I have lived here over two decades. Until today, it has never bothered me that this ceiling fan is not equidistant from these two beams. Thanks ODC for making me look from a different point of view! 😅 it will now annoy me forever.

 

ODC: different point of view

1/5

stay eternal...

whose side are u on?

Stellavox and Five minutes after© presents

Synchronized audio visual show2024 in VRChat

"DIFFERENT VIEW" WIP

Re:從零開始的異世界生活 Re:ゼロから始める異世界生活 Re: Life in a different world from zero 普莉希拉 跋利耶爾 プリシラ バーリエル Priscilla Bariel Cosplay

View On Black

"The world looks so different from up here! I wish I could fly, but this is as close as I will get, I guess..."

 

my Pullip pictures get way less favorites than my AG photos :( But I like taking pics of Mizuki so DEAL WITH IT. B-|

 

Pullip Merl with eyechips from coolcat and a wig from e-Bay.

sooc, no strings, she sat there all by herself :3

It has been said that every generation has changes to adjust to and I don’t believe ours was much different than the changes prior generations coped and adjusted to. World War II children had all that murder and trauma, the children of the depression had the poverty and uncertainties of life, children like my grandfather at the turn of the century witnessed the evolution of things like electricity, the coming of age of gadgets to make life easier in certain ways. This is just the nature of the species to be in a constant change. Perhaps for my life this change was in the types of recreational items we consumed in pursuit of what? Happiness, experience, wisdom, knowledge? Time will let us know the results of this experiment.

 

This age, the now, is this the computer age, the beginning of the computer age as it seems those machines change, improve, and expand almost daily. There was a need for me to plug in an old computer system, one with Windows 3.1 as the operating system, it was probably ten years old, and it was like driving an old frail car on its last legs. How quickly the new becomes old and discarded. My current computer gurus laugh when I say I am comfortable in Windows 95, the benefits of 98, 2000, and XP being so superior to this old program I write in. When I was recently forced to examine the possibility of purchasing a replacement unit for this sick PC the number of options was incredible. I had to choose between so many computer variables, memory, ram, hard drive, video cards, speakers, size of screen, wide screen or regular and this was just in the low end category of notebooks. Processors were confusing, I had to chose between, Celeron and Pentium and Centrino all of this with the knowledge that what I purchased was going to be somewhat obsolete in a year or so.

 

Shift back to 1968, the summer of. Hi-jinks continued and one high led to another as young entrepreneurs were everywhere marketing pot and hashish, mescaline, LSD, and MDA, along with speed, heroin, and cocaine. We were still juiceheads having done our time learning this pastime the other items slowly got some of our dollars as we became more knowledgeable of their attributes. There was an acid trip I took early that summer when on getting off I thought I had shrunken to the size of an infant and I tried to get under the bed of the rooming house we called The White House. The guys had never seen this behaviour before, the idea of a “Bad Trip” was something the press always harped on to advance the cops theory that all drugs are bad. We didn’t like cops. That summer a groovy coffee shop opened in the basement of Vic’s’ Meat Pie store that faced onto Weston Rd, Vics was next door to the Black Cat Variety Store named after a brand of cigarettes popular at the time. Vics backroom was a dingy place, poorly lit with several tables set with single candles in coloured dishes giving off a red glow The owner served coffee and cokes and bags of chips. We dropped something, it could have been acid who remembers. Big Vic the owner had a CLOSED sign in his window out front, so we went to the back doors through the laneway that ran behind the shops and found half the kids in the neighborhood down there. Younger kids too, all high on something or the other grooving to some tunes. Two local plainclothes coppers come walking in dressed in ridiculous costumes, a lumberjack shirt for one burly goof named Criscoe and a ball cap and jeans for his side kick Smith, we spotted them right away and razzed them even though we were ripped. It was the original Mutt and Jeff show. We just left and the place emptied everyone had somewhere to go and listen to tunes, and not be disturbed.

 

We hung out at the Place Pigalle on Avenue Road. After the Place closed we’d go to this spot this guy from the States had opened a funky coffee shop on Dupont St not to far from the bar and we would go there half pissed and sit around listening to his eclectic tunes. This spot we called Rocheyz, but if you were to spell it correctly it would be Roches. The owner was like a Vietnam Vet kind of guy who looked like Ginger Rogers, his red hair tied in a pony tail. He was always talking about shitting in a hole, made a good mockery of consumer life and in his small way turned us on to the coffee shop ideology of former beat types like Ginsberg and Kerouac without actually preaching their names. He served weird stuff like tofu and beet juice tea, the lighting was real dim so you could just hangout forever, we heard somewhere that he was a junkie.

 

Most of the guys were still in High School at York Memo except for Billy, he worked somewhere maybe for the firebrick company, everything was going to change for everyone, guys were getting serious about chicks, I just wanted to party, Pete was going to St Lawrence College in New York State on a full hockey scholarship, the brothers Frank and Jack were off to Peterborough to study at the newly opened Trent University. Count was top of the class and doing quite well at U of T. I had my own directions to follow.

 

One day I was servicing the fire equipment at a place called McPhar Geophysics; this was located in Don Mills, a suburb of Toronto with an area that had streets full of small manufacturing plants and warehouses. Don Mills is thought of an upper middle class area of very sharp homes. In the receiving department at McPhar there was a lot of exploration gear, things like, snowshoes, canoes, axes and I guess it was like going on a movie set for me, as my eyes bulged. The closest I’d ever gotten to a pair of snowshoes was by watching the show Eric of the Yukon and His dog King, or something like that. A big swarthy guy with a beard and coveralls ran the shipping department and I wasn’t shy, I asked what this company did as he packaged neat things to be shipped to addresses printed in big lettering on the parcels, exciting names like, Rouyan/Noranda, Quebec, Kirkland Lake, Ontario, Sao Paolo, Brazil. This outfit was the leader in geophysical surveying in Canada, maybe the world as the founder of the company had invented this piece of machinery for use in WW-II to detect submarines underwater or something like that, when things get technical, remember Science class I get edgy. They found a use for the discovery in the mining industry, locating ore bodies.

 

Here’s how it worked. A typical set up would consist of six people, in the woods in an area, a remote area, near a mine site or a potential mining site. The party operator would put his Receiver on the ground, it was like an electronic sending unit, full of numerous incomprehensible to me buttons, switches, graphs and toggle like switches. This operator we’ll call him John Parker cause that was the guys name I trained with at the first place in Val D’Or Quebec in early January 1969. From Parkers’ receiver a number of wires with crocodile clips, each wire about twelve feet long, were unrolled and hooked up to my piece of machinery, the Transmitter. This little baby was my (the second in commands) equipment. It also had a lot of buttons and switches and a place for Parkers six wires to attach to. Maybe there were three positive and three negative wires. The transmitter was supplied power by a portable generator carried on some bodies back in a rucksack type fashion. In turn the wires were attached to longer wires, some a hundred feet long at six stations, three in front of the set up at certain intervals and three behind the set up at similar intervals. These wires were attached to eight foot steel rods which had been pounded into the ground by staff hired locally using big sledge ended axes. The gas generator was fired up and Parker would play with his buttons and ask me to change the frequency on my piece of equipment, like a parrot I would take his directions, then he would take numbers, called readings and write them into a book. Electric current was sent through the wires into the ground and our machinery somehow measured the results and this would give mining engineers the information they needed as to what direction the mineral they were mining was in or if there were any minerals worth mining for. At night it was our job, Parker and mine to take the days numbers and put them on graph paper, we had to use a slide ruler and this was a little tough for my grade nine math, especially since I’d told the owner/boss Ash Mullan that I had grade twelve which he bought since I showed up for my interview in my nice Invictus Football Team jacket, crew cut and all. I winged the night work for quite some time and thought I had invented a better way of doing the radius work, which we’ll get to in a while. After the mining engineers received these reports which I suppose they paid big money for they, if interested would send in a crew to drill the earth and take out what they call core samples that could be studied to determine the worth of the project.

 

For some reason this was a big thing, me leaving town to work away. It was like I was going to war which I tried to do twice, once a few years earlier the Canadian Navy turned me down for service after my final interview when they asked me my opinion on the Americans in Vietnam, I said, “they shouldn’t be there,” oops so much for saying the wrong thing about your allies, and that year 68 Bill and I tried to sign up for of all things the United States Marines. One time when we were down in Niagara Falls getting drunk at the Johns Club, a place where you went in and they took your order and like a man you’d say, “I’ll have a tray please,” and a waitress would bring you thirty small glasses of beer, and in less than an hour you were so pissed and you’d go for a leak and come back to your table and Bill had changed his name to something like Steve McQueen and he was actually on a movie shoot in the Falls and just taking a little time off for R&R and the ladies fell for it a few times! The following week after sobering up we headed back to Niagara Falls on a mission. The marines recruiting office was in a warehousey part of town in an old factory or something and they told us to go sign up for our own armed forces. I removed some kind of emblem, like a bomb shelter sign off the building and along with my other collectibles stuck it on a wall in the White House.

 

So it wasn’t as if this was the first time I tried to leave, it was the first time I actually got to leave. Close to my departing there was a big drunken go away, everyone was there, all the chicks we hung out with, Barb, kind of my date but we never did anything, Debbie , soon to be Jacks wife, Mickey who Pete was spending a lot of time with on the hood of his little mini car, Phyllis this Italian chick who was hounding Frank, Herbie’s girl, beautiful Ruth Hope the ministers daughter, Bill was still stagging it, it was a big thing, a big party. Mom had moved the family up to an apartment on Weston Road near Cadet Cleaners and Sid’s barbershop. Prior to that we had lived at 26 Victoria Blvd forever, the landlord, a Mr.Gowland must have sold the house. Alex was away on some secret mission we don’t really know where, rumour had it he was in the States on a football scholarship, another rumour was he was in Montreal. The younger kids were there, Kevin, Shane, Sue and Barb as well as mom who loved the teenagers coming over. The party got a little loud and out of hand, I recall the yellow cop cars parked on Weston Road, their red flashing roof top lights, then the cops coming in the front door and all of us running out the back door, and through to Buttonwood Avenue or was it Bartonville and then all of us hiding in the hedges at Bala Avenue school. We left the cops with mom who were busy asking her who was still drinking there, we all got away, we were all underage, and that’s just how it was then.

 

McPhar was a generous company, a few weeks prior to Parker and I leaving for Val D’Or they had me in for an afternoon, had me open up a new bank account where my cheque of $900.00 a month would be deposited, gave a start up expense cheque of $300.00 from which I was to purchase, felt lined snow boots, waterproof pants and a below zero parka. This was way before high tech clothing was available. Down on Yonge Street I found an Army Surplus shop that had neat war stuff and I bought a knee length grey parka, down filled, with a piece of dead fur on the hood. Some of the air force crests and badges were still on the sleeves. For pants I picked a pair of blue nylon jobs that were about half an inch thick with insulation. I should have spent more on boots though as the cheap dark blue zipper up snowmobile feltpaks I purchased were no match for eight hours trekking in snow at times six feet deep. My co-worker, trainer, boss John Parker met me midtown, he had rented a brand new olive coloured Pontiac four door for the drive up to Quebec, we didn’t get to far that first night as a winter storm forced us off the road in Barrie where I had a taste of a company bought motel room and a nice steak dinner, I knew right then I was going to love this gig.

 

Next day the snow still fell and I drove for a while giving Parker a break, it was rough driving up around Sudbury and when we turned right up towards Kirkland Lake this was the first time I’d truly been north. Prior to that us southern boys would think of Barrie as being north I would quickly discover that the North was a large area comprised of incredible terrain, long views, kind people, and a coldness that was not at all like the cold of Toronto. We made it to Val D’Or Quebec not to far from the Ontario border, perhaps an hour’s drive. Our hotel was an old two storey wood framed structure a few blocks from the centre of town which was about the size of Gravenhurst. The streets were covered in snow like a postcard. For meals there was an arrangement with the hotel to make us breakfast and a packed lunch, we would tell them how many sandwiches of what type, peanut butter(beurre d’arachide) and jam, or sliced ham(jambon), and so on. Dinners we went in to town and had a hot meal, anything within reason, no alcohol, and the company paid for everything.

 

Walking into town you could better understand the quietness of this village, as some kids skated and played hockey at an outdoor rink with boards, the heat from their breath coming out of their mouths, a pair of incandescent bulbs glared under round aluminum hoods illuminating the ice rink at each end. Nobody was on the streets, thick smoke poured from the chimneys of the tiny homes, some cabin like in size. The smell of burning firewood filled the air with that type of sweetness which a log of apple or some other such wood gives off. In town, I looked inside a few drinking establishments, now and then, had a couple of beers, spotted the older hookers plying their trade at the front of the bars dressed in obvious get ups, black, torn fishnet stockings, rouged cheeks and their breasts busting out from clothing that was meant for younger smaller ladies. In Ontario towns you would not see such flagrant prostitution, Quebec was more lenient, more accepting of mans need for comfort. Being on my best behaviour I mostly observed as I was learning a new trade and I did not want to jeopardize this by acting up.

 

Our first day in the woods was a Sunday our day off and Parker took me to a field to practice snowshoeing, I caught on immediately after falling a few times. It is quite a neat experience as the body is suspended above the snow which was quite deep, perhaps three or five feet deep. Your feet do sink in a few inches depending on the crustiness of the snow but then they stop and you learn quickly to walk like a penguin, that is with your feet intentionally pointing left and right instead of straight ahead so your snow shoes will not catch each other. To me this was like a new sport. Going up hills was a skill as was descending hills and making turns, after a while it became natural. As the day began the leather harness was easy to use as it was warm and pliable. After a day’s work it could be frozen solid and difficult to manage. Complicating matters was the fact that we wore packs to move our gear through the woods, my transmitter weighed in at ninety pounds so the effort required was high and often this would test the abilities of any man. Whoever led the party through the pre-staked areas of survey would have the added burden of breaking fresh snow so the followers had a bit of an easier walk.

 

Our gig in Val D’Or was not very lengthy, about three weeks. I was for the most part able to do the work with pleasure and discovered these long days out in the snow, in nature were much to my liking. There was an eerie absence of wildlife for some reason, I guess I expected to see deer and moose and bears around every corner but this was not the case. Nights in the town were so much like a Cornelius Krieghoff painting, snow covered cabins with smoke pouring from the chimneys the joie de vivre of the townsfolk. My limited French vocabulary was a valued asset as I could in short time communicate my needs in very rudimentary terms, ham of course was jambon, beurre d’arachides was peanut butter, what I then had difficulty with as I do today is the rapidity of the conversations, a smile was always available as well as at times a questioning look.

 

There was a short furlough in Toronto for a week while the next gig was being prepared for, it was to be in Kirkland Lake with a few days here and there in Timmins. These towns were gold mining centres from earlier times. I was flush with cash as there was nowhere to spend money in Val Dor except the occasional biere at one of the many French pubs. My finances had always been precarious. There was the matter of a small loan in the amount of about seven hundred dollars that I owed HFC and I had no intention of ever paying it. Those dupes had loaned me money for Christmas presents one year at their ridiculous rate of twenty percent. Like I was going to buy presents, I drank all the money in about three weeks. A goofy manager at the HFC office in Weston, upstairs from a shop took me in to sign some forms, swear allegiance to pay this debt, he was a Canadian version of Snidely Whiplash, an English born chap who would have been more suited to being a prison guard. Besides this debt I was in the clear and once I left Dyer and Miller and I changed addresses the loan to HFC was not a consideration and I highly recommend every body do this at least once in life, that is get a loan from some rip off organization and stiff them. Get a bogus birth certificate or something, and get a loan.

 

There were parties of course on my return you would have thought I’d been away for years. The following Sunday I was to make my way to Kirkland Lake Ontario via train. I’d never been on a train ride except for the time we came home from Parry Sound all drunked up on the warm Labatt 50s. At the station Frank came to see me off and at the last minute I said why don’t you come along for the ride as I had a bag of grass to smoke and he had nothing to do. It wasn’t long before we were smoking the joints, I had pre rolled them, there were about thirty, the dope was pretty mild, not like today’s killer weed. We smoked between the trains cars. Back in the coach someone was reading a book called Five Easy Pieces and if you stared long enough you could make the letters interchange sort of a mini hallucination. Six joints later and a couple of sandwiches we were in Kirkland Lake. Getting off the train we noticed the temperature was 35 degrees below zero and this was a big thing for us city boys. Parker, the boss met me at the train, I introduced him to Frank and he hired him on the spot to work on the crew which was to start soon.

 

Frank was kind of gangly at the time, going through a growth spurt, he was always bent over because he was taller than everyone else, he had a gentle manner and enjoyed the usual stuff, like, beer, tokes and women. I loaned him some money and he bought a suitable work outfit, some clothes as he had nothing but the clothes on his back. I recall he purchased a better pair of felt pack boots than mine, the ones with the leather uppers bonded to heavy rubber bottoms that were more waterproof especially if you put Dubbin on them at night. At the Parklane Hotel we shared a room, we had management give us an extra roll a way bed and the cost was quite minimal, they ran a tab for Frank. Meals were taken in the hotel dining room and lunches were prepared for us. As I recall the room was quite small we literally had to crawl over each other to get to the can.

 

We had a day off before work started and that first night in downtown Kirkland was like magic. The Beatles new recording Hey Jude was broadcast live around the world and we caught this in an empty shabby store front bar. Outside it was freezing cold but the coldness was different, it was a dry cold, the wind not holding the same sharp bite as a Toronto wind blowing off of Lake Ontario. The women were looking pretty good and I had a new pick up line, “mon petite serpent” at this the ladies would almost instantly run and hide. Doctor Doolittle was playing at the local theatre and one night we went to the show ripped on our mediocre weed, leaving the theatre singing the songs that were sung in the movie.

 

Work was difficult as it was cold and there was a lot of snow. Town was exciting, our hotel had a Tavern in the basement where a stripper appeared in the evenings. Her name was Patty and we affectionately called her the Portuguese Pig, I don’t know why because we never got any where with her, she had a room in the hotel and we’d always be sneaking peeks at her boobs as she changed before shows. A friend of hers named Candy was around now and then and I thought she was pretty special but again it was like we were all Toronto outcasts and this alone made us buddies. Somewhere down the line Patty the Portuguese Pig knew Bil and she had a crush on him. Nights would find us in the Tavern listening to crappy groups who kept playing a Credence Clearwater Revival song called Proud Mary and the Tom Jones tune, Green Green Grass of Home. Parker was sorry he had hired Frank because we didn’t ever have our minds on the job and we were always hung over. Bill would call regularly he was ready to escape his reality.

 

One night we borrowed the company car and drove to Rouyn Noranda for beers with these French Hippies, a guy and his chick whom we met the week previous at the Kirkland Winter Carnival. Rouyn was not far maybe fifty miles and while there we smoked some nice hash that they had and Frank was making a move on the chick. We got pretty high and it was time to get back to Kirkland. Frank started to drive while I was napping, we were half way to Montreal when I woke up and noticed a road sign that said Montreal ahead 150 miles, this was before the metric system had been imposed on us. We assessed the situation and turned around we were about three hours from Kirkland Lake We got back just as the sun was coming up. The boss, John Parker never had a clue. Another time we were hung over and it was bloody cold, we didn’t feel like working, I dropped my receiver climbing over a farm fence and called Parker over, he turned the machine on and had to take it to the little airport and ship it out to have it repaired. That was good for a couple of days off. Of course there were times when we had no days off, we would work fourteen days straight if the crew was willing so it all worked out.

 

A job near Timmins not to far away needed us so we drove over got rooms in some el cheapo hotel where Patty the Portuguese Pig and her friend Candy were working and this was great because the girls had now let us tie their bikini tops on before shows and apply the glue to the pasties and then watch as the girls pushed them on over their luscious nipples, still no touching, just looking. This trip would be my introduction to snowmobiles. At seven in the morning we left the rooms and piled into the company car, the same four door Pontiac, Parker always drove. We drove to a remote area, parked the car then a few men would show up with ski doos and drive us the final half hour into the worksite as we sat on sleds pulled by the ski doos. It was a far cry from the glamour and hot rodding associated with today’s snowmobilers. Our work was done on a frozen lake a new experience for me, there were long views of barren landscapes, tree lined lakes not a bird or animal insight. Timmins had more bars than Kirkland as unlike Kirkland it was still a thriving gold mining community while Kirkland had began to lose its roll as king of the gold mining towns. Sid Bernstein an old Jewish waiter I met later in life at the Seaway Beverly Hills Hotel had been to Kirkland in the 1930s and he talked about the boom days, the Gold Rush Fever.

 

Work was an endless day of carrying gear over strange moonscape like terrain, areas where no trees existed; as it was snow covered you never got a feel for the land. Parker took care of the night work being a real stickler for accuracy and a dedicated employee, he seemed content to work all day have a meal, go to his room and do the calculations with the slide ruler and chart the results inked on the special roll of graph paper for this purpose. It wasn’t ever necessary for him to socialize, have a beer with the guys, he was work oriented, I’d never met anyone like this before. John Parker came from Saskatchewan, had a degree from DeVry Tech a technical school and when he wasn’t working he had his head in some learning type book, never a novel or something fun. Yet this mismatch of personalities did not deter us from getting the work done, it was hard work, perhaps the hardest I would ever endure and I have to respect that man from Saskatchewan as he never complained always was a good leader. Later on the job I learned that the preferred employee came from a farming background as this type of person was used to long hard days in adverse conditions, and did not suffer the need of rest and relaxation. The job ended and Frank headed back to Toronto with a few dollars in his pocket and this bonding would keep us friends forever.

 

EMP/Shock burst, High Explosive/Fragmentation and Toxic gas/Acid burst.

ink

Different Crop of Scrunchy Hair for Ray

 

Model is Emma.

 

Strobist...

Most light is from a skylight in front of Emma. I used a little fill flash form a Bowens flash head to add a little fill in flash. This was triggered by a sync lead..

Parvati (Devanagari: पार्वती, IAST: Pārvatī) is the Hindu goddess of love, fertility and devotion. She is the goddess of divine strength and power. She is the gentle and nurturing aspect of the Hindu goddess Shakti. She is the mother goddess in Hinduism and has many attributes and aspects. Each of her aspects is expressed with a different name, giving her over 100 names in regional Hindu mythologies of India. Along with Lakshmi (goddess of wealth and prosperity) and Saraswati (goddess of knowledge and learning), she forms the trinity of Hindu goddesses.

 

Parvati is the wife of the Hindu deity Shiva - the destroyer, recycler and regenerator of universe and all life. She is the daughter of the mountain king Himavan and mother Mena. Parvati is the mother of Hindu deities Ganesha and Karttikeya. She is also the mother of Ashokasundari, whose husband was Nahusha Her elder sister is the goddess Ganges. Some communities also believe her to be the adopted sister of Vishnu.

 

With Śiva, Pārvatī is a central deity in the Saivism sect of Hinduism. In Hindu belief, she is the recreative energy and power of Śiva, and she is the cause of a bond that connects all beings and a means of their spiritual release. In Hindu temples dedicated to her and Śiva, she is symbolically represented as argha or yoni. She is found extensively in ancient Indian literature, and her statues and iconography grace ancient and medieval era Hindu temples all over South Asia and Southeast Asia.

 

ETYMOLOGY AND NOMENCLATURE

Parvata is one of the Sanskrit words for "mountain"; "Parvati" derives her name from being the daughter of king Himavan (also called Himavat, Parvat) and mother Mena. King Parvat is considered lord of the mountains and the personification of the Himalayas; Parvati implies "she of the mountain".

 

Parvati is known by many names in Hindu literature. Other names which associate her with mountains are Shailaja (Daughter of the mountains), Adrija or Nagajaa or Shailaputri (Daughter of Mountains), 'Haimavathi' (Daughter of Himavan) and 'Girija' or 'Girirajaputri' (Daughter of king of the mountains).

 

The Lalita sahasranama contains a listing of 1,000 names of Parvati (as Lalita). Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati (Shiva's first wife, who is reborn as Parvati) in earlier texts,[which?] but in the Ramayana, it is used as a synonym for Parvati. In the Harivamsa, Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who was dissuaded by her mother from severe austerity by saying u mā ('oh, don't'). She is also Ambika ('dear mother'), Shakti (power), Mataji ('revered mother'), Maheshwari ('great goddess'), Durga (invincible), Bhairavi ('ferocious'), Bhavani ('fertility and birthing'), Shivaradni ('Queen of Shiva'), and many hundreds of others. Parvati is also the goddess of love and devotion, or Kamakshi; the goddess of fertility, abundance and food/nourishment, or Annapurna.

 

The apparent contradiction that Parvati is addressed as the fair one, Gauri, as well as the dark one, Kali or Shyama, has been explained by the following legend: Once, Shiva rebuked Parvati about her dark complexion. An angry Parvati left him and underwent severe austerities to become fair-complexioned as a boon from Brahma. Regional stories of Gauri suggest an alternate origin for Gauri's name and complexion. In parts of India, Gauri's skin color is golden or yellow in honor of her being the goddess of ripened corn/harvest and of fertility.

 

Parvati is sometimes spelled as Parvathy or Parvaty

 

HISTORY

Some scholars hold that Parvati does not explicitly appear in Vedic literature, though the Kena Upanishad (3.12) contains a goddess called Uma-Haimavati. Sayana's commentary in Anuvaka, however, identifies Parvati in Talavakara Upanishad, suggesting her to be the same as Uma and Ambika in the Upanishad, referring to Parvati is thus an embodiment of divine knowledge and the mother of the world.

 

She appears as the shakti, or essential power, of the Supreme Brahman. Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic trinity of Agni, Vayu, and Indra, who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell the episode in such a way to leave no doubt that it was Śiva's spouse.." Sati-Parvati appears in the epic period (400 BC–400 AD), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th-6th centuries) and the Puranas (4th through the 13th centuries) that the myths of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non-aryan goddesses that lived in mountains. While the word Umā appears in earlier Upanisads, Hopkins notes that the earliest known explicit use of the name Pārvatī occurs in late Haṃsa Upanishad (Yoga / Shukla Yajurveda).

 

Weber suggests that just like Shiva is a combination of various Vedic gods Rudra and Agni, Parvati in Puranas text is a combination of wives of Rudra and Agni. In other words, the symbolism, legends and characteristics of Parvati evolved over time fusing Uma, Haimavati, Ambika in one aspect and the more ferocious, destructive Kali, Gauri, Nirriti in another aspect. Tate suggests Parvati is a mixture of the Vedic goddesses Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions.

 

LEGENDS

The Puranas tell the tale of Sati's marriage to Shiva against her father Daksha's wishes. Her father Daksha and her husband Shiva do not get along, and ignore the wishes of Sati. The conflict gets to a point where Daksha does not invite Shiva to a major fire ceremony, and Shiva does not come on his own, humiliating Sati. She self-immolates herself at Daksha's yajna ceremony. This shocks Shiva, who is so grief-stricken that he loses interest in worldly affairs, retires and isolates himself in the mountains, in meditation and austerity. Sati is then reborn as Parvati, the second daughter of Himavat and Minavati, and is named Parvati, or "she from the mountains", after her father Himavant who is also called king Parvat.

 

According to different versions of her myths, the maiden Parvati resolves to marry Shiva. Her parents learn of her desire, discourage her, but she pursues what she wants. She approaches the god Kama - the Hindu god of desire, erotic love, attraction and affection, and asks him to help her. Kama reaches Shiva and shoots an arrow of desire. Shiva opens his third eye in his forehead and burns the cupid Kama to ashes. Parvati does not lose her hope or her resolve to win over Shiva. She begins to live in mountains like Shiva, engage in the same activities as Shiva, one of asceticism, yogin and tapas. This draws the attention of Shiva and awakens his interest. He meets her in disguised form, tries to discourage her, telling her Shiva's weaknesses and personality problems. Parvati refuses to listen and insists in her resolve. Shiva finally accepts her and they get married. Shiva dedicates the following hymn in Parvati's honor,

 

I am the sea and you the wave,

You are Prakṛti, and I Purusha.

– Translated by Stella Kramrisch

 

After the marriage, Parvati moves to Mount Kailash, the residence of Shiva. To them are born Kartikeya (also known as Skanda and Murugan) - the leader of celestial armies, and Ganesha - the god of wisdom that prevents problems and removes obstacles.

 

ALTERNATE STORIES

There are many alternate Hindu legends about the birth of Parvati and how she got married with Shiva. In the Harivamsa, for example, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagawata Purana and Shiva Purana mount Himalaya and his wife Mena appease goddess Adi Shakti. Pleased, Adi Shakti herself is born as their daughter Parvati. Each major story about Parvati's birth and marriage to Shiva has regional variations, suggesting creative local adaptations. In another version of Shiva Purana, Chapters 17 through 52, cupid Kama is not involved, and instead Shiva appears as a badly behaved, snake wearing, dancing, disheveled beggar who Parvati gets attracted to, but who her parents disapprove of. The stories go through many ups and downs, until Parvati and Shiva are finally married.

 

Kalidasa's epic Kumarasambhavam ("Birth of Kumara") describes the story of the maiden Parvati who has made up her mind to marry Shiva and get him out of his recluse, intellectual, austere world of aloofness. Her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, regeneration of life, the subsequent marriage of Parvati and Shiva, the birth of Kartikeya, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.

 

ICONOGRAPHY AND SYMBOLISM

Parvati, the gentle aspect of Devi Shakti, is usually represented as fair, beautiful and benevolent. She typically wears a red dress (often a sari), and may have a head-band. When depicted alongside Shiva, she generally appears with two arms, but when alone, she may be depicted having four. These hands may hold a conch, crown, mirror, rosary, bell, dish, farming tool such as goad, sugarcane stalk, or flowers such as lotus. One of her arms in front may be in the Abhaya mudra (hand gesture for 'fear not'), one of her children, typically Ganesha, is on her knee, while her elder son Skanda may be playing near her in her watch. In ancient temples, Parvati's sculpture is often depicted near a calf or cow - a source of food. Bronze has been the chief metal for her sculpture, while stone is next most common material.

 

A common symbolism for her and her husband Siva is in the form of yoni and linga respectively. In ancient literature, yoni means womb and place of gestation, the yoni-linga metaphor represents "origin, source or regenerative power". The linga-yoni icon is widespread, found in Shaivite Hindu temples of South Asia and Southeast Asia. Often called Shivalinga, it almost always has both linga and the yoni. The icon represents the interdependence and union of feminine and masculine energies in recreation and regeneration of all life. In some temples and arts, the iconographic representation of sexuality, fertility and energies of Parvati and Shiva, is more explicit, where they are shown in various stages of their sexual form and union.

 

In some iconography Parvati's hands may symbolically express many mudras (symbolic hand gestures). For example, Kataka — representing fascination and enchantment, Hirana — representing the antelope, the symbolism for nature and the elusive, Tarjani by the left hand — representing gesture of menace, and Chandrakal — representing the moon, a symbol of intelligence. Kataka is expressed by hands closer to the devotee; Tarjani mudra with the left hand, but far from devotee.

 

If Parvati is depicted with two hands, Kataka mudra — also called Katyavalambita or Katisamsthita hasta — is common, as well as Abhaya (fearlessness, fear not) and Varada (beneficence) are representational in Parvati's iconography. Parvati's right hand in Abhaya mudra symbolizes "do not fear anyone or anything", while her Varada mudra symbolizes "wish fulfilling". In Indian dance, Parvatimudra is dedicated to her, symbolizing divine mother. It is a joint hand gesture, and is one of sixteen Deva Hastas, denoting most important deities described in Abhinaya Darpana. The hands mimic motherly gesture, and when included in a dance, the dancer symbolically expresses Parvati. Alternatively, if both hands of the dancer are in Ardhachandra mudra, it symbolizes an alternate aspect of Parvati.

 

Parvati is sometimes shown with golden or yellow colour skin, particularly as goddess Gauri, symbolizing her as the goddess of ripened harvests.

 

In some manifestations, particularly as angry, ferocious aspects of Shakti such as Durga or Kali, she has eight or ten arms, and is astride on a tiger or lion. In benevolent manifestation such as Kamakshi or Meenakshi, a parrot sits near her right shoulder symbolizing cheerful love talk, seeds and fertility. A parrot is found with Parvati's form as Kamakshi - the goddess of love, as well as Kama - the cupid god of desire who shoots arrows to trigger infatuation. A crescent moon is sometimes included near the head of Parvati particularly the Kamakshi icons, for her being half of Shiva. In South Indian legends, her association with the parrot began when she won a bet with her husband and asked for his loin cloth as victory payment; Shiva keeps his word but first transforms her into a parrot. She flies off and takes refuge in the mountain ranges of south India, appearing as Meenakshi (also spelled Minakshi).

 

SYMBOLISM OF MANY ASPECTS FOR THE SAME GODDESS

Parvati is expressed in many roles, moods, epithets and aspects. In Hindu mythology, she is an active agent of the universe, the power of Shiva. She is expressed in nurturing and benevolent aspects, as well as destructive and ferocious aspects. She is the voice of encouragement, reason, freedom and strength, as well as of resistance, power, action and retributive justice. This paradox symbolizes her willingness to realign to Pratima (reality) and adapt to needs of circumstances in her role as the universal mother. She identifies and destroys evil to protect (Durga), as well as creates food and abundance to nourish (Annapurna).

 

MANIFESTATIONS AND ASPECTS OF PARVATI

Several myths present alternate aspects of Parvati, such as the ferocious, violent aspect as Shakti and related forms. Shakti is pure energy, untamed, unchecked and chaotic. Her wrath crystallizes into a dark, blood-thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible Mahakali or Kali (time). In Linga Purana, Parvati metamorphoses into Kali, on the request of Shiva, to destroy a female asura (demoness) Daruka. Even after destroying the demoness, Kali's wrath could not be controlled. To lower Kali's rage, Shiva appeared as a crying baby. The cries of the baby raised the maternal instinct of Kali who resorts back to her benign form as Parvati.

 

In Skanda Purana, Parvati assumes the form of a warrior-goddess and defeats a demon called Durg who assumes the form of a buffalo. In this aspect, she is known by the name Durga. Although Parvati is considered another aspect of Sakti, just like Kali, Durga, Kamakshi, Meenakshi, Gauri and many others in modern day Hinduism, many of these “forms” or aspects originated from regional legends and traditions, and the distinctions from Parvati are pertinent.

 

In Devi Bhagwata Purana, Parvati is the lineal progenitor of all other goddesses. She is the one who is the source of all forms of goddesses. She is worshiped as one with many forms and names. Her different moods bring different forms or incarnation. For example,

 

- Durga is a demon-fighting form of Parvati, and some texts suggest Parvati took the form of Durga to kill the demon Durgamasur.

- Kali is another ferocious form of Parvati, as goddess of time and change, with mythological origins in the deity Nirriti.

- Chandi is the epithet of Durga, considered to be the power of Parvati; she is black in color and rides on a lion, slayer of the demon Mahishasura.

- Ten Mahavidyas are the ten aspects of Shakti. In tantra, all have importance and all are different aspects of Parvati.

- 52 Shakti Peethas suggests all goddesses are expansions of the goddess Parvati.

- Navadurga nine forms of the goddess Parvati

- Meenakshi, goddess with eyes shaped like a fish.

- Kamakshi, goddess of love and devotion.

- Lalita, the playful Goddess of the Universe, she is a form of the Devi Parvati.

- Akhilandeshwari, found in coastal regions of India, is the goddess associated with water.

- Annapurna is the representation of all that is complete and of food.

 

STORY OF THE ATTAINMENT OF THE NAME DURG

A demon named Durgasur has undertook severe austerities to please Lord Brahma. Being pleased with his penances, as his blessing, he cannot be killed by any man, demon, God or male deity. He gathered his large demonic forces and declared war against the Gods. Durgasur and Indra's forces engage in a severe war. In the end, Durgasur defeats Indra and he, with the help of his fellow demons take over the three worlds, and the heavens. Durgasur, full of pride and arrogance started tormenting and torturing innocent common people like villagers, wrecking down the religious schools and students and teachers, molesting other sages' wives and wreaking atrocities on the sages also. All the Gods, sages, their wives, the common people, teachers and students, united all together went to Kailash to seek the refuge of Lord Shiva but he was not there. They turned to his wife, Goddess Parvati, the full form of the Adi Parashakti and requested her to kill Durgasur and put an end to his every bad deed and atrocity. Parvati, hearing the atrocities of Durgasur, felt compassionate for them and she promised to stop Durgasur. She invokes Kaalratri, in the form of a damsel and requested her to go to Durgasur and ordered him to stop his atrocities on vulnerable people and Gods. Kaalratri went to Durgasur's territory and she requested him to cease his every atrocity on the Gods and common people and to hand over their respective abodes by going back to where he came from or get slayed at the hands of Parvati. Hearing this, Durgasur becomes very annoyed and he refuses to stop his atrocities on the world and ordered his demons to catch hold of the female messenger. Kaalratri turns furious and so she grew massive in her original form. She tells him to make preparations for his death. Durgasur becomes angry and commands his army to attack Kailash. Kaalratri returns to Parvati and conveyed the complete message to her. Parvati, on hearing this, she tells Durgasur that his last wish is to fight and his wish would be fulfilled by her. Parvati infuses Kaalratri in her body. Then, she, along with the Gods and common people approach the battlefield, waiting for Durgasur. Parvati creates a luminous circle around them as their own safety shield. Durgasur and his corps reach the battleground. Seeing them, Parvati sprouted a thousand hands holding all types of weapons. Seeing this thousand-armed form of Parvati, the Gods and common people express their gratitude awhile Durgasur and his army corps are terrified. At her call, all her Shaktis, of female forms, having a number of arms, weapons, wearing different garments, ornaments and apparels, riding on all kinds of animal vehicles, some of them were fierce and some of them were beneficial, they were of different names and incarnations and/or forms of Adi Parashakti. The war began. The fierce forms of Parvati managed to destroy the entire demon army of Durgasur. A severe duel erupted between Parvati and Durgasur. In the end, Parvati kills Durgasur with her trident. Seeing this end or Durgasur, the Gods and common people's joy knew no bounds and started worshipping her. She was instantly pleased. The Gods gave Parvati the name Durga as she killed demon Durgasur. Parvati restored all the worlds and abodes of the Gods and common people and the worlds were at peace again.

 

LEGENDS

Parvati's legends are intrinsically related to Shiva. In the goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolise at once both the power of renunciation and asceticism and the blessings of marital felicity.

 

Parvati thus symbolises many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, the later represented by Shiva. Renunciation and asceticism is highly valued in Hinduism, as is householder's life - both feature as Ashramas of an ethical and proper life. Shiva is portrayed in Hindu legends as the ideal ascetic withdrawn in his personal pursuit in the mountains with no interest in social life, while Parvati is portrayed as the ideal householder keen about the nurturing worldly life and society. Numerous chapters, stories and legends revolve around their mutual devotion as well as disagreements, their debates on Hindu philosophy as well as the proper life.

 

Parvati tames Shiva, the "great unpredictable madman" with her presence. When Shiva does his violent, destructive Tandava dance, Parvati is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices.

 

Three images are central to the mythology, iconography and philosophy of Parvati: the image of Shiva-Shakti, the image of Shiva as Ardhanarishvara (the Lord who is half-woman), and the image of the linga and the yoni. These images that combine the masculine and feminine energies, Shiva and Parvati, yield a vision of reconciliation, interdependence and harmony between the way of the ascetic and that of a householder.

 

The couple is often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash debating concepts in Hindu theology. They are also depicted as quarreling. In stories of the birth of Kartikeya, the couple is described as love-making; generating the seed of Shiva. Parvati's union with Shiva symbolises the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri) or as Annapurna (the goddess of grain) giving alms to Shiva.

 

Shaiva approaches tend to look upon Parvati as the Shiva's submissive and obedient wife. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism. This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage at Shiva's attempt to walk out, manifests in the form of ten terrifying goddesses who block Shiva's every exit.

 

David Kinsley states,

 

The fact that [Parvati] is able to physically restrain Shiva dramatically makes the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become a part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own.

 

ARDHANARISVARA

Parvati is portrayed as the ideal wife, mother and householder in Indian legends. In Indian art, this vision of ideal couple is derived from Shiva and Parvati as being half of the other, represented as Ardhanarisvara. This concept is represented as an androgynous image that is half man and half woman, Siva and Parvati respectively.

 

IDEAL WIFE, MOTHER AND MORE

In Hindu Epic the Mahabharata, she as Umā suggests that the duties of wife and mother are as follows - being of a good disposition, endued with sweet speech, sweet conduct, and sweet features. Her husband is her friend, refuge, and god. She finds happiness in physical, emotional nourishment and development of her husband and her children. Their happiness is her happiness. She is positive and cheerful even when her husband or her children are angry, she's with them in adversity or sickness. She takes interest in worldly affairs, beyond her husband and family. She is cheerful and humble before family, friends, and relatives; helps them if she can. She welcomes guests, feeds them and encourages righteous social life. Her family life and her home is her heaven, Parvati declares in Book 13 of the Mahabharata.

 

Rita Gross states, that the view of Parvati only as ideal wife and mother is incomplete symbolism of the power of the feminine in mythology of India. Parvati, along with other goddesses, are involved with the broad range of culturally valued goals and activities. Her connection with motherhood and female sexuality does not confine the feminine or exhaust their significance and activities in Hindu literature. She is balanced by Durga, who is strong and capable without compromising her femaleness. She manifests in every activity, from water to mountains, from arts to inspiring warriors, from agriculture to dance. Parvati's numerous aspects, states Gross, reflects the Hindu belief that the feminine has universal range of activities, and her gender is not a limiting condition.

 

GANESHA

Hindu literature, including the Matsya Purana, Shiva Purana, and Skanda Purana, dedicates many stories to Parvati and Shiva and their children. For example, one about Ganesha is:

 

Once, while Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body, and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned and tried to enter the house, Ganesha stopped him. Shiva was infuriated, lost his temper and severed the boy's head with his trident. When Parvati came out and saw her son's lifeless body, she was very angry. She demanded that Shiva restore Ganesha's life at once. Shiva did so by attaching an elephant's head to Ganesha's body, thus giving rise to the elephant headed deity.

 

PARVATI IN CULTURE

FESTIVALS

Teej is a significant festival for Hindu women, particularly in northern and western states of India. Parvati is the primary deity of the festival, and it ritually celebrates married life and family ties.[68] It also celebrates the monsoon. The festival is marked with swings hung from trees, girls playing on these swings typically in green dress (seasonal color of crop planting season), while singing regional songs. Historically, unmarried maidens prayed to Parvati for a good mate, while married women prayed for the well-being of their husbands and visited their relatives. In Nepal, Teej is a three-day festival marked with visits to Shiva-Parvati temples and offerings to linga. Teej is celebrated as Teeyan in Punjab.

 

The Gowri Habba, or Gauri Festival, is celebrated on the seventh, eighth, and ninth of Bhadrapada (Shukla paksha). Parvati is worshipped as the goddess of harvest and protectress of women. Her festival, chiefly observed by women, is closely associated with the festival of her son Ganesha (Ganesh Chaturthi). The festival is popular in Maharashtra and Karnataka.

 

In Rajasthan the worship of Gauri happens during the Gangaur festival. The festival starts on the first day of Chaitra the day after Holi and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival.

 

Another popular festival in reverence of Parvati is Navratri, in which all her manifestations are worshiped over nine days. Popular in eastern India, particularly in Bengal, Odisha, Jharkhand and Assam, as well as several other parts of India such as Gujarat, this is associated with Durga, with her nine forms i.e. Shailputri, Brahmacharini, Chandraghanta, Kushmanda, Skandmata, Katyani, Kalratri, Mahagauri, Siddhidaatri.

 

Another festival Gauri tritiya is celebrated from Chaitra shukla third to Vaishakha shukla third. This festival is popular in Maharashtra and Karnataka, less observed in North India and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and a collection of ornaments, images of other Hindu deities, pictures, shells etc. below. Neighbours are invited and presented with turmeric, fruits, flowers etc. as gifts. At night, prayers are held by singing and dancing. In south Indian states such as Tamil Nadu and Andhra Pradesh, the Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and married women fast for the day, prepare sweets and worship Parvati for the well-being of the family.

 

ARTS

From sculpture to dance, many Indian arts explore and express the stories of Parvati and Shiva as themes. For example, Daksha Yagam of Kathakali, a form of dance-drama choreography, adapts the romantic episodes of Parvati and Shiva.

 

The Gauri-Shankar bead is a part of religious adornment rooted in the belief of Parvati and Shiva as the ideal equal complementing halves of the other. Gauri-Shankar is a particular rudraksha (bead) formed naturally from the seed of a tree found in India. Two seeds of this tree sometimes naturally grow as fused, and considered to symbolic of Parvati and Shiva. These seeds are strung into garlands and worn, or used in malas (rosaries) for meditation in Saivism.

 

NUMISMATICS

Ancient coins from Bactria (Central Asia) of Kushan Empire era, and those of king Harsha (North India) feature Uma. These were issued sometime between 3rd- and 7th-century AD. In Bactria, Uma is spelled Ommo, and she appears on coins holding a flower. On her coin is also shown Shiva, who is sometimes shown in ithyphallic state holding a trident and standing near Nandi (his vahana). On coins issued by king Harsha, Parvati and Shiva are seated on a bull, and the reverse of the coin has Brahmi script.

 

MAJOR TEMPLES

Parvati is often present with Shiva in Saivite Hindu temples all over South Asia and southeast Asia.

 

Some locations (Pithas or Shaktipeeths) are considered special because of their historical importance and legends about their origins in the ancient texts of Hinduism. Other locations celebrate major events in Parvati's life. For example, the World Heritage Site at Khajuraho is one such site where Parvati temple is found. It is one of the four major sites associated with Parvati, along with Kedarnath, Kashi and Gaya. The temple’s origin in Khajuraho has been traced to the Hindu mythology in which Khajuraho is the place where Parvati and Shiva got married.

 

One interpretation of the (Khajuraho) temples is that they were built to celebrate the mythic marriage of Shiva and his consort. At Maha-shivratri in Khajuraho, they celebrate the marriage of Shiva and Parvati. (...) The erotic sculptures are a metaphor of the union of Shiva and Parvati, the marriage of two cosmic forces, of light and darkness, sky and earth, spirit and matter.

 

Each major Parvati-Shiva temple is a pilgrimage site that has an ancient legend associated with it, which is typically a part of a larger story that links these Hindu temples across South Asia with each other.

 

Some temples where Parvati can be found include Annapurneshwari temple, Attukal Bhagavathy temple, Chengannur Mahadeva temple, Oorpazhachi Kavu, Valiya Kavu Sree Parvathi Devi temple, Sri Kiratha Parvathi Temple Paramelpadi, Korechal Kirathaparvathi temple, Sree Bhavaneeswara Temple Palluruthy, Irumkulangara Durga Devi Temple, Chakkulathukavu Temple, Nedukavu Parvathy Devi temple, Karthyayani Devi temple, Varanad Devi Temple, Veluthattu Vadakkan Chowa temple, Thiruvairanikulam Mahadeva temple, Ardhanariswara temple and Kadampuzha Devi Temple in Kerala, Meenakshi Amman Temple in Tamil Nadu, Kamakshi Amman Temple in Tamil Nadu, Sri Siva Durga Temple , Mandaikadu Bhagavathi Temple and Devi Kanya Kumari in Tamil Nadu, Mookambika Devi Temple and Banashankari Temple in Karnataka, Maanikyambika Bhimeswara temple in Andhra pradesh, Vishalakshi Temple, Vishalakshi Gauri temple and Annapurna devi temple in Uttar Pradesh, Parvati Temple in Madhya Pradesh, Tulja Bhavani Temple in Maharashtra, Nartiang Durga Temple in Meghalaya, Tripura Sundari Temple in Tripura.

 

OUTSIDE INDIA

Sculpture and iconography of Parvati, in one of her many manifestations, have been found in temples and literature of southeast Asia. For example, early Saivite inscriptions of the Khmer in Cambodia, dated as early as the fifth century AD, mention Parvati (Uma) and Siva. Many ancient and medieval era Cambodian temples, rock arts and river bed carvings such as the Kbal Spean are dedicated to Parvati and Shiva.

 

Boisselier has identified Uma in a Champa era temple in Vietnam.

 

Dozens of ancient temples dedicated to Parvati as Uma, with Siva, have been found in the islands of Indonesia and Malaysia. Her manifestation as Durga has also been found in southeast Asia.[86] Many of the temples in Java dedicated to Siva-Parvati are from second half of 1st millennium AD, and some from later centuries. Durga icons and worship have been dated to be from the 10th- to 13th-century.

 

In Nakhorn Si Thammarat province of Thailand, excavations at Dev Sathan has yielded a Hindu Temple dedicated to Vishnu (Na Pra Narai), a lingam in yoni, a Shiva temple (San Pra Isuan). The sculpture of Parvati found at this excavation site reflect the South Indian style.Bali, IndonesiaParvati, locally spelled as Parwati, is a principal goddess in modern day Hinduism of Bali. She is more often called Uma, and sometimes referred to as Giriputri (daughter of the mountains). She is the goddess of mountain Gunung Agung. Like Hinduism of India, Uma has many manifestations in Bali, Indonesia. She is the wife of deity Siwa. Uma or Parwati is considered as the mother goddess that nurtures, nourishes, grants fertility to crop and all life. As Dewi Danu, she presides over waters, lake Batur and Gunung Batur, a major volcano in Bali. Unlike India where Sri refers to Lakshmi, Sri is another name of Uma in Bali; her icons and pillar temples grace terraced rice fields (sawahs). Parwati's small pillar temples in rice fields is to seek her blessings of abundance and a good crop. Her ferocious form in Bali is Dewi Durga. As Rangda, she is wrathful and presides cemeteries. As Ibu Petri, Parwati of Balinese Hinduism is the goddess of earth. The legends about various manifestations of Parwati, and how she changes from one form to another, are in Balinese literature, such as the palm-leaf (lontar) manuscript Andabhuana.

 

RELATED GODDESS

BUDDHISM

Tara found in some sects of Buddhism, particularly Tibetan and Nepalese, is related to Parvati. Tara too appears in many manifestations. In tantric sects of Buddhism, as well as Hinduism, intricate symmetrical art forms of yantra or mandala are dedicated to different aspects of Tara and Parvati.

 

ANCIENT CIVILIZATIONS

Parvati is closely related in symbolism and powers as Cybele of Greek and Roman mythology and as Vesta the guardian goddess of children. In her manifestation as Durga, Parvati parallels Mater Montana. She is the equivalent of Magna Mater (Universal Mother). As Kali and punisher of all evil, she corresponds to Proserpine and Diana Taurica.

 

As Bhawani and goddess of fertility and birthing, she is the symbolic equivalent of Ephesian Diana. In Crete, Rhea is the mythological figure, goddess of the mountains, paralleling Parvati; while in some mythologies from islands of Greece, the terrifying goddess mirroring Parvati is Diktynna (also called Britomartis). At Ephesus, Cybele is shown with lions, just like iconography of Parvati is sometimes shown with a lion.

 

Carl Jung, in Mysterium Coniunctionis, states that aspects of Parvati belong to the same category of black goddesses as Artemis, Isis and Mary. Edmund Leach equates Parvati in her relationship with Shiva, with that of Greek goddess Aphrodite - a symbol of sexual love.

 

108 NAMES OF PARVATI

Parvati is known by 108 different names. Following are the name along with it meaning.

 

Aadya: The meaning of this name is initial reality.

Aarya: It is the name of the Goddess

Abhavya: Signifies fear

Aeindri: The power of Lord Indra.

Agnijwala: Signifies fire

Ahankaara: Indicates pride.

Ameyaa: The name signifies beyond measure.

Ananta: Signifies one who is infinite.

Ananta: The Infinite

Anekashastrahasta: It means the possessor of many hand weapons

AnekastraDhaarini: It means the possessor of many weapons

Anekavarna: Person with multiple complexions.

Aparna: Signifies a person who does not eat anything during fasting

Apraudha: Signifies a person who does not age

Bahula: Various forms

Bahulaprema: Loved by everyone

Balaprada: Signifies the giver of strength

Bhaavini: The Beautiful Woman

Bhavya: Future

Bhadrakaali: One of the forms of Goddess Kali

Bhavani: The abode of the universe

Bhavamochani: The absolver of the universe

Bhavaprita: Loved by everyone in the universe

Bhavya: Indicates magnificence

Braahmi: God Brahma’s power

Brahmavaadini: Present everywhere

Buddhi: Intelligence

Buddhida: The bestower of wisdom

Chamunda: Name of Goddess who killed the demons Chanda and Munda

Chandaghanta: Mighty bells

ChandaMundaVinashini: Goddess who killed asuras Chanda and Munda

Chinta: Tension

Chita: Death-bed

Chiti: The thinking mind

Chitra: The Picturesque

Chittarupa: Thinking or thoughtful state.

Dakshakanya: It is the name of daughter of Daksha

Dakshayajnavinaashini: Interrupter of the sacrifice of Daksha

Devamata: Mother Goddess

Durga: The Invincible

Ekakanya: The girl child

Ghorarupa: Fierce outlook

Gyaana: Knowledge

Jalodari: Abode of the ethereal universe

Jaya: The Victorious

Kaalaratri: Goddess who is black and is similar to the night.

Kaishori: The adolescent

Kalamanjiiraranjini: Musical anklet

Karaali: Violent

Katyayani: Sage Katyanan worships this name

Kaumaari: Adolescent

Komaari: Beautiful adolescent

Kriya: Action

Krrooraa: Brutal

Lakshmi: Goddess of Wealth

Maaheshvari: Power of Lord Shiva

Maatangi: Goddess of Matanga

MadhuKaitabhaHantri: Goddess that killed the demons Madhu and Kaitabha

Mahaabala: Strength

Mahatapa: Penance

Mahodari: Keeping the universe in a huge belly

Manah: Mind

Matangamunipujita: Worshipped by Sage Matanga

Muktakesha: Open tresses

Narayani: Lord Narayana destructive attributes

NishumbhaShumbhaHanani: Goddess who killed brothers Shumbha Nishumbha

Mahishasura Mardini: Goddess who killed demon Mahishasura

Nitya: Eternal one

Paatala: The color red

Paatalavati: Wearing the color red and white

Parameshvari: Ultimate Goddess

Pattaambaraparidhaana: Dress made of leather

Pinaakadharini: Trident of Shiva

Pratyaksha: Real

Praudha: Old

Purushaakriti: Taking the form of a man

Ratnapriya: Adorned

Raudramukhi: Fierce face like destroyer Rudra

Saadhvi: Sanguine

Sadagati: Bestowing Moksha

Sarvaastradhaarini: Possessor of missile weapons

Sarvadaanavaghaatini: Ability to kill all the demons

Sarvamantramayi: Instruments of thought

Sarvashaastramayi: Deft in all theories

Sarvavahanavahana: Rides all vehicles

Sarvavidya: Knowledgeable

Sati: Women who burned on the pyre of her husband

Satta: Above all

Satya: Truth

Satyanandasvarupini: Eternal bliss

Savitri: Daughter of the Sun God Savitr

Shaambhavi: Consort of Shambhu

Shivadooti: Ambassador of Lord Shiva

Shooldharini: Person who holds a monodent

Sundari: Gorgeous

Sursundari: Very Beautiful

Tapasvini: Engaged in penance

Trinetra: Person with three eyes.

Vaarahi: Person who rides on Varaah

Vaishnavi: Invincible

Vandurga: Goddess of forests

Vikrama: Violent

Vimalauttkarshini: Providing joy

Vishnumaya: The spells of Lord Vishnu

Vriddhamaata: Mother who is old

Yati: Person one who renounces the world

Yuvati: Woman

 

WIKIPEDIA

This is a totally different post...feel free to watch these clips and read the "Rainbow Bridge" story.

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I love trees...love to support animals and the environment...Through a whole year I let my passion slip away.

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I sat at the doctor's office today. I looked at a magazine and the first page that opened up - it was a story about an Illegal monkey buisness. It hit me -- I was too much self centered the last couple of months...did not focus on the importance anymore.

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video.google.com/videoplay?docid=7157559858740771427#

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Rainbow Bridge by Author unknown...

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Just this side of heaven is a place called Rainbow Bridge.

 

When an animal dies that has been especially close to someone here, that pet goes to Rainbow Bridge.

There are meadows and hills for all of our special friends so they can run and play together.

There is plenty of food, water and sunshine, and our friends are warm and comfortable.

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All the animals who had been ill and old are restored to health and vigor; those who were hurt or maimed are made whole and strong again, just as we remember them in our dreams of days and times gone by.

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The animals are happy and content, except for one small thing; they each miss someone very special to them, who had to be left behind.

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They all run and play together, but the day comes when one suddenly stops and looks into the distance. His bright eyes are intent; His eager body quivers. Suddenly he begins to run from the group, flying over the green grass, his legs carrying him faster and faster.

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You have been spotted, and when you and your special friend finally meet, you cling together in joyous reunion, never to be parted again. The happy kisses rain upon your face; your hands again caress the beloved head, and you look once more into the trusting eyes of your pet, so long gone from your life but never absent from your heart.

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www.youtube.com/watch?v=ktLG5Iw_kC8

9/27/2018 San Francisco de Asis, Ranchos de Taos

Nikon D610 Nikon 18.0-35.0 mm f/3.5-4.5

 

Testing macro-lens.

 

Deze serie is gemaakt van dezelfde bloem om mijn macro-lens zo goed mogelijk te leren kennen. Vooral om te oefenen hoeveel bokeh er met de lens is aan te brengen.

This year I'm using a different film format each month, starting with the smallest and working my way up through the sizes. The format for September is 127 roll film which was introduced in 1912. Narrower than 120 film, it allowed for smaller more pocketable cameras to be made, perhaps most famously the Kodak VP (Vest Pocket) also known as the soldiers' camera because many of them were used during the First World War (1914-18).

This was taken using a Korelle 3x4cm camera, which dates to the 1930s.

The film is Shanghai GP3 ISO 100 black and white, developed in Rodinal 1:50 for 11 mins at 22 degrees.

This is a double exposure.

Chicago, USA

I'm very emotional. That's why I wear shades a lot.

Duane Chapman

Different view and composition of the skyline in Pudong Shanghai,- I didn't like cutting the top of the Oriental Pearl Tower in the first shot presented, but had to because of focal length. As you see the tower is out of frame here, Shanghai World Financial Center known as the "bottle opener" is in the middle.

Please view on black.

 

- f/9.0

- 4.0-15.0s (3 shots merged for HDR)

- 35mm

- ISO100

- Gorillapod

  

Picture of the "Child's" in Hazrat Shah SUltan (r) MAzar,Madrasah orphanage,Modonpur-Netrokona,Bangladesh

“You’re like a completely different person”. This is a comment I receive on a daily basis. I have been looking into the theme of identity, which has left me somewhat confused because I have gone from someone people know me as, but someone I didn’t know as myself, to someone I now feel is myself, but others do not know me as.

  

Through my physical change and comments made, I feel a sense of identity loss.

  

This video represents the journey my identity has been on with the fat being the physical loss of myself, as well as my identity that I feel has been stripped with it.

 

I feel this video has been successful as a whole because it becomes awkward to watch which is what I was trying to show. I am happy with the way the video plays and think I made the right decision to cut out the sound. If i was to experiment further with the meat I would play around with the type of meat used and even try using plastic cutlery to give the video a stronger impact.

It seems as though everyone has had a bit of an Alien fever with all the awesome Xenomorph themed posts and LEGO vignettes seen lately, and I am no different. Two weeks ago I got the idea to make an Aliens board game for my D&D group. We often like to play an assortment of board games and I thought I’d challenge myself to see if I could make one based off one of my favorite franchises for FUN (hear that 20th Century Fox, this is just for fun, not for resale). :)

 

Anyways, I’ve finally got all my items in order (i.e., board design, rule book, game tokens and, of course, LEGO built characters). Now I want to stress that I did not develop these ideas, as they are a composite of all the awesome builds I researched on Flickr these past few weeks. I really enjoyed Simon Jackson’s simplified Xenomorph MOC (as seen here: www.flickr.com/photos/tzidik/2374377008/in/faves-10119307...) as it was a small enough design to relate to the minifigures on the game board. A few days ago Tim Lydy built a miraculous Alien MOC (www.flickr.com/photos/timlydy/23268385550/in/faves-101193...), which I rebuilt just for kicks, as seen with the Queen Alien. Finally, the Queen was a build I purchased off eBay from Brick Brigade Toy Lab (as seen here: www.ebay.com/itm/271962293309?_trksid=p2057872.m2749.l264... ).

 

I get to try out the game for the first time with my friends tomorrow evening to see how well it plays. I designed the board, cards and character sheets all based off Alien merchandise from the movies and comic series. Again, I did this just for kicks because I enjoy the saga so much. If anyone is interested in obtaining a copy of the gaming materials (board, rule book, item list, card images), I am happy to send you a link to my Public Dropbox folder where you can download it for free free free, just PM me and I’ll try and respond with the link as soon as I am able to. Feel free to modify the game and its rules, since it’s all just a hobby to me. Again, I’m simply appreciating the amazing genius Alien fans have put out into the universe and combined that all into an exciting table top game for those that want to play.

 

this cat has to different eye color Blue & Green

no Editing . i took this picture in KSA 17-3-2007

while i were in family visit ..

 

Different types of houses (Sonnenberg/Schweiz)

The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.

Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).

History

St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)

The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.

The 'old' Burgtheater at St. Michael's Square

The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.

In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her ​​royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .

On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.

1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.

On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.

The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.

However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.

The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.

1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.

The Burgtheater in time of National Socialism

The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble ​​between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.

The Burgtheater at the end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.

The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.

The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.

The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.

1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .

In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.

Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.

Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.

Directorate Claus Peymann 1986-1999

Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.

Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.

In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.

Directorate Klaus Bachler 1999-2009

Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.

Were among the unusual "events" of the directorate Bachler

* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )

* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)

* John Irving's reading from his book at the Burgtheater Until I find you (2006)

* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).

* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.

Jubilee Year 2005

In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.

Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."

The Burgtheater on the Mozart Year 2006

Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.

Directorate Matthias Hartmann since 2009

From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .

Since 2014, Karin Bergmann is the commander in chief.

I've always had my feet in two camps hobby wise, those of buses on one side and also of railways on the other. I don't pretend to be an expert on anything specifically, but I do know what floats my boat. One preserved railway which has always held appeal is the 7 mile long, Cumbrian based Ravenglass & Eskdale. The line dates back to the second half of the 19th Century having it's roots in the granite mining industry. As originally built it was a 3ft gauge operation, but was converted in 1915 to 15 inch as a vent for the enthusiasm of renowned miniature and 'minimum gauge' protagonists W J Bassett Lowke and Sir Arthur Heywood. With something of a hankering to work both passenger and freight / quarry traffic, miniature railway engineer Henry Greenley was charged with designing a loco suitable for heavy hauls ... hence the birth of 'River Esk' (above), a powerful 2-8-2 built by Davey Paxman of Colchester in 1923.

From memory, I took this picture in the 1980s at Ravenglass, the line's coastal terminus and head quarters.

Princes Square, Glasgow

On Tuesday 25/5/2021, a 4 hour late running 3AS8 (Indian Pacific) is seen approaching Gallipoli road, Korunye (SA with the common duo of nr86-G530 in charge.

All rights reserved. Do not use or reproduce these images on websites, blogs or publications without expressed written permission from the photographer.

 

Flickr: www.flickr.com/photos/kumohdpixedix/

For any enquiries, please email : kmnazril@gmail.com.

Thank you

OLYMPUS DIGITAL CAMERA

sometimes you need to look at the world from a different angle to make some sense.

 

© All rights reserved

I think this is a slightly different take on a Cinderella Castle shot. In my opinion, it works since it looks like the castle is just rising up out of the forest, and could be anywhere, not in a theme park in Central Florida. For as many times as I have walked down this path, I was surprised that I had never really stopped and taken a photo from here. Thanks for lookin', and have a great day!

 

www.DisneyPhotographyBlog.com | www.howtophotographfireworks.com | www.DisneyPhotoApp.com

Having travelled somewhere different for the sun this evening, I looked south and discovered this view. It is hand held and the brightness of the image gives it away it was 1/25 sec at F.5.6 ISO 200 ....Huge Compression on this one...visibility is arounf 20km in this image

Calgary lost pictures

A second pass by RAF Lockheed C-130J Hercules C.5 ZH882/Ascot 150 got me scrambling down lower at Bwlch Exit on the Mach Loop to get a slightly different view.