I thought certainly no more difficult than black and white.
Camera: Nikon F90X
Film: Ilford Delta 400
35mm Self Rolled from Bulk
Self Developed in HC-110
Scanned with Epson v600
A little ghost sign for a photography place beneath the window of a current day cafe in Old Town Saginaw.
Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
my pages seem to be developing in a sort of narrative, although i'm not quite sure what that is though. after the first couple pages i haven't done any stitching, not sure if i will continue it or not. although fabric & stitching tends to be my usual medium, i am enjoying just focusing on the drawing.
A spectacular sunset befitting the Queens Platinum Jubilee. The whole house turned orange inside during the Platinum concert and a few shots taken as the sunset developed ... within a few minutes it was gone.
Minolta Weathermatic-A 110 Waterproof Camera
26mm f3.5 Lens
Lomography Color Tiger 200
Developed by The Darkroom - Enhanced Scan
Marina Bay Sands is an integrated resort fronting Marina Bay in Singapore. Developed by Las Vegas Sands, it is billed as the world's most expensive standalone casino property at S$8 billion (US$5.7 billion), including cost of the prime land.[1][2]
With the casino complete, the resort features a 2,560-room hotel, a 120,000 sq.m. convention-exhibition center, The Shoppes mall, an Art & Science museum, two Sands Theatres, six "celebrity chef" restaurants, two floating pavilions, a casino with 500 tables and 1,600 slot machines. The complex is topped by a 340m-long SkyPark with a capacity of 3,900 people and a 150m infinity swimming pool, set on top of the world's largest public cantilevered platform, which overhangs the north tower by 67m.[3][4] The 20-hectare resort was designed by Moshe Safdie Architects. The local architect of record was Aedas Singapore, and engineering was provided by Arup and Parsons Brinkerhoff (MEP).
Originally set to open in 2009, Las Vegas Sands faced delays caused by escalating costs of material and labour shortages from the onset. The severe global financial crisis also pressured the company to delay its projects elsewhere to complete the integrated resort.[5] Although Marina Bay Sands has been compared on scale and development costs to MGM's CityCenter, the latter is a mixed-use development, with condominium properties - comprising three of the seven main structures, being sold off.[6][7]
The resort was officially opened with a two-day celebration on 23 June 2010 at 3.18 pm, after a partial opening earlier in April. It was, however, not finished at the time of the April opening, which was marked by numerous service failures.[8] The museum, theatres and floating pavilions are still being built and are expected to be fully completed by December 2010.
Contents
[hide]
* 1 Background
* 2 Investment
* 3 Opening
o 3.1 Timeline forecast
* 4 Attractions
* 5 Transportation
* 6 Gallery
* 7 See also
* 8 References
* 9 External links
[edit] Background
Part of the parcel of land for Marina Bay Sands in the foreground prior to development. The parcel overlooks Singapore's financial district in the background.
Marina Bay Sands is one of two winning proposals for Singapore's first Integrated Resorts, the other being the Resorts World Sentosa, which incorporates a family-friendly Universal Studios Theme Park. The two large-scale resorts were conceived to meet Singapore's economic and tourism objectives for the next decade and they will have 30-year casino licenses, exclusive for the first ten years.
Bidders were assessed based on four criteria:
* tourism appeal and contribution
* architectural concept and design
* development investment
* strength of the consortium and partners
On 27 May 2006, Las Vegas Sands (LVS) was declared winner of the Marina Bay site in the prime new business district of Marina South with its business-oriented resort. LVS highlighted its forte in Meetings, Incentives, Conferencing and Exhibitions (MICE), of which its founder, Sheldon Adelson, is a pioneer in Las Vegas and the key to his early business success.[9] In the Design Evaluation portion of the tender, a panel of local and international architects commended Sands' design as superior to other bids in terms of pedestrian circulation and layout, and it also fit in with the Marina Bay landscape best. They liked that the hotel towers was set back from the waterfront to open up expansive views of the city and the entire Marina Bay, making the skyline for Singapore's downtown more attractive and distinctive.[10]
Singapore Tourism Board highlighted Sands' line-up of six celebrity chefs, such as Australia's Tetsuya Wakuda and Thomas Keller (Napa Valley, California, USA) and Charlie Trotter (Chicago, USA).
LVS submitted its winning bid on its own. Its original partner City Developments Limited (CDL), with a proposed 15 per cent equity stake, pulled out of the partnership in the second phase of the tender process. CDL's CEO, Kwek Leng Beng said his company's pullout was a combination of factors - such as difficulties in getting numerous companies he owns to comply in time, as well as reluctance of some parties to disclose certain private information in probity checks required by the Singapore government.[11] However, Kwek was retained as an advisor for Sands' bid.
[edit] Investment
Inside the Marina Bay Sands Hotel
Las Vegas Sands initially committed to invest S$3.85 billion (about US$2.85 billion) in the project, not including the fixed S$1.2 billion (about US$888 million) cost of the 6,000,000 square feet (560,000 m2) site itself.[12] With the escalating costs of materials, such as sand and steel, and labour shortages owing to other major infrastructure and property development in the country, Sheldon Adelson place the total cost of the development at S$8.0 billion (about US$5.9 billion) as of July 2009.[1][13]
Las Vegas Sands declared the undertaking as "one of the world's most challenging construction projects and certainly the most expensive stand-alone integrated resort property ever built".[14] It expects the casino to generate at least $1 billion in annual profit.[6] Two months after the initial phased opening, the casino attracts around 25,000 visitors daily, about a third being Singaporeans and permanent residents who pay a $100 daily entry levy or $2,000 for annual unlimited access.[15] Half a million gamblers passed through the casino in June 2010.[16]
For the economy, Marina Bay Sands is projected to stimulate an addition of $2.7 billion or 0.8 per cent to Singapore's Gross Domestic Product by 2015, employing 10,000 people directly and 20,000 jobs being created in other industries.[11]
The resort is designed by Moshe Safdie, who says it was initially inspired by card decks. In addition to the casino, other key components of the plan are three hotel towers with 2,500 rooms and suites, a 200,000-square-foot (19,000 m2) Art-Science museum and a convention centre with 1,200,000 square feet (111,000 m2) of space, capable of accommodating up to 45,000 people. The resort's architecture and major design changes along the way were also approved by a number of consultant feng shui masters.[citation needed]
[edit] Opening
During the 2010 Summer Youth Olympics opening ceremony
Marina Bay Sands was originally planned to be completed in a single phase in 2009,[13] but rising construction costs and the financial crisis forced the company to open it in phases. The first phase's preview opening was further delayed until 27 April 2010, and the grand opening was pushed back to 23 June 2010. The rest of the complex remain under construction and will not be completed before 2011.
On 27 April 2010, Marina Bay Sands had the first of a planned 3 to 4 phase openings. The casino, parts of the conference hall, a segment of the Shoppes, 963 hotel rooms and the event plaza were opened at the auspicious time of 3:18 p.m as part of the "preview opening".[17]
The Inter-Pacific Bar Association (IPBA) held the first conference at Marina Bay Sands Convention Centre on 2–5 May 2010, but the event was marred by uncompleted facilities and a power failure during a speech. IPBA withheld payment of S$300,000 and was consequently sued by Marina Bay Sands.[18] In June IPBA counter-sued, describing the venue as a "complete disaster" and that its earlier payments had been imposed by "duress, fear and force".[18] An "amitable settlement" with undisclosed terms was announced in August.[19]
On 23 June 2010, the resort had its official opening with a "2-day celebration"; this includes the Sands SkyPark, the Event Plaza along Marina Bay, more shops, additional dining options and nightlife offerings, and the rest of the hotel rooms. First day events included - a "World Championship Climb" on the glass facade of the building to the SkyPark, with 7 teams of 21 top rock climbers from around the world competing, and an evening concert for 4,000 invited guests and customers, featuring Diana Ross, Kelly Rowland, JJ Lin among others. The SkyPark was opened on the second day at 2 pm,[14] with about 2,000 adult tickets costing S$20 each sold.[20]
[edit] Timeline forecast
* In December 2010, the Art-Science Museum, two Sands Theatres and two floating Crystal Pavilions will be completed.
* In March 2011, Disney's The Lion King musical production will debut at the Marina Bay Sands Theatre.[21]
[edit] Attractions
View of the CBD skyline, City Hall, and Esplanade from the SkyPark
View of Singapore Flyer from the SkyPark
Marina Bay Sands features three 55-storey hotel towers which were topped out in July 2009. The three towers are connected by a 1 hectare sky terrace on the roof, named Sands SkyPark.
In front of the three towers include a Theatre Block, a Convention and Exhibition Facilities Block, as well as the Casino Block, which have up to 1000 gaming tables and 1400 slot machines. The Art-Science Museum is constructed next to the three blocks and has the shape of a lotus. Its roof will be retractable, providing a waterfall through the roof of collected rainwater when closed in the day and with laser shows when opened at night. The Art-Science Museum opens in December 2010.
The SkyPark is home to the world's longest elevated swimming pool, [22] with a 478-foot (146-meter) vanishing edge, perched 191 meters above the ground. The pools are made up of 422,000 pounds of stainless steel and can hold 376,500 gallons (1424 cubic metres) of water. The SkyPark also boasts rooftop restaurants, nightclubs, gardens hundreds of trees and plants and a public observatory with 360-degree views of the Singapore skyline.
There are four movement joints beneath the main pools, designed to help them withstand the natural motion of the towers, and each joint has a unique range of motion. The total range of motion is 19.68 inches (500 millimetres). In addition to wind, the hotel towers are also subject to settlement in the earth over time, so engineers built and installed custom jack legs to allow for future adjustment at more than 500 points beneath the pool system. This jacking system is important primarily to ensure the infinity edge of the pool continues to function properly.[23]
Moshe Safdie designed an Art Path within the resort, incorporating seven installations by five artists including Sol Lewitt, Antony Gormley and Zheng Chongbin. The pieces are meant to play on environmental influences including light, water and wind, integrating art with architecture.
One of the main workshop buildings on the grounds of the former East Broad Top Railroad in Orbisonia, Pennsylvania.
Technical details:
Toko 4x5 wooden large format field camera.
150mm F6.8 Rodenstock Geronar lens in Copal BT shutter. Yellow/green filter on lens.
Arista EDU Ultra 200 B&W film (Re-branded Fomapan), shot at ISO 160.
1/8th second at F32.
Developed in Pyrocat HD at 1:1:100 dilution for 8 minutes @ 20 degrees Celsius in Jobo Multitank 5 with 2509N sheet film reels with drum placed on Unicolor Uniroller 352 auto-reversing rotary base.
4x5" negative scanned with Epson V600 in two passes and merged.
Stratford Square Mall opened on March 9, 1981 as was developed by Urban Investments. The original anchors were Marshall Fields, Carson Pirie Scott, Wieboldts and Montgomery Ward. In 1984, Main Street department store which was owned by Federated opened as the 5th Anchor.In 1987, Wieboldt's went out of business and was replaced by JCPenney the next year In 1991, Sears was added as the 6th Anchor. A renovation was made in 1998 to remove the old fountains and replace them with stores like FYE and add a smaller fountain. In 2002, the property was sold to General Growth Properties and during the same time Montgomery Ward went out and was replaced by Burlington. Shoppers sawed this as things to come and left. In 2005, General Growth Properties sold the mall to Feldman Mall Properties and added Century Theaters, Red Robin and removed the fountain for a carousel which the carousel has relocated since. In 2014, JCPenney closed and Round 1 Entertainment opened. Macy's closed in 2017 and Carson's closed in 2018 leaving Sears, Kohl's and Burlington left. This mall is my favorite due to the skylights, food court, the amount of anchors, entertainment options and making the second floor useful to go to by putting the movie theater up there. The mall is currently owned by StreetMac LLC out of Northbrook, Illinois. The mall is still has people going to it and it's busy on weekend afternoons which is always nice to see.
Director Theophilus Raynsford Mann
~ a Taiwanese social reformer, philosopher, photographer, and film director
“Do Everything for My People”
馬天亮導演
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《造福人民》
SUMMARY
Theophilus Raynsford Mann is a naturalist, occultist, Buddhist and Taoist. In 1982, Mann developed a technique for abstract photography, applied “Rayonism” into photographic works. Mann staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Mann’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Mann’s works have been quoted by the scholars many times, making Mann one of the highly cited technological, artistic, and managing public administrators in the academia. Mann was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Mann obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
Early Career
In 1989, Mann instituted Mann’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Mann studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan, Wales for a master of science in real estate appraisal. Until the summer of 2000, Mann completed an academic course on “Towns through the Ages” from Christ Church at the University of Oxford.
PHILOSOPHICAL VIEWS
Mann is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand Theophilus Raynsford Mann. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Mann just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Mann understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As Theophilus Raynsford Mann’s saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Mann ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Mann will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Mann’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Mann had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Mann studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Mann would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Mann really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Mann has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Mann settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Mann was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Mann had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Mann developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Mann was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
Theophilus Raynsford Mann Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
Theophilus Raynsford Mann Photographic Exhibition of Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Mann staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Mann was the first exhibitor around the country. All of the invited displays were by the Taiwan’s Government, cultural and artistic organisations, and sponsors. Mann’s earliest exhibition took place in the National Taiwan Arts Education Center (Museum) on 19 December 1983 when Mann was 25 years old; Mann was the youngest exhibitor in the history of the Center in any solo exhibitions. The Center that was opened in March 1957, kept a collection of Mann’s work. It is currently updating the Center’s internal organisation and strengthening co-operation with leading centers and museums around the world. Meanwhile, it widened the center’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Mann’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Mann may sprout, grow and bloom. Mann aims to provide an educational stimulus for society by introducing his works - Mann can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Mann believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Mann should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, Theophilus Raynsford Mann completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Mann was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Mann’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Mann was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News
Publication “Theophilus Raynsford Mann Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Mann’s writings.
Authorship
Mann’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Mann was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Mann one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Mann’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Mann is a professor at Space Time Life Research Academy, a photographer (portrait, fashion, commercial, digital, architectural, abstract photography), film director, and computer engineer now live and work in London; and most currently engage in his vocational professions of ‘Consultant of Immigration and Translations’. Mann is an author at the University of California, Berkeley, and the University of Michigan; an alumnus from Christ Church at the University of Oxford, the University of Glamorgan, and National Taiwan University in Taipei.
Director Works:
FILMS:
Experimental Film: “New Image for the Spring” © 1982
Abstract Films:
“Rayonnisme 110124” © 2011
www.youtube.com/watch?v=M0ghIxV0LBo&feature=youtu.be
www.youtube.com/watch?v=PC_r2CO-UJs&feature=youtu.be
www.flickr.com/photos/124141020@N05/17893335268/
“Rayonism 110124” © 2011
www.youtube.com/watch?v=1Ph8qb2Wjps&feature=youtu.be
www.flickr.com/photos/124141020@N05/17979015641/
www.youtube.com/watch?v=IN1e07X4AEc&feature=youtu.be
“Light Dancing 110124” © 2011
www.youtube.com/watch?v=DmCVSjG1KEk
www.flickr.com/photos/124141020@N05/17553751944/
“Birth” © 2011
www.youtube.com/watch?v=zoG3cxICeEY
www.flickr.com/photos/124141020@N05/17797502869/
“Fantasy in Dream” © 2011
www.youtube.com/watch?v=pkcmrMmF_gc&feature=youtu.be
www.flickr.com/photos/124141020@N05/18115536036/
“floating” © 2011
www.youtube.com/watch?v=2xFOdzM3T9Y&feature=youtu.be
www.flickr.com/photos/124141020@N05/17525813743/
“Optical Rotation” © 2011
www.youtube.com/watch?v=a48BPHplf4Q&feature=youtu.be
www.flickr.com/photos/124141020@N05/17576816593/
Documentary Films:
“Fighting by Spider” © 2011
www.youtube.com/watch?v=j44palgzMtc
www.flickr.com/photos/124141020@N05/18201816521/
“Spider's Living” © 2011
www.youtube.com/watch?v=vWjYRRTsltI
www.flickr.com/photos/124141020@N05/18208449565/
“Spider” 130921 © 2013
www.youtube.com/watch?v=flSg_KZC8T4&feature=youtu.be
www.flickr.com/photos/124141020@N05/17482109753/
“Never Defeat” 130921 © 2013
www.youtube.com/watch?v=0giOz8m6ros
www.flickr.com/photos/124141020@N05/18570212762/
“Without Fear” 130921 © 2013
www.youtube.com/watch?v=iMwt_iEK_tw
www.flickr.com/photos/124141020@N05/17956975333/
“London Buddha Day Festival, UK 150510 英國倫敦浴佛節” © 2015
www.youtube.com/watch?v=1mcPNaQtWu8&feature=youtu.be
www.flickr.com/photos/124141020@N05/17883706816/
www.youtube.com/watch?v=RApsQA2Km1w
www.flickr.com/photos/109334175@N06/17826553404/
Theophilus Raynsford Mann 馬天亮導演 - YouTube
www.youtube.com/channel/UCosvuIOImSVgFru84i9omOQ/videos
Bing Videos
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Drama Films:
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy Southeast London, United Kingdom © 2012
Male Teeth of Great Britain © 2012
Long-horned Grasshopper of London, England © 2012
Tettigoniidae of the United Kingdom © 2012
Spider of London, United Kingdom © 2012, © 2013
Portrait at King's College London © 2013
Buddha 佛, London, United Kingdom © 2014
Summer Flowers of London © 2014
London Buddha Festival, UK 150510 英國倫敦浴佛節 © 2015
www.youtube.com/watch?v=ijotODxZkNo
www.flickr.com/photos/124141020@N05/17730790734/
The Art of Buddhist Sculpture in London Buddha Festival, UK © 2015
英國倫敦浴佛節佛陀雕塑藝術
www.youtube.com/watch?v=dQqyefiuAYY
www.flickr.com/photos/124141020@N05/17730477174/
BOOKS:
Scenario Original「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibitions of Rayonnisme” © May 1985
新聞出版之學術著作專輯「馬天亮『光影』“Rayonism” 攝影展」© May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」 “The Indomitable Spirit Was Brilliant to Successful” (The indomitable spirit was brilliant to towering a great height from earth reaching the sky!
Individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
「氣壯山海‧頂天立地‧民富國強‧白金時代」 “Full of power and grandeur thrusts onto the mountain and ocean, towering a great height from earth reaching the sky for my people with good fortune and my country become stronger, builds a platinum era - white golden age.” (Chinese version for my way towards national election)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Mann’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Mann’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Mann’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Member of The Kaohsiung Life Line Association since 11 January 1979, an association established in the USA.
Member of The Society of Youth Writers, Tien (Catholic) Educational Center, Taipei since 1980.
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Mann promoted and founded the Consortium Juridical Person Mr. Theophilus Raynsford Mann Social Benefit Foundation 財團法人馬天亮先生社會公益基金會籌備處 (Social Charity 社會慈善事業) in Taiwan.
near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Mann was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and film production.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和製作影片。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware and Networking Engineer at Mann Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director and Photographer at Shapely Studio of Creative & Cultural Industries, 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。Theophilus Raynsford Mann (TianLiang Maa) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
www.facebook.com/hunyun22/info
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Mann was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
mtltwp.pixnet.net/album/set/1265208
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LINKS:
University of California, Berkeley
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berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...
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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In July 1967, the first Swedish Air Force student pilots started training on the Saab 105, a Swedish high-wing, twin-engine trainer aircraft developed in the early sixties as a private venture by Saab AB. The Swedish Air Force procured the type for various roles and issued the aircraft with the designation Sk 60.
The Sk 60 entered service in 1967, replacing the aging De Havilland Vampire fleet, and had a long-lasting career. But in the late Eighties, by which point the existing engines of the Swedish Air Force's Sk 60 fleet were considered to be towards the end of their technical and economic lifespan and the airframes started to show their age and wear of constant use, the Swedish Air Force started to think about a successor and/or a modernization program.
Saab suggested to replace the Saab 105’s original Turbomeca Aubisque engines with newly-built Williams International FJ44 engines, which were lighter and less costly to operate, but this was only regarded as a stop-gap solution.
In parallel, Saab also started work for a dedicated new jet trainer that would prepare pilots for the Saab 39 Gripen – also on the drawing boards at the time – and as a less sophisticated alternative to the promising but stillborn Saab 38, a collaboration between Saab and the Italian aircraft manufacturer Aermacchi.
In 1991 Saab presented its new trainer design to the Swedish Air Force, internally called "FSK900". The aircraft was a conservative design, with such a configurational resemblance to the Dassault-Dornier Alpha Jet that it is hard to believe Saab engineers didn't see the Alpha Jet as a model for what they wanted to do. However, even if that was the case, FSK900 was by no means a copy of the Alpha Jet. The Saab design had a muscular, rather massive appearance, while the Alpha Jet was more wasp-like and very sleek. The FSK900 was also bigger in length and span and had an empty weight about 10% greater.
The FSK900 was mostly made of aircraft aluminum alloys, with some control surfaces made of carbon-fiber/epoxy composite, plus very selective use of titanium. It had high-mounted swept wings, with a supercritical airfoil section and a leading-edge dogtooth. The wings had a sweep of 27.5°, an anhedral droop of 7°, and featured ailerons for roll control as well as double slotted flaps. The tailplanes were all-moving, and also featured an anhedral of 7°. An airbrake was mounted on each side of the rear fuselage.
The twin engines, one mounted in a pod along each side of the fuselage, were two Williams International FJ44-4M turbofans without reheat, each rated at 16.89 kN (3,790 lbst). The tricycle landing gear assemblies all featured single wheels, with both nose gear and main gear retracting forward into the fuselage, featuring an antiskid braking system.
Flight controls were hydraulic, and hydraulic systems were dual redundant. Instructor and cadet sat in tandem, both on zero-zero ejection seats, with the instructor's seat in the rear raised 27 cm (10.6 in) to give a good forward view. The cockpit was pressurized and featured a one-piece canopy, hinged open to the right, providing excellent visibility.
The FSK900 could be fitted with two pylons under each wing and under the fuselage centerline, for a total of five hardpoints. The inner wing pylons were plumbed and could carry 450 liter (119 US gallon) drop tanks. A total external payload of 2,500 kg (5,500 lb) could be carried.
External stores included a conformal underfuselage pod with a single 27 mm Mauser BK-27 revolver cannon (with 120 rounds), the same weapon that was also mounted in the Saab Gripen or the Eurofighter/Typhoon and which was originally developed in Germany in the 1960ies for the MRCA Tornado. Other external loads comprised a centerline target winch for the target tug role, an air-sampling pod for detection of fallout or other atmospheric pollutants, jammer or chaff pods for electronic warfare training, a camera/sensor pod and a baggage pod for use in the liaison role. Furthermore, the aircraft featured a baggage compartment in the center fuselage, which also offered space for other special equipment or future updates.
Other weapons included various iron and cluster bombs of up to 454 kg (1.000 lb) caliber, various unguided missiles and missile pods, pods with external 7,92mm machine guns or 30mm cannon, and Rb.24 (AIM-9L Sidewinder) AAMs. Originally, no radar was not mounted to the trainer, but the FSK900’s nose section offered enough space for a radome and additional, sophisticated avionics.
The Swedish Air Force accepted Saab’s design, leading to a contract for two nonflying static-test airframes and four flying prototypes. Detail design was completed by the end of 1993 and prototype construction began in the spring of 1994, leading to first flight of the initial prototype on 29 July 1994.
The first production Sk 90 A, how the basic trainer type was officially dubbed, was delivered to the Swedish Air Force in 1996. In parallel, a contract had been signed for the re-engining of 115 Saab Sk 60 aircraft in 1993; the number of aircraft to be upgraded was subsequently reduced as a result of cuts to the defense budget and the advent of the FSK900, of which 60 had already been initially ordered.
A total of 108 Sk 90s were built for Sweden, and at present the Swedish Air Force has no further requirement for new Sk 90s. The type is regarded as strong, agile, and pleasant to fly, while being cheap to operate. Upgrades are in planning, though, including the fit of at least some Sk 90s with a modern "glass cockpit" to provide advanced training for the Saab Gripen (which had entered service in June 1992), and a full authority digital engine control (FADEC) for the FJ44-4M turbofans. Integration of the Rb.75 (the AGM-65A/B Maverick in Swedish service) together with a pod-mounted FLIR camera system was also suggested, improving the Sk 90’s attack capability dramatically. These updates were started in 2000 and gradually introduced in the course of standard overhaul cycles.
The upgraded aircraft received the designation Sk 90 B, and until 2006 the complete Swedish fleet had been modified. Another variant for Sweden was the Sk 90 S, which had a camera nose and could perform tactical reconnaissance missions (these machines were otherwise also updated to Sk 90 B standard), and there were plans for a new two-seater variant with enhanced attack capabilities, the Sk 90 C. This variant was not adapted by the Swedish Air Force, though, but its elements were offered to export customers.
Despite its qualities and development potential, the Sk 90 did not attain much foreign interest. It basically suffered from bad timing and from the focus on domestic demands. In order to become a serious export success, the aircraft came effectively 10 years too late. Furthermore, the Sk 90 was very similar to the Dassault/Dornier Alpha Jet (even though it was cheaper to operate), and Swedish trainer hit the market at a time when the German Luftwaffe started to prematurely phase out its Alpha Jet attack variant and flooded the market with cheap second hand aircraft in excellent condition. Another detrimental factor was that the Saab Sk 90 had with the BAe Hawk another proven competitor with a long and successful operational track record all over the world, and many countries preferred its more simple single engine layout.
Modest foreign sales could be secured, though: Austria kept up its close connection with Saab since the Seventies and procured 36 Sk 90 Ö in 2002, gradually replacing its ageing Saab 105 fleet. The Sk 90 Ö was comparable with the updated Sk 90 B, but the Austrian machines were newly produced and featured several modifications and additions in order to fulfill the Austrian Air Force’s demanding multi-role profile.
The Sk 90 Ö’s most distinct and obvious difference to the Swedish aircraft was a slightly more voluminous nose section for a weather radar system and its radome. This piece of equipment was deemed to be a vital asset in order to ensure operational safety in the type’s typical alpine theatre of operations, with frequent poor visibility.
Further avionics for the Sk 90 Ö included a Rockwell Collins Pro Line Fusion avionics suite, an Electronic Flight Instrument System (EFIS), Inertial Reference System (IRS), Integrated Flight Information System (IFIS) with electronic charts, Two Electronic Flight Bag (EFB), Synthetic Vision System for Situational Awareness (SVS), a Terrain Awareness and Warning System (TAWS), Dual Flight Management System (FMS), Surface Awareness System, Autothrottle and a Wide Area Augmentation System (WAAS).
The Austrian machines were primarily intended to serve as advanced trainers for Eurofighter pilots (after initial training on Pilatus PC-7 trainers), but would also be capable of ground attack/CAS duties, much like the Austrian Saab 105. Due to the Austrian Air Force’s small size, the Sk 90 Ö was furthermore capable of limited QRA and airspace patrol duties, armed with up to four AIM-9 Sidewinder AAMs and a ventral gun pod.
Air space security and border patrols were a frequent task in the type's early service years, when the Austrian Air Force was still waiting for the delayed Eurofighter to become operational in this role and both the rented F-5Es from Switzerland as well as the aged Draken fleet had become more and more obsolete in this vital defense role, or even unserviceable.
From 2007 onwards, with starting Eurofighter deliveries, the Sk 90 Ö was gradually relegated to training and ground attack duties, but this could change again soon: In July 2017, the Austrian Defense Ministry announced that it would be replacing all of its Typhoon aircraft by 2020. The ministry said that continued use of its Typhoons over their 30-year lifespan would cost about €5 bln. with the bulk being used up for maintenance. It estimated that buying a new fleet of 15 single-seat and 3 twin-seat fighters would save €2 bln. over that period, and Austria plans to explore a government-to-government sale or lease agreement to avoid a lengthy and costly tender process with a manufacturer. Possible replacements include the Saab Gripen and the F-16. In this likely scenario, the Sk 90 Ö will probably once more have to fill airspace defense gaps.
Further potential export customers for the Sk 90 included Malaysia as well as Singapore, Myanmar, Finland, Poland and Hungary. The latest customer has been the Republic of Scotland in late 2017. After the country’s separation from the United Kingdom, the country started to build an independent air force with a supplier from a neutral country, and its first armed aircraft came from Saab in the form of early, second hand JAS 39 Gripen and Sk 90.
General characteristics:
Crew: two pilots in tandem
Length incl. pitot: 13.0 m (42 ft 8 in)
Wingspan: 9.94 m (32 ft 7 in)
Height: 4.6 m (15 ft 1 in)
Empty weight: 3,790 kg (8,360 lb)
Max. takeoff weight: 7,500 kg (16,530 lb)
Powerplant:
2× Williams International FJ44-4M turbofans without reheat, rated at 16.89 kN (3,790 lbst) each
Performance:
Maximum speed: 1,038 km/h (645 mph)
Range: 1,670 km (900 nm)
Armament:
No internal gun; five hardpoints for 2,500 kg (5,500 lb) of payload and a variety of ordnance,
including a conformal ventral gun pod with a 27mm Mauser BK-27 revolver cannon and up to
four AIM-9 Sidewinder AAMs
The kit and its assembly:
A simple kit travesty, and this one is the second incarnation of the basic idea. The fictional Saab Sk 90 is basically the 1:72 Kawasaki T-4 from Hasegawa, with little modifications. Originally, I wondered what an overdue Saab 105 replacement could or would look like? The interesting Saab 38 never saw the light, as mentioned above, there was also a stillborn A-10-style light attack aircraft, and I assume that neutral Sweden would rather develop its own aircraft than procure a foreign product.
Consideration of the BAe Hawk, Alpha Jet and the L-39 Albatros as inspirations for this project, I eventually came across the modern but rather overlooked Japanese Kawasaki T-4 trainer – and found that it had a certain Swedish look about it? Hmm... I had already built one with a camera nose in the famous “Fields & Meadows” scheme, but the concept offers more room for creative output.
One of the thoughts surrounding the aircraft was: what would be a potential replacement for the Austrian Saab 105 fleet, which had been in service for ages? Well, the Swedish successor would IMHO be a very plausible option, and so I built an Austrian derivative of the Sk 90 B, the Sk 90 Ö export variant.
Just like during the first build, I wanted to keep things simple. Consequently, the T-4 was mostly built OOB, including the cockpit with the dashboard decals, just with added handles to the ejection seats.
The only major change I made for the Austrian variant is the modified nose section: the T-4 nose was replaced by a slightly longer and wider alternative, and blended with the fuselage through PSR. The pitot was moved to starboard and replaced by a longer alternative from the scrap box.
The pair of underwing pylons are OOB, too, the ordnance in the form of an AIM-9 training/acquisition round (without steering fins) and an ACMI pod, together with launch rails, are spare parts. The ventral gun pod comes from an Italeri BAe Hawk, slightly trimmed in order to fit under the fuselage. Additionally, I added scratched chaff/flare dispensers and an IR jammer to the tail section.
As a side note: There are two different moulds for the Hasegawa T-4; one comes with two simple fuselage halves (from which I built the Swedish Sk 90 S, this mould was introduced in 1996), and this one here, AFAIK the first one from 1989, which comes with a separate cockpit section and other differences.
The kit is relatively simple, but fit is not perfect. My kit also featured surprisingly much flash and even some sinkholes (in the air intakes and ). IMHO, the newer mould is the better option – the new T-4 model is easier to assemble and overall fit is IMHO also better (only minimal PSR required, the old mould definitively requires body work almost on every seam).
Painting and markings:
Well, building the kit was not a true challenge, and the paint scheme I chose was also not truly demanding. However, I wanted something different from the Austrian Saab 105s' bare metal finish and also not a dull all-grey air superiority scheme. I eventually stumbled upon a scheme found on some Austrian helicopters, Shorts Skyvans and the Pilatus PC-7 trainers.
Basically, the pattern consists of a deep, dark forest green and an greyish olive drab, which almost appears like a brown, RAL 6020 (Chromoxydgrün) and RAL 7013 (Braungrau). RAL 7013 is the Austrian Army’s standard color, used on many ground vehicles, too.
For the dark green I used Humbrol 195, which is the authentic tone, and RAL 7013 was approached through a rough 1:1:1 mix of Humbrol 29 (Dark Earth), 155 (Olive Drab) and 66 (Olive Drab, too), based on some pictures of Austrian aircraft in good light.
Originally, the scheme is a uniform, all over RAL 7013 with RAL 6020 only added to the upper sides, But for my build I found this to be a little boring, so I added a personal twist. The pattern on the upper surfaces was roughly adapted from an Austrian Skyvan, but I painted the underwing surfaces in aluminum, so that the model would not appear too murky and dull (Revell 91).
A late addition were the orange wing and fin tips – originally taken from the T-4 decal sheet, but application went sour and I had to scrape them off again and replace them with painted alternatives (Humbrol 18, plus a thin coat with Humbrol 209, dayglow orange). Anyway, these marking suit the aircraft’ trainer role well and are a nice contrast to the red-and-white roundels.
The cockpit was painted in neutral grey, while the landing gear and the air intakes became white – very conservative.
The markings were kept simple, puzzled together from various sources, the 4th Jet Squadron is fiction. The Austrian roundels come from a TL Modellbau sheet, the tactical code consists of single, black letters from TL Modellbau, too.
The current Austrian practice for the 4-digit codes is quite complex, and the four-digit-code is based on a variety of aircraft information; the 1st digit (Arabic number) is associated with a max. TOW class, the second (a letter) denotes the type’s main purpose. The roundel divides the code, and the 3rd letter is allocated to a specific aircraft type (I re-used “S”, formerly used on Saab 91D trainers until 1993) and the last letter is a consecutive, individual identifier.
Stencils were mostly taken from the T-4 OOB sheet or gathered from the scrap box, e .g. from German Tornado and T-33 sheets (for dual language markings). The silver trim at the flaps and the fin’s rudder were created with generic decal stripes in various widths in silver. Similar, wider strips in black were used to create the de-icers on the fin’s and wings' leading edges.
Finally, the kit was sealed with matt acrylic varnish (Italeri).
Thanks to the sound basis and only cosmetic changes, this one was not a tough build. The result is pretty subtle, though – who’d suspect a Japanese aircraft in this rather exotic disguise? Anyway, just like the Swedish Sk 90 S, this T-4 under foreign flag looks disturbingly plausible, and the scheme works well over typical Austrian landscape.
How could Sweden (and in this case Austria, too) hide this aircraft from the public for so long...? It's certainly not the last T-4 in disguise which I will build. A Scottish aircraft, as mentioned in the background above, is another hot candidate... :-D
The Salvation Army is a Christian Protestant church and international charitable organisation structured in a quasi-military fashion. The organisation reports a worldwide membership of over 1.5 million, consisting of soldiers, officers and adherents known as Salvationists. Its founders Catherine and William Booth sought to bring salvation to the poor, destitute and hungry by meeting both their "physical and spiritual needs". It is present in 127 countries, running charity shops, operating shelters for the homeless and disaster relief and humanitarian aid to developing countries.
The theology of the Salvation Army is derived from that of Methodism although it is distinctive in institution and practice. The Army's doctrine is typical of evangelical Protestant denominations. The Army's purposes are "the advancement of the Christian religion ... of education, the relief of poverty, and other charitable objects beneficial to society or the community of mankind as a whole".
The Army was founded in 1865 in London by one-time Methodist circuit-preacher William Booth as the East London Christian Mission. In 1878 Booth reorganised the mission, becoming its first General and introducing the military structure which has been retained to the present day. The current world leader of The Salvation Army is General André Cox, who was elected by the High Council of The Salvation Army on 3 August 2013.
HISTORY
The Salvation Army was founded in London's East End in 1865 by one-time Methodist Reform Church minister William Booth and his wife Catherine as the East London Christian Mission. The name "The Salvation Army" developed from an incident on 19 and 20 May. William Booth was dictating a letter to his secretary George Scott Railton and said, "We are a volunteer army." Bramwell Booth heard his father and said, "Volunteer! I'm no volunteer, I'm a regular!" Railton was instructed to cross out the word "volunteer" and substitute the word "salvation". The Salvation Army was modelled after the military, with its own flag (or colours) and its own hymns, often with words set to popular and folkloric tunes sung in the pubs. Booth and the other soldiers in "God's Army" would wear the Army's own uniform, for meetings and ministry work. He became the "General" and his other ministers were given appropriate ranks as "officers". Other members became "soldiers".
When William Booth became known as the General, Catherine is known as the "Mother of The Salvation Army". William preached to the poor, and Catherine spoke to the wealthy, gaining financial support for their work. She also acted as a religious minister, which was unusual at the time; the Foundation Deed of the Christian Mission states that women had the same rights to preach as men. William Booth described the organisation's approach: "The three ‘S's’ best expressed the way in which the Army administered to the 'down and outs': first, soup; second, soap; and finally, salvation."
In 1880, the Salvation Army started its work in three other countries: Australia, Ireland, and the United States. It was not always an Officer of The Salvation Army who started the Salvation Army in a new country; sometimes Salvationists emigrated to countries and started operating as "the Salvation Army" on their own authority. When the first official officers arrived in Australia and the United States, they found groups of Salvationists already waiting for them and started working with each other.
The Salvation Army's main converts were at first alcoholics, morphine addicts, prostitutes and other "undesirables" unwelcome in polite Christian society, which helped prompt the Booths to start their own church. The Booths did not include the use of sacraments (mainly baptism and Holy Communion) in the Army's form of worship, believing that many Christians had come to rely on the outward signs of spiritual grace rather than on grace itself. Other beliefs are that its members should completely refrain from drinking alcohol (Holy Communion is not practiced), smoking, taking illegal drugs and gambling. Its soldiers wear a uniform tailored to the country in which they work; the uniform can be white, grey, navy, fawn and are even styled like a sari in some areas. Any member of the public is welcome to attend their meetings. As the Salvation Army grew rapidly in the late 19th century, it generated opposition in England. Opponents, grouped under the name of the Skeleton Army, disrupted Salvation Army meetings and gatherings, with tactics such as throwing rocks, bones, rats, and tar as well as physical assaults on members of the Salvation Army. Much of this was led by pub owners who were losing business because of the Army's opposition to alcohol and targeting of the frequenters of saloons and public houses.
The Salvation Army's reputation in the United States improved as a result of its disaster relief efforts following the Galveston Hurricane of 1900 and the 1906 San Francisco earthquake. The familiar use of bell ringers to solicit donations from passers-by "helps complete the American portrait of Christmas." In the U.S. alone, over 25,000 volunteers with red kettles are stationed near retail stores during the weeks preceding Christmas for fundraising. The church remains a highly visible and sometimes controversial presence in many parts of the world.
In 1994, the Chronicle of Philanthropy, an industry publication, released the results of the largest study of charitable and non-profit organisation popularity and credibility. The study showed that The Salvation Army was ranked as the 4th "most popular charity/non-profit in America" of over 100 charities researched, with 47% of Americans over the age of 12 choosing 'Love' and 'Like A Lot' for The Salvation Army.
Charity Watch rates the Salvation Army an "A-" to an "A", indicating a high level of financial efficiency and organisational transparency.
STRUCTURE, ORGANISATION AND EXPENDITURES
As at 1 September 2015, the Salvation Army operates in 127 countries and provides services in 175 different languages.[3] For administrative purposes, the Salvation Army divides itself geographically into territories, which are then sub-divided into divisions. In larger areas, regional and area commands are also introduced as sub-divisions of divisions. Each territory has an administrative hub known as territorial headquarters (THQ). Likewise, each division has a divisional headquarters (DHQ). Each of these territories is led by a territorial commander who receives orders from the Salvation Army's International Headquarters in London. A territory is normally led by an officer holding the rank of colonel (for small territories) or commissioner for larger territories. In some countries, the work of The Salvation Army may be called a command, led by a command commander. A larger command is typically led by an officer holding the rank of colonel.
Its stated membership (as quoted from 2010 Year Book) includes 16,938 active and 9,190 retired officers, 1,122,326 soldiers, 189,176 Adherents, 39,071 Corps Cadets, 378,009 Junior Soldiers, around 104,977 other employees and more than 4.5 million volunteers. Members of the Salvation Army also include "adherents", these are people who do not make the commitment to be a soldier but who recognise the Salvation Army as their church. (According to the 2006 Salvation Army Year Book, in the United States there are 85,148 Senior Soldiers and 28,377 Junior Soldiers, 17,396 Adherents and around 60,000 employees.)
The current world leader of the Salvation Army is General André Cox.
The Salvation Army is one of the world's largest providers of social aid[citation needed], with expenditures including operating costs of $2.6 billion in 2004, helping more than 32 million people in the U.S. alone. In addition to community centres and disaster relief, the organisation does work in refugee camps, especially among displaced people in Africa. The Salvation Army has received an A- rating from the American Institute of Philanthropy. In the United Kingdom, the Salvation Army is no longer the largest non-governmental provider of social services; however provides a significant service to people in need. The Salvation Army is the second largest charity in the United States, with private donations of almost $2 billion for the fiscal year ending 30 September 2007.
In 2004, the Army in the United States received a $1.6 billion donation in the will of Joan B. Kroc, third wife of former McDonald's CEO Ray Kroc. This donation was among the largest individual philanthropic gifts ever given to a single organisation. The donation came with certain restrictions that caused some controversy.
The International Congress of the Salvation Army is normally held every 10 years as a conference for all Salvationists from around the world to meet. The first such conference took place in London, UK, from 28 May to 4 June 1886, and subsequent Congressional meetings were held sporadically until 1904 and then 1990. The seventh International Congress in Atlanta, GA, USA, from 28 June to 2 July 2000, was the first held outside of the UK. The latest International Congress was held in London, England 1–5 July 2015, in commemoration of the 150th Anniversary of The Salvation Army's founding.
Officers are given Marching Orders to change ministries within the Salvation Army. Usually, officers are given new Marching Orders every two to five years and reassigned to different posts, sometimes moving great distances.
A Moscow court ruled that the Salvation Army was a paramilitary organisation subject to expulsion. In October 2006, the European Court of Human Rights ruled the decision illegal.
BELIEFS
The beliefs of the Salvation Army rest upon these eleven doctrines:
- We believe that the Scriptures of the Old and New Testaments were given by inspiration of God, and that only they constitute the Divine rule of Christian faith and practice.
- We believe that there is only one God, who is infinitely perfect, the Creator, Preserver, and Governor of all things, and who is the only proper object of religious worship.
- We believe that there are three persons in the Godhead – the Father, the Son and the Holy Spirit, undivided in essence and co-equal in power and glory.
- We believe that in the person of Jesus Christ the divine and human natures are united, so that he is truly and properly God and truly and properly man.
- We believe that our first parents were created in a state of innocence, but by their disobedience they lost their purity and happiness, and that in consequence of their fall all men have become sinners, totally depraved and as such are justly exposed to the wrath of God.
- We believe that the Lord Jesus Christ has, by his suffering and death, made an atonement for the whole world so that whosoever believeth in the name of the Lord Jesus Christ as the Messiah will may be saved.
- We believe that repentance towards God, faith in our Lord Jesus Christ, and regeneration by the Holy Spirit, are necessary to salvation.
- We believe that we are justified by grace through faith in our Lord Jesus Christ and that he that believeth hath the witness in himself.
- We believe that continuance in a state of salvation depends upon continued obedient faith in Christ.
- We believe that it is the privilege of all believers to be wholly sanctified, and that their whole spirit and soul and body may be preserved blameless unto the coming of our Lord Jesus Christ.
- We believe in the immortality of the soul; in the resurrection of the body; in the general judgment at the end of the world; in the eternal happiness of the righteous; and in the endless punishment of the wicked.
The denomination does not celebrate the Christian sacraments of Baptism and Holy Communion; although its officers conduct marriages, it holds a traditional Protestant belief that marriage was not instituted by Christ and therefore is not a sacrament.
The Salvation Army opposes euthanasia and assisted suicide. Its official stance on abortion is that "The Salvation Army believes in the sanctity of all human life and considers each person to be of infinite value and each life a gift from God to be cherished, nurtured and redeemed. Human life is sacred because it is made in the image of God and has an eternal destiny. (Genesis 1:27) Sacredness is not conferred, nor can it be taken away by human agreement." The Salvation Army official stance admitted in 2010 exceptions in cases such as rape and incest: "In addition, rape and incest are brutal acts of dominance violating women physically and emotionally. This situation represents a special case for the consideration of termination as the violation may be compounded by the continuation of the pregnancy.” It is also against the death penalty: "The Salvation Army recognises that the opinions of Salvationists are divided on the moral acceptability of capital punishment and its effectiveness as a deterrent. However, to advocate in any way the continuance or restoration of capital punishment in any part of the world would be inconsistent with the Army’s purposes and contrary to the Army’s belief that all human life is sacred and that each human being, however wretched, can become a new person in Christ."
In 2012, the Salvation Army published a "Positional Statement on Homosexuality" after receiving adverse publicity about their position on homosexuality.
"The Bible teaches that God’s intention for humankind is that society should be ordered on the basis of lifelong, legally sanctioned heterosexual unions.... A disposition towards homosexuality is not in itself blameworthy nor is the disposition seen as rectifiable at will.... Homosexual practice however, is, in the light of Scripture, clearly unacceptable. Such activity is chosen behaviour and is thus a matter of the will. It is therefore able to be directed or restrained in the same way heterosexual urges are controlled. Homosexual practice would render any person ineligible for full membership (soldiership) in the Army."
As of 2016 the organisation will not appoint homosexuals to posts as ministers, preferring individuals "whose values are consistent with the church's philosophy." (See also Salvation Army Controversy: Criticism by LGBT activists section.)
The ordination of women is permitted in the Salvation Army. Salvation Army officers were previously allowed to marry only other officers (this rule varies in different countries); but this rule has been relaxed in recent years. Husbands and wives usually share the same rank and have the same or similar assignments - the major exception to this is the General's spouse, who holds the rank of commissioner.
SYMBOLS
FLAG
The Salvation Army flag is a symbol of the Army's war against sin and social evils. The red on the flag symbolises the blood shed by Jesus Christ, the yellow for the fire of the Holy Spirit and the blue for the purity of God the Father.
The oldest official emblem of The Salvation Army is the crest.
In 1878 Captain W.H. Ebdon suggested a logo, and in 1879 it was to be found on the letterhead of the Salvation Army Headquarters. The captain's suggested design was changed only slightly and a crown was added.
The meaning of the crest:
The cross: The cross of the Lord Jesus Christ
The "S": Salvation from sin through Jesus
The ray on the outside of the circle: The Fire of the Holy Spirit
The dots: The Truth of the Gospel
The swords: Spiritual Warfare
"Blood and Fire": The Blood which was shed by Jesus for our sins and the Fire of the Holy Spirit
RED SHIELD
The Red Shield has its origins in Salvation Army work during wartime. At the end of the 19th century, Staff-Captain Mary Murray was sent by William Booth to support British troops serving in the Boer War in South Africa. Then, in 1901, this same officer was given the task of establishing the Naval and Military League, the forerunner of the Red Shield Services.
Salvation Army officers serving in the Red Shield Services in wartime performed many functions. The Doughnut Girls of World War I are an early example, serving refreshments to troops in the trenches. They also provided first aid stations, ambulances, chaplaincy, social clubs, Christian worship and other front-line services.
This symbol is still used in Blue Shield Services that serve the British Armed Forces but it is widely used as a simple, more readily identifiable symbol in many Salvation Army settings. It is common to see the Red Shield used on casual Salvation Army uniform. It is now official Salvation Army policy in the UK that the red shield should be used as the external symbol of the Salvation Army, with the Crest only being used internally. Therefore, any new Salvation Army building will now have the red shield on the outside rather than the crest which certainly would have been used on its Corps (church) buildings.
In Australia, the Red Shield has become one of the country's most identified and trusted symbols, leading the Australian Salvation Army to prefer to use this symbol over the logo on its uniform, corps buildings and advertising materials. In the 5th volume of Australian Superbrands it was recorded that "Research reveals that the popular Salvation Army slogan ‘Thank God for the Salvos’ has almost total recognition amongst the Australian public, achieving 93 per cent aided awareness".
UNIFORM
Salvation Army officers and soldiers often wear uniforms. The idea that they should do so originated with Elijah Cadman who, at the Salvation Army's 'War Congress' in August 1878 said "I would like to wear a suit of clothes that would let everyone know I meant war to the teeth and salvation for the world". The uniform identifies the wearer as a Salvationist and a Christian. It also symbolises availability to those in need. The uniform takes many forms internationally but is characterised by the 'S' insignia for 'Salvation' and carries the meaning 'Saved to Serve', or 'Saved to Save'. Other letters are substituted to conform with local language.
TARTAN
Since 1983 there has been an official Salvation Army tartan. It was designed by Captain Harry Cooper, for the Perth Citadel Corps centenary commemoration. It is based upon the colours of the Salvation Army flag, with which it shares the same symbolism. However, it is rarely seen outside Scotland
SALUTE
The Salvation Army has a unique form of salute which involves raising the right hand above shoulder-height with the index finger pointing upwards. It signifies recognition of a fellow citizen of heaven, and a pledge to do everything possible to get others to heaven also. In the case of saluting in response to applause, in circumstances such as a musical festival or being applauded for a speech, it also signifies that the Salvationist wishes to give Glory to God and not themselves.
In some instances, the salute is accompanied with a shout of 'hallelujah!'
CONTROVERSY
CRITICISM BY LGBT ACTIVISTS
Some in the United States have alleged that the Salvation Army discriminates against lesbian, gay, bisexual, and transgender (LGBT) individuals in its hiring practices. The Salvation Army states that it does not "discriminate against hiring gays and lesbians for the majority of its roughly 55,000 jobs". Because the Salvation Army is a church, Title VII of the U.S. Civil Rights Act of 1964 allows it to inquire into people's religious beliefs in its hiring practices. In 2001, the Salvation Army pressed the Bush Administration to exempt it and other religious groups from anti-discrimination legislation which it felt infringed on the organisation's religious freedoms. This request was denied, and was sharply rebuked by David Smith, then-spokesperson for the Human Rights Campaign. “Gays and lesbians are taxpayers, too,” said Smith. “Their money should not be used by religious groups to fund discriminatory practices against them."
The Salvation Army Western Territory approved a plan in October 2001 to start offering domestic-partnership benefits to gay employees. Members of various evangelical Christian interest groups protested the decision. Focus on the Family founder James Dobson excoriated the Salvation Army for abandoning its "moral integrity" and urged his radio listeners to bombard the organisation's offices with phone calls and letters. The American Family Association also accused the Salvation Army of a "monstrous … appeasement of sin" that resulted in a "betrayal of the church." In November 2001 the Salvation Army nationwide rescinded the Western Territory's decision with an announcement that it would only provide benefits coverage for different-sex spouses and dependent children of its employees.
In 2004, the Salvation Army said that it would close operations in New York City unless it was exempted from a municipal ordinance requiring them to offer benefits to gay employees’ partners. The City Council refused to make the exemption. Mayor Michael R. Bloomberg's administration chose not to enforce the ordinance. The administration's right to decline to enforce the ordinance was upheld by the New York State Court of Appeals in 2006.
On 15 December 2012, in Canada, Andrea Le Good noticed a Salvation Army bell-ringer carrying a sign reading "if you support gay rights: please do not donate." While the bell-ringer claimed he had permission from the charity to wear the sign, Salvation Army spokeswoman Kyla Ferns said that it had no part in the sign, and that the bell-ringer was pulled away immediately when the charity learned about it. The charity's website describes marriage as heterosexual by definition, and a published document called on homosexuals to embrace celibacy as a way of life. The same document also states that there is no scriptural support for the mistreatment of homosexuals.
In February 2000, the Salvation Army in the United Kingdom publicly opposed (in their publication The War Cry and in a letter to a Scottish Parliament committee) the repeal of Section 28 of the Local Government Act 1988, which prevented local authorities from "intentionally promot[ing] homosexuality". However, the organisation's UK website states that it offers "unconditional assistance and support regardless of race, religion, gender or sexual orientation, respecting the identity and choices of all those referred to them.... As well as having a right to be dealt with professionally, people can expect from us encouragement and a respect for their individual beliefs, ambitions and preferences".
Before the passing of the Homosexual Law Reform Act 1986 by the New Zealand Parliament, the Salvation Army was active throughout New Zealand gathering signatures for a petition seeking to prevent the bill's passing. In 2006, the Army released a statement regretting the ill feelings that persisted following this activity. It stated in part "We do understand though that The Salvation Army’s official opposition to the Reform Bill was deeply hurtful to many, and are distressed that ill-feeling still troubles our relationship with segments of the gay community. We regret any hurt that may remain from that turbulent time and our present hope is to rebuild bridges of understanding and dialogue between our movement and the gay community."
Despite documented events of Salvation Army's volunteers and their views, the organisation has issued an LGBT Statement as a response. The statement does not address any documented news events of discrimination and claims to debunk these events as urban myth.
In November 2013 it was made known that the Salvation Army was referring LGBT individuals to one of several conversion therapy groups. As a response the Salvation Army removed such referrals from their website.
WIKIPEDIA
The Curtiss JN-4 was one of the most popular aircraft in the late 1910s and early 1920s. Designed by Englishman Benjamin Thomas, formerly with the Sopwith Aviation Company, it was manufactured by the Curtiss Aeroplane Co. of Hammondsport, New York. The JN built upon the previous Curtiss Model J and Model N series of trainers that had developed before the First World War. The name “Jenny” came from the JN designation and is associated with the American (Curtiss Aeroplane Co.) variants of this aircraft. It was originally developed as a training aircraft in response to a U.S. Army competition seeking a two-seater biplane (student in front, instructor behind) with dual controls. The JN-4 model first appeared in 1916 and sported a 90 hp Curtiss OX-5 water cooled V8 engine. By 1918 a larger 150 hp Hispano-Suiza engine was installed to provide more power. LINK - albertaaviationmuseum.com/in-formation-curtiss-jn-4-jenni...
The Curtiss Model 41 Lark was a commercial biplane manufactured by Curtiss Aeroplane and Motor Company that was used by pioneering airmail, airline and bush pilots in the 1920s. Patrica Airways operated a Lark for early bushplane operations. The aircraft flew with floats in warm weather, and skis in the winter. The aircraft was pressed into service as an early hearse once, with the cargo needing to be seated upside down in the open seat and secured with haywire.
(The Gazette newspaper - Montreal, Quebec, Canada •
Friday, March 12, 1926) - AIR SERVICE FOR RED LAKE DISTRICT - Company is Formed and Flying Boat and Cruiser Purchased - Red Lake, which was brought within one and half hours of the outer world on March 3, 1926 when the first airplane flight was made in from Hudson, as compared with from ten to twelve days previously, made with dogs, is to have an even better service with the formation yesterday of the Elliot Fairchild Air Service and the purchase of one aeromarine, seven passenger, all metal flying boat, together with a large deluxe cruiser passenger boat. Jack V. Elliot who inaugurated the original service with two machines, spent yesterday in Montreal making arrangements with the Fairchild Aerial Surveys Company of Canada Limited, with the result that a company has been formed and a charter applied for. To date there has been a daily service into Red Lake from Hudson, three planes being in operation and carrying two passengers and 500 pounds of baggage each. They cover the 140 miles separating Hudson and Red Lake in one hour and a half. Air mail is carried from Hudson, the post office address for Red Lake being via Rolling Portage, Ontario. Stamps for the air-mail service may be purchased from the post offices at Hudson (Hudson being the rail road station and Rolling Portage the post office address). Toronto. Winnipeg, Montreal, Ottawa. North Bay, Sudbury, Cobalt, Haileybury and Timiskaming. When navigation opens about May 1, a boat service is to be provided from Hudson to Pineridge, two-thirds the distance from Hudson to Red Lake, and the large flying boats will take passengers, mail and express freight the balance of the distance into Red Lake. Heavier packages and canoes are to be taken in by Indians, who will be brought back by airplane. The passenger cruiser, which has been purchased for the boat service, will have three staterooms with sleeping accommodation for 16 and day accommodation for 50, the journey by water taking seven or eight hours. It has been planned to erect a broadcasting station at Red Lake, Hudson and on the boat so that communications may be kept up between these three and the outer world at all times. President of the new company is Elwood Wilson, M E.I.C., and Jack V. Elliot is vice-president and general manager. LINK - www.newspapers.com/article/the-gazette-air-service-for-re...
(The Daily Sun-Times newspaper - Owen Sound, Ontario, Canada • Monday, March 22, 1926) - NEW AIRPLANE FOR HUDSON TO RED LAKE ROUTE IS ON THE WAY "The Lark" Leaving Buffalo for Toronto and There Will Take on Sleeping Bags, Etc. (Canadian Press Despatch) BUFFALO, N. Y., Mar. 22, 1926 -The new airplane, "'The Lark", to be used in the Lake service, by the Patricia Airway and Exploration company, arrived here shortly after noon, yesterday, from New York, with "Casey" Jones, test pilot for the Curtis Airplanes Corporation, in charge, and two passengers. Frederick Griffin, press writer, and Captain W. R. Maxwell, Director of the Ontario Provincial air service. The Lark expected to continue its northward flight, to-day, by way of Toronto, Sault Ste. Marie, Orient Bay, Sioux Lookout and Hudson. Roy Mitchell will replace Mr. Jones in the pilot's seat from this point. At Toronto the ship will take on snowshoes, sleeping bags, and food, preparation for an overland tramp, in the event of ship coming down unscheduled, in northern territory. LINK - www.newspapers.com/article/the-daily-sun-times-new-airpla...
(The Toronto Star newspaper - Toronto, Ontario, Canada •
Tuesday, June 29, 1926) - RED LAKE MAIL SERVICE - F. E. Davidson of the Patricia Air Service into Red Lake, made an announcement this morning that starting today all mail will be carried into Red Lake via Sioux Lookout instead of via Hudson. All letters should bear the mark "Via Sioux Lookout." The Elliot Fairchild service has been carrying mail since March 20th. From now on the Patricia Air Service will be permitted to issue their own postage stamps. The government intends to redeem the old Elliot-Fairchild stamps but in the meantime old stamps are good for carriage over the Patricia Air Service. The new Patricia stamps can now be purchased at post offices for 25 cents apiece. The Patricia Air Service makes the trip from Sioux Lookout to Red Lake in about 60 minutes. It also makes trips to Woman Lake, Pine Ridge and to Bull Dog Lake, Manitoba. The Elliot Fairchild boat service still continues. LINK - www.newspapers.com/article/the-toronto-star-red-lake-mail...
(The Toronto Star newspaper - Toronto, Ontario, Canada •
Wednesday, June 30, 1926) - Patricia Airways • Exploration- Above is reproduced a facsimile of one of new postal stickers of the Patricia Air Service, operating airplanes into Red Lake. The postmaster has granted the company permission to issue these stickers in future, and they can be procured at any post office for 25 cents apiece. The old Elliot-Fairchild stamps are being redeemed, but can still be used for letters. In future letters to Red Lake should be marked "Via Sioux Lookout." LINK - www.newspapers.com/article/the-toronto-star-patricia-airw...
Sherman Mills Fairchild (April 7, 1896 – March 28, 1971) was an American businessman and investor who founded over 70 companies, including Fairchild Aviation, Fairchild Industries, and Fairchild Camera and Instrument. LINK - en.wikipedia.org/wiki/Sherman_Fairchild
John "Jack" Vernon Elliot (1893 - 1964), was a pilot in the western Ontario area providing passenger service and flights for thrill seekers in the early 1920's. By 1925, he had his own flying school and by purchasing partially completed aircraft, managed to complete his own aircraft. LINK - www.semiofficials.ca/elliot_1.html
Darjeeling is a town and a municipality in the Indian state of West Bengal. It is located in the Mahabharat Range or Lesser Himalaya at an elevation of 2,042.2 m. It is noted for its tea industry and the Darjeeling Himalayan Railway, a UNESCO World Heritage Site. Darjeeling is the headquarters of Darjeeling district which has a partially autonomous status within the state of West Bengal.
The development of the town dates back to the mid-19th century, when the colonial British administration set up a sanatorium and a military depot. Subsequently, extensive tea plantations were established in the region, and tea growers developed hybrids of black tea and created new fermentation techniques. The resultant distinctive Darjeeling tea is internationally recognised and ranks among the most popular of the black teas.
The Darjeeling Himalayan Railway connects the town with the plains and has one of the few steam locomotives still in service in India.
Darjeeling has several British-style public schools, which attract pupils from India and neighbouring countries. The varied culture of the town reflects its diverse demographic milieu consisting of Nepalis, Bhutia, Lepcha and other mainland Indian ethno-linguistic groups. Darjeeling, with its neighbouring town of Kalimpong, was a centre of the Gorkhaland movement (Separate State demand within India) in the 1980s. The town's fragile ecology has been threatened by a rising demand for environmental resources, stemming from growing tourist traffic and poorly planned urbanisation.
TOPONOMY
The name Darjeeling comes from the Tibetan word dorje, meaning the thunderbolt sceptre of the Hindu diety Indra, and ling, a place or land.
HISTORY
The history of Darjeeling is intertwined with that of Sikkim, Nepal, British India and Bhutan. Until the early 19th century, the hilly area around Darjeeling was controlled by the kingdom of Sikkim, while the plains around Siliguri were intermittently occupied by the Kingdom of Nepal, with settlement consisting of a few villages of Lepcha and Kirati people. The Chogyal of Sikkim had been engaged in unsuccessful warfare against the Gorkhas of Nepal. From 1780, the Gorkhas made several attempts to capture the entire region of Darjeeling. By the beginning of 19th century, they had overrun Sikkim as far eastward as the Teesta River and had conquered and annexed the Terai. In the meantime, the British were engaged in preventing the Gorkhas from overrunning the whole of the northern frontier. The Anglo-Gorkha war broke out in 1814, which resulted in the defeat of the Gorkhas and subsequently led to the signing of the Sugauli Treaty in 1815. According to the treaty, Nepal had to cede all those territories which the Gorkhas had annexed from the Chogyal of Sikkim to the British East India Company (i.e. the area between Mechi River and Teesta River). Later in 1817, through the Treaty of Titalia, the British East India Company reinstated the Chogyal of Sikkim, restored all the tracts of land between the River Mechi and the River Teesta to the Chogyal of Sikkim and guaranteed his sovereignty.In 1828, a delegation of the British East India Company (BEIC) officials on its way to the Nepal-Sikkim border stayed in Darjeeling and decided that the region was a suitable site for a sanatorium for British soldiers. The company negotiated a lease of the area west of the Mahananda River from the Chogyal of Sikkim in 1835. In 1849, the BEIC director Arthur Campbell and the explorer and botanist Joseph Dalton Hooker were imprisoned in the region by the Sikkim Chogyal. The BEIC sent a force to free them. Continued friction between the BEIC and the Sikkim authorities resulted in the annexation of 1,700 km2 of territory by the British in 1850. In 1864, the Bhutanese rulers and the British signed the Treaty of Sinchula that ceded the passes leading through the hills and Kalimpong to the British. Further discord between Sikkim and the British resulted in a war, culminating in the signing of a treaty and the annexation by the British of the area east of the Teesta River in 1865. By 1866, Darjeeling district had assumed its current shape and size, covering an area of 3,200 km2. During the British Raj, Darjeeling's temperate climate led to its development as a hill station for British residents seeking to escape the summer heat of the plains. The development of Darjeeling as a sanatorium and health resort proceeded briskly. Arthur Campbell, a surgeon with the Company, and Lieutenant Robert Napier were responsible for establishing a hill station there. Campbell's efforts to develop the station, attract immigrants to cultivate the slopes and stimulate trade resulted in a hundredfold increase in the population of Darjeeling between 1835 and 1849. The first road connecting the town with the plains was constructed between 1839 and 1842. In 1848, a military depot was set up for British soldiers, and the town became a municipality in 1850. Commercial cultivation of tea in the district began in 1856, and induced a number of British planters to settle there. Darjeeling became the formal summer capital of the Bengal Presidency after 1864. Scottish missionaries undertook the construction of schools and welfare centres for the British residents, laying the foundation for Darjeeling's notability as a centre of education. The opening of the Darjeeling Himalayan Railway in 1881 further hastened the development of the region. In 1899, Darjeeling was rocked by major landslides that caused severe damage to the town and the native population.Under British rule, the Darjeeling area was initially a "Non-Regulation District", a scheme of administration applicable to economically less advanced districts in the British Raj; acts and regulations of the British Raj did not automatically apply to the district in line with rest of the country. In 1919, the area was declared a "backward tract". During the Indian independence movement, the Non-cooperation Movement spread through the tea estates of Darjeeling. There was also a failed assassination attempt by revolutionaries on Sir John Anderson, the Governor of Bengal in 1934. Subsequently, during the 1940s, Communist activists continued the nationalist movement against the British by mobilising the plantation workers and the peasants of the district. Socio-economic problems of the region that had not been addressed during British rule continued to linger and were reflected in a representation made to the Constituent Assembly of India in 1947, which highlighted the issues of regional autonomy and Nepali nationality in Darjeeling and adjacent areas. After the independence of India in 1947, Darjeeling was merged with the state of West Bengal. A separate district of Darjeeling was established consisting of the hill towns of Darjeeling, Kurseong, Kalimpong and some parts of the Terai region. While the hill population comprised mainly ethnic Nepalis, the plains harboured a large ethnic Bengali population who were refugees from the Partition of India. A cautious and non-receptive response by the West Bengal government to most demands of the ethnic Nepali population led to increased calls, in the 1950s and 1960s, for Darjeeling's autonomy and for the recognition of the Nepali language; the state government acceded to the latter demand in 1961.The creation of a new state of Sikkim in 1975, along with the reluctance of the Government of India to recognise Nepali as an official language under the Constitution of India, brought the issue of a separate state of Gorkhaland to the forefront. Agitation for a separate state continued through the 1980s, included violent protests during the 1986–88 period. The agitation ceased only after an agreement between the government and the Gorkha National Liberation Front (GNLF), resulting in the establishment of an elected body in 1988 called the Darjeeling Gorkha Hill Council (DGHC), which received autonomy to govern the district. Though Darjeeling became peaceful, the issue of a separate state lingered, fuelled in part by the lack of comprehensive economic development in the region even after the formation of the DGHC. New protests erupted in 2008–09, but both the Union and State governments rejected Gorkha Janmukti Morcha's (GJM) demand for a separate state. In July 2011, a pact was signed between GJM, the Government of West Bengal and the Government of India which includes the formation of a new autonomous, elected Gorkhaland Territorial Administration (GTA), a hill council endowed with more powers than its predecessor Darjeeling Gorkha Hill Council.[
GEOGRAPHY
Darjeeling is the main town of the Sadar subdivision and also the headquarters of the district. It is located at an elevation of 2,000 m in the Darjeeling Himalayan hill region on the Darjeeling-Jalapahar range that originates in the south from Ghum. The range is Y-shaped with the base resting at Katapahar and Jalapahar and two arms diverging north of the Observatory Hill. The north-eastern arm dips suddenly and ends in the Lebong spur, while the north-western arm passes through North Point and ends in the valley near Tukver Tea Estate. The hills are nestled within higher peaks and the snow-clad Himalayan ranges tower over the town in the distance. Kanchenjunga, the world's third-highest peak, 8,598 m high, is the most prominent mountain visible. In days clear of clouds, Nepal's Mount Everest, 8,850 m high, can be seen.
The hills of Darjeeling are part of the Mahabharat Range or Lesser Himalaya. The soil is chiefly composed of sandstone and conglomerate formations, which are the solidified and upheaved detritus of the great range of Himalaya. However, the soil is often poorly consolidated (the permeable sediments of the region do not retain water between rains) and is not considered suitable for agriculture. The area has steep slopes and loose topsoil, leading to frequent landslides during the monsoons. According to the Bureau of Indian Standards, the town falls under seismic zone-IV, (on a scale of I to V, in order of increasing proneness to earthquakes) near the convergent boundary of the Indian and the Eurasian tectonic plates and is subject to frequent earthquakes.
FLORA AND FAUNA
Darjeeling is a part of the Eastern Himalayan zoo-geographic zone. Flora around Darjeeling comprises sal, oak, semi-evergreen, temperate and alpine forests. Dense evergreen forests of sal and oak lie around the town, where a wide variety of rare orchids are found. The Lloyd's Botanical Garden preserves common and rare species of plants, while the Padmaja Naidu Himalayan Zoological Park specialises in conserving and breeding endangered Himalayan species. The town of Darjeeling and surrounding region face deforestation due to increasing demand for wood fuel and timber, as well as air pollution from increasing vehicular traffic.
Wildlife in the district is protected by the wildlife wing of the West Bengal Forest Department. The fauna found in Darjeeling includes several species of ducks, teals, plovers and gulls that pass Darjeeling while migrating to and from Tibet. Small mammals found in the region include civets, mongooses and badgers. The nearby Jaldapara National Park consists of semi-evergreen and sal forests. Animals found here include the one-horned rhinoceros, elephant, tiger, leopard and hog deer, while the main bird species include the Bengal florican and herons. As of 2009, work was in progress for setting up a conservation centre for red pandas in Darjeeling.
CLIMATE
Darjeeling has a temperate climate (Köppen: Cwb, subtropical highland climate) with wet summers caused by monsoon rains. The annual mean maximum temperature is 15.98 °C while the mean minimum temperature is 8.9 °C, with monthly mean temperatures range from 5 to 17 °C. The lowest temperature recorded was −24 °C on 11 February 1905. The average annual precipitation is 309.2 cm, with an average of 126 days of rain in a year. The highest rainfall occurs in July. The heavy and concentrated rainfall that is experienced in the region, aggravated by deforestation and haphazard planning, often causes devastating landslides, leading to loss of life and property.
CIVIL ADMINISTRATION
The Darjeeling urban agglomeration consists of Darjeeling Municipality and the Pattabong Tea Garden. Established in 1850, the Darjeeling municipality maintains the civic administration of the town, covering an area of 10.57 km2 The municipality consists of a board of councillors elected from each of the 32 wards of Darjeeling town as well as a few members nominated by the state government. The board of councillors elects a chairman from among its elected members; the chairman is the executive head of the municipality. The Gorkha Janmukti Morcha (GJMM) holds power in the municipality As of 2011.
From 1988 to 2012, the Gorkha-dominated hill areas of Darjeeling district was under the jurisdiction of the Darjeeling Gorkha Hill Council (DGHC). In 2012, the DGHC was replaced by the Gorkhaland Territorial Administration (GTA). The elected members of this body are authorised to manage certain affairs of the hills, including education, health and tourism. Law and order in Darjeeling town comes under the jurisdiction of the district police force, which is a part of the West Bengal Police; a Deputy Superintendent of Police oversees the town's security and law affairs. Darjeeling municipality area has two police stations at Darjeeling and Jorebungalow.
UTILITIES
Natural springs in the Senchal Range provide most of Darjeeling's water supply. Water collected is routed through stone conduits to two lakes that were constructed in 1910 and 1932, from where it is piped to the town after purification at the Jorebungalow filtration plant. During the dry season, when water supplied by springs is insufficient, water is pumped from Khong Khola, a nearby small perennial stream. There is a steadily widening gap between water supply and demand; just over 50% of the town's households are connected to the municipal water supply system. Various efforts made to augment the water supply, including the construction of a third storage reservoir in 1984, have failed to yield desired results.
The town has an underground sewage system, covering about 40% of the town area, that collects domestic waste and conveys it to septic tanks for disposal. Solid waste is disposed of in a nearby dumping ground, which also houses the town's crematorium. Doorstep collection of garbage and segregation of biodegradable and non-biodegradable waste have been implemented since 2003. Vermicomposting of vegetable waste is carried out with the help of non-governmental organisations. In June 2009, in order to reduce waste, the municipality proposed the ban of plastic carry bags and sachets in the town.
Darjeeling got from 1897 up to the early 1990s hydroelectricity from the nearby Sidrapong Hydel Power Station, such being the first town in India supplied with hydropower. Today, electricity is supplied by the West Bengal State Electricity Board from other places. The town often suffers from power outages and the electrical supply voltage is unstable, making voltage stabilisers popular with many households. Almost all of the primary schools are now maintained by Darjeeling Gorkha Autonomous Hill Council. The total length of all types of roads within the municipal area is around 134 km The West Bengal Fire Service provides emergency services for the town.
ECONOMY
The two most significant contributors to Darjeeling's economy are tourism and the tea industry. Darjeeling tea, due to the unique agro-climatic conditions of Darjeeling, has a distinctive natural flavour, is internationally reputed and recognised as a geographical indicator. Darjeeling produces 7% of India's tea output, approximately 9,000,000 kilograms every year. The tea industry has faced competition in recent years from tea produced in other parts of India as well as other countries like Nepal. Widespread concerns about labour disputes, worker layoffs and closing of estates have affected investment and production. Several tea estates are being run on a workers' cooperative model, while others are being planned for conversion into tourist resorts. More than 60% of workers in the tea gardens are women. Besides tea, the most widely cultivated crops include maize, millets, paddy, cardamom, potato and ginger.
Darjeeling had become an important tourist destination as early as 1860. It is reported to be the only location in eastern India that witnesses large numbers of foreign tourists. It is also a popular filming destination for Bollywood and Bengali cinema. Satyajit Ray shot his film Kanchenjungha (1962) here, and his Feluda series story, Darjeeling Jomjomaat was also set in the town. Bollywood movies Aradhana (1969), Main Hoon Na (2004), and more recently Barfi! (2012) have been filmed here. Tourist inflow into Darjeeling has been affected by the political instability in the region, and agitations in the 1980s and 2000s have hit the tourism industry hard.
TRANSPORT
Darjeeling can be reached by the 88 km long Darjeeling Himalayan Railway from New Jalpaiguri, or by National Highway 55, from Siliguri, 77 km away. The Darjeeling Himalayan Railway is a 600 mm narrow-gauge railway that was declared a World Heritage Site by UNESCO in 1999 for being "an outstanding example of the influence of an innovative transportation system on the social and economic development of a multi-cultural region, which was to serve as a model for similar developments in many parts of the world", becoming only the second railway in the world to have this honour. Bus services and hired vehicles connect Darjeeling with Siliguri and Darjeeling has road connections with Bagdogra, Gangtok and Kathmandu and the neighbouring towns of Kurseong and Kalimpong. However, road and railway communications often get disrupted in the monsoons because of landslides. The nearest airport is Bagdogra Airport, located 90 km from Darjeeling. Within the town, people usually traverse by walking. Residents also use two-wheelers and hired taxis for travelling short distances. The Darjeeling Ropeway, functional since 1968, was closed in 2003 after an accident killed four tourists. It was proposed to be reopened in 2007, and finally opened in February 2012.
DEMOGRAPHICS
According to provisional results of 2011 census of India, Darjeeling urban agglomeration has a population of 132,016, out of which 65,839 were males and 66,177 were females. The sex ratio is 1,005 females per 1,000 males. The 0–6 years population is 7,382. Effective literacy rate for the population older than 6 years is 93.17 per cent.
According to the 2001 census, the Darjeeling urban agglomeration, with an area of 12.77 km2 had a population of 109,163, while the municipal area had a population of 107,530. The population density of the municipal area was 10,173 per km2. The sex ratio was 1,017 females per 1,000 males, which was higher than the national average of 933 females per 1000 males. The three largest religions were Hinduism, Buddhism and Christianity, in that order. The majority of the populace are Gorkhas of ethnic Nepali background. Indigenous ethnic groups include the Limbu, Rai, Magars, Gurung, Tamangs, Lepchas, Bhutias, Sherpas and Newars. Other communities that inhabit Darjeeling include the Marwaris, Anglo-Indians, Chinese, Biharis, Tibetans and Bengali. The most commonly spoken languages are Nepali, Hindi, Bengali and English.
Darjeeling has seen a significant growth in its population, its decadal growth rate being 47% between 1991 and 2001. The colonial town had been designed for a population of only 10,000, and subsequent growth has created extensive infrastructural and environmental problems. The district's forests and other natural wealth have been adversely affected by an ever-growing population. Environmental degradation, including denudation of the surrounding hills has adversely affected Darjeeling's appeal as a tourist destination.The official language of West Bengal is Bengali, additional official languages in Darjeeling are English and Nepali.
CULTURE
Apart from the major religious festivals of Dashain (Durga puja), Tihar (Diwali) and Christmas the diverse ethnic populace of the town celebrates several local festivals. The Lepchas and Bhutias celebrate new year in January, while Tibetans celebrate their new year, Losar, in February–March. The birthday of the Buddha is celebrated in mid-June with processions. Darjeeling Carnival, initiated by a civil society movement known as The Darjeeling Initiative, is a ten-day carnival held every year during the winter with portrayal of the Darjeeling Hill's musical and cultural heritage as its central theme.
A popular food in Darjeeling is the Nepalese and Tibetan momo, a steamed dumpling containing meat cooked in a doughy wrapping and served with clear soup and achar. A form of Tibetan noodle called thukpa, served in soup form is also popular. Other commonly eaten dishes include alu dum, a potato preparation, and shaphalay, Tibetan bread stuffed with meat. Fermented foods and beverages are consumed by a large percentage of the population. Fermented foods include preparations of soybean, bamboo shoots, milk and Sel roti, which is made from rice. Tea is the most popular beverage, the Tibetan version is also drunk. Alcoholic beverages include Tongba, Jnaard and Chhaang, variations of a local beer made from fermenting finger millet.
Colonial architecture characterises many buildings in Darjeeling, exemplified by several mock Tudor residences, Gothic churches, the Raj Bhawan, Planters' Club and various educational institutions. Buddhist monasteries showcase the pagoda style architecture. Darjeeling is regarded as a centre of music and a niche for musicians and music admirers. Singing and playing musical instruments is a common pastime among the resident population, who take pride in the traditions and role of music in cultural life.
Darjeeling also has a Peace Pagoda built in 1992 by the Japanese Buddhist organisation Nipponzan Myohoji.
EDUCATION
There are 52 primary schools, 21 high schools and 4 colleges in the town. Darjeeling's schools are either run by the state government or by private and religious organisations. Schools mainly use English and Nepali as their media of instruction, although there is the option to learn the national language Hindi and the official state language Bengali. The schools are either affiliated with the ICSE, the CBSE, or the West Bengal Board of Secondary Education. Having been a summer retreat for the British in India, Darjeeling became the place of choice for the establishment of public schools on the model of Eton, Harrow and Rugby, allowing the children of British officials to obtain an exclusive education. Institutions such as Mount Hermon School, St. Robert's H.S. School, St. Joseph's College (School Dept.), Loreto Convent and St. Paul's School are renowned as centres of educational excellence.
Darjeeling has four colleges — St. Joseph's College, Southfield College (earlier known as Loreto College), Darjeeling Government College and Sri Ramakrishna B.T. College — all affiliated to the University of North Bengal in Siliguri.
WIKIPEDIA
Director Theophilus Raynsford Mann
~ a Taiwanese social reformer, philosopher, photographer, and film director
“Do Everything for My People”
馬天亮導演
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《造福人民》
SUMMARY
Theophilus Raynsford Mann is a naturalist, occultist, Buddhist and Taoist. In 1982, Mann developed a technique for abstract photography, applied “Rayonism” into photographic works. Mann staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Mann’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Mann’s works have been quoted by the scholars many times, making Mann one of the highly cited technological, artistic, and managing public administrators in the academia. Mann was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Mann obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
Early Career
In 1989, Mann instituted Mann’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Mann studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan, Wales for a master of science in real estate appraisal. Until the summer of 2000, Mann completed an academic course on “Towns through the Ages” from Christ Church at the University of Oxford.
PHILOSOPHICAL VIEWS
Mann is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand Theophilus Raynsford Mann. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Mann just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Mann understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As Theophilus Raynsford Mann’s saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Mann ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Mann will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Mann’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Mann had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Mann studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Mann would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Mann really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Mann has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Mann settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Mann was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Mann had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Mann developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Mann was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
Theophilus Raynsford Mann Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
Theophilus Raynsford Mann Photographic Exhibition of Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Mann staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Mann was the first exhibitor around the country. All of the invited displays were by the Taiwan’s Government, cultural and artistic organisations, and sponsors. Mann’s earliest exhibition took place in the National Taiwan Arts Education Center (Museum) on 19 December 1983 when Mann was 25 years old; Mann was the youngest exhibitor in the history of the Center in any solo exhibitions. The Center that was opened in March 1957, kept a collection of Mann’s work. It is currently updating the Center’s internal organisation and strengthening co-operation with leading centers and museums around the world. Meanwhile, it widened the center’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Mann’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Mann may sprout, grow and bloom. Mann aims to provide an educational stimulus for society by introducing his works - Mann can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Mann believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Mann should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, Theophilus Raynsford Mann completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Mann was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Mann’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Mann was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News
Publication “Theophilus Raynsford Mann Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Mann’s writings.
Authorship
Mann’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Mann was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Mann one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Mann’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Mann is a professor at Space Time Life Research Academy, a photographer (portrait, fashion, commercial, digital, architectural, abstract photography), film director, and computer engineer now live and work in London; and most currently engage in his vocational professions of ‘Consultant of Immigration and Translations’. Mann is an author at the University of California, Berkeley, and the University of Michigan; an alumnus from Christ Church at the University of Oxford, the University of Glamorgan, and National Taiwan University in Taipei.
Director Works:
FILMS:
Experimental Film: “New Image for the Spring” © 1982
Abstract Films:
“Rayonnisme 110124” © 2011
www.youtube.com/watch?v=M0ghIxV0LBo&feature=youtu.be
www.youtube.com/watch?v=PC_r2CO-UJs&feature=youtu.be
www.flickr.com/photos/124141020@N05/17893335268/in/datepo...
“Rayonism 110124” © 2011
www.youtube.com/watch?v=1Ph8qb2Wjps&feature=youtu.be
www.flickr.com/photos/124141020@N05/17979015641/in/photos...
www.youtube.com/watch?v=IN1e07X4AEc&feature=youtu.be
“Light Dancing 110124” © 2011
www.youtube.com/watch?v=DmCVSjG1KEk&feature=youtu.be
www.flickr.com/photos/124141020@N05/17553751944/in/photos...
“Birth” © 2011
www.youtube.com/watch?v=zoG3cxICeEY
www.flickr.com/photos/124141020@N05/17797502869/in/datepo...
“Fantasy in Dream” © 2011
www.youtube.com/watch?v=pkcmrMmF_gc&feature=youtu.be
www.flickr.com/photos/124141020@N05/18115536036/in/photos...
“floating” © 2011
www.youtube.com/watch?v=2xFOdzM3T9Y&feature=youtu.be
www.flickr.com/photos/124141020@N05/17525813743/in/photos...
“Optical Rotation” © 2011
www.youtube.com/watch?v=a48BPHplf4Q&feature=youtu.be
www.flickr.com/photos/124141020@N05/17576816593/in/photos...
Documentary Films:
“Spider” 130921 © 2013
www.youtube.com/watch?v=flSg_KZC8T4&feature=youtu.be
www.flickr.com/photos/124141020@N05/17482109753/in/photos...
“Fighting by Spider” © 2011
www.youtube.com/watch?v=Tcpkc6niMiY&feature=youtu.be
www.flickr.com/photos/124141020@N05/18201816521/in/photos...
“Spider's Living” © 2011
www.youtube.com/watch?v=vWjYRRTsltI&feature=youtu.be
www.flickr.com/photos/124141020@N05/18208449565/in/photos...
“London Buddha Day Festival, UK 150510 英國倫敦浴佛節” © 2015
www.youtube.com/watch?v=1mcPNaQtWu8&feature=youtu.be
www.flickr.com/photos/124141020@N05/17883706816/
www.youtube.com/watch?v=RApsQA2Km1w
Theophilus Raynsford Mann 馬天亮導演 - YouTube
www.youtube.com/watch?v=ijotODxZkNo&list=LLosvuIOImSV...
www.youtube.com/channel/UCosvuIOImSVgFru84i9omOQ/videos
www.youtube.com/playlist?list=LLosvuIOImSVgFru84i9omOQ
Bing Videos
www.bing.com/videos/search?q=Theophilus+Raynsford+Mann&am...
Yahoo Video
video.search.yahoo.com/search/video;_ylt=A2KLqIJi82hVnk0A...
Google Search
www.google.co.uk/search?client=aff-cs-360se&ie=UTF-8&...
Drama Films:
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy Southeast London, United Kingdom © 2012
Male Teeth of Great Britain © 2012
Long-horned Grasshopper of London, England © 2012
Tettigoniidae of the United Kingdom © 2012
Spider of London, United Kingdom © 2012, © 2013
Portrait at King's College London © 2013
Buddha 佛, London, United Kingdom © 2014
Summer Flowers of London © 2014
London Buddha Festival, UK 150510 英國倫敦浴佛節 © 2015
www.youtube.com/watch?v=ijotODxZkNo
The Art of Buddhist Sculpture in London Buddha Festival, UK © 2015
英國倫敦浴佛節佛陀雕塑藝術, music “Gymnopedie No. 3”, “Gymnopédies”
www.youtube.com/watch?v=dQqyefiuAYY
BOOKS:
Scenario Original「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibitions of Rayonnisme” © May 1985
新聞出版之學術著作專輯「馬天亮『光影』“Rayonism” 攝影展」© May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」 “The Indomitable Spirit Was Brilliant to Successful” (The indomitable spirit was brilliant to towering a great height from earth reaching the sky!
Individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
「氣壯山海‧頂天立地‧民富國強‧白金時代」 “Full of power and grandeur thrusts onto the mountain and ocean, towering a great height from earth reaching the sky for my people with good fortune and my country become stronger, builds a platinum era - white golden age.” (Chinese version for my way towards national election)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Mann’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Mann’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Mann’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Member of The Kaohsiung Life Line Association since 11 January 1979, an association established in the USA.
Member of The Society of Youth Writers, Tien (Catholic) Educational Center, Taipei since 1980.
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Mann promoted and founded the Consortium Juridical Person Mr. Theophilus Raynsford Mann Social Benefit Foundation 財團法人馬天亮先生社會公益基金會籌備處 (Social Charity 社會慈善事業) in Taiwan.
near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Mann was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and film production.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和製作影片。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware and Networking Engineer at Mann Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director and Photographer at Shapely Studio of Creative & Cultural Industries, 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。Theophilus Raynsford Mann (TianLiang Maa) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
www.facebook.com/hunyun22/info
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Mann was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
mtltwp.pixnet.net/album/set/1265208
www.facebook.com/sonate1c/info
LINKS:
University of California, Berkeley
berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...
berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...
oskicat.berkeley.edu/record=b11283690~S1
University of Michigan
mirlyn.lib.umich.edu/Record/006237256
catalog.hathitrust.org/Record/006237256
WorldCat® Identities
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www.worldcat.org/wcidentities/np-ma,%20tianliang$1958
Google Books
books.google.co.uk/books?id=PkyaAAAAIAAJ&redir_esc=y
books.google.co.uk/books?id=JfxnMwEACAAJ&dq=editions:...
scholar.google.com/scholar?cluster=3569983911138966023&am...
National Bibliographic Information Network (NBINet)
nbinet3.ncl.edu.tw/search~S10?/a%7bu99AC%7d%7bu5929%7d%7b...
192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE
National Yang Ming University 國立陽明大學
library.ym.edu.tw/search~S7*cht?/tThe+Soul%27s+and+sentim...
National Taiwan University of Science and Technology 國立臺灣科技大學
millennium.lib.ntust.edu.tw/record=b1016706~S1
國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引
readopac3.ncl.edu.tw/nclJournal/search/search_result.jsp?...
聲音藝術的審美角度, 大學雜誌, 天然
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為文化中心把脈, 幼獅文藝
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科學家與守財奴, 中國地方自治
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HOMEPAGE
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Abstract Films:
Rayonnisme © 2011
Rayonism © 2011
Light Dancing © 2011
Birth © 2011
Fantasy in Dream © 2011
floating © 2011
Optical Rotation © 2011
Documentary Films:
Spider © 2013
Fighting by Spider © 2011
Spider's Living © 2011
Spider's Living © 2011 (part I)
London Buddha Day Festival, UK 英國倫敦浴佛節 © 2015
The Art of Buddhist Sculpture in London Buddha Festival, UK © 2015
英國倫敦浴佛節佛陀雕塑藝術
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Presidential Candidate 總統候選人
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Tianliang Ma
~ a Taiwanese social reformer, philosopher, photographer and film director
“Touching Fairness and Justice”
馬天亮
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《感動的公平與正義》
TianLiang Maa, alternative spelling: Tianliang Ma, also known as Theophilus Raynsford Mann; Ma, Tianliang; Chinese: 馬天亮; 马天亮.
SUMMARY
TianLiang Maa is a naturalist, occultist, Buddhist and Taoist. In 1982, Maa developed a technique for abstract photography, applied “Rayonism” into photographic works. Maa staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Maa’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Maa’s works have been quoted by the scholars many times, making Maa one of the highly cited technological, artistic, and managing public administrators in the academia. Maa was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Early Life and Record of Genealogy
TianLiang Maa possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Maa about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Maa takes great pride in his roots, which go back 150 years (since 1864); Maa’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Maa obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Maa’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.
Backing to Maa’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.
Early Career
In 1989, Maa instituted Maa’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Maa studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Maa completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013
www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Maa immigrated into the United Kingdom in the early year of 2004.
PHILOSOPHICAL VIEWS
Maa is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand TianLiang Maa. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Maa just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Maa understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As TianLiang Maa’s (馬天亮) saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Maa ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Maa will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Maa’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Maa had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Maa studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Maa would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Maa really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Maa has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Maa settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Maa was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Maa had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Maa developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Maa was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Maa staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Maa was the first exhibitor around the country. All of the invited displays were by the Chinese Government, cultural and artistic organisations, and sponsors. Maa’s earliest exhibition took place in the National Taiwan Arts Education Institute (Museum) on 19 December 1983 when Maa was 25 years old; Maa was the youngest exhibitor in the history of the Institute in any solo exhibitions. The Institute that was opened in March 1957, kept a collection of Maa’s work. It is currently updating the Institute’s internal organisation and strengthening co-operation with leading institutes and museums around the world. Meanwhile, it widened the institute’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Maa’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Maa may sprout, grow and bloom. Maa aims to provide an educational stimulus for society by introducing his works - Maa can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Maa believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Maa should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, TianLiang Maa completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Maa was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Maa’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Maa was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Maa’s writings.
Authorship
Maa’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Maa was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Maa one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Maa’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Maa is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.
Director Works:
FILMS:
Experimental Film “New Image for the Spring” © 1982
Documentary Film “Rayonnisme” © 2011
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy London © 2012
Portrait at King's College London © 2013
BOOKS:
Scenario Original「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibitions of Rayonnisme” © May 1985
新聞出版之學術著作專輯「馬天亮『光影』“Rayonism” 攝影展」© May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」 “The Indomitable Spirit Was Brilliant to Upright” (individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Maa’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Maa’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Maa’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Maa promoted and founded the Consortium Juridical Person Mr. TianLiang Maa Social Benefit Foundation 財團法人馬天亮先生社會公益基金會 in Taiwan. near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Maa was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and film production.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和影片製作。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware & Networking Engineer at Maa Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director & Photographer at Photographer and Film Director (Shapely), 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
www.facebook.com/filmshapely/info
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
www.facebook.com/twreform/info
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。TianLiang Maa (Theophilus Raynsford Mann) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Maa was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
LINKS:
University of California, Berkeley
berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...
berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...
oskicat.berkeley.edu/record=b11283690~S1
University of Michigan
mirlyn.lib.umich.edu/Record/006237256
catalog.hathitrust.org/Record/006237256
WorldCat® Identities
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Google Books
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National Bibliographic Information Network (NBINet)
nbinet3.ncl.edu.tw/search~S10?/a%7bu99AC%7d%7bu5929%7d%7b...
192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE
National Yang Ming University 國立陽明大學
library.ym.edu.tw/search~S7*cht?/tThe+Soul%27s+and+sentim...
National Taiwan University of Science and Technology 國立臺灣科技大學
millennium.lib.ntust.edu.tw/record=b1016706~S1
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國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引
readopac3.ncl.edu.tw/nclJournal/search/search_result.jsp?...
聲音藝術的審美角度, 大學雜誌, 天然
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為文化中心把脈, 幼獅文藝
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科學家與守財奴, 中國地方自治
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Varanasi, also known as Benares, or Kashi is an Indian city on the banks of the Ganga in Uttar Pradesh, 320 kilometres south-east of the state capital, Lucknow. It is the holiest of the seven sacred cities (Sapta Puri) in Hinduism, and Jainism, and played an important role in the development of Buddhism. Some Hindus believe that death at Varanasi brings salvation. It is one of the oldest continuously inhabited cities in the world. Varanasi is also known as the favourite city of the Hindu deity Lord Shiva as it has been mentioned in the Rigveda that this city in older times was known as Kashi or "Shiv ki Nagri".
The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi, and an essential part of all religious celebrations. The culture of Varanasi is closely associated with the Ganges. The city has been a cultural centre of North India for several thousand years, and has a history that is older than most of the major world religions. The Benares Gharana form of Hindustani classical music was developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians live or have lived in Varanasi. Gautama Buddha gave his first sermon at Sarnath, located near Varanasi.
Varanasi is the spiritual capital of India. It is often referred to as "the holy city of India", "the religious capital of India", "the city of Shiva", and "the city of learning". Scholarly books have been written in the city, including the Ramcharitmanas of Tulsidas. Today, there is a temple of his namesake in the city, the Tulsi Manas Mandir. The current temples and religious institutions in the city are dated to the 18th century. One of the largest residential universities of Asia, the Banaras Hindu University (BHU), is located here.
ETYMOLOGY
The name Varanasi possibly originates from the names of the two rivers: Varuna, still flowing in Varanasi, and Asi, a small stream near Assi Ghat. The old city does lie on the north shores of Ganges River bounded by its two tributaries Varuna and Asi. Another speculation is that the city derives its name from the river Varuna, which was called Varanasi in olden times.[11] This is generally disregarded by historians. Through the ages, Varanasi has been known by many names including Kāśī or Kashi (used by pilgrims dating from Buddha's days), Kāśikā (the shining one), Avimukta ("never forsaken" by Shiva), Ānandavana (the forest of bliss), and Rudravāsa (the place where Rudra/Śiva resides).
In the Rigveda, the city is referred to as Kāśī or Kashi, the luminous city as an eminent seat of learning. The name Kāśī is also mentioned in the Skanda Purana. In one verse, Shiva says, "The three worlds form one city of mine, and Kāśī is my royal palace therein." The name Kashi may be translated as "City of Light".
HISTORY
According to legend, Varanasi was founded by the God Shiva. The Pandavas, the heroes of the Hindu epic Mahabharata are also stated to have visited the city in search of Shiva to atone for their sins of fratricide and Brāhmanahatya that they had committed during the climactic Kurukshetra war. It is regarded as one of seven holy cities which can provide Moksha:
The earliest known archaeological evidence suggests that settlement around Varanasi in the Ganga valley (the seat of Vedic religion and philosophy) began in the 11th or 12th century BC, placing it among the world's oldest continually inhabited cities. These archaeological remains suggest that the Varanasi area was populated by Vedic people. However, the Atharvaveda (the oldest known text referencing the city), which dates to approximately the same period, suggests that the area was populated by indigenous tribes. It is possible that archaeological evidence of these previous inhabitants has yet to be discovered. Recent excavations at Aktha and Ramnagar, two sites very near to Varanasi, show them to be from 1800 BC, suggesting Varanasi started to be inhabited by that time too. Varanasi was also home to Parshva, the 23rd Jain Tirthankara and the earliest Tirthankara accepted as a historical figure in the 8th century BC.
Varanasi grew as an important industrial centre, famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture. During the time of Gautama Buddha (born circa 567 BC), Varanasi was the capital of the Kingdom of Kashi. Buddha is believed to have founded Buddhism here around 528 BC when he gave his first sermon, "Turning the Wheel of Law", at nearby Sarnath. The celebrated Chinese traveller Xuanzang, who visited the city around 635 AD, attested that the city was a centre of religious and artistic activities, and that it extended for about 5 kilometres along the western bank of the Ganges. When Xuanzang, also known as Hiuen Tsiang, visited Varanasi in the 7th century, he named it "Polonisse" and wrote that the city had some 30 temples with about 30 monks. The city's religious importance continued to grow in the 8th century, when Adi Shankara established the worship of Shiva as an official sect of Varanasi.
In ancient times, Varanasi was connected by a road starting from Taxila and ending at Pataliputra during the Mauryan Empire. In 1194, the city succumbed to Turkish Muslim rule under Qutb-ud-din Aibak, who ordered the destruction of some one thousand temples in the city. The city went into decline over some three centuries of Muslim occupation, although new temples were erected in the 13th century after the Afghan invasion. Feroz Shah ordered further destruction of Hindu temples in the Varanasi area in 1376. The Afghan ruler Sikander Lodi continued the suppression of Hinduism in the city and destroyed most of the remaining older temples in 1496. Despite the Muslim rule, Varanasi remained the centre of activity for intellectuals and theologians during the Middle Ages, which further contributed to its reputation as a cultural centre of religion and education. Several major figures of the Bhakti movement were born in Varanasi, including Kabir who was born here in 1389 and hailed as "the most outstanding of the saint-poets of Bhakti cult (devotion) and mysticism of 15th-Century India"; and Ravidas, a 15th-century socio-religious reformer, mystic, poet, traveller, and spiritual figure, who was born and lived in the city and employed in the tannery industry. Similarly, numerous eminent scholars and preachers visited the city from across India and south Asia. Guru Nanak Dev visited Varanasi for Shivratri in 1507, a trip that played a large role in the founding of Sikhism.
In the 16th century, Varanasi experienced a cultural revival under the Muslim Mughal emperor Akbar who invested in the city, and built two large temples dedicated to Shiva and Vishnu. The Raja of Poona established the Annapurnamandir and the 200 metres Akbari Bridge was also completed during this period. The earliest tourists began arriving in the city during the 16th century. In 1665, the French traveller Jean Baptiste Tavernier described the architectural beauty of the Vindu Madhava temple on the side of the Ganges. The road infrastructure was also improved during this period and extended from Kolkata to Peshawar by Emperor Sher Shah Suri; later during the British Raj it came to be known as the famous Grand Trunk Road. In 1656, emperor Aurangzeb ordered the destruction of many temples and the building of mosques, causing the city to experience a temporary setback. However, after Aurangazeb's death, most of India was ruled by a confederacy of pro-Hindu kings. Much of modern Varanasi was built during this time by the Rajput and Maratha kings, especially during the 18th century, and most of the important buildings in the city today date to this period. The kings continued to be important through much of the British rule (1775–1947 AD), including the Maharaja of Benares, or Kashi Naresh. The kingdom of Benares was given official status by the Mughals in 1737, and continued as a dynasty-governed area until Indian independence in 1947, during the reign of Dr. Vibhuti Narayan Singh. In the 18th century, Muhammad Shah ordered the construction of an observatory on the Ganges, attached to Man Mandir Ghat, designed to discover imperfections in the calendar in order to revise existing astronomical tables. Tourism in the city began to flourish in the 18th century. In 1791, under the rule of the British Governor-General Warren Hastings, Jonathan Duncan founded a Sanskrit College in Varanasi. In 1867, the establishment of the Varanasi Municipal Board led to significant improvements in the city.
In 1897, Mark Twain, the renowned Indophile, said of Varanasi, "Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together." In 1910, the British made Varanasi a new Indian state, with Ramanagar as its headquarters but with no jurisdiction over the city of Varanasi itself. Kashi Naresh still resides in the Ramnagar Fort which is situated to the east of Varanasi, across the Ganges. Ramnagar Fort and its museum are the repository of the history of the kings of Varanasi. Since the 18th century, the fort has been the home of Kashi Naresh, deeply revered by the local people. He is the religious head and some devout inhabitants consider him to be the incarnation of Shiva. He is also the chief cultural patron and an essential part of all religious celebrations.
A massacre by British troops, of the Indian troops stationed here and of the population of the city, took place during the early stages of the Indian Rebellion of 1857. Annie Besant worked in Varanasi to promote theosophy and founded the Central Hindu College which later became a foundation for the creation of Banaras Hindu University as a secular university in 1916. Her purpose in founding the Central Hindu College in Varanasi was that she "wanted to bring men of all religions together under the ideal of brotherhood in order to promote Indian cultural values and to remove ill-will among different sections of the Indian population."
Varanasi was ceded to the Union of India on 15 October 1948. After the death of Dr. Vibhuti Narayan Singh in 2000, his son Anant Narayan Singh became the figurehead king, responsible for upholding the traditional duties of a Kashi Naresh.
MAIN SIGHTS
Varanasi's "Old City", the quarter near the banks of the Ganga river, has crowded narrow winding lanes flanked by road-side shops and scores of Hindu temples. As atmospheric as it is confusing, Varanasi's labyrinthine Old City has a rich culture, attracting many travellers and tourists. The main residential areas of Varanasi (especially for the middle and upper classes) are situated in regions far from the ghats; they are more spacious and less polluted.
Museums in and around Varanasi include Jantar Mantar, Sarnath Museum, Bharat Kala Bhawan and Ramnagar Fort.
JANTAR MANTAR
The Jantar Mantar observatory (1737) is located above the ghats on the Ganges, much above the high water level in the Ganges next to the Manmandir Ghat, near to Dasaswamedh Ghat and adjoining the palace of Raja Jai Singh of Jaipur. Compared to the observatories at Jaipur and Delhi, it is less well equipped but has a unique equatorial sundial which is functional and allows measurements to be monitored and recorded by one person.
RAMNAGAR FORT
The Ramnagar Fort located near the Ganges River on its eastern bank, opposite to the Tulsi Ghat, was built in the 18th century by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone. It is in a typically Mughal style of architecture with carved balconies, open courtyards, and scenic pavilions. At present the fort is not in good repair. The fort and its museum are the repository of the history of the kings of Benares. It has been the home of the Kashi Naresh since the 18th century. The current king and the resident of the fort is Anant Narayan Singh who is also known as the Maharaja of Varanasi even though this royal title has been abolished since 1971. Labeled "an eccentric museum", it has a rare collection of American vintage cars, sedan chairs (bejeweled), an impressive weaponry hall and a rare astrological clock. In addition, manuscripts, especially religious writings, are housed in the Saraswati Bhawan. Also included is a precious handwritten manuscript by Goswami Tulsidas. Many books illustrated in the Mughal miniature style, with beautifully designed covers are also part of the collections. Because of its scenic location on the banks of the Ganges, it is frequently used as an outdoor shooting location for films. The film titled Banaras is one of the popular movies shot here. However, only a part of the fort is open for public viewing as the rest of the area is the residence of the Kashi Naresh and his family. It is 14 kilometres from Varanasi.
GHATS
Ghats are embankments made in steps of stone slabs along the river bank where pilgrims perform ritual ablutions. Ghats in Varanasi are an integral complement to the concept of divinity represented in physical, metaphysical and supernatural elements. All the ghats are locations on "the divine cosmic road", indicative of "its manifest transcendental dimension" Varanasi has at least 84 ghats. Steps in the ghats lead to the banks of River Ganges, including the Dashashwamedh Ghat, the Manikarnika Ghat, the Panchganga Ghat and the Harishchandra Ghat (where Hindus cremate their dead). Many ghats are associated with legends and several are now privately owned.
Many of the ghats were built when the city was under Maratha control. Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwas stand out as patrons of present-day Varanasi. Most of the ghats are bathing ghats, while others are used as cremation sites. A morning boat ride on the Ganges across the ghats is a popular visitor attraction. The extensive stretches of ghats enhance the river front with a multitude of shrines, temples and palaces built "tier on tier above the water’s edge".
The Dashashwamedh Ghat is the main and probably the oldest ghat of Varansi located on the Ganges, close to the Kashi Vishwanath Temple. It is believed that Brahma created it to welcome Shiva and sacrificed ten horses during the Dasa -Ashwamedha yajna performed here. Above the ghat and close to it, there are also temples dedicated to Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, Ganga (the Ganges), and Bandi Devi which are part of important pilgrimage journeys. A group of priests perform "Agni Pooja" (Worship to Fire) daily in the evening at this ghat as a dedication to Shiva, Ganga, Surya (Sun), Agni (Fire), and the whole universe. Special aartis are held on Tuesdays and on religious festivals.
The Manikarnika Ghat is the Mahasmasana (meaning: "great cremation ground") and is the primary site for Hindu cremation in the city. Adjoining the ghat, there are raised platforms that are used for death anniversary rituals. It is said that an ear-ring (Manikarnika) of Shiva or his wife Sati fell here. According to a myth related to the Tarakesvara Temple, a Shiva temple at the ghat, Shiva whispers the Taraka mantra ("Prayer of the crossing") in the ear of the dead. Fourth-century Gupta period inscriptions mention this ghat. However, the current ghat as a permanent riverside embankment was built in 1302 and has been renovated at least three times.
TEMPLES
Among the estimated 23000 temples in Varanasi, the most worshiped are: the Kashi Vishwanath Temple of Shiva; the Sankat Mochan Hanuman Temple; and the Durga Temple known for the band of monkeys that reside in the large trees nearby.
Located on the outskirts of the Ganges, the Kashi Vishwanath Temple – dedicated to Varanasi's presiding deity Shiva (Vishwanath – "Lord of the world") – is an important Hindu temple and one of the 12 Jyotirlinga Shiva temples. It is believed that a single view of Vishwanath Jyotirlinga is worth more than that of other jyotirlingas. The temple has been destroyed and rebuilt a number of times. The Gyanvapi Mosque, which is adjacent to the temple, is the original site of the temple. The temple, as it exists now, also called Golden Temple, was built in 1780 by Queen Ahilyabai Holkar of Indore. The two pinnacles of the temple are covered in gold, donated in 1839 by Ranjit Singh, the ruler of the Punjab and the remaining dome is also planned to be gold plated by the Ministry of Culture & Religious Affairs of Uttar Pradesh. On 28 January 1983, the temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with then Kashi Naresh, Vibhuti Narayan Singh, as president and an executive committee with a Divisional Commissioner as chairman. Numerous rituals, prayers and aratis are held daily, starting from 2:30 am till 11:00 pm.
The Sankat Mochan Hanuman Temple is one of the sacred temples of the Hindu god Hanuman situated by the Assi River, on the way to the Durga and New Vishwanath temples within the Banaras Hindu University campus. The present temple structure was built in early 1900s by the educationist and freedom fighter, Pandit Madan Mohan Malviya, the founder of Banaras Hindu University. It is believed the temple was built on the very spot where the medieval Hindu saint Tulsidas had a vision of Hanuman. Thousands flock to the temple on Tuesdays and Saturdays, weekdays associated with Hanuman. On 7 March 2006, in a terrorist attack one of the three explosions hit the temple while the Aarti was in progress when numerous devotees and people attending a wedding were present and many were injured. However, normal worship was resumed the next day with devotees visiting the temple and reciting hymns of Hanuman Chalisa (authored by Tulidas) and Sundarkand (a booklet of these hymns is provided free of charge in the temple). After the terrorist incident, a permanent police post was set up inside the temple.
There are two temples named "Durga" in Varanasi, Durga Mandir (built about 500 years ago), and Durga Kund (built in the 18th century). Thousands of Hindu devotees visit Durga Kund during Navratri to worship the goddess Durga. The temple, built in Nagara architectural style, has multi-tiered spires[96] and is stained red with ochre, representing the red colour of Durga. The building has a rectangular tank of water called the Durga Kund ("Kund" meaning a pond or pool). Every year on the occasion of Nag Panchami, the act of depicting the god Vishnu reclining on the serpent Shesha is recreated in the Kund.
While the Annapurna Temple, located close to the Kashi Vishwanath temple, is dedicated to Annapurna, the goddess of food, the Sankatha Temple close to the Sindhia Ghat is dedicated to Sankatha, the goddess of remedy. The Sankatha temple has a large sculpture of a lion and a nine temple cluster dedicated to the nine planets.
Kalabhairav Temple, an ancient temple located near the Head Post Office at Visheshar Ganj, is dedicated to Kala-Bhairava, the guardian (Kotwal) of Varanasi. The Mrithyunjay Mahadev Temple, dedicated to Shiva, is situated on the way to Daranagar to Kalbhairav temple. A well near the temple has some religious significance as its water source is believed to be fed from several underground streams, having curative powers.
The New Vishwanath Temple located in the campus of Banaras Hindu University is a modern temple which was planned by Pandit Malviya and built by the Birlas. The Tulsi Manas Temple, nearby the Durga Temple, is a modern temple dedicated to the god Rama. It is built at the place where Tulsidas authored the Ramcharitmanas, which narrates the life of Rama. Many verses from this epic are inscribed on the temple walls.
The Bharat Mata Temple, dedicated to the national personification of India, was inaugurated by Mahatma Gandhi in 1936. It has relief maps of India carved in marble. Babu Shiv Prasad Gupta and Durga Prasad Khatri, leading numismatists, antiquarians and nationalist leaders, donated funds for its construction.
RELIGION
HINDUISM
Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.
As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.
In 2001, Hindus made up approximately 84% of the population of Varanasi District.
ISLAM
Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.
As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.
In 2001, Hindus made up approximately 84% of the population of Varanasi District.
OTHERS
At the 2001 census, persons of other religions or no religion made up 0.4% of the population of Varanasi District.
Varanasi is a pilgrimage site for Jains along with Hindus and Buddhists. It is believed to be the birthplace of Suparshvanath, Shreyansanath, and Parshva, who are respectively the seventh, eleventh, and twenty-third Jain Tirthankars and as such Varanasi is a holy city for Jains. Shree Parshvanath Digambar Jain Tirth Kshetra (Digambar Jain Temple) is situated in Bhelupur, Varanasi. This temple is of great religious importance to the Jain Religion.
Sarnath, a suburb of Varanasi, is a place of Buddhist pilgrimage. It is the site of the deer park where Siddhartha Gautama of Nepal is said to have given his first sermon about the basic principles of Buddhism. The Dhamek Stupa is one of the few pre-Ashokan stupas still in existence, though only its foundation remains. Also remaining is the Chaukhandi Stupa commemorating the spot where Buddha met his first disciples in the 5th century. An octagonal tower was built later there.
Guru Nanak Dev visited Varanasi for Shivratri in 1507 and had an encounter which with other events forms the basis for the story of the founding of Sikhism. Varanasi also hosts the Roman Catholic Diocese of Varanasi, and has an insignificant Jewish expatriate community. Varanasi is home to numerous tribal faiths which are not easily classified.
Dalits are 13% of population Of Varanasi city. Most dalits are followers of Guru Ravidass. So Shri Guru Ravidass Janam Asthan is important place of pilgrimage for Ravidasis from all around India.
RELIGIOUS FESTIVALS
On Mahashivaratri (February) – which is dedicated to Shiva – a procession of Shiva proceeds from the Mahamrityunjaya Temple to the Kashi Vishwanath Temple.
Dhrupad Mela is a five-day musical festival devoted to dhrupad style held at Tulsi Ghat in February–March.
The Sankat Mochan Hanuman Temple celebrates Hanuman Jayanti (March–April), the birthday of Hanuman with great fervour. A special puja, aarti, and a public procession is organized. Starting in 1923, the temple organizes a five-day classical music and dance concert festival titled Sankat Mochan Sangeet Samaroh in this period, when iconic artists from all parts of India are invited to perform.
The Ramlila of Ramnagar is a dramatic enactment of Rama's legend, as told in Ramacharitamanasa. The plays, sponsored by Kashi Naresh, are performed in Ramnagar every evening for 31 days. On the last day, the festivities reach a crescendo as Rama vanquishes the demon king Ravana. Kashi Naresh Udit Narayan Singh started this tradition around 1830.
Bharat Milap celebrates the meeting of Rama and his younger brother Bharata after the return of the former after 14 years of exile. It is celebrated during October–November, a day after the festival of Vijayadashami. Kashi Naresh attends this festival in his regal attire resplendent in regal finery. The festival attracts a large number of devotees.
Nag Nathaiya, celebrated on the fourth lunar day of the dark fortnight of the Hindu month of Kartik (October–November), that commemorates the victory of the god Krishna over the serpent Kaliya. On this occasion, a large Kadamba tree (Neolamarckia cadamba) branch is planted on the banks of the Ganges so that a boy acting the role of Krishna can jump into the river on to the effigy representing Kaliya. He stands over the effigy in a dancing pose playing the flute; the effigy and the boy standing on it is given a swirl in front of the audience. People watch the display standing on the banks of the river or from boats.
Ganga Mahotsav is a five-day music festival organized by the Uttar Pradesh Tourism Department, held in November–December culminating a day before Kartik Poornima (Dev Deepawali). On Kartik Poornima also called the Ganges festival, the Ganges is venerated by arti offered by thousands of pilgrims who release lighted lamps to float in the river from the ghats.
Annually Jashne-Eid Miladunnabi is celebrated on the day of Barawafat in huge numbers by Muslims in a huge rally coming from all the parts of the city and meeting up at Beniya Bagh.
DEVELOP participants Labreshia Mims, Britta Dosch, Garrett Kidd, Amy Wolfe and Rebekke Muench present the outcomes of the El Salvador Ecological Forecasting project during the last week of the Spring 2016 term. This project demonstrated the use of NASA Earth Observations to predict deforestation and forest degradation in El Salvador. develop.larc.nasa.gov
Image credit: NASA LaRC
Brookhaven National Laboratory is developing a new Northeast Solar Energy Research Center (NSERC) on its campus that will serve as a solar energy research and test facility for the solar industry. The NSERC will include laboratories for standardized testing in accordance with industry standards, along with a solar PV research array for field testing existing or innovative new technologies under actual northeastern weather conditions.
The NSERC will also include access to unique high-resolution data sets from the 32MW Long Island Solar Farm located at Brookhaven.
By T. W. Windeatt. (Read at Torquay, July, 1893.)
The little town and ancient borough of Totnes has during its lengthened history been the birthplace of men, not a few of whom have made their mark in the world, and not the least of these is one born in the present century – Wills, the Australian explorer – whose name deserves to be enshrined in the Transactions of this Association.
William John Wills was born in Totnes on the 5th January, 1834, being the son of William Wills, a surgeon then practising in Totnes, and Sarah, youngest daughter of William Galley, an old and respected inhabitant.* They both spent the latter part of their lives in and died at Torquay. As a boy Wills seems to have early developed an enquiring and thoughtful mind. His father says he was never a child in the common acceptation of the term, as he gave early indication of diligence and discretion scarcely compatible with the helplessness and simplicity of such tender years. He was educated at the Ashburton Grammar School, where he went as a boarder when eleven years of age, and of which school Mr. Paige, who still survives, was then the head master. A deep cutting in one of the benches in the old chapel of St Lawrence, then and now the schoolhouse, “W. J. WILLS” is still to be seen and records his sojourn there. Mr. Fabyan Amery, one of his schoolfellows, speaks of him as having always been a very scientific boy, and very observant of natural phenomena, which he always tried to get some scientific reason for. There appears to have been nothing remarkable in his progress at school, though his master commended his steady diligence and uniform propriety of conduct Mr. Paige remarked on one occasion to his father, “It vexes me that John does not take a top prize, for I see by his countenance that he understands as much, if not more, than any boy in my school; yet from want of readiness in answering he allows very inferior lads to win the tickets from him.”
* Henry Le Visconte, who was first lieutenant in the Erebus, and perished in the Franklin Expedition, was first cousin to Mrs. Wills.
He left school when sixteen and commenced to study medicine in his father’s surgery. In 1852 he studied practical chemistry under Dr. John Stenhouse at St. Bartholomew’s Hospital, who spoke of him as one of his most promising pupils, and ventured the assurance that in two years he would be second to none in England in practical chemistry.
In 1852 Dr. Wills determined to join the exodus then pouring out from England to Australia, engaged as medical attendant on board the Ballaarat, and arranged to take out the subject of my sketch, and a younger brother Tom with him. A few days after this arrangement was made Wills came to his father, and with that expression in his countenance so peculiarly his own, said, “My dear father, I have a favour to ask of you. I see my mother is grieving, although she says nothing, at our all leaving her together. Let Tom and me go alone. I will pledge myself to take care of him.” After a consultation this new plan was agreed upon. Dr. Wills released himself from his engagement with Messrs. Simpkins and Marshall for the Ballaarat, and secured two berths for the boys in one of Mr. W. S. Lindsay’s ships, which at that time were conveying living freights to Melbourne, their Channel port of departure being Dartmouth.
Wills’s love of knowledge in its details is evidenced by a story told by his father of him at this time. “I found,” he said, “that William had shortly before sailing expended some money on a quantity of stuff rolled up like balls of black rope-yarn, and exclaimed with astonishment, ‘In the name of goodness, are you going to chew or smoke all the way to Australia?'” for the commodity was the good old pigtail tobacco. He said smiling, “This is to make friends with the sailors. I intend to learn something about a ship by the time we reach our destination.” His mode of proceeding, as he told his father, was first to secure the good graces of the crew through the persuasive medium of the pigtail; then to learn the name and use of every rope, and of every part of the ship’s tackle from stem to stern. He thus soon acquired the art of splicing and reefing, and was amongst the first to go aloft in a storm, and to lend a hand in taking in topsails.
On arriving in Australia the two lads obtained situations as shepherds at Deniliquin, about 200 miles from Melbourne, at £30 a year and their rations. In August, 1853, Dr. Wills reached Melbourne, but it was some two months after landing before he ascertained his sons’ location, and joined them at their sheep station. William subsequently removed to Ballarat with his father, where he remained twelve months attending to patients in his father’s absence, and opening a gold office, where he perfected a plan of his own for weighing specimens containing quartz and gold in water, so as to find the quantity of each component. His thoughts and conversation were, however, constantly reverting to the interior of the great continent, and to the hope that he would some day undertake the journey to the Gulf of Carpentaria. In 1856 Wills obtained an appointment under Mr. F. Byerly, a gentleman in the Survey Department, and under him he commenced to learn surveying. A letter of advice as to the study of science written to his youngest brother at Totnes while he was engaged on a survey at an out station (St. Arnaud) evidenced his earnest love of science, and the following paragraph in it, referring to the study of astronomy, which I venture to think worth quoting, shows he had no difficulty in reconciling science and religion:
“As the great object of the science is the correction of error and the investigation of truth, it necessarily leads all those that feel an interest in it to a higher appreciation and desire for truth; and you will easily perceive that a man having a knowledge of all these vast worlds, so much more extensive than our own, must be capable of forming a far higher estimate of that Almighty Being who created all these wonders than one who knows nothing more than the comparatively trifling things that surround us on earth.”
Another paragraph at the end of this letter speaks for itself, and gives us the key to the man:
“One other piece of advice I must give you before I shut up; that is, never try to show off your knowledge, especially in scientific matters. It is a sin that certain persons we know have been guilty of. The first step is to learn your own ignorance, and if ever you feel inclined to make a display, you may be sure you have as yet learned nothing.”
In 1860 an expedition was organized by the colony of Victoria for the exploration of Australia, and to ascertain the nature of the interior of the great continent, which was then a sealed book; for up to that time the efforts towards exploration had been confined to lonely wanderings through the outer boundaries of the unknown continent, and opinions varied as to whether the interior was a vast inland sea, as Oxley and the first of the explorers believed, or whether it was a stony desert unfit for man and beast, as Sturt concluded.
Mr. Ambrose Kyte, whose name was, however, concealed from the public at the time, offered £1,000 as an inducement to the Government and others to come forward and raise funds for the exploration. Parliament voted £6,000, and subscriptions from the public raised the fund to £9,000. A Committee of the Royal Society undertook the superintendence of the arrangements. Twenty-four camels were imported from India with native drivers, and provisions and stores for twelve months were provided. After considerable delay the choice of a leader fell upon Robert O’Hara Burke. He was forty years of age, an Irishman from county Galway. When quite a youth he served in an Austrian cavalry regiment, and subsequently in the Irish Constabulary and the Police Force of Victoria; possessing bravery and dauntless courage, he had no special aptitude or scientific training to lead such an Expedition. He was enthusiastic and impulsive but was unfortunately without the indispensable experience of a seasoned bushman.
The appointment of second in command fell upon Mr. G. I. Landells, who owed his preferment to the circumstance of his having been employed to bring the camels from India, an appointment, however, which, as the sequel shows, was a most unfortunate one. Wills, who by this time was a seasoned bushman, with great powers of endurance, tendered his services as astronomer and guide without thinking of any distinct post of command, his object being exclusively scientific. Dr. Ludwick Becker was appointed naturalist and artist, Dr. Herman Beckler as botanist and medical adviser. Ten white men, among whom was John King (a private soldier) and three sepoys, were appointed to accompany the Expedition.
The explorers left Melbourne on the 20th August, 1860, amid considerable enthusiasm; nearly the whole population suspending ordinary business, and turning out to witness the start. The mayor of Melbourne publicly addressed them, and wished them God-speed, and through the settled districts their progress, which was slow, was a kind of triumphal march. The route marked out for them was to strike the river Darling, then the lower Barcoo (Cooper’s Creek), and from that point to go northwards to the Gulf of Carpentaria.
Swan Hill, on the Murray, which, properly speaking, was the northern boundary of the colony of Victoria, was reached on September 8th. At Balranald, beyond the Murray, Burke found it impossible to get on any longer with his foreman (Ferguson) and discharged him. He had, however, no sooner rid himself of this troublesome man than Mr. Landells, his second in command, began to sow dissension, and to exhibit insubordination in an unmistakable manner. This reached a crisis by the time they came to Menindie, on the Darling, and after a violent scene Landells resigned, returning to Melbourne full of violent complaints against Burke, and Dr. Beckler was foolish enough to follow Landells’ example of resigning, on the alleged ground that he did not like the way Burke spoke to Landells. Fortunately for Burke’s reputation a very full account of all that took place was written at the time by Wills to Professor Neumayer, and the committee expressed their entire approbation of Burke’s conduct, an opinion shared in by the general public, as evidenced by the newspapers of that date. Burke, on the resignation of Mr. Landells, immediately promoted Wills to the post he had vacated, which appointment the committee confirmed. Here there was perfect union and reciprocal understanding. Neither had petty jealousies or reserved views. The success of the expedition was their object, not personal glory their aim. The leader had every confidence in his second, and the second was proud of his leader. But Mr. Burke committed an error in the selection of Mr. Wright for the third position in command, without any previous knowledge or experience of his capabilities. In this he acted from his impulsive nature, and the consequences bore heavily on his own and Wills’ fate.
Burke then made his second mistake by dividing his party, and on 19th October left Menindie, where he had formed a depot, with about one half of his number, leaving the others behind, and made a rush to the Barcoo. He reached Torowota on 29th October, and from that encampment forwarded a despatch, and an exhaustive surveying report from Wills, to the secretary of the expedition. In his own despatch Burke said:
“I consider myself very fortunate in having Mr, Wills as my second in command. He is a capital officer, zealous and untiring in the performance of his duties, and I trust he will remain my second as long as I am in charge of the expedition.”
Burke sent Wright back to Menindie with instructions to follow him up with the remainder of the camels to Cooper’s Creek, and Wright himself admitted he gave Burke his word to take the remainder of the party out as soon as he arrived at Menindie. This, however, he omitted to do, and unaccountably delayed making any start until the 26th January, 1861, and to this criminal delay may be attributed the whole of the crushing disaster which subsequently overtook the expedition.
Cooper’s Creek, where a camp was formed, was reached on the 11th November. In a letter to one of his sisters from there Wills describes the place as follows:–
“To give you an idea of Cooper’s Creek, fancy extensive flat, sandy plains, covered with herbs dried like hay, and imagine a creek or river, somewhat similar in appearance and size to the Dart above the Weir, winding its way through these flats, having its banks densely clothed with gum trees and other evergreens. So far there appears to be a considerable resemblance, but now for the difference. The water of Cooper’s Creek is only a number of waterholes. In some places it entirely disappears, the water in flood-time spreading all over the flats, and forming no regular channel.”
While awaiting the arrival of the tardy Wright, short explorations of the adjoining country were made, chiefly by Wills, with the view of examining two or three promising routes to the Gulf of Carpentaria. On the last of these trips Wills penetrated eighty miles, and would have gone further, but the men in charge of the camels fell asleep and let them escape, and the return had to be done on foot in a broiling sun of 146 degrees, no shade, and very little water.
Impatient at Wright’s delay, and irritated almost to madness in waiting for him, and seeing the time slipping by, Burke and Wills determined to make a dash for the Gulf of Carpentaria while the opportunity still remained to them.
Burke again divided his small party, and taking Wills, King, and Grey, one horse, six camels, and three months’ provisions, started on Sunday, the 16th December, for a dash across the continent. Four men – Brahe, Patten, McDonnough, and Dost Mahomet – with six camels and twelve horses, were left at the camp at Cooper’s Creek, which was made a depot, and Brahe placed in charge until the arrival of Wright or some other person duly appointed by the committee to take command of the remainder of the expedition at Menindie. A surveyor was expected to be sent on to assist Wills, and plenty of work was laid out for all until the return of Burke and Wills – Brahe receiving the most positive orders to remain at Cooper’s Creek until this took place, three or four months being named as the possible time of absence.
Wills strongly advised a direct course northward for the exploring party, but Burke hesitated to adopt it unless he could feel confident of a supply of water. The more westerly course was therefore adopted at the commencement of the journey; but after a day or two they turned to the east, and scarcely deviated throughout from the 141st degree of east longitude.
Wills kept a diary giving a full account of the journey to the Gulf from the start to February, 1861, which contains very interesting details of each day’s progress. The first point the explorers made for was Eyre’s Creek, and on their first day’s journey they came upon a large tribe of blacks, who, Wills says, came pestering them to go to their camp and have a dance, and nothing but a threat to shoot them would keep them away. They were fine-looking men, but decidedly not of a warlike nature. The explorers crossed Sturt’s supposed “stony desert”, and did not find it the melancholy waste or bad travelling they were led to expect.
On 20th December they came upon a large camp of not less that forty or fifty blacks, who brought them presents of fish, for which they gave them beads and matches. On Christmas-eve they reached Gray’s Creek, and took a day’s rest to celebrate the festival. Their camp was really an agreeable place, an oasis in the desert; for there they had all the advantage of food and water attendant on the position of a large creek or river, free from the annoyance of the ants, flies, and mosquitoes invariably met with amongst timber or heavy scrub. The following day they struck a magnificent creek coming from the N.N.W., and this they followed until the 30th, by which time it had tended considerably to the N.E. This stream has since received the name of “Burke’s Creek”. The country adjacent they found an alternation of sand ridges and grassy plains. On 8th January they came into green and luxuriant country, improving at every step. Flocks of pigeons rose and flew, and fresh plants and rich vegetation met the eye on every side. On the 10th, passing over fine open plains, they came to the main creek in those flats, “Patten’s Creek”, flowing along the foot of a stony range. From here they pushed on over fairly good country, coming repeatedly upon blacks in their way, some of whom, being surprised by the explorers coming suddenly upon them, fled, dreadfully frightened. On the 30th January, 1861, having got to within a comparatively short distance of the shores of Carpentaria, Burke and Wills determined to leave Gray and King in charge of the camels, one of whom, having got logged in the creek, had already been left behind, and to proceed onwards on foot, leading the horse. The river or creek down which they passed, and which was quite salt, is named in the journal the Cloncurry. The channel making a sudden turn. Wills remarked that it might be a new river. “If it should prove so,” said Burke, “we will call it after my old friend Lord Cloncurry.”
In crossing Billy’s Creek the horse got bogged in a quicksand, and was with difficulty rescued. They came again on blacks, who shuffled off, and near their fire was a fine hut, the best they had ever seen, built on the same principle as those at Cooper’s Creek, but much larger and more complete. Hundreds of wild geese, plovers, and pelicans were enjoying themselves in the watercourses on the marshes, the water of which was too brackish to be drunk. They then soon came to a channel through which the sea-water entered. Here they passed three blacks, who pointed out unasked the best way down. Next morning they started at daybreak for the sea, leaving the horse behind short hobbled. Here Wills’ diary, from which I have been quoting, abruptly ends, and was not resumed until the 19th February, when they had already started on their fatal homeward journey. Burke did not keep any regular journal, but in his notes, under date of the 28th March, 1861, he says: “At the conclusion of the report it would be as well to say that we reached the sea, but could not obtain a view of the open ocean, although we made every endeavour to do so.” There is no doubt whatever that the two explorers reached the verge of the northern ocean.*
* In the account of McKinlay’s Expedition from Adelaide, in August, 1861, it is mentioned that when he, in the following February, found himself on the Gulf of Carpentaria, dense walls of mangrove barred his way to the shore, and there can he little doubt that it was the same obstacle which prevented Burke and Wills from viewing the open sea.
Having thus accomplished the grand object of their expedition Burke and Wills rejoined Gray and King, where they had left them with the camels, and the four proceeded together on the return journey on the 13th February. Wills’ notes on their scamper back to Cooper’s Creek are brief but powerful. An incessant rainfall made the country boggy, and added to their troubles. On the 2nd March, at Salt-bush Camp, they found Golah, the camel which they had been obliged to leave behind on the outward journey. It was thin and miserable, and had fretted at finding itself left behind, but began to eat as soon as it saw the other camels.
On 5th March Burke became ill from eating part of a large snake which they had killed, and poor Golah, being completely done up, and unable to come on, even when pack and saddle were taken off, had to be finally left behind. On 13th March it rained so heavily that Wills had to put his watch and field-book in the pack to keep them dry. All the creeks became flooded, and the poor travellers had to seek shelter under some fallen rocks. Their journey was now slow, as they had to keep on the stony ridge instead of following the flats, which were very boggy owing to the rain. On the 20th they commenced to lighten the loads of the camels by leaving 60 lbs. weight of things behind. Rain continued to fall in torrents, and the ground they passed over was at times either full of water or covered with slimy mud. The names given to some of their camps by Wills – viz., “Humid Camp”, “Muddy Camp”, “Mosquito Camp”, show some of the trials they had to encounter. Gray, who had been complaining of dysentery, stole some of the flour, and was punished by Burke. Five days after this (March 30th) the camel Boocha was killed for food at a place which by gentle irony they called “Boocha’s Rest”; and on the 10th April the horse, which was reduced and knocked up from want of food, was killed also. Down to the 17th nothing very noteworthy is recorded.
On that day – the beginning of the end – Wills records the death of Gray, whom the others had thought to be shamming. The survivors sorrowfully buried him in the lonely bush: they were so weak that it was with difficulty they could dig a grave sufficiently deep to lay him in. After a day’s delay to rest their wearied limbs they pushed on, but in a most exhausted state, straining every nerve to reach the goal of their arduous labours, their legs almost paralysed, so that it was a trying task to walk a few yards. Four days afterwards they were cheered by the sight of the familiar landmarks of their old camp at Cooper’s Creek. King describes in vivid language the delight of Burke when he thought he saw the depot camp. “There they are!” he shouted. “I see them.” But, alas! the wish was father to the thought. There was no one there. Lost and bewildered in amazement, he appeared like one stupefied when the horrible truth that the camp had been deserted burst upon him. He was quite overwhelmed, and flung himself on the ground broken-hearted. Wills looked about him in all directions, and presently turning to King said, “They are gone”, and pointing a short way off added, “There are the things they have left.” Calm and quiet as ever, he never once, as King testified, showed the slightest anger or loss of command of himself.
On a tree was marked “Dig 21st April”, and from under it a box was extracted containing provisions, and a bottle with a note from Brahe conveying the mortifying intelligence that he had only seven hours before abandoned the depot, and was encamped fourteen miles away, that he had remained four months at Cooper’s Creek, and that Wright had not turned up with the supplies. The explorers felt that, exhausted as they were, it was useless to attempt to overtake Brahe. They rested for two days, and on the morning of Thursday, April 23rd, Burke, Wills, and King, strengthened by the provisions they had found, resumed their journey. Wills and King were desirous of following their track out from Menindie, but unfortunately Burke preferred striking for the South Australian stations, having heard it positively stated at a meeting of the Royal Society that there were settlers within 100 miles of Cooper’s Creek. Wills deferred to his leader, and so they went to their destruction, making for Adelaide via Mount Hopeless (ominous name). There was, in fact, nothing to commend this route, while everything was in favour of that by the Darling. The one road they knew nothing of, the other was familiar to them, and as a matter of fact the nearest police station on the Adelaide line of march was distant between four and five hundred miles. Before starting Wills’ journals were buried in the cache, with the following note from Burke:
“Depot No. 2, Cooper’s Creek Camp, 65.
“The return party from Carpentaria, consisting of myself, Wills, and King (Grey dead), arrived here last night and found that the depot party had only started on the same day. We proceed on to-morrow, slowly down the creek towards Adelaide by Mount Hopeless, and shall endeavour to follow Gregory’s track; but we are very weak. The two camels are done up, and we shall not be able to travel faster than four or five miles a day. Grey died on the road from exhaustion and fatigue. We have all suffered much from hunger. The provisions left here will, I think, restore our strength. We have discovered a practicable route to Carpentaria, the chief position of which lies in the 140° of east longitude. There is some good country between this and the Stony Desert. From thence to the tropics the land is dry and stony. Between the Carpentaria a considerable portion is rangy, but well watered and richly grassed. We reached the shores of Carpentaria on the 11th of February, 1861. Greatly disappointed at finding the party here gone.
“(Signed) Robert O’Hara Burke, Leader.
“April 22nd, 1861.
“P.S. – The camels cannot travel, and we cannot walk, or we should follow the other party. We shall move very slowly down the creek.”
By slow stages the doomed explorers moved on day by day through what was little better than a desert. The second and third days they came upon some friendly blacks, who gave them fish. On 28th April one of the two remaining camels got bogged by the side of a water hole, and it being impossible to get him out, he was shot the next day, his flesh providing them with food. On May 7th the remaining camel would not rise even without any load on its back, and after making every attempt to get him up they had to leave him to himself. Burke and Wills then went down the creek to reconnoitre, and fortunately fell in with some blacks fishing, who gave them food and took them to their camp, where they passed two nights. Some days after, being pressed for food, several excursions were made to find the blacks again, but without success. On May 17th, however, King unexpectedly came upon the nardoo plant, the seed of which is powdered by the natives and baked into a cake. This discovery raised their spirits, as they considered that with this food they would be able to support themselves, even if they had to remain on the creek and wait for assistance from town. On 27th May Wills started alone to the depot at Cooper’s Creek to see if any relief had arrived.
Brahe – who, it will be remembered, deserted his post at the depot only seven hours before the wearied explorers returned there – fell in with Wright’s party at Balloo on his way to the Darling on the 28th or 29th April, and on the 3rd May Wright started with him for the depot, which they actually reached on the 9th. It seemed fated, however, that blunder should succeed blunder, for here they remained but a quarter of an hour, and casting but a hurried glance around came to the conclusion that the depot had not been visited in the interval, and with fatal and criminal neglect never even opened the cache. Had they done so the papers and letters deposited would have been found, and all would yet have been well. Wills, who had met natives on the way, and been given food by them, arrived at Cooper’s Creek on this return visit on the 30th May, and naturally enough failed to discover it had been re-visited by Wright and Brahe, who had left no record behind them. He opened the cache, buried the remainder of his journal and letters, with the following touching note:–
“Depot Camp, May 30th.
“We have been unable to leave the creek. Both camels are dead, and our provisions are exhausted. Mr. Burke and King are down the lower part of the creek. I am about to return to them, when we shall probably come up this way. We are trying to live the best way we can, like the blacks, but find it hard work. Our clothes are going to pieces fast. Send provisions and clothes as soon as possible.
“W. J. Wills.”
“The depot party having left contrary to instructions, has put us in this fix. I have deposited some of my journals here for fear of accident. “W. J. W.”
Wills then started to rejoin Burke and King. He received kindly assistance on the way from the blacks, and rejoined his companions on 6th June. His diary which he continued to keep was brief but expressive. They had little but nardoo to live upon, and though it allayed the pangs of hunger, it contained little nourishment; the poor fellows were literally starving to death. In his diary under date of 21st June Wills says:–
“I feel much weaker than ever, and can scarcely crawl out of the mia-mia. Unless relief comes in some form or other I cannot possibly last more than a fortnight. It is a great consolation at least, in this position of ours, to know that we have done all we could, and that our deaths were rather be the result of the mismanagement of others than of any rash act of our own. Had we come to grief elsewhere, we could only have blamed ourselves; but here we are returned to Cooper’s Creek, where we had every reason to look for provisions and clothing, and yet have to die of starvation, in spite of the explicit instructions given by Mr. Burke, that the depot party should await our return, and the strong recommendation by the Committee ‘that we should be followed up by a party from Menindie.'”
He suffered much from cold, his clothing was reduced to a wide awake, a merino shirt, a regatta shirt without sleeves, the remains of a pair of flannel trousers, two pairs of socks in rags, and a waistcoat. Wills finding his weakness increasing, it was resolved that Burke and King, as the only chance of saving the party, should go in search of natives, and having collected and pounded sufficient nardoo seed to last Wills for eight days, they constructed a rude shelter of boughs for him, placed water and firewood within his reach, and took a sorrowful farewell of him, Wills giving Burke a letter and his watch for his father, and telling King if he survived Burke to carry out his last wishes. In a postscript to this letter Wills says, “I think to live about four or five days. My spirits are excellent.” On the 29th June Wills made his last entry in his diary, shewing that he maintained his calmness of spirit and resignation to the last.
“Friday, 29th June, 1861. — Clear, cold night; slight breeze from the east; day beautifully warm and pleasant. Mr. Burke suffers greatly from the cold, and is getting extremely weak. He and King start to-morrow up the creek to look for the blacks; it is the only chance we have of being saved from starvation. I am weaker than ever, although I have a good appetite, and relish the nardoo much; but it seems to give us no nutriment, and the birds here are so shy as not to be got at. Even if we got a good supply of fish, I doubt whether we could do much work on them and the nardoo alone. Nothing now but the greatest good luck can save any of us; and as for myself I may live four or five days if the weather continues warm. My pulse is at forty-eighty and very weak, and my legs and arms are nearly skin and bone. I can only look out, like Mr. Micawber, ‘for something to turn up.’ Starvation on nardoo is by no means very unpleasant, but for the weakness one feels, and the utter inability to move one’s self; for as far as the appetite is concerned it gives the greatest satisfaction. Certainly fat and sugar would be more to one’s taste; in fact, those seem to me to be the great stand-by for one in this extraordinary continent – not that I mean to depreciate the farinaceous food, but the want of sugar and fat in all substances obtainable here is so great that they become almost valueless to us as articles of food without the addition of something else.
(Signed) “W. J. Wills.”
We are now, alas ! nearing the end of this ill-fated expedition. Burke and King had not travelled many miles when, on the second day from leaving Wills, Burke gave in from sheer weakness, and died early the next morning. King remained two days to recover strength, and then returned to where they had left Wills, taking back with him three crows he had shot, and nardoo he had discovered, and was shocked to find Wills lying dead in his gunwah, where he would appear to have sunk quietly to rest, but in utter loneliness, a few hours after Burke and King had left him. King buried the corpse with sand, and remained there some days prostrated at the death of his companions, and at being left alone in the vast wilderness. The nardoo running short, and being unable to gather it, he tracked some of the natives by their footprints in the sand, and eventually fell in with a number of them, who were kindly disposed, and so was preserved from the fate of his companions.
The Exploration Committee at Melbourne seem by their supineness to have helped on the final catastrophe. Although informed of the criminal delay of Wright at Menindie, they took no steps to urge his departure from there. Dr. Wills, our hero’s father, unable to bear the suspense in the month of June, walked with a small pack on his shoulders, and a stick in his hand, from Ballarat to Melbourne, a distance of seventy-five miles, and his energetic appeals led to a search party, under Mr. A. W. Howitt, being sent out.
Two of the three camels lost on one of the excursions at Cooper’s Creek on the way out were discovered in South Australia and brought to Adelaide. News of this reaching Melbourne excited the interest of the public, and doubtless contributed to the awakened energy of the Committee. In connection with this Mr. Fabyan Amery has contributed a strange and interesting story. He tells me that a Mr. James Wills, who had been a servant at the Ashburton Grammar School, in special attendance upon the boarders, whilst Wills was a pupil there, was, in 1861, residing with his wife, whom he had married in the Colony, on the banks of the Murray river; and one morning Mrs. Wills, casting her eyes around the horizon, spied in the far distance two animals, which with quick feminine decision she declared to be camels. This she mentioned to her husband, who ridiculed the idea, as no camels were ever known in Australia. She persisted in her opinion, and started towards them to satisfy her curiosity. Sure enough they proved to be two camels, undoubtedly two of those who had escaped from the ill-fated expedition, and which, with the wonderful instinct of their species, had sniffed the water at a great distance, and in an almost exhausted state were making for the river. Mrs. Wills went up to them, when the youngest came and ate out of her hand. Her husband immediately gave information to the police, which he understood was forwarded to the Governor of Victoria, and which he always believed led to the despatch of the Relief Expedition. Howitt started early in July, 1861, taking Brahe with him, who had come down with Wright’s despatches, and made all speed to Cooper’s Creek. On 13th September he arrived at the fatal depot, and on the 15th King was discovered sitting in a hut which the natives had made for him. He presented a melancholy appearance, wasted to a shadow, and only distinguishable as a civilized being by the remnants of clothes upon him. As soon as King was well enough to accompany them the relief party proceeded down to the place where Wills died. The remains were found, carefully collected, and interred where they lay, Howitt reading that sublime chapter – 1 Corinthians xi. – and cutting the following inscription on a tree close by to mark the spot:
W. J. WILLS
XLV Yds
W.N.W.
A. H.
Burke’s remains were subsequently discovered and buried, wrapped in a Union Jack. Howitt then returned to Melbourne, taking King with him. He subsequently went back again, disinterred the remains of Burke and Wills, and brought them to Melbourne, where, after lying solemnly in state, they were accorded a public funeral, and so –
“After life’s fitful fever they sleep well.”
No one who has read the simple records of this great expedition, with all its blunders – so successful as far as its great object was concerned, but so fatal as regards the precious lives of the explorers – but must admire the character, actions, and quiet heroism of Wills. None of the blunders which led to the disaster which befell the Expedition are traceable to him. Throughout the toilsome journey he maintained his quiet, equable temperament. Loyal to his leader he deferred to his wishes, never complained of or reflected on others, continued and carefully recorded his scientific observations to the last, and laid himself down to die in utter loneliness in the vast wilderness with perfect resignation and calmness, as if he were but falling asleep in his father’s arms; and “his works do follow him”; for they opened up the way to the march of civilization, and have been rich in results. The greater part of the country he explored is now in a state of cultivation, with homesteads containing prosperous settlers in all directions, and so early as 1867 a stage coach was running not many miles from where he and Burke laid down their lives. The testimony of the colonists to Wills was on all sides that of admiration for his devoted heroism, appreciation of the scientific results achieved by him, and deep regret at the sacrifice of his young and promising life.
Sir Henry Barkly, the Governor of Victoria, in a letter to his mother, said of Wills: “You may rely upon it that the name of William John Wills will go down to posterity, both at home and in this colony, amongst the brightest of those who have sacrificed their lives for the advancement of scientific knowledge and the good of their fellow-creatures.” Dr. Mueller, of the Melbourne Botanical Gardens, who as a tribute to his memory named a new plant in the Australian Flora Eremophila Willsii, “to record by botany the glory never to be forgotten of the intrepid and talented but most unfortunate Wills”, maintained that it was only by his skilful guidance and scientific talents that the great geographic success of the expedition was achieved.
A portion of the city was directed to be thereafter named Wills Street by order of the Governor. A massive obelisk was erected to the memory of the two martyrs in the cemetery where they were buried; and on April 21st, 1866, a monument raised to them by the Victorian Legislature at a cost of £4,000, consisting of a statue of each of these two distinguished explorers, was unveiled by the Governor in Collins Street, one of the principal thoroughfares of Melbourne. The day chosen for the ceremony was the fourth anniversary of the return of Burke and Wills to Cooper’s Creek, and their surviving companion King was present on the occasion, which to him must have been one of mingled sorrow and pleasure.
Wills was not forgotten in his native town. The inhabitants, aided by the contributions of Devonshire men in Australia, erected a granite obelisk on the plains containing this inscription:Inscription on obelisk to W. J. Wills in Totnes
And though more than thirty years have passed since his death Wills is not forgotten in the colony; for only last year one of the colonists from Devon, Mr. Angel, who returned from South Australia on a visit to Totnes, and to his native parish of Littlehempstone, finding the inscription on the memorial becoming obliterated had it renewed on a tablet of white marble let into the granite,* that the coming race may not be unmindful of the patient and courageous life and heroic death of this Devonshire hero, the martyred Wills.
* Since this paper was written Mr. F. Horn, marble mason, of Totnes, has executed a successful medallion of Wills, which has been let into the obelisk above the tablet."
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