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3 different beers with corresponding glasses.
This photo was chosen as the poster photo for the HelsinkiBeerFestival.
Interesting side comment on this. Some Russian page tried to show it but got banned by some "control" there.
The outside circle is the more traditional way of making circles. The inside is a slightly different method using more circular pieces. I didn't expect the radii to be different, but they are. You can wrench the ones with more circular pieces into tighter circles. I was trying to re-do a curved wall part, and did it with the more traditional method, and suddenly it wouldn't fit anymore.
In this world we have different different perception ................. we are different from one another ...... love , care , friendship , relation , marriage taking us together . This is the story behind this picture.
The formation on the left is Zion's Great White Throne. At 6744', it towers over Zion Canyon, and is perhaps the most easily identifiable landmark in Zion National Park.
Not from this angle, however. This is a view from the Kayenta Trail, which I don't believe I had previously hiked. The far more common view is from a pullout off the tram road a mile or so north of here, where you can get a straight-on view of the Great White Throne's face. Didn't stop there on this trip, however.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
This is a photo of Luna when she was about 6 months old. As a baby she was a teeny tiny fluff-ball, then her legs grew and her ears grew and she looked skinny and lanky. I thought she looked more Rex than Netherland Dwarf! After a little while she grew back into her legs and ears and is like her baby fluff-ball self again, just bigger. We call this her "awkward teenage stage".
I can't believe how different she looks!
Where else can you find me?
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
Galaxies consist of a number of different structures, and the particulars of these structures drive the evolution of a given galaxy. One such structure in spiral galaxies like Caldwell 40 (or NGC 3626) is the galactic bulge. This structure is a densely packed region of stars that encompasses the heart of a spiral galaxy. Most galactic bulges host supermassive black holes, with the masses of the black hole and the bulge typically linked (bigger bulges harbor more monstrous black holes).
The two main types of galactic bulges are “classic bulges,” which develop after a merger with another galaxy, and “pseudobulges,” which form out of material from the galaxy’s own outer region. Recent studies suggest that “composite bulges,” which are formed by a combination of these two processes, might be common. The visible, ultraviolet, and infrared observations used to create this image of Caldwell 40 were made using Hubble’s Wide Field Camera 3 to help astronomers better understand the prevalence of “composite bulges” in the universe.
Caldwell 40 was discovered by astronomer William Herschel in 1784. It is located 70 million light-years from Earth in the constellation Leo and has an apparent magnitude of 10.6. The best time of year to observe Caldwell 40 is during the Northern Hemisphere’s spring and the Southern Hemisphere’s autumn. It can be spotted using a small telescope, but the galaxy is one of the smallest Caldwell objects in the sky, so a larger telescope is best for observing the dim and compact galaxy.
Credit: NASA, ESA, and P. Erwin (Max Planck Institute for Extraterrestrial Physics); Processing: Gladys Kober (NASA/Catholic University of America)
For Hubble's Caldwell catalog website and information on how to find these objects in the night sky, visit: www.nasa.gov/content/goddard/hubble-s-caldwell-catalog
Representing the three different liveries of Stagecoach are these three Alexander Dennis Enviro 400MMCs working on Great North Run shuttle services between Newcastle and South Shields. All three Enviros are the same age!
Leading the charge is 10644 - SN16OYK in 2020 local livery, 10634 - SN16OXZ in 2024 "We've Got You" livery and following is 10641 - SN16OYG in "beachball" livery.
Shame the rear one wasn't at the front!
In one of the older areas of Beijing, I visited several different operas. Luckily, my team on the ground there was able to talk to the management to make sure I could walk around anywhere during the performance to find interesting things. I saw this woman playing this most unusual instrument, so I stayed in her area for a while until the light was right.
This opera had some very unusual instruments, and I heard sounds that were completely foreign to me. They say that these instruments and styles have been handed down over centuries, and I suppose that is why they sound so unique.
There's one sound in particular, not made from the instrument, that I can't ever forget. It sounds vaguely, forgive me, like a large metal mixing bowl, 1/3 full of water, that is struck with another, empty metal bowl. It's a jarring but mystical sound... maybe you know the instrument I am talking about? Or maybe you recognize the one from this photo?
"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.
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
Retinence as a MOC, he control darkness and electricity. My entry for Thylon's blog contest. Gallery : www.brickshelf.com/cgi-bin/gallery.cgi?f=470052
Fermina Express 756
Model: AMC City Star FV
Chassis: Isuzu FVR PABFVR34SLQ
Engine: Isuzu 6HK1-TCN
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JFT Liner 8181-EC
Model: SR Daewoo Cityliner
Chassis: Daewoo BF106 PL5FJ50HDAK
Engine: Daewoo DE08TiS
The 151 utilises three different bus types - the primary one being Optare Olympus bodied Dennis Tridents but also Gemini frogs and B9TLs like this. Some 2008 Dennis Tridents with B9TL chassis (codenames VEs) are still at Sutton (A) though I don’t know if any have worked this route yet.
This route zig-zags up and down four times before ending up at one of the South Western branch line stations. A bit of greenery around the Rose Hill area helps to break up the ride.
LJ61GXC (WVL443) is at Sutton Police Station on a working from Wallington to Worcester Park via Hackbridge and Sutton.
All my photo here NON HDR/NON DRi or blended images, they are taken from single shoot
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Filter: Lee GND .9s + Lee CPL square (100x100)
Technical info:
Tokina 11-16
f22
ISO 100
11 mm
8s exposure
Post Processing:
PS CS5(1%)+Lightroom 5(99%)
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©1434/2013 AZIRULL AMIN ARIPIN
I'm now licensing my photos through the Flickr Collection on Getty Images. If you'd like to use this image for commercial purposes please request to license (just there on the right) or drop me a message through flickr.
A different looking CN 435 than most, as it goes through the last section of the CN Oakville Subdivision before heading up the roughly ten mile climb to Copetown. Engines today are CN 2622, preferred leader CN 2520, and CN 2164. Most of the freight is made up of hopper railcars.
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
Shanghai Museum is a 5 story building divided into different Chinese ancient artifact classifications.
The museum was founded in 1952. Construction of the current building started in August 1993 and was inaugurated on October 12, 1996.
The museum has a collection of over 120,000 pieces, including bronze, ceramics, calligraphy, furniture, jades, ancient coins, paintings, seals, sculptures, minority art and foreign art.