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We know from a lot of work done here previously, that this was taken in Clonmel. It was requested by Desktop 123 whose specialist subject is definitely the O'Gorman's. (Always happy to take requests!)
Date: Saturday, 15 April 1922
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A tree embedded in the mineral deposit at the Mammoth Hot Springs in Yellowstone National Park, Wyoming
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Anna fully deboxed and standing, supported by a Kaiser stand.
I got the Anna and Elsa Doll Set for Olaf's Frozen Adventure, from my local Disney Store on Wednesday September 27, 2017. They are in the new Holiday outfits, made of faux suede. Elsa has a cape attached to the back of her dress, and has a fur collar with embedded red jewels. Anna has a jacket that is sewn to her bodice. They both have the new style rubber legs with flat feet. Elsa has flat heeled ice shoes, which are a loose fit. Anna has boots with low heels. Anna is about 1/4 inch taller than Elsa (11 1/2 vs 11 1/4 inches), which looks awkward when they are side by side. They both have new face sculpts, for the first time since their original Classic dolls were introduced in 2013. I like how they look, but I like Elsa more than Anna. The old faces looked younger and cuter, but the new faces are more movie accurate.
Anna and Elsa Classic Doll Set - Olaf's Frozen Adventure - 11 1/2''
$34.95
Item No. 6002040900398P
US Disney Store
Released 2017-09-26
Purchased 2017-09-27
We travelled to Chur and St Moritz, riding over the dramatic Albula route where the RhB makes its way through helical tunnels and over viaducts as it climbs the Albula Valley towards St. Moritz. Harmoniously embedded in the landscape, the line is a monument to the pioneering days of railway-building and has UNESCO World Heritage status.
SHODASI : SECRETS OF THE RAMAYANA
Kundalini Yoga & Gayathri Mantra in Valmiki Ramayana
ENGLISH HINDI AND TELUGU ORIGINAL
AUTHOR : SESHENDRA SHARMA
Seshendra : Visionary Poet of the Millennium
REVIEWS :
Books :
kinige.com/author/Gunturu+Seshendra+Sharma
Valmiki , The Sage of 5th century B.C wrote The Ramayana not to narrate the story of Rama in an absorbing style. Though the epic poem presents Rama’s Journey of life in enchanting poetry , the story and the enchanting poetry are sugar coating or honey to the organic medicine called Kundalini Yoga. Maharshi Valmiki wrote the Ramayana to spread / propagate Kundalini Yoga among the masses. Thus the soul of The Ramayana is Kundalini Yoga / Sri Vidya. Valmiki embedded Kundalini Yoga in the Chapter titled “ Sundara Kanda” . Hanuman and Ravana are Kundalini Yogis of Samaya and Kaula Paths.
And in Sundara Kanda , he inserted “ Trijata Swapna “ , dream sequence of a demon and in it embedded the Gayathri Mantra. The concepts of Vishnu and Avatar (reincarnation) were nonexistent during the Ramayana Period.
Seshendra Sharma , Scholar - Poet in his Magnum Opus of Research “ Shodasi : Secrets of The Ramayana “ reveals these secrets lying hidden for thousands of years .
* * * * *
How old is Valmiki Ramayana? One Calculation says 8 lacks 70 thousand Years. Going by the Christian calendar dating to approximately the 5th to 4th century BC. According to Indian classification of time Ramayana belongs to the Treta Yuga and today we are in the Kali Yuga. All these millions of years the human civilisation the world over, recognised it as the first poetry and in this part of the world i.e. the Indian Subcontinent the central character of the epic is present as an idol of worship in thousands of temples and in every household of believers.
But here is a research work which says Ramayana is merely poetry to the naked eye whereas it is an ensemble of invisible secrets which have been lying unnoticed all these ages.
What could have been the Valmiki Maharshi’s vision which made him chisel an epic poem which is pregnant with startling secrets?
Shodasi : Secrets of the Ramayana , a Magnum Opus comprising both revelations and research findings written in Telugu 47 Years ago is translated into English by Dr. G.S.Murthy , a 86 year old physicist (Retrd) from BARC. Dr. Murthy observes about Shodasi that “the approach adopted by Seshendra Sharma is unprecedented. .. His conclusion that Ramayana is closer to Sruthi than any other scripture is very significant and is based on the intrinsic evidence in the Ramayana itself.... it is a revolt against the customary methods followed to understand the status of Ramayana in the Sanskrit Literature.”
The fulcrum of Shodasi is that poetry in Ramayana is a supplement to the bitter medicine called “Kundalini Yoga” and Ramayana is divine Ambrosia for all mundane afflictions and problems that beset the human kind.
Seshendra reveals that Sundara Kanda is the heart of Ramayana and it is nothing but Kundalini Yoga . And the heart of Sundara Kanda is Trijata ‘s Dream , which is nothing but Gayatri Mantra.
Kundalini Yoga which is also known as Sri Vidya is awakening of inner powers dormant in humans through meditation. The very 1st Shloka of Sundara Kanda is analysed and explained exhaustively by the author from several angles. “Chaarana Charithe pathi..(Sky-Path) “is , according to the author the Sushumna in Humans. Lanka Dahana ( Reducing Ravana’s Empire Lanka to ashes ) is the climax of the Kundalini Yoga which is Sahasrara Bhedana. The author analyses citing evidence from the Ramayana original text , that both Paths of Kundalini Yoga , Samaya and Kaula ways are shown in the epic.
What is of paramount importance in this work is that each exposition refers to a cluster of references germane to the main discussion. Hence it is obvious that this work is a scholastic paradise to people who are conversant with Sanskrit literature and other ancient scriptures. A pedestrian reader cannot even peep into Shodasi . Seshendra’s introduction “One word to begin with “sets the tone and tenor of the work. He dilates at length how Sanskrit language is moulded by Valmiki on the lines of Sruthi and Veda to envelop his central theme in suggestive and oblique style.
It is said Valmiki wrote Ramayana in 24 thousand Shlokas taking each syllable of Gayatri Mantra, which has 24 syllables. Seshendra Shows convincingly, where the Gayathri Mantra itself is located in Ramayana. He says “ Sundara Kanda “ is the heart of Ramayana and Trijata ‘s Dream is Sundara Kanda’s heart. “ Maharshi created an apparent episode of “Trijata Swapna “ and through this he embedded Gayathri Mantra in it. “
This book is replete with several such revelations and unnerving observations. The chapters on “ Relationship between Ramayanayana and Megha Sangesham “ “Indra supreme deity “ compel the reader to stop and think at the turn of every observation. This reviewer does not like to “spill all the beans “.
Dr. Murthy, the translator, aptly observes “ It needs a very attentive mind and adequate patience to follow author’s arguments “. Seshendra Sharma( seshendrasharma.weebly.com ) , winner of Sahitya Akademi Award for his “Kaala Rekha “( Arc of Blood ) a collection of essays in comparative literature , a fellow of the Akademi During his life time whose Long Poem “ My Country – My People – Modern Indian Epic “was nominated for Nobel in 2004 is scholar –poet of our times . His Kavisena Manifesto (Modern Indian Poetics), Kaala Rekha( Essays in Comparative Literature)are monuments of contemporary Indian Literature , unsurpassed to this day. His prose works prove that he is Albert Einstein of Indian Literature.
After completing the first round of reading the reader would certainly agree with Vishwanatha Satyanarayana ,Telugu poet of romantic era , recipient of Gyanpith Award for his “Ramayan Kalp Vriksh” who wrote preface to this book “ Every one , not only the telugu – speaking people all Indians must be grateful to him for writing this book”.
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Ramayana, a replica of Vedas
S. VARADARAJAN
There are several versions of the Sri Ramayana, one of the two greatest epics. Following Sri Valmiki Ramayana several editions have been published in various languages, besides scores of commentaries written across centuries. Late.GunturuSeshendra Sharma, scholar poet of 20th Century unearthed secrets of the Ramayana through his popular Telugu book “Shodasi”.
The novelty of nomenclature Shodasi , called Sri Vidya is reflected , in the 16th Chapter . Sharma’s intellectual depth comes forth in analyzingSundara Kanda specially through KundaliniYoga . The author highlights hidden truth in Valmiki’s thought that is similar to Vedas and says that Trijata’s dream in Sundara Kanda reflects Gayatri Mantra of 32 Syllabi in 4 lines. Sharma pays rich encomiums in the description of Lanka surrounded by three impregnable borders. He compares these three borders with Trikuta viz... Shakti ,Kaamaraaja , VagbhavaKutas with those of Sri Vidya in Kundalini . A staunch believer of Vedas, the author feels that Ramayana is a replica of Vedas and oriented towards the character of Indra . He concludes that in Ramayana the mentioning of the supreme God is Indra and not Vishnu, as the presiding deity of valour in Vedas. Utterances of the word Vishnu were considered to be imaginary overstatements in the author’s view.
This book lends a new perspective to the Ramayana by adding the dimension of KundaliniYoga .
The foreword by VishwanathaSatyanarayana adds credibility to the book. The current work is an English translation of the original by GurujadaSuryanarayanaMurthy , a scientist by profession . His proficiency in the subject is evident in the translation throughout that doesn’t swerve from the original’s purport.
The Hindu
(Friday Review: 2nd October 2015)
A Resplendent Icon of all Arts
This is an exemplary book which elevated the status of Indian Literary Criticism to the peaks of the world literature. Shodasi is a name associated with a great hymn. The title suggests that it’s a book on spiritual discourse. A reading of this book suggests that the spirit of scientific temper is critical to comprehend Valmiki’sSrimad Ramayana. Besides this, command on Vedic or Scriptural knowledge is essential. What does a layman has to say when a towering personality like ViswanathaSatyanarayana himself extolled the critical acumen and serious scholarship of Seshendra Sharma.
Sharma has made it crystal clear that unless one has an apparent understanding of the plot’s context, psyche of the characters, and the milieu of the bygone days supplemented by extraordinary scholarship, sound knowledge of phonetics and awareness on contemporary issues; one cannot easily comprehend the poetic diction of Valmiki. The debate on the phrase “Netraturaha” is a fitting example. The uniqueness of the title, Sundarakanda, Kundalini Yoga, Gayatri Mantra secretly hidden in Trijata’s dream sequence, considering The Bharatha as an image of The Ramayana.... this book is a repository of many such critical discourses. It is replete with inconceivable and unfathomable issues. This magnum opus is an invaluable gift to the Telugu literature.
- VIPULA, Viswa Katha Vedika: May 2014
(An exclusive Telugu Monthly Magazine for stories)
* * *
Valmiki Ramayana – Greatest Medicine for Mankind
The story of Ramayana is prescribed as textbook for students. Sita and Rama are worshiped as prime couple. No need to mention about reciting it. Whether Valmiki was satisfied with simple narration of the story? Seshendra Sharma denies it.
He analyzed it mentioning that to understand the inner meanings of Valmiki Ramayana, the scientific knowledge is essential.
The underlying secret of the sage’s mind will be known through the knowledge of science.
It is the firm opinion of Seshendra that the argument that “the sciences are for scholars only” is a conspiracy hatched by Selfish scholars and lazy uneducated persons.
Seshendra who has democratic ideology and conviction on science and literature informs the public about the secrets of Ramayana expounded by Valmiki. He explains that Valmiki dedicated ambrosia (The Greatest Medicine) named “Kundalini Yoga” to the mankind. The poetry in the metre of AnushtupSloka is the honey coating to the medicine. It was explained with great introspection and exemplary scholarship. He concludes that the Ramayana is older than the MahaBharatha and it is another form of Veda. Valmiki introduced the system of meditation in Ramayana. The Introspection and research bent of mind of Seshendra are spread over in the book in two streams. The exuberant fragrance of scholarship is experienced throughout the book.
The present generation can understand the scholarship of Seshendra in Vedas and Mantra Sastra. Seshendra is a poet who has composed unique RuthuGhosha (Cry of the Seasons: Metrical Poetry) and revolutionary free verse –MandeSuryudu (The Burning Sun).
- Andhra Prabha (Telugu Daily), 24th August 2014.
* * *
Two Great Peaks in the world literary criticism and research
Shodasi: Secrets of The Ramayana and SwarnahamsaHarshanaishada from the mighty pen of the great Telugu poet, GunturuSeshendra Sharma are considered to be the two great peaks in the world literary criticism and research. This is a truth most contemporary Telugu writers and readers aren’t aware of. The way Seshendra could discover Kundalini Yoga, Gayathri Mantra in Shodasi, he could discern the treasure trove of mantra yoga, Sri Mahatripurasundari, Chintamani mantra in Swarnahamsa.
At a time when our universities which are mere Degrees production Units, churn out “solid waste” in the name of research; Seshendra even while attending to his job as a Municipal Commissioner created research oriented critical volumes like a sage.
Though Shodasi was published in 1967 and Swarnahamsa in 1968; Swarnahamsa was created by him much before Shodasi was conceived. The concepts that Srinatha, Nannayya and Mallanatha, the Telugu Classical poets couldn’t decipher,
Seshendra could. He humbly submits that he is most fortunate that the triumvirate had left behind some pertinent concepts only to be discovered by him at a later stage.
These two great kavyas were serialised under the editorship of late NeelamrajuVenkataSeshaiah in Andhra Prabha Daily, Sunday Literary Supplements from 1963 to 1967 and Seshendra’s poems and non-fiction were published in the book forms (6) only after they appeared in serial form in Andhra Prabha.
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GunturuSeshendraSarma, the well-known poet, critic and scholar of unfathomable depth, has to his credit quite a number of books in Telugu as well as English. A keen intellect and a lucid exponent of the intricacies in Samskrit literature, the author brought out a treatise on Ramayana. The book also reveals the symbolism in our epics and shows the spirit behind.
According to the author, Sage Valmiki has observed Ramayana as though it is a story of a dynasty in its outward appearance. But when the story part is kept aside, the hidden secrets of the Mantrasastra come out. Valmiki’s Ramayana is full of Vedic literature, language and usages. Ramayana can be appreciated from three angles. The poetic beauty, the historicity and the secret meaning of mother Parasakti. Later Upanishads have taken Valmiki Ramayana as the way to the Mantrasastra. Rama’s wife Sita is considered as Parasakti. In Devi BhagavathamSita is described as Goddess Gayatri. The author has taken unusual pains and quoted Vedic dictations which are literally taken by Valmiki in his Ramayana. Thus it has been a product of Vedas and the usages in Ramayana and the words used therein and the similies adopted by Valmiki speak inexplicably the secret of Mother Lalita in his stories.
The author has given and attached a very great significance for Sundarakanda in Ramayana. The author has quoted numerous quotations from Smrithis and Srithis to establish that Sundara-kanda is beautiful because Anjaneya the Jeeva has seen Sita the Parasakti. Hence this canto is so styled as Sundara. According to the author “Sita” means “Kundalini.” Hanuman has seen Sita while she was sitting on the ground. Ground means Earth. Earth denotes Mooladharam. The serpent Kundalini stays in this. Thus it is symbolised as Sita sat on the ground. Hanuman the Yogi has the vision of Kundalini in Sita. With the aid of Ida and Pingala, Kundalini travels in Sushumna through spinal cord crossing the six fluxes, and finally reaching Sahasraram. This again speaks of “Shodasi.” Rama is a beautiful man. He is having a Sundari in Sita (a beautiful woman). The descriptions are beautiful in this canto. Thus it is synonymous with “Soundarya-lahari” of Sankaracharya.
The author expressed that Mahabharata is a reflection of Ramayana in all the cause, origin and delivery. Innumerable similarities are quoted from both Valmiki and Vyasa to prove that the usages, style and similies are almost similar in both the epics. He compares Vyasa’s “Nalacharitam” with Sundarakanda of Valmiki in the vision of Srividya.
The author further argues that Kalidasa’s “Meghasandesam” is only an imitation of Valmiki. The flight of Anjaneya in search of Sita is the basis for Kalidasa’s “Meghasandesam.” Both Sita and the Yaksha’s wife are described as “Syamas” – meaning in the middle of youth. The duration of separation is one year in both the cases. Ultimately the author said that “Meghasandesam” is the offspring of Ramayana, with yearning to see Parasakti.
The author has taken the readers in his book to that sublime beauty where there is no further argument, than to enjoy the flow of citations with their intrinsic meaning and full of scientific vision. His unsurpassed knowledge in Mantrasastra has enabled him to pass dictums vivisecting the symbolic mysticisms into splinters and handing the kernel of truth under each word, usage, and application. He deserves all praise for this meritorious contribution to our literature.
Visionary Poet of the Millennium
An Indian poet Prophet
Seshendra Sharma
October 20th, 1927 - May 30th, 2007
www.facebook.com/GunturuSeshendraSharma/
eBooks :http://kinige.com/author/Gunturu+Seshendra+Sharma
Seshendra Sharma is one of the most outstanding minds of modern Asia. He is the foremost of the Telugu poets today who has turned poetry to the gigantic strides of human history and embellished literature with the thrills and triumphs of the 20th century. A revolutionary poet who spurned the pedestrian and pedantic poetry equally, a brilliant critic and a scholar of Sanskrit, this versatile poet has breathed a new vision of modernity to his vernacular.Such minds place Telugu on the world map of intellectualism. Readers conversant with names like Paul Valery, Gauguin, and Dag Hammarskjold will have to add the name of Seshendra Sharma the writer from India to that dynasty of intellectuals.
Rivers and poets
Are veins and arteries
Of a country.
Rivers flow like poems
For animals, for birds
And for human beings-
The dreams that rivers dream
Bear fruit in the fields
The dreams that poets dream
Bear fruit in the people-
* * * * * *
The sunshine of my thought fell on the word
And its long shadow fell upon the century
Sun was playing with the early morning flowers
Time was frightened at the sight of the martyr-
-Seshendra Sharma
B.A: Andhra Christian College: Guntur: A.P: India
B.L : Madras University: Madras
Deputy Municipal Commissioner (37 Years)
Dept of Municipal Administration, Government of Andhra Pradesh
Parents: G.Subrahmanyam (Father) ,Ammayamma (Mother)
Siblings: Anasuya,Devasena (Sisters),Rajasekharam(Younger brother)
Wife: Mrs.Janaki Sharma
Children: Vasundhara , Revathi (Daughters),
Vanamaali ,Saatyaki (Sons)
Seshendra Sharma better known as Seshendra is
a colossus of Modern Indian poetry.
His literature is a unique blend of the best of poetry and poetics.
Diversity and depth of his literary interests and his works
are perhaps hitherto unknown in Indian literature.
From poetry to poetics, from Mantra Sastra to Marxist Politics his writings bear an unnerving pprint of his rare genius.
His scholar ship and command over Sanskrit , English and Telugu Languages has facilitated his emergence as a towering personality of comparative literature in the 20th century world literature.
T.S.Eliot ,ArchbaldMacleish and Seshendra Sharma are trinity of world poetry and Poetics.
His sense of dedication to the genre of art he chooses to express himself and
the determination to reach the depths of subject he undertakes to explore
place him in the galaxy of world poets / world intellectuals.
Seshendra’seBooks :http://kinige.com/author/Gunturu+Seshendra+Sharma
Seshendra Sharma’s Writings Copyright © Saatyaki S/o Seshendra Sharma
Contact :saatyaki@gmail.com+919441070985+917702964402
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GunturuSeshendraSarma: an extraordinary poet-scholar
One of the ironies in literature is that
he came to be known more as a critic than a poet
HYDERABAD: An era of scholastic excellence and poetic grandeur has come to an end in the passing away of GunturuSeshendraSarma, one of the foremost poets and critics in Telugu literature. His mastery over western literature and Indian `AlankaraSastra' gave his works a stunning imagery, unparalleled in modern Indian works. One of the ironies in literature is that he came to be known more as a critic than a poet. The Central SahityaAkademi award was conferred on him for his work `KaalaRekha' and not for his poetic excellence. The genius in him made him explore `Kundalini Yoga' in his treatise on Ramayana in `Shodasi' convincingly. His intellectual quest further made him probe `NaishadhaKaavya' in the backdrop of `LalitaSahasraNaamavali', `SoundaryaLahari' and `Kama Kala Vilasam' in `SwarnaHamsa', Seshendra saw the entire universe as a storehouse of images and signs to which imagination was to make value-addition. Like Stephene Mallarme who was considered a prophet of symbolism in French literature, SeshendraSarma too believed that art alone would survive in the universe along with poetry. He believed that the main vocation of human beings was to be artists and poets. His `Kavisena Manifesto' gave a new direction to modern criticism making it a landmark work in poetics. Telugus would rue the intellectual impoverishment they suffered in maintaining a `distance' from him. Seshendra could have given us more, but we did not deserve it! The denial of the Jnanpeeth Award to him proves it
The Hindu
India's National Newspaper
Friday, Jun 01, 2007
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Ramayana, a replica of Vedas
S. VARADARAJAN
There are several versions of the Sri Ramayana, one of the two greatest epics. Following Sri Valmiki Ramayana several editions have been published in various languages, besides scores of commentaries written across centuries. Late. Gunturu Seshendra Sharma, scholar poet of 20th Century unearthed secrets of the Ramayana through his popular Telugu book “Shodasi”.
The novelty of nomenclature Shodasi , called Sri Vidya is reflected , in the 16th Chapter . Sharma’s intellectual depth comes forth in analyzing Sundara Kanda specially through Kundalini Yoga . The author highlights hidden truth in Valmiki’s thought that is similar to Vedas and says that Trijata’s dream in Sundara Kanda reflects Gayatri Mantra of 32 Syllabi in 4 lines. Sharma pays rich encomiums in the description of Lanka surrounded by three impregnable borders. He compares these three borders with Trikuta viz... Shakti , Kaamaraaja , Vagbhava Kutas with those of Sri Vidya in Kundalini . A staunch believer of Vedas, the author feels that Ramayana is a replica of Vedas and oriented towards the character of Indra . He concludes that in Ramayana the mentioning of the supreme God is Indra and not Vishnu, as the presiding deity of valour in Vedas. Utterances of the word Vishnu were considered to be imaginary overstatements in the author’s view.
This book lends a new perspective to the Ramayana by adding the dimension of Kundalini Yoga .
The foreword by Vishwanatha Satyanarayana adds credibility to the book. The current work is an English translation of the original by Gurujada Suryanarayana Murthy , a scientist by profession . His proficiency in the subject is evident in the translation throughout that doesn’t swerve from the original’s purport.
The Hindu
India’s National Newspaper
(Friday Review: 2nd October 2015)
Shodasi
Astounding scholarship of Sanskrit classics
A product of deep research, intense intellectual labour
And amazing scholarship
The book under review which is an English translation by Dr. Gurajada Suryanarayana Murthy of the original Telugu Text represents a scholarly attempt by the erudite author to justify and prove the validity of certain radical propositions which he makes about the world – renowned Kavya – Valmiki Ramayana. The propositions that he makes are – 1. Sundara Kanda is an allegory of Kundalini Yoga 2. Sita is Kundalini Shakti 3. Hanuman’s search – mission of Sita symbolises Tantric Exercise of identifying the Kundalini Shakti and raising it from the Moola Dhara Chakra (denoted by Lanka) to Sahasrara Chakra 4. The descriptive terms employed about Sita hint at Sita being essentially a Kundalini Shakti 5. Trijata’s dream is nothing but Gayathri Mantra 6. Valmiki’s language has pronounced Vedic flavour 7. The phraseology employed by Valmiki corresponds largely to the terms employed in Lalitha Sahasra Nama , Durga Saptasati , Devi Bhagawatam etc.. 8. The aptness of the name Sundara Kanda is provable on Strong Grounds 9. Ramayana is anterior to Bharatha on various grounds such as the Vedic language employed in the former the reference of Valmiki and Ramayana in Mahabharata and absence of reference to Vyasa and Mahabharata episodes in Ramayana , Mention of Rama in Mahabharata and Rama’s greater antiquity than Pandavas and a host of other plausible evidences 10. Indra , the chief Vedic god more prominently featured and praised in Ramayana than Vishnu of the Puranic origin. 11. Megha Sandesham of Kalidasa originated out of the seed of Valmiki Ramayana and 12. The benedictory verse of Sakuntalam is eulogy of Devi.
The brain – tickling propositions are not just of the cuff remarks made without basis but credible theories buttressed with profuse quotations of relevant Sanskrit Texts , wide and deep study of the relevant treatises unassailable arguments based on internal and external evidences and astounding scholarship of Sanskrit classics.
On the flip side, there are a few errors in the transliteration of the Sanskrit texts. Had the Sanskrit passages from the treatises been provided in Devanagari Script also in addition to transliterated form in Roman Script value and appeal of this essentially Sanskrit oriented book would be much higher to the large and growing Sanskrit readership. The book is doubtless, a product of deep research, Intense intellectual labour and amazing scholarship.
The Vedanta kesari : August 2016
The Lion of Vedanta
A Cultural and Spirtual Monthly of the of the Ramakrishna Order since 1944
AN INTELLECTUAL FEAST
Along With utmost devotion
The author has clear understanding of not only of the Ramayana
but also Mantra Sastra , Vedas and Kundalini Yoga
His method is going deep into the subject and at the
same time comparing the same with ideas of other branches of literature
Shodasi , authored by Seshendra Sharma is a book of a special type . Though its purpose is to unfold secrets of the Ramayana many other aspects from different branches of knowledge also find a place there.
The Ramayana is read in every household with devotion. It narrates not only story of Rama but it also spotlights very intricate and subtler points in other branches of knowledge, a point not even noticed by many.
The author has clear understanding of not only of the Ramayana but also Mantra Sastra , Vedas and Kundalini Yoga . There are two approaches to understand the Sastras. One is vertical which is closely followed in Sanskrit Literature. It is reading a book with the help of commentary on it. In this method not only each word of the original analysed; its correct meaning and contextual purpose are also examined. The second is a horizontal method where in various ideas in the text are read not with one commentary but with many commentaries by different people. This gives total meaning of the text.
Seshendra Sharma follows both methods. His method is going deep into the subject and at the same time comparing the same with ideas of other branches of literature.
This needs a thorough understanding of various branches and ability to compare texts and spot new ideas and enjoy the same. For example , when Hanuman asks Sita who she is ,she replies ,“sama dvadasa tatraham raghavasya nivesane bhunjhana manushan bhogan sarva kama samrudhinee “ . Meaning “I enjoyed 12 years of mundane pleasure in the home of Rama”
Though she is not an ordinary human being, she enjoyed mundane pleasures. “ you may mistake that I am a mortal woman , but understand I am Sri Maha Lakshmi” . That was the message. The most important clue is the statement “ Aham Sarva Kama Samridhinee “ . In Devi Bhagawatham we find “ Matah Sankaree Kamade “ In Sri Sukta “ Sarva Kamartha Siddhaye “ and in Lalitha Sahasra Nama “ too it is stated “ Om Kamyayai Namah” . If Sita were to be just an ordinary being all these statements would have been irrelevant.
At another place she says “ Maya Ramasya Rajarshe Bharyayaya Paramatmanah” which means that she is wife of Paramatma. Hanuman , the devotee , recognized Sita to be none other than Jaganmata. Hence he could identify her easily as the divine mother and says “ tat sreemadyate tarat”. The word sreemat is used to mean brilliance Hanuman identifies Sita as Devi by the holy seed letter ( Sreem ) .
The book is full of comparisons between different branches of learning and surely a feast for one who could enjoy the existence of similar ideas at various places. It only proves that ways may be different but the goal is one.
Seshendra Sharma physically lifts the minds of the readers and offers an intellectual feast along with utmost devotion. Surely everyone should read this book and keep a copy of the same at home.
Goda Venkateswara Sastry
Tatvaloka : June 2016
The Splendour of Truth
( Monthly Magazine)
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Ramayan Through Kundalini Yoga
Shodasi is an ideal read for Sanskrit-literate readers
who are open to eclectic yogarthas and connotative meanings
--------
So you thought Vyasa was before Valmiki, Mahabharat was before Ramayan, Rama a Vishnu avatar, and tantrism distinct from vedism? Think again. In Shodasi: Secrets of the Ramayana, Telugu poet Seshendra Sharma re-reads the Ramayan to come up with a number of new conclusions.
Much of the book sets out to prove that Ramayan was written before the Mahabharat. Sharma discusses how Indra is cited more often than Vishnu, thus placing the context of the Ramayan closer to Vedic than Puranic thought. He quotes from the Mahabharat to show how it follows descriptions of hills, rivers from the Ramayan. The Mahabharat has some prose, and therefore, it must have been composed after Ramayan, which is entirely in poetry. These are only some of the numerous reasons that Sharma offers to suggest a new sequence of our itihasas.
Sharma’s book is also an experimental reading of the Ramayan through the interpretive lens of what he calls Kundalini yoga. Hanuman’s flight to Sri Lanka gets a new interpretation. “Charana Charite Pathi” is interpreted as the path of Kundalini, and the first verse of the Sundara Kanda “Tatho Ravana Nithayah” is interpreted by Sharma to refer to Hanuman traversing the sushumna nadi of the Kundalini.
Trijata’s dream becomes the Gayatri mantra through an imaginative recasting of words as numbers. Gaja (elephant) means eight, danta (teeth) means thirty-two, and maha-gaja-chaturdantam somehow also adds up to 32 syllables, which is the number of syllables in the Gayatri mantra. That Trijata’s dream is halfway through the Ramayan also becomes significant for Sharma, he calls it the ‘central bead’ in the Ramayan garland of 24,000 beads. Identifying 32-syllables as the Gayatri follows a convention, for mantras are referenced by the number of syllables; however, it is the “secret” yogartha—or mystical, anagogical translations—derived by Sharma that becomes problematic, unless he is considered an authority in his own right.
conclude that the name Sundarakand is unrelated to any descriptions of beauty of any of the main characters in the Ramayan. However, Soundarya and Tripura-Sundari are well-known conventions in the tantric tradition and hence, Sharma concludes that Sundarakand derives its name from Shakti’s beauty, and “Sundara-Hanuman” means “Hanuman who is a devotee of Devi” (117).
A coda in this book is about the benedictory verse in Kalidasa’s Sakuntalam which has traditionally been understood to refer to Ishwara. Sharma re-interprets this verse highlighting the “eight forms” of the last line as the eight forms of Devi that please Ishwara.
This book is suitable for a reader who is Sanskrit-literate and open to eclectic yogarthas and connotative meanings. Sharma cites substantially from the Ramayan in roman but without diacritics, this is difficult to follow; and he does not always include translation. Sharma often cites commentators without citing names and sources. It is not clear why the book is called Shodasi—readers may note, this book is not about the Srividya tradition. Even if the reader is unconvinced by Sharma’s reasoning or methodology, the free flow of references may prove absorbing for a reader interested in the subject.
This could also be an eclectic reference for a scholar researching tantric elements in the Ramayan.
- Mani Rao
The Sunday Standard Magazine
The New Indian Express
29th November 2015
---------------------------
Scholarly and deeply researched monograph
Pearls of insightful ideas and truths
Most of the ancient treatises like the Valmiki Ramayana and Bhagavatha lend themselves to allegorical interpretations. The book under review is scholarly and deeply researched monograph that formulates the startling theory that the immortal epic Valmiki Ramayana, particularly, Sundara Kanda, is nothing but the enunciation of the doctrine of Kundalini Shakthi Yoga. The very title of the book is bound to make the scholarly fraternity and even the common readership sit up and take notice. The radical propositions that the erudite author advances are on the basis of relentless logic and a mass of internal and external evidences are: Ramayana is rooted in Vedas, both in terms of ideas it disseminates and its verbal garb in those it is clothed. Many of the similes that Valmiki employs are inspired by vedic poetry and literature. Many of the expressions employed in the Valmiki Ramayana bear close resemblance to phraseology found in texts like Devi Bhagavatham, and Soundarya Lahari. Sita is none other than Divine Mother and Gayathri. As borne out by an analysis of similarity of names and words used in Valmiki Ramayana and Sri Vidya Literature. Sundara Kanda is nothing but delineation Kundalini Yoga. Hanuman’s aerial voyage in search of Sita represents allegorically the devi worshipper’s exercise in Kundalini Yoga. Sita is Kundalini Shakti. The episodes of mainaka, surasa and Simhika – representing satwa, rajas, tamas respectively –represent piercing of the triple knots by the spiritual aspirant. The Sanskrit phrase “Charana Charithe pathi” that occurs at the opening Canto of Sundara Kanda clearly implies Hanuman’s movement through the path of Sushumna. Lanka is the Mula Dhara Chakra, the seat of Kundalini implied in Valmiki’s graphic description of Lanka, the place of incarceration of Sita. Lanka is Muladhara also from the point of view of Yoga and it is Sri Chakra from the point of view of Spiritual practice. The burning of Lanka symbolises awakening of Swadhishthana. The aptness of name Sundara Kanda is explicable in the light of various evidences embedded in the epic. Trijata’s dream is nothing but the Gayathri Mantra as can be inferred from certain Sanskrit terms representing their numerical equivalents employed to describe dream – scenes of Trijata and also from Dramatis Personae appearing in her dream. Mahabharata is an image of Ramayana and many striking similarities may be found between Valmiki and Vyasa in their style of narrative. Valmiki’s Ramayana is the seed of Meghadootha and Valmiki reincarnates, as it were, as Kalidasa. The vedic god Indra , as the supreme deity dominates epic as a benchmark for all comparisons with Rama and dwarfs Vishnu, the Puranik God, in importance. Ramayana is anterior to Mahabharata. There are 2 annexures at the end of the book “benedictory verse of Sakunthalam is nothing but eulogy of Devi “and “All Humans have same destination” . Coming from the pen of the Telugu poet proficient in several languages, who was active in various disciplines ranging from Sanskrit studies to Cultural activism and who was given the Sahitya Akademi Award, this book is definitely of exceptional merit as the ingenious interpretations of various verses of the epic and also of allied hymnal literature to establish the novel but plausible propositions, come as a refreshing revelations. The book unmistakably bears imprints of an amazingly analytical, deeply erudite and marvellously nimble mind that effortlessly plumbs the oceanic epic and picks up and presents to the community of discerning readers pearls of insightful ideas and truths. One glaring drawback of this essentially Sanskrit-oriented book is the absence of Sanskrit quotations in Devanagari script as transliterations in roman script that are given are poor substitute sonorous Sanskrit words clothed in Devanagari script. The merits mentioned in a short review of this book packed with quaint and profound ideas constitute merely the proverbial tip of an iceberg. A fund of fruitful and lofty ideas awaits those who venture dive deep into this great book. In short this book is a riveting read for scholars and a strong stimulant for the general readers. –
N. Hariharan
Madurai
Prabuddha Bharata
March 2016
A monthly journal of the Ramakrishna Order
started by Swami Vivekananda in 1893
Unearthing secrets of Ramayana Ramayana
A sea-bed of secrets
A great boon to Devi Upasakas and Practioners of Sri Vidya
The Ramayana popular as the Adi Kavya (first work of poetry) the world over is not just beautiful poetry . It is a sea bed of secrets – containing the methods of Kundalini yoga and mantra sastra . This is the heart of Shodasi : Secrets of the Ramayana authored by Seshendra Sharma , one of the towering personalities of Telugu Poetry . This book, a collection 16 articles with one article added on from this edition appeared in Telugu Original in 1967. Mr. N.Ramesan IAS , the then Principal Secretary to Education Dept , the then AP Govt observed feelingly in his preface , that this work is a boon for Devi Upasakas and merits to be translated into English and other Indian Languages. This advice has fructified after 48 Years. Dr. Suryanarayana Murthy , a physicist (retired : Baba Atomic Research Centre ) has translated Shodasi into English with commendable clarity of grasp over the subject and felicity of thought process and flow of reading. The story of Rama narrated in enchanting poetry, according to Seshendra is a honey supplement to the bitter medicine called Kundalini Yoga. Valmiki Maharshi chose the Story of Rama to propagate Kundalini Yoga and systems of meditation in the society, among the masses of his era. This is the fulcrum of this Research work. What is of significance is that the author , in order to buttress his analysis and arguments cites extensively and conclusively from the Original Text of Ramayana itself. This Translation introduces this seminal work to wider sections of readers in other parts of our multilingual nation and to scholars engaged in research in Indian scriptures in the west. As the reader goes through the pages of Shodasi it gradually becomes clear that , the story that Valmiki was a Hunter , after viewing the pair of birds dying for each other renounced hunting and became a Rishi is an episode woven around him to make him and his epic the Ramayana popular and that Valmiki belongs to the pantheon of Vedic Rishis . Seshendra at every point of analysis cites from the Vedas and sruthis. His own introduction to this work “one word to begin with “ he discusses elaborately on the significance of Valmiki’s Style of expression of phrases . This chapter is the gateway to the entire work. While analysing one stanza of he touches upon a simile Which compares moon in the night sky wit vrishabham in Goshtam (cowshed). Seshendra goes deeper into shruthi and Vedas and concludes that go means in Sanskrit speech and “goshte vrishabham mattamiva bhramantam “ implies that like Omkara moves at the throat the divine personality of moon is moving in the sky. That intricate and deep is the analysis of the author. Seshendra , then discusses why sundara kanda was chosen as the name of a chapter . He observes incisively and proves conclusively that Sita is the main character of this Kanda and Sita is none other than Adi Shakti ( The Divine Mother ) Sri Maha Tripura Sundari.This is the reason why Maharshi named it Sundara Kanda. Sundara Kanda is the heart of the Ramayana and Trijata Swapna (Demoness Trijata’s Dream) is its heart. Sundara Kanda is nothing but Kundalini Yoga . Right from the 1st stanza of the chapter Maharshi starts unfolding the path of Kundalini Yoga in a suggestive manner garbed in enchanting poetry teaming with breath taking similes. Hanuman is SriVidyopasaka. The author discusses the 1st stanza “Chaaranaa Charithe pathi “ with intrinsic evidence from the Ramayana itself. Charanas are Divine Singers and their path is the sky . In other words in Kundalini Yoga “Sushumna “. The entire chapter elaborates each stanza in a captivating tone and concludes with Lanka Dahana ( Burning of Lanka ) as piercing of the Sahasrara seated in the head. First hand reading alone will give the unnerving feel of this chapter. Another important chapter is “ Trijata’s dream is nothing but Gayathri mantra “. In this , Seshendra views Trijata’s Dream, one of the demonesses guarding Sita in Ashoka Vana as Gayathri mantra. He dwelves deep into each Sloka of this episode and proves convincingly that Valmiki created this episode in order to embed the mantra in Ramayana. Till this point this book is a cluster of revelations. “The later part is both revelation and research. Seshendra in the chapter “ Indra is the Supreme Deity of Ramayana “ discusses each stanza of the Ramayana and goes on to reveal that at the time when Valmiki was writing the Ramayana the concepts of Vishnu and incarnation (Avatar ) were non– existent . Indra is the supreme deity of the Ramayana. In other 2 chapters the author‘s exhaustive study and Incisive analysis are all pervasive. Seshendra explodes the myth sought to be propagated by some of the Western Scholars that the Bharatha precedes the Ramayana . Shodasi , as rightly pointed out in one preface, is a great boon to Devi Upasakas and Practioners of Sri Vidya. All these ages this Adi Kavya is seen only as the Story of Rama. Here is a path breaking work which reveals the hidden treasure of spiritual secrets which Valmiki Maharshi embedded them in his epic.
Insight ( Sunday Magazine )
The Hitavada ( English Daily ) 1st November 2015
Action Graphics passes Undertaker [blink!]
You can't really see it in full speed.
qwikLoadr™ Videos...
NHRA | John Force 335 MPH! • YouTube™
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electionDaze | part II Qualifying [part A] [11.7.20] gwennie2006!
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Mount Monadnock
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playCompulsory | Cinderella [Thank You] [7.19.17] gwennie2006! • YouTube™
Father, Mother, Son
God, Mary, Jesus. Mary is God.
www.flickr.com/groups/LiteDance/pool/show/ • Slideshow
www.flickr.com/groups/WizardofAwes/pool/show/ • Slideshow
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fiveprime.org/hivemind/Tags/DCMemorialFoundation/Recent
...and part of the monthly before and after discussion in the "Fix My Pic Please" group...
Photo frixes for September 2008:
www.flickr.com/groups/FixMyPicPlease/discuss/721576070917...
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This is for the Weekly Themes group.
The theme changes, and you post some of your work that relates to the current theme. It is quite interesting to see the photos.
fiveprime.org/hivemind/Tags/themeWired
fiveprime.org/hivemind/Tags/themeWired/
fiveprime.org/hivemind/Tags/themeReflection
fiveprime.org/hivemind/Tags/themeReflection/
fiveprime.org/hivemind/Tags/themeLight
fiveprime.org/hivemind/Tags/themeLight/
fiveprime.org/hivemind/Tags/themeDreaming
fiveprime.org/hivemind/Tags/themeDreaming/
fiveprime.org/hivemind/Tags/themeGlare
fiveprime.org/hivemind/Tags/themeGlare/
This is for the Fix My Pic Please Group.
From an original by 1koolkat titled, Father Mother Son.
I really thought this was a great photo how the hands mixed together. I selected the subject using the magnetic lasso tool. I copied this and pasted it to a sunset scene. I used the airbrush eraser in places to soften the edge of the subject. This helped get rid of the crisp edge, and hopefully blend better.
Thank you 1koolkat, for allowing me to work on your beautiful photo .
Here is a link for more images using the Pen Tool:
fiveprime.org/hivemind/Tags/PenTool/
...and for Lesson 4A:
fiveprime.org/hivemind/Tags/%e2%80%a2Lesson4A
...as well as Lesson 4B:
fiveprime.org/hivemind/Tags/%e2%80%a2Lesson4B
www.GrfxDziner.com/forum/forum14/
www.flickr.com/photos/GrfxDziner/tags/tutorial/
www.flickr.com/photos/tags/DCMemorialFoundation/Interesting/
I had to cut quite a bit of this agate away to eliminate the porous spots on the edges, which were very rough and varied a great deal in thickness. Otherwise, it is strickly a free form cabochon. There is some boytroidal area on the bottom side.
This car doesn't really need an introduction does it? It's a car synonymous with raw power and true American grit, built in a time when car development was still very much alive and audacious new strides were being made to create the most outrageous machines. New words such as Muscle Car and Pony Car were being embedded on the public conscience, and the car that has been credited for starting the ball of everything that followed rolling is this, the Ford Mustang of 1968.
The origins of the Ford Mustang and indeed the Pony Car itself are owed largely to the Ford Company itself, with the original Pony Cars of the late 1950's being the two seater Ford Thunderbird. A Pony Car, for all intents and purposes, is an affordable, compact, highly styled car with a sporty or performance orientated image, essentially a sports car that isn't a sports car in the traditional sense, but looks like a sports car.
The Mustang development began in September 1962, and was designed by assistant general manager and chief engineer, Donald N. Frey. Previously, Frey had worked on a concept car known as the Mustang I, a mid-engined sports car similar to that of the early Italian supercars. Frey was tasked with redesigning the concept into a smaller car, and was given 5 goals to fulfill; seat four, have bucket seats and a floor mounted shifter, weigh no more than 2,500lbs and be no more than 180 inches in length, sell for less than $2,500, and have multiple power, comfort, and luxury options.
The Lincoln–Mercury design studio ultimately produced the winning design in the intramural contest, under Project Design Chief Joe Oros and his team of L. David Ash, Gale Halderman, and John Foster. To decrease development costs, the Mustang used chassis, suspension, and drivetrain components derived from the Ford Falcon and Fairlane. It used a unitized platform-type frame from the 1964 Falcon, and welded box-section side rails, including welded crossmembers. Although hardtop Mustangs accounted for the highest sales, durability problems with the new frame led to the engineering of a convertible first, which ensured adequate stiffness. Overall length of the Mustang and Falcon was identical, although the Mustang's wheelbase was slightly shorter. With an overall width of 68.2 inches, it was 2.4 inches narrower, yet the wheel track was nearly identical. Shipping weight, approximately 2,570lbs with the Straight-6 engine. A fully equipped V8 model weighed approximately 3,000lbs. Although most of the mechanical parts were from the Falcon, the Mustang's body was completely different; sporting a shorter wheelbase, wider track, lower seating position and lower overall height. An industry first, the "torque box" was an innovative structural system that greatly stiffened the Mustang's construction and helped contribute to better handling.
Finally, after a record 18 months of development, the car entered sales five months before schedule in April 1964. Cars were manufactured alongside 1964 Ford Falcons and 1964 Mercury Comets, the earliest Mustangs are widely referred to as the 1964½ model, and production was divided among the Ford factories at Dearborn, San Jose, Metuchen, Valencia and Mexico City. Entry-level models were produced with a 2.8L Straight-6 engine from the Falcon, and came at a respectable $2,368 (about $16,180 in 2015, the equivalent cost of a small family hatchback!). Several developments were quickly made to the car in 1965, with engines upgraded to 3.3L 120hp units, and the previous 4.3L V8 was replaced by a new 4.7L two-barrel carburettor unit as the base V8. This was later complimented by a 225hp four-barrel carbureted V8. The Mustang GT version was introduced as the "GT Equipment Package" and included a V8 engine (most often the 225hp), grille-mounted fog lamps, rocker panel stripes, and disc brakes. In the interior the GT option added a different instrument panel that included a speedometer, fuel gauge, temp. gauge, oil pressure gauge and ammeter in five round dials (the gauges were not marked with numbers, however.)
Following its launch, the Ford Mustang caught everyone napping, with General Motors having absolutely nothing that could come close. Although a hastily reworked version of Chrysler's newly released Plymouth Barracuda attempted to fight back, the sales numbers for the Ford Mustang were just completely off the scale. The world over people lauded the car's beautifully grunty image, it's comparatively good 20mpg fuel economy at 60mph, its grand interior, even the name was praised, Mustang, a strong word for a breed of American Horse. Its style hearkened back to the lawless and raunchy Wild West era, and its name just added to that premise. So great was this car that it took even the British by storm, a country that has never had a 'Wild-West', with Ford stealing a lucrative market with their derivative European version, the legendary Ford Capri, the wet dream of so many British youths!
The most famous version of the original Ford Mustang MkI's however is almost unanimously considered to be the model of 1967/68. The 1967 model year Mustang was the first redesign of the original model. Ford's designers began drawing up a larger version even as the original was achieving sales success. The major mechanical feature was to allow the installation of a big-block V8 engine. The overall size, interior and cargo space were increased following earlier customer complaints about legroom, and exterior trim changes included concave taillights, side scoop (on the 1967 model) and chrome (on the 1968 model) side ornamentation, square rear-view mirrors, and usual yearly wheel and gas cap changes. A new 320hp 6.4L FE engine from the Ford Thunderbird, which was equipped with a four-barrel carburetor, was made available in place of the previous 289hp power unit. Top Speed of the top-range GT version was 105mph. During the mid-1968 model year, a drag racer for the street could be ordered with the optional 7.0L Cobra Jet engine which was officially rated at 335hp.
My personal favourite though, and the favourite of many other Pony Car fans, is the 1968 Ford Mustang Fastback, primarily due to its appearance in the crime thriller Bullitt. In an exciting chase across San Francisco, Lt. Frank Bullitt, played by actor Steve McQueen, drove a modified Highland Green 1968 Mustang GT fastback with a 6.4L 4V engine in pursuit of two hitmen in a black 1968 Dodge Charger, jumping over the city's many steep hills and streets, sweeping down narrow roads and dodging traffic and the ever popular SFO Cable Car! The chase has gone down in history as one of the most exciting car chases in movie history, and elevated Bullitt's Mustang to everlasting stardom.
The original lines of this particular Mustang ended essentially in 1969, when then model for that year modified the body to make it look more macho. Many Mustang enthusiasts I know choose to forget this particular generation, citing it as the beginning of the long slide down into obscurity that the Mustang went to in the 70's and 80's. Although one of these Mustang's did take part in the spectacular Las Vegas car chase in the James Bond movie Diamonds are Forever, the car simply had not the same style and magnificence that the 1968 model had obtained before in Bullitt. The 2nd Generation Mustang of 1974 however is where most Mustang enthusiasts believe the true spark was lost, with its big chunky panels and downgraded engine being considered a husk of the original, compounded by the 3rd Generation which was to be based off a Mazda!
But it's the original that most people remember as the car that imprinted the word 'Mustang' into the urban dictionary. A car that is simply a telling of raw power, a bandit against any form of environmental consideration, a lawless figure in a world of legislation. So iconic is this amazing machine that Ford went back to its design with the latest generation of Mustang, although a bit more bulky and angular.
Le cimetière américain de Colleville-sur-Mer (Normandy American Cemetery and Memorial) est un cimetière militaire américain, situé juste au-dessus de la plage dite d’Omaha Beach, dans la commune de Colleville-sur-Mer dans le Calvados, sur l'un des sites du débarquement allié du 6 juin 1944.
Inauguré officiellement en 1956 avec son mémorial, ce cimetière honore les soldats américains morts pendant la bataille de Normandie lors de la Seconde Guerre mondiale. Cette nécropole de 70 hectares est installée sur les hauteurs qui surplombent la plage d'Omaha Beach, l'une des plages du débarquement de Normandie. Le littoral à cet endroit est protégé.
Le cimetière a remplacé un premier cimetière provisoire dit de Saint-Laurent établi à proximité dès le 8 juin 1944. Il s'agissait du premier cimetière militaire américain de la Seconde Guerre mondiale. Il a été conçu par Harbeson, Hough, Livingston & Larson et l’espace a été arrangé par l'architecte paysagiste Markley Stevenson qui a fait en sorte que de n'importe quel angle, on voit une rangée de croix. À l’entrée du cimetière, une statue en bronze de 7 mètres de haut, à l'intérieur du demi-cercle formé par la colonnade du mémorial, fait face aux carrés des tombes. Elle symbolise « L'Esprit de la jeunesse américaine s'élevant des flots ». Cette statue est entourée de galets symbolisant la difficulté des tanks à passer la plage. Les stèles de marbre blanc sont en forme de croix latine ou en forme d'étoile de David pour les soldats de confession juive.
Personnes enterrées
Omaha Beach vue depuis l'escalier du cimetière menant à la plage.
Dans le cimetière sont enterrés les corps de 9 388 personnes, dont 307 inconnus, quatre femmes. En tout on compte 9384 militaires et 4 civils. Ces personnes sont principalement décédées le jour du débarquement ou dans les semaines suivantes en Normandie, principalement au combat. 14 000 dépouilles, d'abord inhumées en Normandie, ont été rapatriées aux États-Unis, à la demande de leurs proches.
Près du monument mémorial, dans le « jardin des disparus », se trouvent les noms de 1 557 soldats disparus.
3 titulaires de la Medal of Honor morts en Normandie reposent à Colleville, dont le général Theodore Roosevelt Junior (1887-12 juillet 1944) (le fils ainé du président des États-Unis Theodore Roosevelt et lointain cousin du président Franklin Roosevelt), le lieutenant Jimmie Monteith (1917 - 6 juin 1944 à Omaha Beach) et Frank Peregory1 (1916 - 12 juin 1944).
Deux des frères Niland, dont l'histoire a inspiré Steven Spielberg pour écrire le scénario du film Il faut sauver le soldat Ryan, sont aussi enterrés ici.
Capsule temporelle
Enterrée dans la pelouse directement vis-à-vis de l'entrée de l'ancien bâtiment des visiteurs, une capsule temporelle sauvegarde des journaux et des dépêches annonçant le débarquement du 6 juin 1944 en Normandie. La capsule est recouverte d'une dalle de granit rose sur laquelle est gravée : « To be opened June 6, 2044 ». Apposée au centre de la dalle il y a une plaque en bronze ornée avec les cinq étoiles d'un général de l'armée américaine et gravée avec l'inscription suivante : « In memory of General Dwight D. Eisenhower and the forces under his command. This sealed capsule containing news reports of the June 6, 1944 Normandy landings is placed here by the newsmen who were here, June 6, 1969,»
Administration
Le territoire du cimetière est une concession perpétuelle faite par la France aux États-Unis, comme il est d'usage pour tous les cimetières militaires relatifs aux deux guerres mondiales. Il ne bénéficie pas de l'extraterritorialité5.
Le cimetière est géré par l'American Battle Monuments Commission, agence indépendante du gouvernement américain. Conséquence de cette gestion, le cimetière (comme d'autres en France et dans le monde) est fermé en cas d'arrêt des activités gouvernementales aux États-Unis, ce qui se produit pendant 16 jours en octobre 2013.
Symbolique aux États-Unis
Par son emplacement devant Omaha Beach et les soldats qui y sont enterrés, beaucoup sont morts le jour J, le lieu revêt une symbolique particulière. Tous les présidents américains en exercice depuis Jimmy Carter se sont rendus au cimetière de Colleville (sauf George H. W. Bush qui n'y a effectué qu'une visite privée en 19958) : Ronald Reagan en 1984 (pour le 40e anniversaire du débarquement), Bill Clinton en 1994 (pour le 50e anniversaire du débarquement), George W. Bush en 2002 (pour le Memorial Day) et en 2004 (pour le 60e anniversaire du débarquement), le dernier en date étant Barack Obama le 6 juin 2009 (pour le 65e anniversaire du débarquement). Les discours de ces visites ont souvent servi aux présidents américains à appuyer la politique étrangère du moment.
El Cementerio Estadounidense de Normandía es un cementerio y memorial de la Segunda Guerra Mundial, en Colleville-sur-Mer, Francia, que honra a los soldados estadounidenses muertos en Europa durante dicha guerra.
El 8 de junio de 1944, la fuerza armada estadounidense estableció un cementerio temporal (Saint Mère Eglise), el primero en territorio europeo para sus soldados.1 Después de la guerra se construyó el cementerio actual, a 47 Km del anterior, encima justo de la playa de Omaha. En Saint Mère Eglise hubo enterrados unos 20 000 soldados estadounidenses. Al final de la guerra, más de la mitad fueron repatriados para ser enterrados en Estados Unidos, y el resto se trasladaron a Colleville.
Como todos los cementerios estadounidenses en territorio francés (tanto para la Primera Guerra Mundial, como para la Segunda), Francia garantizó a Estados Unidos una concesión de territorio a perpetuidad para que fuera ocupado por el cementerio, libre de toda tasa e impuesto. Este cementerio es administrado por el gobierno estadounidense y el Congreso otorga la financiación anual. La mayor parte de su personal, tanto civil como militar, se encuentra en Estados Unidos. La bandera estadounidense ondea en estos territorios de manera permanente.
Este cementerio está localizado en un barranco mirando hacia la Playa de Omaha, una de las playas donde se realizó el famoso Desembarco de Normandía, y el Canal de la Mancha. Cubre un área de 70 hectáreas y contiene los restos de 9387 militares estadounidenses. La mayor parte de éstos murieron durante el desembarco de Normandía; también incluye las tumbas de los miembros de la Fuerza Aérea cuyos aviones fueron derribados en Francia. Las tumbas están colocadas hacia el oeste, mirando a Estados Unidos. Se encuentran enterrados tres "Medalla de Honor", de los cuales uno de ellos es el hijo del presidente Roosevelt. El único enterramiento que no pertenece a la Segunda Guerra Mundial, es otro de los hijos de Roosevelt que murió durante la Primera Guerra Mundial y fue trasladado a este cementerio con posterioridad.
Cápsula del tiempo :
Enterrada en el piso directamente opuesto a la entrada del antiguo edificio para visitantes hay una cápsula del tiempo, donde han sido guardadas las noticias aparecidas en torno al desembarco del 6 de junio en Normandía. La cápsula está cubierta por una capa de granito rosado donde se lee "Abrir el 6 de junio de 2044". En el centro hay una placa de bronce adornada con las cinco estrellas de un General de la Fuerza Armada Estadounidense, y está grabada con la siguiente inscripción: "En memoria del general Dwight D. Eisenhower. Esta cápsula sellada contiene los reportajes y noticias del 6 de junio de 1944 sobre el desembarco de Normandía y ha sido puesta aquí por los reporteros que estuvieron presentes. 6 de junio de 1969."
El monumento conmemorativo:
Los nombres de los 1557 estadounidenses que perdieron la vida en el conflicto pero no han podido ser ubicados o identificados están inscritos en las paredes de un jardín semicircular al lado este del monumento. Esta parte está constituida por una serie de columnas que terminan en dos pequeños recintos a cada lado. En ellos se pueden observar mapas y documentos sobre las operaciones militares. En el centro hay una estatua de bronce titulada "Espíritu de los Jóvenes Estadounidenses". Hacia el lado oeste del memorial se puede ver en el patio un espejo de agua y un pasadizo con áreas de entierro a cada uno de los lados de la capilla circular. Detrás de la capilla hay algunas estatuas representando a los Estados Unidos y Francia. Mirando hacia la playa existe un cuadro explicativo de los desembarcos en Normandía.
Tumbas más conocidas
Entre los enterrados en el cementerio están aquellos que recibieron la Medalla de Honor durante la guerra, como Theodore Roosevelt Jr., hijo del presidente de los Estados Unidos, Theodore Roosevelt. Después de la creación del cementerio, otro de los hijos de Roosevelt, Quentin Roosevelt, que murió durante la Primera Guerra Mundial, fue exhumado y enterrado junto a su hermano.
Otras tumbas conocidas son:
Lesley J. McNair, un general del ejército estadounidense, que fue uno de los oficiales con mayor rango en morir en la guerra.
Jimmie W. Monteith, quien recibió la Medalla de Honor.
Dos de los hermanos Niland, Preston y Robert.
Frank D. Peregory, quien recibió la Medalla de Honor.
En la cultura popular:
Este cementerio fue usado en la película de terror La profecía, en uno de los carteles de la película puede verse a Damien parado en un campo lleno de tumbas.
En el comienzo de la película Salvando al Soldado Ryan, un veterano de la Segunda Guerra Mundial, acompañado por su familia, camina hasta la tumba del Capitán John Miller (el personaje de Tom Hanks) dando inicio a la primera secuencia de batalla en la película, el desembarco de Normandía. La tumba no existe realmente, fue traída especialmente para la filmación, pero la historia del soldado Ryan está basada en la historia de los Hermanos Niland, dos de los cuales están enterrados en el cementerio.
La composición Preludio Sinfónico (El Cementerio en Colleville-sur-Mer), escrito por Mark Camphouse, describe la batalla: una introducción suave y lenta, seguida por un movimiento en moderato y un final majestuoso.
The Normandy American Cemetery and Memorial is a World War II cemetery and memorial in Colleville-sur-Mer, Normandy, France, that honors American soldiers who died in Europe during World War II.
On June 8, 1944, the U.S. First Army established the temporary cemetery, the first American cemetery on European soil in World War II. After the war, the present-day cemetery was established a short distance to the east of the original site.
Like all other overseas American cemeteries in France for World War I and II, France has granted the United States a special, perpetual concession to the land occupied by the cemetery, free of any charge or any tax. This cemetery is managed by the American government, under Congressional acts that provide yearly financial support for maintaining them, with most military and civil personnel employed abroad. The U.S. flag flies over these granted soils.
The cemetery is located on a bluff overlooking Omaha Beach (one of the landing beaches of the Normandy Invasion) and the English Channel. It covers 172 acres (70 ha), and contains the remains of 9,387 American military dead, most of whom were killed during the invasion of Normandy and ensuing military operations in World War II. Included are graves of Army Air Corps crews shot down over France as early as 1942.
Only some of the soldiers who died overseas are buried in the overseas American military cemeteries. When it came time for a permanent burial, the next of kin eligible to make decisions were asked if they wanted their loved ones repatriated for permanent burial in the U.S., or interred at the closest overseas cemetery.
Notable interments:
Among the burials at the cemetery are three recipients of the Medal of Honor, including Theodore Roosevelt, Jr., son of President Theodore Roosevelt. After the creation of the cemetery, another son of President Roosevelt, Quentin, who had been killed in World War I, was exhumed and reburied next to his brother Theodore, Jr.
Notable burials at the cemetery include:
Lesley J. McNair, U.S. Army general, one of the two highest-ranking Americans to be killed in action in World War II
Jimmie W. Monteith, Medal of Honor recipient
Two of the Niland brothers, Preston and Robert
Frank D. Peregory, Medal of Honor recipient
Theodore Roosevelt, Jr., son of President Theodore Roosevelt, Medal of Honor recipient
Quentin Roosevelt, son of President Theodore Roosevelt, aviator killed in action in World War II
The Memorial
Omaha Beach Memorial (1953-56), Harbeson, Hough, Livingston & Larson, architects.
The names of 1,557 Americans who lost their lives in the Normandy campaign but could not be located and/or identified are inscribed on the walls of a semicircular garden at the east side of the memorial. This part consists of a semicircular colonnade with a loggia at each end containing maps and narratives of the military operations. At the center is a 22-foot bronze statue entitled The Spirit of American Youth Rising from the Waves. Facing west at the memorial, one sees in the foreground the reflecting pool, the mall with burial areas to either side and the circular chapel beyond. Behind the chapel are allegorical figures representing the United States and France. An orientation table overlooks the beach and depicts the landings at Normandy.
Time capsule:
Embedded in the lawn directly opposite the entrance to the old Visitors' Building is a time capsule which has been sealed and contains news reports of the June 6, 1944 Normandy landings. The capsule is covered by a pink granite slab upon which is engraved: To be opened June 6, 2044. Affixed in the center of the slab is a bronze plaque adorned with the five stars of a General of the Army and engraved with the following inscription: 'In memory of General Dwight D. Eisenhower and the forces under his command. This sealed capsule containing news reports of the June 6, 1944 Normandy landings is placed here by the newsmen who were here, June 6, 1969.
This cemetery was used in the original horror film The Omen as a main photo poster with Damien standing next to the thousands of graves.
The cemetery is featured in the beginning of Steven Spielberg's 1998 film Saving Private Ryan. A World War II veteran, accompanied by his family, makes his way to the grave of Captain John Miller (played by Tom Hanks) and segues into the movie's opening battle sequence, the D-Day landing at Omaha Beach. The grave does not actually exist; the headstone for Miller was only brought to the cemetery for the movie. The Captain John Miller portrayed in the movie never existed, but the Private Ryan story is based upon the story of the Niland Brothers, two of whom are buried in the cemetery.
Symphonic Prelude (The Cemetery at Colleville-sur-Mer), by Mark Camphouse, portrays the battle in a way that battles are commonly depicted for bands: a slow introduction followed by a moderate tempo body and a majestic ending.
After coming out of prison last summer, Welcome is now a One Man Can Training Assistant. He explains how the project asks questions and encourages men to rethink how they value women and change their lives.
“How can I say that I’m gender conscious if I’m still being abusive? How can I say I’m gender conscious if I’m still seeing women as objects rather than our equals? So in order to change, I needed to do this introspection and move myself away from gang activity to understand I could be a loving man and a loving provider, if I just worked on that process.”
Background
In March 2013 the United Nation's Commission on the Status of Women will meet to discuss how to prevent all forms of violence against women and girls.
UK aid is working in 21 countries to address physical and sexual violence against women and girls and will be supporting 10 million women and girls with improved access to security and justice services by 2015.
Find out more at www.dfid.gov.uk/violence-against-women-and-girls
For more information about the Sonke Gender Justice programme visit genderjustice.org.za/
Picture: Lindsay Mgbor/Department for International Development
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Palais Daun-Kinsky
If the Freyung once has been one of the most prestigious residential addresses in town, so for it was next to the Palais Harrach especially the Grand Palais Kinsky responsible. In its place in the middle ages were two parcels, each with a small building. The front part of the Freyung was since the 16th Century always in aristocratic in hands (Bernhard Menesis Freiherr von Schwarzeneck, Countess Furstenberg, Counts Lamberg). 1686 acquired Karl Ferdinand Count Waldstein the house of Count Lamberg. His son bought also the adjacent house in Rose Street (Rosengasse) and united both plots to one parcel. He had three granddaughters, who sold the site in 1709 to Wirich Philipp Laurenz Graf Daun. This came from an old Rhenish nobility. His ancestors were mostly working for the Elector of Trier as officers. In the battle of the Habsburgs against the Turks, Spanish and Frenchmen, he acquired great military merit. He brought it to the General Feldzeugmeister (quartermaster) and Viceroy of Naples. In 1713 he had the house at the Freyung demolished and by Johann Lukas von Hildebrandt built in its place until 1716 a palace, him serving as Vienna's city residence. Down may have been Antonio Beduzzi requested the creation of reconstruction plans, but was eventually Hildebrandt entrusted with the work. In 1719, the palace was largely completed. Daun lived there but rarely because he stayed a lot in Italy and in Austria preferred his country castles Ladendorf, Kirchstetten and Pellendorf. In 1746 acquired Johann Joseph Count von Khevenhüller the Palais from Leopold Joseph von Daun, the son of the owner, who happened to be in financial difficulty. The Reichsgraf (count of empire) was appointed in 1763 by the Empress Maria Theresa for his services to the Lord Steward and Lord Chamberlain, and raised to the hereditary imperial princes (princes of the Holy Roman Empire).
Door knocker
He sold the palace in 1764 to the Imperial Councilor President Ferdinand Bonaventura Harrach Count II. This worked as a diplomat, especially in Holland and Italy. At times of Maria Theresa, the building was inhabited by her Swiss Guards until they 1784 moved to their new quarters in Hofstallgebäude (court stable building). Ferdinand Bonaventura's daughter Rosa brought the palace in 1790 into her marriage to Josef Graf Kinsky. Whose family belonged to the Bohemian nobility. Its members appear at the beginning of the 13th Century documented. Wilhelm Freiherr von Kinsky was a colonel and friend of Wallenstein. He was murdered with this 1634 in Eger. His confiscated estates were divided among the assassins. Only two masteries (Chlumez and Bohemian Kamnitz ) remained through the timely change of front of his nephew, Johann Octavian with the family. The Kinsky but succeeded soon to rise again. They occupied again high positions in the administration and the military. 1798 the had modernized their Viennese palace by the architect Ernst Koch inside. Thus, the original Baroque interior was lost. As in 1809 the Frenchmen had occupied Vienna, a french Marshal and General were billeted in the palace. Prince Ferdinand Kinsky was a great patron of Beethoven, which he paid an annual salary of 4,000 florins for life along with two other nobles. In 1856, the Palace was refurbished in the interior by the architect Friedrich Stache. In the 19th Century lived the Princes Kinsky mostly on their Bohemian goods or in Prague. The building was therefore temporarily rented to some posh tenants. So lived here temporarily Field Marshal Radetzky and Archduke Albrecht. 1904 redecorated the French interior designer Armand Decour the piano nobile.
Staircase - second floor
With the end of World War II began a tough time for the Kinsky family. Almost all goods and industrial holdings, with the exception of the hunting lodge Rosenhof at Freistadt lay in Bohemia. By 1929, 50 % of the extensive Bohemian possessions were expropriated. There were still about 12,000 acres, a sugar factory and breweries. 1919 had to be a part of Vienna's Palais force-let. During World War II it was requisitioned by the German army. For fear of air raids the in the palace remaining objects of art were transferred to some Bohemian castles. The Palais Kinsky was not destroyed, its art treasures but remained in Bohemia. After the Second World War, the remaining Czech possessions were lost by nationalization for the family. In the Viennese palace were temporarily housed the embassies of China and Argentina. In 1986 it was sold by Franz Ulrich Prince Kinsky. After several short-term owners, the palace was acquired by the Karl Wlaschek private foundation in 1997. It was generously restored from 1998 to 2000 and adapted for offices and shops. The Grand Ballroom is often used because of its excellent acoustics as a concert hall. Since 1992, acclaimed art auctions are held at the Palais.
The Palais Kinsky is probably next to the Belvedere the most prominent secular work of the great Baroque architect and one of the best preserved baroque palaces in Vienna. Despite multiple changes of ownership and of numerous rearrangements inside the main components such as Baroque facade, vestibule, staircase, hall and gallery remained largely unchanged. The building extends between Freyung and Rosengasse. The property is only 30 meters wide, but three times longer. It was therefore not an easy task to build on it a representative palace with a grand staircase. Hildebrandt but has brilliantly overcome by putting up four floors at 24 m height, and yet preserving the proportions. He grouped the construction with two long side wings and a cross section around two consecutive large courtyards. The pomp and living rooms of the palace are mounted around the first courtyard, while the second contained carriage houses and stables. Here have yet been preserved the marble wall panels with the animal waterings made of cast iron and enamel from the late 19th century. Hildebrandt integrated various parts of the previous building into the new building. The seven-axle face side at the Freyung is divided several times. Stability is procured by the rusticated ground floor with its inserted diamond blocks. On it sit the two residential floors. They are embraced by Corinthian Riesenpilaster (giant pilasters). The mezzanine floor above it features in comparison with the underlying main floor tiny windows.
Hercules
The large windows on the main floor are particularly detailed designed. While the outer pairs of windows possess pagoda-like over roofings, those of the three windows of the central projection are round-arched. The trophies and weapons depicted in the lintel fields refer to the military profession of the owner. Vertically is the extensive looking facade accented by the slightly protruding, tri-part central risalite, the pilasters are decorated much richer than that of the side projections. In the Fantasiekapitelle (fantasy capital) of the pilasters are diamond lattices incorporated, an important component of the coat of arms of the Counts Down. The with figures and trophies decorated attica is over the central part formed as balustrade. The sculptures are believed to originate from Joseph Kracker, representing the gods Minerva, Juno, Hercules, Neptune, Diana and Constantia. Very elegant looks the plastically protruding portal. Its composition goes back to Johann Lukas von Hildebrandt. It is considered one of the most beautiful Baroque portals of Vienna. The draft was submitted in 1713 and carried out until 1715. The richly decorated wooden gate dates from the period around 1856, when it was renewed. It is outside flanked by two, obliquely placed Doric columns that match the rusticated ground floor. Sloped to the inside carry two, on pillar stumps standing atlases (also from Kracker) the entablature with the overlying structured segment gable. On it sit the stone figures of Prudence and Justice. The middle window in between is much richer decorated than the rest of the window openings on the first floor. Instead of the usual trapezoidal over roofings here it is crowned by a cartouche held by two putti. The originally thereon located coat of arms of the owner was replaced after the change of ownership by that of the Kinsky family with three boar's teeth. Above the shield hangs an chain with the Order of the Golden Fleece. Both the gusset of the archway as well as the overlying triglyph frieze are decorated with trophies.
Banquet Hall
If someone passes the portal, so one gets into one, by strong pillars divided three-aisled gatehouse. The massive spatial impression is something mitigated by the large sculptures in the niches. They were created by Joseph Kracker. Among the somewhat restrained stucco decorations you can see the coat of arms of the owner, with its characteristic diamond motif. At this gate hall adjoins the widely embedded and more than twice as high vestibule with its domed ceiling. This transverse oval space is divided by pilasters and Doric columns. The rich stucco decoration of the ceiling provided with lunettes could come from Alberto Camesina or from his workshop. The here used motifs are again relating to the career of the client as a commander. For instance, in the lunette caps are reliefs of Roman soldiers. On the left side of the vestibule leads an anteroom to the grand staircase. It is dominated by a vault carrying Hercules, a work by Lorenzo Mattielli. As the monogram of Charles VI proves, with it the Emperor was meant to be worshiped. In two oval niches stand above the two double doors of the Treppenvorhauses (stairway hall way) busts of Caesar and Emperor Titus Flavius Vespasian. The elongated stairway occupies almost the entire length of the left wing of the first courtyard. In the stairwell are eleven statues of Roman deities in stucco niches. The relatively narrow, crossed grand stairway is considered one of the most beautiful of Vienna. It overall design might go back to Antonio Beduzzi. On the second floor stand on the from winded perforated volute forms constructed stone balustrade four groups of playing or scrapping putti. They serve in part as a lantern holders, partly just as a decoration. The statue cycle in the staircase is a work of Lorenzo Mattielli, but the cherubs are believed to stem from Joseph Kracker. This type of decoration already points to the coming Rococo. A fresco by Carlo Innocenzo Carlone adorns the ceiling. The simulated architecture painted Antonio Beduzzi. The large wall mirror of the staircase were added after 1907 .
Staircase/ceiling fresco
The somewhat playful balustrade leads to the reception rooms on the second floor. The large oval ballroom above the entrance hall is oriented towards the courtyard. Its allegorical ceiling painting stems from Carlo Innocenzo Carlone. The other frescoes are of him and Marcantonio Chiarini. The walls are covered with marble. The room was several times, most recently in 1904 changed structurally. In front of the banquet hall is the former dining room. It is now called Yellow Salon. In 1879/80 was installed in it a choir stalls from the Pressburg Cathedral by Georg Raphael Donner ( 1736) and partly completed. The also acquired confessionals were converted into boxes that are in the antechamber of the second floor today. In the chapel, designed by Hildebrandt, was until 1741 as altarpiece Francesco Solimena's "Holy Family with the Infant John the Baptist". 1778 the sacred space, however, was already desecrated. The altarpiece is already since the 18th Century in Wiener Neustadt Neuklosterkirche (church in Lower Austria). In the cross-section between the first and the second courtyard lay the paneled gallery whose spatial effect in 1856 by an attached conservatory was changed something. Its vaulted ceiling is decorated with frescoes by Carlo Innocenzo Carlone. Marcantonio Chiarini created 1716/18 the quadrature paintings. At it followed a larger hall in which Francesco Solimena's oil painting "Phaeton and Apollo" was located. It can be admired today in the National Gallery in Prague. The hall was later used as a library. Part of the state rooms 1714 was equipped with ceiling paintings by Peter Strudel. In the course of a radical redesign of the building's interior Ernest Koch has cut off all stucco ceilings of the staterooms 1798-1800 and also redesigned the walls. Since 1879 Carl Gangolf Kayser tried to restore the original spatial impression by the of Rudolf von Weyr created new Neo-Baroque stucco ceilings. Only in a few areas (vestibule, staircase, ballroom), the original substance remained. In the palace there are numerous Mamorkamine (marble fireplaces) and stoves from the 18th and 19th Century. The star parquet floors and many original door fittings date from the third quarter of the 19th Century. The facades of the first courtyard are structured by Tuscan pilasters. The arcades on the ground floor have already been closed in 1753. The with a mascaron decorated wall fountain is a work of Rudolf von Weyr. The second courtyard is kept simple. Remarkable at it rear end is the cenotaph for the current owner Karl Wlaschek.
Location/Address: 1010 Vienna, Freyung 4
Activities: The courtyards are freely accessible, the staircase usually also. A look at the state rooms is only possible if these are not just rented.
The Luxury of being yourself
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We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
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