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( From Wikipedia, the free encyclopedia ) are insects of the suborder Zygoptera in the order Odonata. They are similar to dragonflies, which constitute the other odonatan suborder, Anisoptera, but are smaller, have slimmer bodies, and most species fold the wings along the body when at rest. An ancient group, damselflies have existed since at least the Lower Permian, and are found on every continent except Antarctica.
All damselflies are predatory; both nymphs and adults eat other insects. The nymphs are aquatic, with different species living in a variety of freshwater habitats including acid bogs, ponds, lakes and rivers. The nymphs moult repeatedly, at the last moult climbing out of the water to undergo metamorphosis. The skin splits down the back, they emerge and inflate their wings and abdomen to gain their adult form. Their presence on a body of water indicates that it is relatively unpolluted, but their dependence on freshwater makes them vulnerable to damage to their wetland habitats.
Some species of damselfly have elaborate courtship behaviours. Many species are sexually dimorphic, the males often being more brightly coloured than the females. Like dragonflies, they reproduce using indirect insemination and delayed fertilisation. A mating pair form a shape known as a "heart" or "wheel", the male clasping the female at the back of the head, the female curling her abdomen down to pick up sperm from secondary genitalia at the base of the male's abdomen. The pair often remain together with the male still clasping the female while she lays eggs within the tissue of plants in or near water using a robust ovipositor.
Fishing flies that mimic damselfly nymphs are used in wet-fly fishing. Damselflies sometimes provide the subject for personal jewellery such as brooches.
From Wikipedia, the free encyclopedia
"Khajuraho"
UNESCO World Heritage Site
Location Madhya Pradesh, India Edit this at Wikidata
Coordinates 24°51′08″N 79°55′20″E
Criteria Cultural: (i), (iii) Edit this on Wikidata[1]
Reference 240
Inscription 1986 (10th Session)
Khajuraho Group of Monuments is located in India
Khajuraho Group of Monuments
Location of Khajuraho Group of Monuments
[edit on Wikidata]
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres (109 mi) southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India.[2][3] The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.[4]
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty.[5] Historical records note that the Khajuraho temple site had 85 temples by the 12th century, spread over 20 square kilometers Of these, only about 25 temples have survived, spread over 6 square kilometers.[3] Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.[6]
The Khajuraho group of temples were built together but were dedicated to two religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains in the region.[7]
Contents
1 Location
2 History
3 Description
3.1 Architecture of the temples
4 Construction
5 Chronology
6 Arts and sculpture
7 Tourism and cultural events
8 See also
9 References
10 Further reading
11 External links
Location
The Khajuraho monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres (385 mi) southeast of New Delhi. The temples are near a small town also known as Khajuraho,[8] with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai.[9] The site is also linked by the Indian Railways service, with the railway station located approximately six kilometres from the entrance to the monuments .
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, which is connected to the state capital Bhopal by the SW-NE running National Highway 86.
The 10th century Bhand Deva Temple in Rajasthan was built in the style of the Khajuraho monuments and is often referred to as 'Little Khajuraho'.
History
The Khajuraho group of monuments was built during the rule of the Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand.[10] Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by The Lakshmana Temple. Vishvanatha temple best highlights King Dhanga's reign.[11]:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Vidyadhara.[12] The temple inscriptions suggest many of the currently surviving temples were complete between 970 and 1030 CE, with further temples completed during the following decades.[7]
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba,[13] the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.[14]
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti.[15] The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.[14]
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century; after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them "Kajarra"[16][17] as follows:
Until the 12th century, Khajuraho was under Hindu kings and featured 85 temples. Central India was seized by Delhi Sultanate in 13th century. Under Muslim rule, some temples were destroyed and the rest left in neglect. Ruins of some old temples (Ghantai temple above) are still visible.
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell[18]
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect.[7][10] In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho.[19] The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims.[20][21] Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience.[22] Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.[23]
Nomenclature
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm,[24] and vāhaka, वाहक means "one who carries" or bearer[25]). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).[26]
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use.[23] He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.[27]
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
Description
Sections and orientation of Khajuraho temples.
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area.[27] The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.[27][29]
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river).[30] The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.[27][31]
All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthankars.[27] For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design.[32] Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara.[27] The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.[28]
The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture.[33] Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images.[34] The viewer has to look closely to find them, or be directed by a guide.[35] The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.[36]
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.[37]
Of all temples, the Matangeshvara temple remains an active site of worship.[28] It is another square grid temple, with a large 2.5 metres (8.2 ft) high and 1.1 metres (3.6 ft) diameter lingam, placed on a 7.6 metres (25 ft) diameter platform.[27]
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet.[10][27]
Jain temples
Main article: Jain temples of Khajuraho
The Jain temples are located on east-southeast region of Khajuraho monuments.[38] Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
Architecture of the temples
The layout plan of Kandariya Mahadeva Temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan.[39]
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala.[40] This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.[41]
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.[42]
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other.[29] The square is divided into perfect 64 sub-squares called padas.[40]
Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires.[39] The primary deity or lingas are located in the grid’s Brahma padas.
Khajuraho temples use the 8x8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Shikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.[29][43]
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts.[44] The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas.[45] This fractal pattern that is common in Hindu temples.[46] Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.[26]
All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.
An illustration of Khajuraho temple Spires (Shikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.
Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire).[41] Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.[29]
In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity.[29] The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.[41]
Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India.[47] Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as "an organism of repeating cells".[48]
Construction
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view.[49] The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.[50] Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved.[51] Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone.[52] They concluded that these temples would have required hundreds of highly trained sculptors.
Chronology
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions.[53] In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
Temples, religious affiliations and consecration years
Sequence Modern Temple name Religion Deity Completed by
(CE)[27][54] Image
1 Chausath Yogini Hinduism Devi, 64 Yoginis 885 Khajuraho,Chausath-Yogini-Tempel2.jpg
2 Brahma Hinduism Vishnu 925
3 Lalgun Mahadev Hinduism Shiva 900 India-5696 - Flickr - archer10 (Dennis).jpg
4 Matangeshwar Hinduism Shiva 1000 India-5772 - Flickr - archer10 (Dennis).jpg
5 Varaha Hinduism Vishnu 950 India-5595 - Flickr - archer10 (Dennis).jpg
6 Lakshmana Hinduism Vaikuntha Vishnu 939 India-5679 - Flickr - archer10 (Dennis).jpg
7 Parshvanatha Jainism Parshvanatha 954 Le temple de Parshvanath (Khajuraho) (8638423582).jpg
8 Vishvanatha Hinduism Shiva 999 India-5749 - Visvanatha Temple - Flickr - archer10 (Dennis).jpg
9 Devi Jagadambi Hinduism Devi, Parvati 1023 Khajuraho Devi Jagadambi Temple 2010.jpg
10 Chitragupta Hinduism Sun, Chitragupta 1023 India-5707 - Flickr - archer10 (Dennis).jpg
11 Kandariya Mahadeva (Largest temple) Hinduism Shiva 1029 Temple at Khajuraho, Madhya Pradesh, India.jpg
12 Vamana Hinduism Vamana 1062 Khajuraho Vaman Temple 2010.jpg
13 Adinath Jain Temple Jainism Adinatha 1027 Adinath Jain Temple Khajuraho 12.jpg
14 Javeri Hinduism Vishnu 1090 Javari Temple, Khajuraho.jpg
15 Chaturbhuja Hinduism Vishnu 1110 Khajuraho Chaturbhuja Temple.jpg
16 Duladeo (Duladeva) Hinduism Shiva 1125 Khajuraho Dulhadeo 2010.jpg
17 Ghantai Jainism Adinatha 960 A ruin, pillars at Khajuraho, India.jpg
18 Vishnu-Garuda Hinduism Vishnu 1000
19 Ganesha Hinduism Shiva 1000
20 Hanuman Hinduism Hanuman 922[55] Hanuman Inscription at Khajuraho.jpg
21 Mahishasuramardini Hinduism Mahishasuramardini 995 Khajuraho India, Lakshman Temple, Sculpture 10.JPG
22 Shantinatha temple Jainism Shantinatha 1027 Jain group of temples - Khajuraho 09.jpg
Arts and sculpture
Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the monuments.
Erotic sculptures
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices.[56] Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples.[6][57] James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art":
"Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
Over 90% of the art work at the temple is about daily life and symbolic values in ancient Indian culture.
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities;[58] however the kama arts represent diverse sexual expressions of different human beings.[59] The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition.[3][6] For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era.[60] These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples.[6] Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976[29]
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa.[61] Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples.[26][62] Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples.[63] Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.[64]
Tourism and cultural events
Temples layout map – Khajuraho Group of Monuments.
The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.[65]
The Khajuraho Dance Festival is held every year in February.[66] It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
See also
List of megalithic sites
Jain temples of Khajuraho
Ajanta Caves
Badami Chalukya architecture
Western Chalukya architecture
Hindu temple
Madan Kamdev
Hemvati
Kama Sutra
Kamashastra
References
"World Heritage Day: Five must-visit sites in India".
Khajuraho Group of Monuments UNESCO World Heritage Site
Philip Wilkinson (2008), India: People, Place, Culture and History, ISBN 978-1405329040, pp 352-353
Gopal, Madan (1990). K.S. Gautam, ed. India through the ages. Publication Division, Ministry of Information and Broadcasting, Government of India. p. 179.
Devangana Desai (2005), Khajuraho, Oxford University Press, Sixth Print, ISBN 978-0-19-565643-5
James Fergusson, Norther or Indo-Aryan Style - Khajuraho History of Indian and Eastern Architecture, Updated by James Burgess and R. Phene Spiers (1910), Volume II, John Murray, London
"Census of India 2001: Data from the 2001 Census, including cities, villages and towns (Provisional)". Census Commission of India. Archived from the original on 2004-06-16. Retrieved 2008-11-01.
Khajuraho airport AAI, Govt of India
G.S. Ghurye, Rajput Architecture, ISBN 978-8171544462, Reprint Year: 2005, pp 19-24
Sen, Sailendra (2013). A Textbook of Medieval Indian History. Primus Books. ISBN 9789380607344.
Devangana Desai 2005, p. 10.
also called Erakana
Mitra (1977), The early rulers of Khajuraho, ISBN 978-8120819979
J. Banerjea (1960), Khajuraho, Journal of the Asiatic Society, Vol. 2-3, pp 43-47
phonetically translated from Arabic sometimes as "Kajwara"
Director General of Archaeology in India (1959), Archaeological Survey of India, Ancient India, Issues 15-19, pp 45-46 (Archived: University of Michigan)
Arthur Cotterell (2011), Asia: A Concise History, Wiley, ISBN 978-0470825044, pp 184-185
Michael D. Willis, An Introduction to the Historical Geography of Gopakṣetra, Daśārṇa, and Jejākadeśa, Bulletin of the School of Oriental and African Studies, University of London, Vol. 51, No. 2 (1988), pp. 271-278; See also K.R. Qanungo (1965), Sher Shah and his times, Orient Longmans, OCLC 175212, pp 423-427
Trudy King et al., Asia and Oceania: International Dictionary of Historic Places, ISBN 978-1884964046, Routledge, pp 468-470
Alain Daniélou (2011), A Brief History of India, ISBN 978-1594770296, pp 221-227
Louise Nicholson (2007), India, National Geographic Society, ISBN 978-1426201448, see Chapter on Khajuraho
Krishna Deva (1990), Temples of Khajuraho, 2 Volumes, Archaelogical Survey of India, New Delhi
kharjUra Sanskrit English Dictionary, Koeln University, Germany
vAhaka Sanskrit English Dictionary, Koeln University, Germany
Devangana Desai (1996), Chapter 7 - Puns and Enigmatic Language in Sculpture in The Religious Imagery of Khajuraho, Project for Indian Cultural Studies, Columbia University Archives
Rana Singh (2007), Landscape of sacred territory of Khajuraho, in City Society and Planning (Editors: Thakur, Pomeroy, et al), Volume 2, ISBN 978-8180694585, Chapter 18
Shobita Punja (1992), Divine Ecstasy - The Story of Khajuraho, Viking, New Delhi, ISBN 978-0670840274
Stella Kramrisch, The Hindu Temple, Vol 1, Motilal Banarsidass, ISBN 978-81-208-0222-3
Ibn Battuta in his 1335 CE memoirs on Delhi Sultanate mentioned the temples to be near a mile long lake, modern water bodies are much smaller and separate lagoons; Director General of Archaeology in India (1959), Archaeological Survey of India, Ancient India, Issues 15-19, pp 45-46 (Archived: University of Michigan)
The number 64 is considered sacred in Hindu temple design and very common design basis; it is symbolic as it is both a square of 8 and a cube of 4.
Brahma temple is 19 feet square; Kandariya Mahadev has a four fused square grid; Matangeshvara temple is a 64 grid square; etc. See G.S. Ghurye, Rajput Architecture, ISBN 978-8171544462, Reprint Year: 2005, pp 19-25; and V.A. Smith (1879), "Observations on some Chandel Antiquities", Asiatic Society of Bengal, Vol. 48, Part 1, pp 291-297
D Desai (1996), The religious imagery of Khajuraho, Project for Indian Cultural Studies, ISBN 978-8190018418
Desai states that Khajuraho and Orissa Hindu temples are distinctive in giving erotic kama images the same weight as others and by assigning important architectural position; in contrast, surviving sculpture from temples of Gujarat, Maharashtra and Mysore show that there kama and sexual images were assigned to insignificant parts of the temple; Meister suggests that this aspect of eroticism in temple design and equal weight reflects evolution of design ideas among Hindu artisans, with temples built in later medieval centuries placing equal weight and balance to kama; see Meister, Michael (1979). "Juncture and Conjunction: Punning and Temple Architecture". Artibus Asiae. 41 (2–3): 226–234. JSTOR 3249517. doi:10.2307/3249517.
Edmund Leach, The Harvey Lecture Series. The Gatekeepers of Heaven: Anthropological Aspects of Grandiose Architecture, Journal of Anthropological Research, Vol. 39, No. 3 (Autumn, 1983), pp 243-264
Bettina Bäumer, A review, Artibus Asiae, Vol. 59, No. 1/2 (1999), pp. 138-140
Cunningham, Alexander (1880). Report of Tours in Bundelkhand and Malwa in 1874-75 and 1876-77. 8 Hastings Street, Calcutta: Office of the Superintendent of Government Printing. p. 22. Retrieved 8 May 2017.
James Fergusson, Jaina Architecture - Khajuraho History of Indian and Eastern Architecture, Updated by James Burgess and R. Phene Spiers (1910), Volume II, John Murray, London
Meister, Michael W. (April–June 1979). "Maṇḍala and Practice in Nāgara Architecture in North India". Journal of the American Oriental Society. 99 (2): 204–219. JSTOR 602657. doi:10.2307/602657.
Meister, Michael (1983). "Geometry and Measure in Indian Temple Plans: Rectangular Temples". Artibus Asiae. 44 (4): 266–296. JSTOR 3249613. doi:10.2307/3249613.
Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, pp 68-69
Stella Kramrisch (1976), The Hindu Temple Volume 1, ISBN 81-208-0223-3
Meister, Michael W. (March 2006). "Mountain Temples and Temple-Mountains: Masrur". Journal of the Society of Architectural Historians. 65 (1): 26–49. JSTOR 25068237. doi:10.2307/25068237.
Meister, Michael W. (Autumn 1986). "On the Development of a Morphology for a Symbolic Architecture: India". RES: Anthropology and Aesthetics. Peabody Museum of Archaeology and Ethnology (12): 33–50. JSTOR 20166752.
Devangana Desai, Khajuraho, Oxford University Press Paperback (Sixth impression 2005) ISBN 978-0-19-565643-5
Rian et al (2007), Fractal geometry as the synthesis of Hindu cosmology in Kandariya Mahadev Temple, Khajuraho, Building and Environment, Vol 42, Issue 12, pp 4093-4107, doi:10.1016/j.buildenv.2007.01.028
Trivedi, K. (1989). Hindu temples: models of a fractal universe. The Visual Computer, 5(4), 243-258
Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, Chapter 4
V.A. Smith, "Observations on some Chandel Antiquities", Journal of the Asiatic Society of Bengal, Volume 48, pp 290-291
"Lost Worlds of the Kama Sutra" History channel
"Lost Worlds of the Kama Sutra," History Channel
Lehner, Mark (1997) The Complete Pyramids, London: Thames and Hudson. ISBN 0-500-05084-8. pp. 202–225
Will Durant (1976), Our Oriental Heritage - The Story of Civilization, ISBN 978-0671548001, Simon & Schuster
From inscription or estimated from other evidence
Cunningham in Archaeological Survey Reports noted that one of two Hanuman statues bears an inscription of 868 CE
Rabe (2000), Secret Yantras and Erotic Display for Hindu Temples, Tantra in Practice (Editor: David White), ISBN 978-8120817784, Chapter 25, pp 434-446
See:
Heather Elgood (2000), Hinduism and the Religious Arts, ISBN 978-0304707393, Bloomsbury;
Stella Kramrisch, The Hindu Temple, Volume 1, ISBN 81-208-0223-3, pp 92-96;
Alain Danielou (2001), The Hindu Temple: Deification of Eroticism, ISBN 978-0892818549, pp 101-119
"Khajuraho". Liveindia.com. Retrieved on 2014-07-14.
Alain Danielou (2001), The Hindu Temple: Deification of Eroticism, ISBN 978-0892818549
George Michell, The Hindu Temple: An Introduction to Its Meaning and Forms, University of Chicago Press, ISBN 978-0226532301, pp 117-123 and pp 56-58
L. H. Gray, Journal of American Society, Vol. 27
H.M. Woodward (1989), The Lakṣmaṇa Temple, Khajuraho, and Its Meanings, Ars Orientalis, Vol. 19, pp. 27-48
Smith, David (1 January 2013). "Monstrous Animals on Hindu Temples, with Special Reference to Khajuraho": 27–43. doi:10.1558/rosa.v7i1-3.27. Retrieved 9 February 2015.
The Lakṣmaṇa Temple, Khajuraho, and Its Meanings, Hiram W. Woodward, Jr., Ars Orientalis, Vol. 19, (1989), pp. 27-48
Tourists to Khajuraho will now have an audio compass The Times of India (25 August 2011)
Khajuraho Festival of Dances
What to the Slave Is the Fourth of July?
From Wikipedia, the free encyclopedia
Frederick Douglass circa 1852
The 1852 pamphlet printing of the speech
"What to the Slave Is the Fourth of July?" is the title now given to a speech by Frederick Douglass delivered on July 5, 1852, in Corinthian Hall, Rochester, New York, addressing the Rochester Ladies' Anti-Slavery Society.The speech is perhaps the most widely known of all of Frederick Douglass' writings save his autobiographies. Many copies of one section of it, beginning in para. 32, have been circulated online.[4] Due to this and the variant titles given to it in various places, and the fact that it is called a July Fourth Oration but was actually delivered on July 5, some confusion has arisen about the date and contents of the speech. The speech has since been published under the above title in The Frederick Douglass Papers, Series One, Vol. 2. [5
While referring to the celebrations of the Independence Day in the United States the day before, the speech explores the constitutional and values-based arguments against the continued existence of Slavery in the United States. Douglass orates that positive statements about American values, such as liberty, citizenship, and freedom, were an offense to the enslaved population of the United States because of their lack of freedom, liberty, and citizenship. As well, Douglass referred not only to the captivity of enslaved people, but to the merciless exploitation and the cruelty and torture that slaves were subjected to in the United States.Rhetoricians R.L. Heath and D. Waymer called this topic the "paradox of the positive" because it highlights how something positive and meant to be positive can also exclude individuals.
Qué para el esclavo es el cuatro de julio?
De Wikipedia, la enciclopedia libre
Frederick Douglass circa 1852
La impresión del discurso en 1852.
"¿Qué para el esclavo es el cuatro de julio?" es el título ahora dado a un discurso de Frederick Douglass pronunciado el 5 de julio de 1852, en Corinthian Hall, Rochester, Nueva York, dirigido a la Sociedad Antiesclavista de Damas de Rochester. El discurso es quizás el más conocido de todos los Frederick Douglass 'escritos salvan sus autobiografías. Muchas copias de una sección, comenzando en el párr. 32, se han distribuido en línea. [4] Debido a esto y a los títulos variantes que se le otorgan en varios lugares, y al hecho de que se llama una oración del 4 de julio, pero en realidad se entregó el 5 de julio, ha surgido cierta confusión sobre la fecha y el contenido del discurso. Desde entonces, el discurso ha sido publicado bajo el título anterior en The Frederick Douglass Papers, Series One, vol. 2. [5
Al referirse a las celebraciones del Día de la Independencia en los Estados Unidos el día anterior, el discurso explora los argumentos constitucionales y basados en valores contra la existencia continua de la esclavitud en los Estados Unidos. Douglass dice que las declaraciones positivas sobre los valores estadounidenses, como la libertad, la ciudadanía y la libertad, fueron un delito para la población esclavizada de los Estados Unidos debido a su falta de libertad, libertad y ciudadanía. Además, Douglass se refirió no solo al cautiverio de las personas esclavizadas, sino a la explotación despiadada y la crueldad y tortura a la que fueron sometidos los esclavos en los Estados Unidos. Los retóricos RL Heath y D. Waymer llamaron a este tema la "paradoja de lo positivo "porque resalta cómo algo positivo y destinado a ser positivo también puede excluir a las personas.
+++++++ From Wikipedia, the free encyclopedia +++++++++
"Khajuraho"
UNESCO World Heritage Site
Location Madhya Pradesh, India Edit this at Wikidata
Coordinates 24°51′08″N 79°55′20″E
Criteria Cultural: (i), (iii) Edit this on Wikidata[1]
Reference 240
Inscription 1986 (10th Session)
Khajuraho Group of Monuments is located in India
Khajuraho Group of Monuments
Location of Khajuraho Group of Monuments
[edit on Wikidata]
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres (109 mi) southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India.[2][3] The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.[4]
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty.[5] Historical records note that the Khajuraho temple site had 85 temples by the 12th century, spread over 20 square kilometers Of these, only about 25 temples have survived, spread over 6 square kilometers.[3] Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.[6]
The Khajuraho group of temples were built together but were dedicated to two religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains in the region.[7]
Contents
1 Location
2 History
3 Description
3.1 Architecture of the temples
4 Construction
5 Chronology
6 Arts and sculpture
7 Tourism and cultural events
8 See also
9 References
10 Further reading
11 External links
Location
The Khajuraho monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres (385 mi) southeast of New Delhi. The temples are near a small town also known as Khajuraho,[8] with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai.[9] The site is also linked by the Indian Railways service, with the railway station located approximately six kilometres from the entrance to the monuments .
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, which is connected to the state capital Bhopal by the SW-NE running National Highway 86.
The 10th century Bhand Deva Temple in Rajasthan was built in the style of the Khajuraho monuments and is often referred to as 'Little Khajuraho'.
History
The Khajuraho group of monuments was built during the rule of the Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand.[10] Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by The Lakshmana Temple. Vishvanatha temple best highlights King Dhanga's reign.[11]:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Vidyadhara.[12] The temple inscriptions suggest many of the currently surviving temples were complete between 970 and 1030 CE, with further temples completed during the following decades.[7]
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba,[13] the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.[14]
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti.[15] The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.[14]
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century; after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them "Kajarra"[16][17] as follows:
Until the 12th century, Khajuraho was under Hindu kings and featured 85 temples. Central India was seized by Delhi Sultanate in 13th century. Under Muslim rule, some temples were destroyed and the rest left in neglect. Ruins of some old temples (Ghantai temple above) are still visible.
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell[18]
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect.[7][10] In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho.[19] The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims.[20][21] Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience.[22] Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.[23]
Nomenclature
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm,[24] and vāhaka, वाहक means "one who carries" or bearer[25]). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).[26]
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use.[23] He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.[27]
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
Description
Sections and orientation of Khajuraho temples.
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area.[27] The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.[27][29]
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river).[30] The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.[27][31]
All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthankars.[27] For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design.[32] Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara.[27] The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.[28]
The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture.[33] Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images.[34] The viewer has to look closely to find them, or be directed by a guide.[35] The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.[36]
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.[37]
Of all temples, the Matangeshvara temple remains an active site of worship.[28] It is another square grid temple, with a large 2.5 metres (8.2 ft) high and 1.1 metres (3.6 ft) diameter lingam, placed on a 7.6 metres (25 ft) diameter platform.[27]
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet.[10][27]
Jain temples
Main article: Jain temples of Khajuraho
The Jain temples are located on east-southeast region of Khajuraho monuments.[38] Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
Architecture of the temples
The layout plan of Kandariya Mahadeva Temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan.[39]
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala.[40] This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.[41]
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.[42]
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other.[29] The square is divided into perfect 64 sub-squares called padas.[40]
Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires.[39] The primary deity or lingas are located in the grid’s Brahma padas.
Khajuraho temples use the 8x8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Shikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.[29][43]
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts.[44] The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas.[45] This fractal pattern that is common in Hindu temples.[46] Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.[26]
All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.
An illustration of Khajuraho temple Spires (Shikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.
Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire).[41] Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.[29]
In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity.[29] The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.[41]
Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India.[47] Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as "an organism of repeating cells".[48]
Construction
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view.[49] The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.[50] Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved.[51] Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone.[52] They concluded that these temples would have required hundreds of highly trained sculptors.
Chronology
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions.[53] In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
Temples, religious affiliations and consecration years
Sequence Modern Temple name Religion Deity Completed by
(CE)[27][54] Image
1 Chausath Yogini Hinduism Devi, 64 Yoginis 885 Khajuraho,Chausath-Yogini-Tempel2.jpg
2 Brahma Hinduism Vishnu 925
3 Lalgun Mahadev Hinduism Shiva 900 India-5696 - Flickr - archer10 (Dennis).jpg
4 Matangeshwar Hinduism Shiva 1000 India-5772 - Flickr - archer10 (Dennis).jpg
5 Varaha Hinduism Vishnu 950 India-5595 - Flickr - archer10 (Dennis).jpg
6 Lakshmana Hinduism Vaikuntha Vishnu 939 India-5679 - Flickr - archer10 (Dennis).jpg
7 Parshvanatha Jainism Parshvanatha 954 Le temple de Parshvanath (Khajuraho) (8638423582).jpg
8 Vishvanatha Hinduism Shiva 999 India-5749 - Visvanatha Temple - Flickr - archer10 (Dennis).jpg
9 Devi Jagadambi Hinduism Devi, Parvati 1023 Khajuraho Devi Jagadambi Temple 2010.jpg
10 Chitragupta Hinduism Sun, Chitragupta 1023 India-5707 - Flickr - archer10 (Dennis).jpg
11 Kandariya Mahadeva (Largest temple) Hinduism Shiva 1029 Temple at Khajuraho, Madhya Pradesh, India.jpg
12 Vamana Hinduism Vamana 1062 Khajuraho Vaman Temple 2010.jpg
13 Adinath Jain Temple Jainism Adinatha 1027 Adinath Jain Temple Khajuraho 12.jpg
14 Javeri Hinduism Vishnu 1090 Javari Temple, Khajuraho.jpg
15 Chaturbhuja Hinduism Vishnu 1110 Khajuraho Chaturbhuja Temple.jpg
16 Duladeo (Duladeva) Hinduism Shiva 1125 Khajuraho Dulhadeo 2010.jpg
17 Ghantai Jainism Adinatha 960 A ruin, pillars at Khajuraho, India.jpg
18 Vishnu-Garuda Hinduism Vishnu 1000
19 Ganesha Hinduism Shiva 1000
20 Hanuman Hinduism Hanuman 922[55] Hanuman Inscription at Khajuraho.jpg
21 Mahishasuramardini Hinduism Mahishasuramardini 995 Khajuraho India, Lakshman Temple, Sculpture 10.JPG
22 Shantinatha temple Jainism Shantinatha 1027 Jain group of temples - Khajuraho 09.jpg
Arts and sculpture
Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the monuments.
Erotic sculptures
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices.[56] Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples.[6][57] James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art":
"Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
Over 90% of the art work at the temple is about daily life and symbolic values in ancient Indian culture.
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities;[58] however the kama arts represent diverse sexual expressions of different human beings.[59] The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition.[3][6] For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era.[60] These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples.[6] Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976[29]
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa.[61] Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples.[26][62] Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples.[63] Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.[64]
Tourism and cultural events
Temples layout map – Khajuraho Group of Monuments.
The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.[65]
The Khajuraho Dance Festival is held every year in February.[66] It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
See also
List of megalithic sites
Jain temples of Khajuraho
Ajanta Caves
Badami Chalukya architecture
Western Chalukya architecture
Hindu temple
Madan Kamdev
Hemvati
Kama Sutra
Kamashastra
References
"World Heritage Day: Five must-visit sites in India".
Khajuraho Group of Monuments UNESCO World Heritage Site
Philip Wilkinson (2008), India: People, Place, Culture and History, ISBN 978-1405329040, pp 352-353
Gopal, Madan (1990). K.S. Gautam, ed. India through the ages. Publication Division, Ministry of Information and Broadcasting, Government of India. p. 179.
Devangana Desai (2005), Khajuraho, Oxford University Press, Sixth Print, ISBN 978-0-19-565643-5
James Fergusson, Norther or Indo-Aryan Style - Khajuraho History of Indian and Eastern Architecture, Updated by James Burgess and R. Phene Spiers (1910), Volume II, John Murray, London
"Census of India 2001: Data from the 2001 Census, including cities, villages and towns (Provisional)". Census Commission of India. Archived from the original on 2004-06-16. Retrieved 2008-11-01.
Khajuraho airport AAI, Govt of India
G.S. Ghurye, Rajput Architecture, ISBN 978-8171544462, Reprint Year: 2005, pp 19-24
Sen, Sailendra (2013). A Textbook of Medieval Indian History. Primus Books. ISBN 9789380607344.
Devangana Desai 2005, p. 10.
also called Erakana
Mitra (1977), The early rulers of Khajuraho, ISBN 978-8120819979
J. Banerjea (1960), Khajuraho, Journal of the Asiatic Society, Vol. 2-3, pp 43-47
phonetically translated from Arabic sometimes as "Kajwara"
Director General of Archaeology in India (1959), Archaeological Survey of India, Ancient India, Issues 15-19, pp 45-46 (Archived: University of Michigan)
Arthur Cotterell (2011), Asia: A Concise History, Wiley, ISBN 978-0470825044, pp 184-185
Michael D. Willis, An Introduction to the Historical Geography of Gopakṣetra, Daśārṇa, and Jejākadeśa, Bulletin of the School of Oriental and African Studies, University of London, Vol. 51, No. 2 (1988), pp. 271-278; See also K.R. Qanungo (1965), Sher Shah and his times, Orient Longmans, OCLC 175212, pp 423-427
Trudy King et al., Asia and Oceania: International Dictionary of Historic Places, ISBN 978-1884964046, Routledge, pp 468-470
Alain Daniélou (2011), A Brief History of India, ISBN 978-1594770296, pp 221-227
Louise Nicholson (2007), India, National Geographic Society, ISBN 978-1426201448, see Chapter on Khajuraho
Krishna Deva (1990), Temples of Khajuraho, 2 Volumes, Archaelogical Survey of India, New Delhi
kharjUra Sanskrit English Dictionary, Koeln University, Germany
vAhaka Sanskrit English Dictionary, Koeln University, Germany
Devangana Desai (1996), Chapter 7 - Puns and Enigmatic Language in Sculpture in The Religious Imagery of Khajuraho, Project for Indian Cultural Studies, Columbia University Archives
Rana Singh (2007), Landscape of sacred territory of Khajuraho, in City Society and Planning (Editors: Thakur, Pomeroy, et al), Volume 2, ISBN 978-8180694585, Chapter 18
Shobita Punja (1992), Divine Ecstasy - The Story of Khajuraho, Viking, New Delhi, ISBN 978-0670840274
Stella Kramrisch, The Hindu Temple, Vol 1, Motilal Banarsidass, ISBN 978-81-208-0222-3
Ibn Battuta in his 1335 CE memoirs on Delhi Sultanate mentioned the temples to be near a mile long lake, modern water bodies are much smaller and separate lagoons; Director General of Archaeology in India (1959), Archaeological Survey of India, Ancient India, Issues 15-19, pp 45-46 (Archived: University of Michigan)
The number 64 is considered sacred in Hindu temple design and very common design basis; it is symbolic as it is both a square of 8 and a cube of 4.
Brahma temple is 19 feet square; Kandariya Mahadev has a four fused square grid; Matangeshvara temple is a 64 grid square; etc. See G.S. Ghurye, Rajput Architecture, ISBN 978-8171544462, Reprint Year: 2005, pp 19-25; and V.A. Smith (1879), "Observations on some Chandel Antiquities", Asiatic Society of Bengal, Vol. 48, Part 1, pp 291-297
D Desai (1996), The religious imagery of Khajuraho, Project for Indian Cultural Studies, ISBN 978-8190018418
Desai states that Khajuraho and Orissa Hindu temples are distinctive in giving erotic kama images the same weight as others and by assigning important architectural position; in contrast, surviving sculpture from temples of Gujarat, Maharashtra and Mysore show that there kama and sexual images were assigned to insignificant parts of the temple; Meister suggests that this aspect of eroticism in temple design and equal weight reflects evolution of design ideas among Hindu artisans, with temples built in later medieval centuries placing equal weight and balance to kama; see Meister, Michael (1979). "Juncture and Conjunction: Punning and Temple Architecture". Artibus Asiae. 41 (2–3): 226–234. JSTOR 3249517. doi:10.2307/3249517.
Edmund Leach, The Harvey Lecture Series. The Gatekeepers of Heaven: Anthropological Aspects of Grandiose Architecture, Journal of Anthropological Research, Vol. 39, No. 3 (Autumn, 1983), pp 243-264
Bettina Bäumer, A review, Artibus Asiae, Vol. 59, No. 1/2 (1999), pp. 138-140
Cunningham, Alexander (1880). Report of Tours in Bundelkhand and Malwa in 1874-75 and 1876-77. 8 Hastings Street, Calcutta: Office of the Superintendent of Government Printing. p. 22. Retrieved 8 May 2017.
James Fergusson, Jaina Architecture - Khajuraho History of Indian and Eastern Architecture, Updated by James Burgess and R. Phene Spiers (1910), Volume II, John Murray, London
Meister, Michael W. (April–June 1979). "Maṇḍala and Practice in Nāgara Architecture in North India". Journal of the American Oriental Society. 99 (2): 204–219. JSTOR 602657. doi:10.2307/602657.
Meister, Michael (1983). "Geometry and Measure in Indian Temple Plans: Rectangular Temples". Artibus Asiae. 44 (4): 266–296. JSTOR 3249613. doi:10.2307/3249613.
Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, pp 68-69
Stella Kramrisch (1976), The Hindu Temple Volume 1, ISBN 81-208-0223-3
Meister, Michael W. (March 2006). "Mountain Temples and Temple-Mountains: Masrur". Journal of the Society of Architectural Historians. 65 (1): 26–49. JSTOR 25068237. doi:10.2307/25068237.
Meister, Michael W. (Autumn 1986). "On the Development of a Morphology for a Symbolic Architecture: India". RES: Anthropology and Aesthetics. Peabody Museum of Archaeology and Ethnology (12): 33–50. JSTOR 20166752.
Devangana Desai, Khajuraho, Oxford University Press Paperback (Sixth impression 2005) ISBN 978-0-19-565643-5
Rian et al (2007), Fractal geometry as the synthesis of Hindu cosmology in Kandariya Mahadev Temple, Khajuraho, Building and Environment, Vol 42, Issue 12, pp 4093-4107, doi:10.1016/j.buildenv.2007.01.028
Trivedi, K. (1989). Hindu temples: models of a fractal universe. The Visual Computer, 5(4), 243-258
Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, Chapter 4
V.A. Smith, "Observations on some Chandel Antiquities", Journal of the Asiatic Society of Bengal, Volume 48, pp 290-291
"Lost Worlds of the Kama Sutra" History channel
"Lost Worlds of the Kama Sutra," History Channel
Lehner, Mark (1997) The Complete Pyramids, London: Thames and Hudson. ISBN 0-500-05084-8. pp. 202–225
Will Durant (1976), Our Oriental Heritage - The Story of Civilization, ISBN 978-0671548001, Simon & Schuster
From inscription or estimated from other evidence
Cunningham in Archaeological Survey Reports noted that one of two Hanuman statues bears an inscription of 868 CE
Rabe (2000), Secret Yantras and Erotic Display for Hindu Temples, Tantra in Practice (Editor: David White), ISBN 978-8120817784, Chapter 25, pp 434-446
See:
Heather Elgood (2000), Hinduism and the Religious Arts, ISBN 978-0304707393, Bloomsbury;
Stella Kramrisch, The Hindu Temple, Volume 1, ISBN 81-208-0223-3, pp 92-96;
Alain Danielou (2001), The Hindu Temple: Deification of Eroticism, ISBN 978-0892818549, pp 101-119
"Khajuraho". Liveindia.com. Retrieved on 2014-07-14.
Alain Danielou (2001), The Hindu Temple: Deification of Eroticism, ISBN 978-0892818549
George Michell, The Hindu Temple: An Introduction to Its Meaning and Forms, University of Chicago Press, ISBN 978-0226532301, pp 117-123 and pp 56-58
L. H. Gray, Journal of American Society, Vol. 27
H.M. Woodward (1989), The Lakṣmaṇa Temple, Khajuraho, and Its Meanings, Ars Orientalis, Vol. 19, pp. 27-48
Smith, David (1 January 2013). "Monstrous Animals on Hindu Temples, with Special Reference to Khajuraho": 27–43. doi:10.1558/rosa.v7i1-3.27. Retrieved 9 February 2015.
The Lakṣmaṇa Temple, Khajuraho, and Its Meanings, Hiram W. Woodward, Jr., Ars Orientalis, Vol. 19, (1989), pp. 27-48
Tourists to Khajuraho will now have an audio compass The Times of India (25 August 2011)
Khajuraho Festival of Dances
To view more of my images, of Felbrigg Hall, please click "here" !
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Felbrigg Hall is a 17th-century country house located in Felbrigg, Norfolk, England. Part of a National Trust property, the unaltered 17th-century house is noted for its Jacobean architecture and fine Georgian interior. Outside the house are a walled garden, an orangery and orchards. Felbrigg estate, originally home to the Felbrigg family, was long the home of members of the Wyndham family, since the first John Wyndham (d. 1475), acquired the estate from the Felbrigg family. Thomas Wyndham (d. 1522) was a councilor to King Henry VIII. Later residents included John Wyndham (1558–1645), probably the builder of Felbrigg Hall. The last Wyndham of Felbrigg was William Wyndham (d. 1810).
The last owner of the house before it passed into National Trust ownership was Robert Wyndham Ketton-Cremer. The original heir, Robert's brother Richard, was killed in action in the Second World War. A memorial to Richard Ketton-Cremer was constructed in the woods behind the house by Robert. Robert Wyndham Ketton-Cremer wrote a number of books, particularly about Norfolk, including Felbrigg: the Story of a House, and Norfolk in the Civil War, Faber, 1969. In the latter, he indicates his health is failing. Robert Ketton-Cremer never married, and with no heirs, left the estate to the National Trust on his death in 1969. Part of the estate was acquired by the Beeston Hall school.
Christopher Mackie, husband of author Mary Mackie, was administrator, or houseman, of Felbrigg Hall until 1990. Mary Mackie has written a number of books on their experiences, the most successful of which are Cobwebs and Cream Teas and Dry Rot and Daffodils. At one time Felbrigg Hall stood at the centre of one of the largest estates in Norfolk. Today 2011, the Felbrigg estate covers some 1,760 acres (approximately 7 square kilometres) of parkland including the 520-acre (2.1 km2) Great Wood, which shelters the house. Felbrigg garden is laid out in two different styles. The west garden is laid out in the style of a typical Victorian pleasure ground, arranged around an 18th-century orangery. Accentuating the play between light and shade, its formal lawns are interspersed with areas of dark shrubbery. This garden features a number of specimens from North America including red oaks, western red cedars, and a meadow with a walled garden. There are double borders of mixed shrubs, a herbaceous border, and more. The orchard has been planted with varieties of fruit known to have grown in the garden during the 19th century. The gardens are home to the National Collection of colchicums.
From Wikipedia, the free encyclopedia
My photo "People of the Kikuyu Tribe" made it on today's frontpage of Fotodepia ! (December 10th, 2009). Please have a look yourself: www.fotopedia.com/
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To view more of my images, of Orford, in Suffolk, please click
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Orford Castle is a castle in Orford in the English county of Suffolk, 12 miles (19 km) northeast of Ipswich, with views over Orford Ness. It was built between 1165 and 1173 by Henry II of England to consolidate royal power in the region. The well-preserved keep, described by historian R. Allen Brown as "one of the most remarkable keeps in England", is of a unique design and probably based on Byzantine architecture. The keep stands within the earth-bank remains of the castle's outer fortifications. Prior to the building of Orford Castle, Suffolk was dominated by the Bigod family, who held the title of the Earl of Norfolk and owned key castles at Framlingham, Bungay, Walton and Thetford. Hugh Bigod had been one of a group of dissenting barons during the Anarchy in the reign of King Stephen, and Henry II wished to re-establish royal influence across the region. Henry confiscated the four castles from Hugh, but returned Framlingham and Bungay to Hugh in 1165. Henry then decided to build his own royal castle at Orford, near Framlingham, and construction work began in 1165, concluding in 1173. The Orford site was around 2 miles (3.2 km) from the sea, lying on flat ground with swampy terrain slowly stretching away down to the river Ore, about 1⁄2 mile (0.80 km) away. The design of the keep was unique, and has been termed "one of the most remarkable keeps in England" by historian R. Allen Brown. The 90-foot-high (27-metre) central tower was circular in cross-section with three rectangular, clasping towers built out from the 49-foot-wide (15-metre) structure. The tower was based on a precise set of proportions, its various dimensions following the one-to-the-root-of-two ratio found in many English churches of the period. Much of the interior is built with high-quality ashlar stonework, with broad, 5-foot-6-inch-wide (1.7-metre) staircases. The best chambers were designed to catch the early morning sun, whilst the various parts of the keep were draught-proofed with doors and carefully designed windows. Originally the roof of the keep, above the upper hall, would have formed a domed effect, with a tall steeple above that. The chapel above the entrance to the keep was unusually shaped; historian Stephen Brindle suggests that such a design "would not normally have been thought seemly for a room dedicated to the service of God". The keep was surrounded by a curtain wall with probably four flanking towers and a fortified gatehouse protecting a relatively small bailey; these outer defences, rather than the keep, probably represented the main defences of the castle. The marshes nearby were drained, turning the village of Orford into a sheltered port. The castle, including the surrounding ditch, palisade and stone bridge, cost £1,413 to build, the work possibly being conducted by the master mason Alnoth. Some of the timbers were brought from as far away as Scarborough, and the detailed stonework being carved from limestone from Caen in Normandy, the remainder of the stone being variously local mudstone and coralline, as well as limestone from Northamptonshire.
Orford is a small town in Suffolk, England, within the Suffolk Coast and Heaths AONB. Like many Suffolk coastal towns it was of some importance as a port and fishing village in the Middle Ages. It still has a fine mediaeval castle, built to dominate the River Ore. The main geographical feature of the area is Orford Ness, a long, wide shingle spit at the mouth of the Ore. Orford Ness has in the past been used as an airstrip testing facility and in the early 1970s it was the site of a powerful radar station as part of the Cold War defences against low flying attacking aircraft; today it is a nature reserve run by the National Trust. Orford provides the only point of access to the nature reserves of Orford Ness and Havergate Island. Both sites can only be accessed via ferry boat from Orford quay. The Orford Ness ferry runs on selected days between April and October and the Havergate Island ferry on selected Saturdays. The population of Orford greatly increases during the summer months due to its flourishing sailing club. As well as the Castle, Orford's attractions include river cruises, three pubs, a traditional post office which sells fresh bread, a traditional bakery, a smokehouse and a restaurant; the Butley-Orford Oysterage.
From Wikipedia, the free encyclopedia
Article 1:
Hesperaloe parviflora
From Wikipedia, the free encyclopedia
Scientific Classification
Kingdom:Plantae
Clade:Angiosperms
Clade:Monocots
Order:Asparagales
Family:Asparagaceae
Subfamily:Agavoideae
Genus:Hesperaloe
Species:H. parviflora
Binomial name
Hesperaloe parviflora
(Torr.) J.M.Coult.
Synonyms
Yucca parviflora Torr.[1]
Hesperaloe parviflora flowers
Hesperaloe parviflora, also known as red yucca, hummingbird yucca, redflower false yucca and samandoque, is a plant that is native to Chihuahuan desert of west Texas east and south into central and south Texas and northeastern Mexico around Coahuila.[2]
Hesperaloe parviflora has narrow evergreen leaves with a fringe of white threadlike hairs along their edges and grows in clumps 3–6 ft (0.91–1.83 m) high and wide. Red or yellow tubular flowers are borne on branching flower stalks (inflorescences) up to 5 ft (1.5 m) tall from late spring to mid-summer.[3]
This species has become popular in xeriscape landscape design for public and private gardens in California and the Southwestern United States. The plant's qualities include drought tolerance, heat resistance, low maintenance needs, hummingbird attracting flowers,[4] and an architectural form. It also is a spineless alternative to Agave and Yucca horticultural species.[5]
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Article 2:
ag.arizona.edu/yavapai/anr/hort/byg/archive/hesperaloe.html
Red Yucca: Drought Tolerant and Colorful - July 24, 2002
Jeff Schalau, County Director, Agent, Agriculture & Natural Resources
Arizona Cooperative Extension, Yavapai County
From time to time, I write about a particularly interesting and locally suitable landscape plant. Red yucca (Hesperaloe parviflora) is a no-brainer for north central Arizona. Red yucca is native to southwestern Texas and Coahuila, Mexico making it very fit to our local climate/environment. Better yet, once established, they are virtually maintenance free.
Red yucca somewhat resembles true yucca with linear leaves arising from the base and flower stalks rising above the leaves. Red yucca, however, produces several pups (new plants formed adjacent to the parent plant) and has finer leaves than true yucca giving it a more grass-like appearance. The serrated leaves are about 1 ½ to 2 feet long and a mature plant can be about 3 feet across.
The "red" in red yucca refers to the flower color. This is misleading because there is also a yellow flowered variety available. Both are well suited. Red yucca produces several flower stalks each year, having abundant tubular flowers that bloom in spring and extend well into summer. The flower stalks can grow up to 9 feet high, but most I've seen are 3- 5 feet high. Hummingbirds are also attracted to the flowers.
After flowering, do not remove the flower stalks. Rather, leave them be to produce fruit. After opening, seeds are a food source for birds or can be used to start new plants. New plants can also be started by dividing established clumps or removing individual pups.
Red yucca loves the heat and is ideally suited to the Verde Valley. It can tolerate cold temperatures down to 10 degrees F. I have seen it doing well in Prescott, so it must tolerate the cold fairly well.
Plant red yucca in full sun where it has room to grow without needing to be trimmed back. Nothing is worse than seeing one of these plants mowed, or worse yet, shredded by a weed eater. So, place the plants 2 to 3 feet away from sidewalks, walkways, or driveways. After planting from a nursery container, provide ample irrigation for the first year taking care not to over water. After the first year, they should do nicely on native rainfall or with infrequent irrigation during extended droughts.
Maintenance is easy. On established plants, the older leaves eventually will die and lay on the ground. These can be cut off individually to create a neater appearance. This and removing dead flower stalks are the only maintenance practices needed.
Red yuccas are drought adapted plants and should be planted in conjunction with plant having similar irrigation requirements. They are equally attractive when planted with cacti and succulents or with leafy plants such as Mexican primrose, brittlebush, Penstemon, or annual wildflowers.
As usual, now it is time to provide you with some trivial, little known, and possibly useless factoid. A close relative of red yucca (Hesperaloe funifera) is being tested as a crop plant by University of Arizona researchers. H. funifera is quite a bit larger than red yucca and in the leaves, it produces long, thin fibers that can be used to produce paper with exceptional strength. It has been experimentally grown at the University of Arizona Maricopa Agricultural Center since 1995 to learn its cultural requirements. Maybe this plant will replace cotton someday? Meanwhile, plant red yucca in your landscape. You won't be disappointed.
The University of Arizona Cooperative Extension has publications and information on gardening and pest control. If you have other gardening questions, call the Master Gardener line in the Cottonwood office at 646-9113 or E-mail us at mgardener@verdeonline.com and be sure to include your address and phone number. Find past Backyard Gardener columns or submit column ideas at the Backyard Gardener web site: ag.arizona.edu/yavapai/anr/hort/byg/.
Arizona Cooperative Extension
Yavapai County
840 Rodeo Dr. #C
Prescott, AZ 86305
(928) 445-6590
ag.arizona.edu/yavapai/anr/hort/byg/archive/hesperaloe.html
Last Updated: July 16, 2002
Content Questions/Comments: jschalau@ag.arizona.edu
A text, in english, from Wikipedia, the free encyclopedia.
Milan Cathedral
Milan Cathedral (Italian: Duomo di Milano; Milanese: Domm de Milan) is the cathedral church of Milan in Lombardy, northern Italy. It is the seat of the Archbishop of Milan, currently Cardinal Dionigi Tettamanzi.
History:
Milan's layout, with streets either radiating from the Duomo or circling it, reveals that the Duomo occupies the most central site in Roman Mediolanum, that of the public basilica facing the forum. Saint Ambrose's 'New Basilica' was built on this site at the beginning of the 5th century, with an adjoining basilica added in 836. When a fire damaged both buildings in 1075, they were rebuilt as the Duomo.
Um texto, em português, do Site "Fatos e fotos de viagens", que pode ser visto no endereço interata.squarespace.com/jornal-de-viagem/2006/11/27/duom...
In 1386 archbishop Antonio da Saluzzo began construction in a rayonnant Late Gothic style more typically French than Italian. Construction coincided with the accession to power in Milan of the archbishop's cousin Gian Galeazzo Visconti, and was meant as a reward to the noble and working classes which had been suppressed by his tyrannical Visconti predecessor Barnabò. Before actual work began, three main buildings were demolished: the palace of the Archbishop, the Ordinari Palace and the Baptistry of 'St. Stephen at the Spring', while the old church of Sta. Maria Maggiore was exploited as a stone quarry. Enthusiasm for the immense new building soon spread among the population, and the shrewd Gian Galeazzo, together with his cousin the archbishop, collected large donations for the work-in-progress. The construction program was strictly regulated under the "Fabbrica del Duomo", which had 300 employees led by first chief engineer Simone da Orsenigo. Galeazzo gave the Fabbrica exclusive use of the marble from the Candoglia quarry and exempted it from taxes.
In 1389 a French chief engineer, Nicolas de Bonaventure, was appointed, adding to the church its strong Gothic imprint. Ten years later another French architect, Jean Mignot, was called from Paris to judge and improve upon the work done, as the masons needed new technical aid to lift stones to an unprecedented height. Mignot declared all the work done up till then as in pericolo di ruina ("peril of ruin"), as it had been done sine scienzia ("without science"). In the following years Mignot's forecasts proved untrue, but anyway they spurred Galeazzo's engineers to improve their instruments and techniques. Work proceeded quickly, and at the death of Gian Galeazzo in 1402, almost half the cathedral was complete. Construction, however, stalled almost totally until 1480, due to lack of money and ideas: the most notable works of this period were the tombs of Marco Carelli and Pope Martin V (1424) and the windows of the apse (1470s), of which those extant portray St. John the Evangelist, by Cristoforo de' Mottis, and Saint Eligius and San John of Damascus, both by Niccolò da Varallo. In 1452, under Francesco Sforza, the nave and the aisles were completed up to the sixth bay.
In 1500-1510, under Ludovico Sforza, the octagonal cupola was completed, and decorated in the interior with four series of fifteen statues each, portraying saints, prophets, sibyls and other characters of the Bible. The exterior long remained without any decoration, except for the Guglietto dell'Amadeo ("Amadeo's Little Spire"), constructed 1507-1510. This is a Renaissance masterwork which nevertheless harmonized well with the general Gothic appearance of the church.
The famous "Madunina" atop the main spire of the cathedral, a baroque gilded bronze artwork.
During the subsequent Spanish domination, the new church proved usable, even though the interior remained largely unfinished, and some bays of the nave and the transepts were still missing. In 1552 Giacomo Antegnati was commissioned to build a large organ for the north side of the choir, and Giuseppe Meda provided four of the sixteen pales which were to decorate the altar area (the program was completed by Federico Borromeo). In 1562 Marco d' Lopez's St. Bartholomew and the famous Trivulzio candelabrum (12th century) were added.
After the accession of the ambitious Carlo Borromeo to the archbishop's throne, all lay monuments were removed from the Duomo. These included the tombs of Giovanni, Barnabò and Filippo Maria Visconti, Francesco and his wife Bianca, Galeazzo Maria and Lodovico Sforza, which were brought to unknown destinations. However, Borromeo's main intervention was the appointment, in 1571, of Pellegrino Pellegrini as chief engineer— a contentious move, since to appoint Pellegrino, who was not a lay brother of the duomo, required a revision of the Fabbrica's statutes.
Borromeo and Pellegrino strove for a new, Renaissance appearance for the cathedral, that would emphasise its Roman / Italian nature, and subdue the Gothic style, which was now seen as foreign. As the façade still was largely incomplete, Pellegrini designed a "Roman" style one, with columns, obelisks and a large tympanum. When Pellegrini's design was revealed, a competition for the design of the facade was announced, and this elicited nearly a dozen entries, including by Antonio Barca [1].
This design was never carried out, but the interior decoration continued: in 1575-1585 the presbytery was rebuilt, while new altars and the baptistry were added in the nave.
Wooden choirstalls were constructed by 1614 for the main altar by Francesco Brambilla.
In 1577 Borromeo finally consecrated the whole edifice as a new church, distinct from the old Santa Maria Maggiore and Santa Tecla (which had been unified in 1549 after heavy disputes).
At the beginning of the 17th century Federico Borromeo had the foundations of the new façade laid by Francesco Maria Richini and Fabio Mangone. Work continued until 1638 with the construction of five portals and two middle windows. In 1649, however, the new chief architect Carlo Buzzi introduced a striking revolution: the façade was to revert to original Gothic style, including the already finished details within big Gothic pilasters and two giant belfries. Other designs were provided by, among others, Filippo Juvarra (1733) and Luigi Vanvitelli (1745), but all remained unapplied. In 1682 the façade of Santa Maria Maggiore was demolished and the cathedral's roof covering completed.
The ultimate facade with its striking rosy marble revetment
In 1762 one of the main features of the cathedral, the Madonnina's spire, was erected at the dizzying height of 108.5 m. The spire was designed by Francesco Croce and sports at the top a famous polychrome Madonnina statue, designed by Giuseppe Perego that befits the original stature of the cathedral.[2] Given Milan's notoriously damp and foggy climate, the Milanese consider it a fair-weather day when the Madonnina is visible from a distance, as it is so often covered by mist.
On May 20, 1805, Napoleon Bonaparte, about to be crowned King of Italy, ordered the façade to be finished. In his enthusiasm, he assured that all expenses would fall to the French treasurer, who would reimburse the Fabbrica for the real estate it had to sell. Even though this reimbursement was never paid, it still meant that finally, within only seven years, the Cathedral had its façade completed. The new architect, Francesco Soave, largely followed Buzzi's project, adding some neo-Gothic details to the upper windows. As a form of thanksgiving, a statue of Napoleon was placed at the top of one of the spires.
In the following years, most of the missing arches and spires were constructed. The statues on the southern wall were also finished, while in 1829-1858, new stained glass windows replaced the old ones, though with less aesthetically significant results. The last details of the cathedral were finished only in the 20th century: the last gate was inaugurated on January 6, 1965. This date is considered the very end of a process which had proceeded for generations, although even now, some uncarved blocks remain to be completed as statues. The Duomo's main facade is under renovation as of 2007; canvas-covered scaffolding obscures most of the facade.
he cathedral of Milano is often described as one of the greatest churches in the world. The ground plan is of a nave with 5 aisles, crossed by a transept and then followed by choir and apsis. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral that was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, sitting upon delicate flying buttresses.
The cathedral's five wide naves, divided by forty pillars, are reflected in the hierarchic openings of the facade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
The interior of the cathedral includes a huge number of monuments and artworks. These include:
* The Archbishop Alberto da Intimiano's sarcophagus, which is overlooked by a Crucifix in copper laminae (a replica).
* The sarcophagi of the archbishops Ottone Visconti and Giovanni Visconti, created by a Campionese master in the 14th century.
* The sarcophagus of Marco Carelli, who donated 35,000 ducati to accelerate the construction of the cathedral.
* The three magnificent altars by Pellegrino Pellegrini, which include the notable Federico Zuccari's Visit of St. Peter to St. Agatha jailed.
* In the right transept, the monument to Gian Giacomo Medici di Marignano, called "Medeghino", by Leone Leoni, and the adjacent Renaissance marble altar, decorated with gilt bronze statues.
* In front of the former mausoleum is the most renowned work of art of the cathedral, the St. Bartholomew statue by Marco D'Agrate.
* The presbytery is a late Renaissance masterpiece composing a choir, a Temple by Pellegrini, two pulpits with giant telamones covered in copper and bronze, and two large organs. Around the choir the two sacristies' portals, some frescoes and a fifteenth-century statue of Martin V by Jacopino da Tradate) can be seen.
* The transepts house the Trivulzio Candelabrum, which is in two pieces. The base (attributed to Nicolas of Verdun, 12th century), characterized by a fantastic ensemble of vines, vegetables and imaginary animals; and the stem, of the mid-16th century.
* In the left aisle, the Arcimboldi monument by Alessi and Romanesque figures depicting the Apostles in red marble and the neo-Classic baptistry by Pellegrini.
* A small red light bulb in the dome above the apse marks the spot where one of the nails from the Crucifixion of Christ has been placed.
* In November-December, in the days surrounding the birthdate of the San Carlo Borromeo, a series of large canvases, the Quadroni are exhibited along the nave.
DUOMO - A Catedral de Milão
O Duomo é apenas mais um dos fabulosos exemplos de arquitetura e monumentalidade dirigida ao culto ao divino entre tantas outras catedrais construídas na Europa durante a Idade Média, entre os séculos 9 e 12.
Dizem que o Duomo foi projetado pelo pintor, escultor, arquiteto, engenheiro, cientista e inventor italiano Leonardo da Vinci, nascido em Vinci e falecido em Amboise, na França.
Igrejas como as de Chartres , Amiens e Notre Dame de Paris (França), Sevilha e Santiago de Compostela (Espanha), Colônia (Alemanha) e o Duomo de Milão (Itália) são o exemplo máximo do estilo gótico — caracterizado pelo uso das ogivas (cruzamento de arcos), que possibilitavam a construção de altas estruturas. No apogeu do fervor católico, elas foram projetadas usando medidas que reproduziam as proporções do corpo humano.
Situado no centro da cidade , o Duomo é o marco zero geográfico da cidade e ponto de partida para se conhecer a cidade. Muitas de suas atrações estão nas proximidades ou vizinhanças.
Pode-se visitar internamente a igreja e seu telhado. Todos os dias, de 7 às19h de junho a setembro, e de 9 às 16h, de outubro a maio. Para ingressar na igreja nada se paga, mas para subir ao seu telhado paga-se o preço de 4 Euros, por elevador.
Duomo é uma gigantesca igreja catedral, uma das maiores em estilo gótico em todo o mundo, em dimensões, pois tem cerca de 160 m de comprimento por 92 de largura. Suas dimensões representam aquilo que mais impressiona e provoca admiração a quem a visita, num primeiro olhar.
igreja começou a ser construída no Século 14 mas só foi concluída 500 (!!) anos depois.
Uma das coisas mais interessantes a ser fazer em toda Milão é visitar o telhado do Duomo, todo em placas de mármore, da mesma pedra de sua fachada, suas esculturas (santos, gárgulas e agulhas) e de onde se tem uma bela vista de toda a cidade.
A fachada do Duomo não tem apenas um estilo arquitetônico: eles vão do gótico ao renascentista, com alguns elementos neoclássicos.
Ainda no exterior, antes de entrar na igreja, não deixe de observar o rendilhado que envolve as janelas-vitrais e também as belíssimas e enormes portas de bronze, nas quais estão esculturas em baixos e altos-relevos que mostram cenas da história da cidade.
O que mais impressiona no interior é a altura dos enormes pilares góticos que suportam o telhado de toda a igreja e que delimitam suas naves laterais, secundárias e principal, além do altar-mór. Elas enquadram os vitrais igualmente gigantescos e belíssimos.
O interior não impressiona tanto quanto o exterior, ainda que seja solene, grandioso e tenha cinco naves e 52 gigantescas colunas de pedra.
Também o maravilhoso piso de mármore de três ou quatro tonalidades, que formam belos desenhos, dão, na nave central, a verdadeira impressão das dimensões desta fabulosa igreja. Observe o piso (de preferência ajoelhado nele) posisionando-se de costas para o altar-mór e olhando para o portão principal.
Em Milão quase tudo gira ao redor do Duomo, a Catedral de Milão, a terceira maior igreja da cristandade depois da Basílica de São Pedro, em Roma, e da Catedral de Sevilha.
No telhado as centenas de agulhas altíssimas, de arcos e gárgulas, estátuas e cariátides esculpidos em mármore impressionam tanto quanto sua fachada, vista do nível da rua. A mais magestosa das imagens é a estatua dourada da Madonnina do Perego, situada no topo da agulha maior, onde foi colocada em 1744.
Uma visita ao seu telhado dá-nos a dimensão exata da grandiosidade do trabalho de construção desta monumental escultura e nos leva a imaginar o quão difícil deve ter sido, compreendendo-se porque ela iniciou-se em 1386 e terminou em 1887!
O Duomo di Milano é um monumento símbolo do patrimônio Lombardo, dedicado à Santa Maria Nascente e situado na praça central da cidade de Milão, Itália. É uma das mais célebres e complexas construções em estilo Gótico do mundo.
Leia mais sobre a catedral de Milão no endereço www.maconaria.net/portal/index.php?view=article&catid...
Gorrión chillón, Rock sparrow, Petronia petronia
From Wikipedia, the free encyclopedia
The term rock sparrow can also be used to refer to the genus Petronia as a whole.
The rock sparrow (Petronia petronia) is a small passerine bird. This sparrow breeds on barren rocky hills from the Iberian peninsula and western north Africa across southern Europe and through central Asia. It is largely resident in the west of its range, but Asian birds migrate to more southerly areas, or move down the mountains.
----------------------------------------------------------------------------------------Clase: Aves
Orden: Passeriformes
Familia: Passeridae
Género: Petronia
Nombre Científico:Petronia petronia
Name in English: Rock sparrow
Nombre en Español: Gorrión chillón
Lockheed C-130 Hercules
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Lockheed_C-130_Hercules
C-130 Hercules
Straight-wing, four-engine turboprop-driven aircraft overflying water
USAF C-130E
Role Military transport aircraft
National origin: United States
Manufacturer: Lockheed
Lockheed Martin
First flight 23 August 1954
Status: In-service
Primary usersUnited States Air Force
United States Marine Corps
Royal Air Force
Royal Canadian Air Force
Produced1954–present
Number built: Over 2,500 as of 2015[1]
Unit cost
C-130E $11.9 million[2]
C-130H $30.1 million[3]
VariantsAC-130 Spectre/Spooky
Lockheed DC-130
Lockheed EC-130
Lockheed HC-130
Lockheed Martin KC-130
Lockheed LC-130
Lockheed MC-130
Lockheed WC-130
Lockheed L-100 Hercules
Developed into: Lockheed Martin C-130J Super Hercules
The Lockheed C-130 Hercules is a four-engine turboprop military transport aircraft designed and built originally by Lockheed, now Lockheed Martin. Capable of using unprepared runways for takeoffs and landings, the C-130 was originally designed as a troop, medivac, and cargo transport aircraft. The versatile airframe has found uses in a variety of other roles, including as a gunship (AC-130), for airborne assault, search and rescue, scientific research support, weather reconnaissance, aerial refueling, maritime patrol, and aerial firefighting. It is now the main tactical airlifter for many military forces worldwide. Over forty models and variants of the Hercules, including a civilian one marketed as Lockheed L-100, operate in more than sixty nations.
The C-130 entered service with the U.S. in the 1950s, followed by Australia and others. During its years of service, the Hercules family has participated in numerous military, civilian and humanitarian aid operations. In 2007, the C-130 became the fifth aircraft—after the English Electric Canberra, B-52 Stratofortress, Tu-95, and KC-135 Stratotanker—to mark 50 years of continuous service with its original primary customer, in this case, the United States Air Force. The C-130 Hercules is the longest continuously produced military aircraft at over 60 years, with the updated C-130J Super Hercules being produced today.[4]
Contents [hide]
1Design and development
1.1Background and requirements
1.2Design phase
1.3Improved versions
1.4More improvements
1.5Later models
1.6Next generation
1.7Upgrades and changes
1.8Replacement
2Operational history
2.1Military
2.2Civilian
3Variants
4Operators
5Accidents
6Aircraft on display
6.1Australia
6.2Canada
6.3Colombia
6.4Indonesia
6.5Norway
6.6Saudi Arabia
6.7United Kingdom
6.8United States
7Specifications (C-130H)
8See also
9References
10External links
Design and development[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2014)
Background and requirements[edit]
The Korean War, which began in June 1950, showed that World War II-era piston-engine transports—Fairchild C-119 Flying Boxcars, Douglas C-47 Skytrains, and Curtiss C-46 Commandos—were inadequate for modern warfare. Thus, on 2 February 1951, the United States Air Force issued a General Operating Requirement (GOR) for a new transport to Boeing, Douglas, Fairchild, Lockheed, Martin, Chase Aircraft, North American, Northrop, and Airlifts Inc. The new transport would have a capacity of 92 passengers, 72 combat troops or 64 paratroopers in a cargo compartment that was approximately 41 feet (12 m) long, 9 feet (2.7 m) high, and 10 feet (3.0 m) wide. Unlike transports derived from passenger airliners, it was to be designed from the ground-up as a combat transport with loading from a hinged loading ramp at the rear of the fuselage.
A key feature was the introduction of the Allison T56 turboprop powerplant, first developed specifically for the C-130. At the time, the turboprop was a new application of turbine engines that used exhaust gases to turn a propeller, which offered greater range at propeller-driven speeds compared to pure turbojets, which were faster but consumed more fuel. As was the case on helicopters of that era, such as the UH-1 Huey, turboshafts produced much more power for their weight than piston engines. Lockheed would subsequently use the same engines and technology in the Lockheed L-188 Electra. That aircraft failed financially in its civilian configuration but was successfully adapted into the Lockheed P-3 Orion maritime patrol and submarine attack aircraft where the efficiency and endurance of turboprops excelled.
Design phase[edit]
The Hercules resembled a larger four-engine brother to the C-123 Provider with a similar wing and cargo ramp layout that evolved from the Chase XCG-20 Avitruc, which in turn, was first designed and flown as a cargo glider in 1947.[5] The Boeing C-97 Stratofreighter also had a rear ramp, which made it possible to drive vehicles onto the plane (also possible with a forward ramp on a C-124). The ramp on the Hercules was also used to airdrop cargo, which included low-altitude extraction for Sheridan tanks and even dropping large improvised "daisy cutter" bombs.
The new Lockheed cargo plane design possessed a range of 1,100 nmi (1,270 mi; 2,040 km), takeoff capability from short and unprepared strips, and the ability to fly with one engine shut down. Fairchild, North American, Martin, and Northrop declined to participate. The remaining five companies tendered a total of ten designs: Lockheed two, Boeing one, Chase three, Douglas three, and Airlifts Inc. one. The contest was a close affair between the lighter of the two Lockheed (preliminary project designation L-206) proposals and a four-turboprop Douglas design.
The Lockheed design team was led by Willis Hawkins, starting with a 130-page proposal for the Lockheed L-206.[6] Hall Hibbard, Lockheed vice president and chief engineer, saw the proposal and directed it to Kelly Johnson, who did not care for the low-speed, unarmed aircraft, and remarked, "If you sign that letter, you will destroy the Lockheed Company."[6] Both Hibbard and Johnson signed the proposal and the company won the contract for the now-designated Model 82 on 2 July 1951.[7]
The first flight of the YC-130 prototype was made on 23 August 1954 from the Lockheed plant in Burbank, California. The aircraft, serial number 53-3397, was the second prototype, but the first of the two to fly. The YC-130 was piloted by Stanley Beltz and Roy Wimmer on its 61-minute flight to Edwards Air Force Base; Jack Real and Dick Stanton served as flight engineers. Kelly Johnson flew chase in a Lockheed P2V Neptune.[8]
After the two prototypes were completed, production began in Marietta, Georgia, where over 2,300 C-130s have been built through 2009.[9]
The initial production model, the C-130A, was powered by Allison T56-A-9 turboprops with three-blade propellers and originally equipped with the blunt nose of the prototypes. Deliveries began in December 1956, continuing until the introduction of the C-130B model in 1959. Some A-models were equipped with skis and re-designated C-130D. As the C-130A became operational with Tactical Air Command (TAC), the C-130's lack of range became apparent and additional fuel capacity was added in the form of external pylon-mounted tanks at the end of the wings.
Improved versions[edit]
A Michigan Air National Guard C-130E dispatches its flares during a low-level training mission
The C-130B model was developed to complement the A-models that had previously been delivered, and incorporated new features, particularly increased fuel capacity in the form of auxiliary tanks built into the center wing section and an AC electrical system. Four-bladed Hamilton Standard propellers replaced the Aeroproducts three-blade propellers that distinguished the earlier A-models. The C-130B had ailerons with increased boost—3,000 psi (21 MPa) versus 2,050 psi (14 MPa)—as well as uprated engines and four-blade propellers that were standard until the J-model's introduction.
An electronic reconnaissance variant of the C-130B was designated C-130B-II. A total of 13 aircraft were converted. The C-130B-II was distinguished by its false external wing fuel tanks, which were disguised signals intelligence (SIGINT) receiver antennas. These pods were slightly larger than the standard wing tanks found on other C-130Bs. Most aircraft featured a swept blade antenna on the upper fuselage, as well as extra wire antennas between the vertical fin and upper fuselage not found on other C-130s. Radio call numbers on the tail of these aircraft were regularly changed so as to confuse observers and disguise their true mission.
The extended-range C-130E model entered service in 1962 after it was developed as an interim long-range transport for the Military Air Transport Service. Essentially a B-model, the new designation was the result of the installation of 1,360 US gal (5,150 L) Sargent Fletcher external fuel tanks under each wing's midsection and more powerful Allison T56-A-7A turboprops. The hydraulic boost pressure to the ailerons was reduced back to 2050 psi as a consequence of the external tanks' weight in the middle of the wingspan. The E model also featured structural improvements, avionics upgrades and a higher gross weight. Australia took delivery of 12 C130E Hercules during 1966–67 to supplement the 12 C-130A models already in service with the RAAF. Sweden and Spain fly the TP-84T version of the C-130E fitted for aerial refueling capability.
The KC-130 tankers, originally C-130F procured for the US Marine Corps (USMC) in 1958 (under the designation GV-1) are equipped with a removable 3,600 US gal (13,626 L) stainless steel fuel tank carried inside the cargo compartment. The two wing-mounted hose and drogue aerial refueling pods each transfer up to 300 US gal per minute (19 L per second) to two aircraft simultaneously, allowing for rapid cycle times of multiple-receiver aircraft formations, (a typical tanker formation of four aircraft in less than 30 minutes). The US Navy's C-130G has increased structural strength allowing higher gross weight operation.
More improvements[edit]
Royal Australian Air Force C-130H, 2007
The C-130H model has updated Allison T56-A-15 turboprops, a redesigned outer wing, updated avionics and other minor improvements. Later H models had a new, fatigue-life-improved, center wing that was retrofitted to many earlier H-models. For structural reasons, some models are required to land with certain amounts of fuel when carrying heavy cargo, reducing usable range.[10] The H model remains in widespread use with the United States Air Force (USAF) and many foreign air forces. Initial deliveries began in 1964 (to the RNZAF), remaining in production until 1996. An improved C-130H was introduced in 1974, with Australia purchasing 12 of type in 1978 to replace the original 12 C-130A models, which had first entered RAAF Service in 1958.
The United States Coast Guard employs the HC-130H for long-range search and rescue, drug interdiction, illegal migrant patrols, homeland security, and logistics.
C-130H models produced from 1992 to 1996 were designated as C-130H3 by the USAF. The "3" denoting the third variation in design for the H series. Improvements included ring laser gyros for the INUs, GPS receivers, a partial glass cockpit (ADI and HSI instruments), a more capable APN-241 color radar, night vision device compatible instrument lighting, and an integrated radar and missile warning system. The electrical system upgrade included Generator Control Units (GCU) and Bus Switching units (BSU)to provide stable power to the more sensitive upgraded components.[citation needed]
Royal Air Force C-130K (C.3)
The equivalent model for export to the UK is the C-130K, known by the Royal Air Force (RAF) as the Hercules C.1. The C-130H-30 (Hercules C.3 in RAF service) is a stretched version of the original Hercules, achieved by inserting a 100 in (2.54 m) plug aft of the cockpit and an 80 in (2.03 m) plug at the rear of the fuselage. A single C-130K was purchased by the Met Office for use by its Meteorological Research Flight, where it was classified as the Hercules W.2. This aircraft was heavily modified (with its most prominent feature being the long red and white striped atmospheric probe on the nose and the move of the weather radar into a pod above the forward fuselage). This aircraft, named Snoopy, was withdrawn in 2001 and was then modified by Marshall of Cambridge Aerospace as flight-testbed for the A400M turbine engine, the TP400. The C-130K is used by the RAF Falcons for parachute drops. Three C-130K (Hercules C Mk.1P) were upgraded and sold to the Austrian Air Force in 2002.[11]
Later models[edit]
The MC-130E Combat Talon was developed for the USAF during the Vietnam War to support special operations missions in Southeast Asia and led to both the MC-130H Combat Talon II as well as a family of other special missions aircraft. Thirty-seven (37) of the earliest models currently operating with the Air Force Special Operations Command (AFSOC) are scheduled to be replaced by new-production MC-130J versions. The EC-130 Commando Solo is another special missions variant within AFSOC, albeit operated solely by an AFSOC-gained wing in the Pennsylvania Air National Guard, and is a psychological operations/information operations (PSYOP/IO) platform equipped as an aerial radio station and television stations able to transmit messaging over commercial frequencies. Other versions of the EC-130, most notably the EC-130H Compass Call, are also special variants but are assigned to the Air Combat Command (ACC). The AC-130 gunship was first developed during the Vietnam War to provide close air support and other ground-attack duties.
USAF HC-130P refuels a HH-60G Pavehawk helicopter
The HC-130 is a family of long-range search and rescue variants used by the USAF and the U.S. Coast Guard. Equipped for deep deployment of Pararescuemen (PJs), survival equipment, and (in the case of USAF versions) aerial refueling of combat rescue helicopters, HC-130s are usually the on-scene command aircraft for combat SAR missions (USAF only) and non-combat SAR (USAF and USCG). Early USAF versions were also equipped with the Fulton surface-to-air recovery system, designed to pull a person off the ground using a wire strung from a helium balloon. The John Wayne movie The Green Berets features its use. The Fulton system was later removed when aerial refueling of helicopters proved safer and more versatile. The movie The Perfect Storm depicts a real-life SAR mission involving aerial refueling of a New York Air National Guard HH-60G by a New York Air National Guard HC-130P.
The C-130R and C-130T are U.S. Navy and USMC models, both equipped with underwing external fuel tanks. The USN C-130T is similar but has additional avionics improvements. In both models, aircraft are equipped with Allison T56-A-16 engines. The USMC versions are designated KC-130R or KC-130T when equipped with underwing refueling pods and pylons and are fully night vision system compatible.
The RC-130 is a reconnaissance version. A single example is used by the Islamic Republic of Iran Air Force, the aircraft having originally been sold to the former Imperial Iranian Air Force.
The Lockheed L-100 (L-382) is a civilian variant, equivalent to a C-130E model without military equipment. The L-100 also has two stretched versions.
Next generation[edit]
Main article: Lockheed Martin C-130J Super Hercules
In the 1970s, Lockheed proposed a C-130 variant with turbofan engines rather than turboprops, but the U.S. Air Force preferred the takeoff performance of the existing aircraft. In the 1980s, the C-130 was intended to be replaced by the Advanced Medium STOL Transport project. The project was canceled and the C-130 has remained in production.
Building on lessons learned, Lockheed Martin modified a commercial variant of the C-130 into a High Technology Test Bed (HTTB). This test aircraft set numerous short takeoff and landing performance records and significantly expanded the database for future derivatives of the C-130.[12] Modifications made to the HTTB included extended chord ailerons, a long chord rudder, fast-acting double-slotted trailing edge flaps, a high-camber wing leading-edge extension, a larger dorsal fin and dorsal fins, the addition of three spoiler panels to each wing upper surface, a long-stroke main and nose landing gear system, and changes to the flight controls and a change from direct mechanical linkages assisted by hydraulic boost, to fully powered controls, in which the mechanical linkages from the flight station controls operated only the hydraulic control valves of the appropriate boost unit.[13] The HTTB first flew on 19 June 1984, with civil registration of N130X. After demonstrating many new technologies, some of which were applied to the C-130J, the HTTB was lost in a fatal accident on 3 February 1993, at Dobbins Air Reserve Base, in Marietta, Georgia.[14] The crash was attributed to disengagement of the rudder fly-by-wire flight control system, resulting in a total loss of rudder control capability while conducting ground minimum control speed tests (Vmcg). The disengagement was a result of the inadequate design of the rudder's integrated actuator package by its manufacturer; the operator's insufficient system safety review failed to consider the consequences of the inadequate design to all operating regimes. A factor that contributed to the accident was the flight crew's lack of engineering flight test training.[15]
In the 1990s, the improved C-130J Super Hercules was developed by Lockheed (later Lockheed Martin). This model is the newest version and the only model in production. Externally similar to the classic Hercules in general appearance, the J model has new turboprop engines, six-bladed propellers, digital avionics, and other new systems.[16]
Upgrades and changes[edit]
In 2000, Boeing was awarded a US$1.4 billion contract to develop an Avionics Modernization Program kit for the C-130. The program was beset with delays and cost overruns until project restructuring in 2007.[17] On 2 September 2009, Bloomberg News reported that the planned Avionics Modernization Program (AMP) upgrade to the older C-130s would be dropped to provide more funds for the F-35, CV-22 and airborne tanker replacement programs.[18] However, in June 2010, the Department of Defense approved funding for the initial production of the AMP upgrade kits.[19][20] Under the terms of this agreement, the USAF has cleared Boeing to begin low-rate initial production (LRIP) for the C-130 AMP. A total of 198 aircraft are expected to feature the AMP upgrade. The current cost per aircraft is US$14 million although Boeing expects that this price will drop to US$7 million for the 69th aircraft.[17]
An engine enhancement program saving fuel and providing lower temperatures in the T56 engine has been approved, and the US Air Force expects to save $2 billion and extend the fleet life.[21]
Replacement[edit]
In October 2010, the Air Force released a capabilities request for information (CRFI) for the development of a new airlifter to replace the C-130. The new aircraft is to carry a 190 percent greater payload and assume the mission of mounted vertical maneuver (MVM). The greater payload and mission would enable it to carry medium-weight armored vehicles and drop them off at locations without long runways. Various options are being considered, including new or upgraded fixed-wing designs, rotorcraft, tilt-rotors, or even an airship. The development could start in 2014, and become operational by 2024. The C-130 fleet of around 450 planes would be replaced by only 250 aircraft.[22] The Air Force had attempted to replace the C-130 in the 1970s through the Advanced Medium STOL Transport project, which resulted in the C-17 Globemaster III that instead replaced the C-141 Starlifter.[23] The Air Force Research Laboratory funded Lockheed and Boeing demonstrators for the Speed Agile concept, which had the goal of making a STOL aircraft that can take off and land at speeds as low as 70 km (130 km/h; 81 mph) on airfields less than 2,000 ft (610 m) long and cruise at Mach 0.8-plus. Boeing's design used upper-surface blowing from embedded engines on the inboard wing and blown flaps for circulation control on the outboard wing. Lockheed's design also used blown flaps outboard, but inboard used patented reversing ejector nozzles. Boeing's design completed over 2,000 hours of wind tunnel tests in late 2009. It was a 5 percent-scale model of a narrowbody design with a 55,000 lb (25,000 kg) payload. When the AFRL increased the payload requirement to 65,000 lb (29,000 kg), they tested a 5% scale model of a widebody design with a 303,000 lb (137,000 kg) take-off gross weight and an "A400M-size" 158 in (4.0 m) wide cargo box. It would be powered by four IAE V2533 turbofans.[24] In August 2011, the AFRL released pictures of the Lockheed Speed Agile concept demonstrator. A 23% scale model went through wind tunnel tests to demonstrate its hybrid-powered lift, which combines a low drag airframe with simple mechanical assembly to reduce weight and better aerodynamics. The model had four engines, including two Williams FJ44 turbofans.[23][25] On 26 March 2013, Boeing was granted a patent for its swept-wing powered lift aircraft.[26]
As of January 2014, Air Mobility Command, Air Force Materiel Command, and the Air Force Research Lab are in the early stages of defining requirements for the C-X next generation airlifter program to replace both the C-130 and C-17. An aircraft would be produced from the early 2030s to the 2040s. If requirements are decided for operating in contested airspace, Air Force procurement of C-130s would end by the end of the decade to not have them serviceable by the 2030s and operated when they can't perform in that environment. The development of the airlifter depends heavily on the Army's "tactical and operational maneuver" plans. Two different cargo planes could still be created to separately perform tactical and strategic missions, but which course to pursue is to be decided before C-17s need to be retired.[27]
Operational history[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2014)
Military[edit]
USMC KC-130F Hercules performing takeoffs and landings aboard the aircraft carrier Forrestal in 1963. The aircraft is now displayed at the National Museum of Naval Aviation.
The first production aircraft, C-130As were first delivered beginning in 1956 to the 463d Troop Carrier Wing at Ardmore AFB, Oklahoma and the 314th Troop Carrier Wing at Sewart AFB, Tennessee. Six additional squadrons were assigned to the 322d Air Division in Europe and the 315th Air Division in the Far East. Additional aircraft were modified for electronics intelligence work and assigned to Rhein-Main Air Base, Germany while modified RC-130As were assigned to the Military Air Transport Service (MATS) photo-mapping division.
In 1958, a U.S. reconnaissance C-130A-II of the 7406th Support Squadron was shot down over Armenia by MiG-17s.[28]
Australia became the first non-American force to operate the C-130A Hercules with 12 examples being delivered from late 1958. These aircraft were fitted with AeroProducts three-blade, 15-foot diameter propellers. The Royal Canadian Air Force became another early user with the delivery of four B-models (Canadian designation C-130 Mk I) in October / November 1960.[29]
In 1963, a Hercules achieved and still holds the record for the largest and heaviest aircraft to land on an aircraft carrier.[30] During October and November that year, a USMC KC-130F (BuNo 149798), loaned to the U.S. Naval Air Test Center, made 29 touch-and-go landings, 21 unarrested full-stop landings and 21 unassisted take-offs on Forrestal at a number of different weights.[31] The pilot, LT (later RADM) James H. Flatley III, USN, was awarded the Distinguished Flying Cross for his role in this test series. The tests were highly successful, but the idea was considered too risky for routine "Carrier Onboard Delivery" (COD) operations. Instead, the Grumman C-2 Greyhound was developed as a dedicated COD aircraft. The Hercules used in the test, most recently in service with Marine Aerial Refueler Squadron 352 (VMGR-352) until 2005, is now part of the collection of the National Museum of Naval Aviation at NAS Pensacola, Florida.
In 1964, C-130 crews from the 6315th Operations Group at Naha Air Base, Okinawa commenced forward air control (FAC; "Flare") missions over the Ho Chi Minh Trail in Laos supporting USAF strike aircraft. In April 1965 the mission was expanded to North Vietnam where C-130 crews led formations of B-57 bombers on night reconnaissance/strike missions against communist supply routes leading to South Vietnam. In early 1966 Project Blind Bat/Lamplighter was established at Ubon RTAFB, Thailand. After the move to Ubon the mission became a four-engine FAC mission with the C-130 crew searching for targets then calling in strike aircraft. Another little-known C-130 mission flown by Naha-based crews was Operation Commando Scarf, which involved the delivery of chemicals onto sections of the Ho Chi Minh Trail in Laos that were designed to produce mud and landslides in hopes of making the truck routes impassable.[citation needed]
In November 1964, on the other side of the globe, C-130Es from the 464th Troop Carrier Wing but loaned to 322d Air Division in France, flew one of the most dramatic missions in history in the former Belgian Congo. After communist Simba rebels took white residents of the city of Stanleyville hostage, the U.S. and Belgium developed a joint rescue mission that used the C-130s to airlift and then drop and air-land a force of Belgian paratroopers to rescue the hostages. Two missions were flown, one over Stanleyville and another over Paulis during Thanksgiving weeks.[32] The headline-making mission resulted in the first award of the prestigious MacKay Trophy to C-130 crews.
In the Indo-Pakistani War of 1965, as a desperate measure, the transport No. 6 Squadron of the Pakistan Air Force modified its entire small fleet of C-130Bs for use as heavy bombers, capable of carrying up to 20,000 lb (9,072 kg) of bombs on pallets. These improvised bombers were used to hit Indian targets such as bridges, heavy artillery positions, tank formations, and troop concentrations.[33][34] Some C-130s even flew with anti-aircraft guns fitted on their ramp, apparently shooting down some 17 aircraft and damaging 16 others.[35]
The C-130 Hercules was used in the Battle of Kham Duc in 1968, when the North Vietnamese Army forced U.S.-led forces to abandon the Kham Duc Special Forces Camp.
In October 1968, a C-130Bs from the 463rd Tactical Airlift Wing dropped a pair of M-121 10,000 pound bombs that had been developed for the massive B-36 bomber but had never been used. The U.S. Army and U.S. Air Force resurrected the huge weapons as a means of clearing landing zones for helicopters and in early 1969 the 463rd commenced Commando Vault missions. Although the stated purpose of COMMANDO VAULT was to clear LZs, they were also used on enemy base camps and other targets.[citation needed]
During the late 1960s, the U.S. was eager to get information on Chinese nuclear capabilities. After the failure of the Black Cat Squadron to plant operating sensor pods near the Lop Nur Nuclear Weapons Test Base using a Lockheed U-2, the CIA developed a plan, named Heavy Tea, to deploy two battery-powered sensor pallets near the base. To deploy the pallets, a Black Bat Squadron crew was trained in the U.S. to fly the C-130 Hercules. The crew of 12, led by Col Sun Pei Zhen, took off from Takhli Royal Thai Air Force Base in an unmarked U.S. Air Force C-130E on 17 May 1969. Flying for six and a half hours at low altitude in the dark, they arrived over the target and the sensor pallets were dropped by parachute near Anxi in Gansu province. After another six and a half hours of low altitude flight, they arrived back at Takhli. The sensors worked and uploaded data to a U.S. intelligence satellite for six months before their batteries wore out. The Chinese conducted two nuclear tests, on 22 September 1969 and 29 September 1969, during the operating life of the sensor pallets. Another mission to the area was planned as Operation Golden Whip, but was called off in 1970.[36] It is most likely that the aircraft used on this mission was either C-130E serial number 64-0506 or 64-0507 (cn 382-3990 and 382-3991). These two aircraft were delivered to Air America in 1964.[37] After being returned to the U.S. Air Force sometime between 1966 and 1970, they were assigned the serial numbers of C-130s that had been destroyed in accidents. 64-0506 is now flying as 62-1843, a C-130E that crashed in Vietnam on 20 December 1965 and 64-0507 is now flying as 63-7785, a C-130E that had crashed in Vietnam on 17 June 1966.[38]
The A-model continued in service through the Vietnam War, where the aircraft assigned to the four squadrons at Naha AB, Okinawa and one at Tachikawa Air Base, Japan performed yeoman's service, including operating highly classified special operations missions such as the BLIND BAT FAC/Flare mission and FACT SHEET leaflet mission over Laos and North Vietnam. The A-model was also provided to the South Vietnamese Air Force as part of the Vietnamization program at the end of the war, and equipped three squadrons based at Tan Son Nhut AFB. The last operator in the world is the Honduran Air Force, which is still flying one of five A model Hercules (FAH 558, c/n 3042) as of October 2009.[39] As the Vietnam War wound down, the 463rd Troop Carrier/Tactical Airlift Wing B-models and A-models of the 374th Tactical Airlift Wing were transferred back to the United States where most were assigned to Air Force Reserve and Air National Guard units.
U.S. Marines disembark from C-130 transports at the Da Nang Airbase on 8 March 1965
Another prominent role for the B model was with the United States Marine Corps, where Hercules initially designated as GV-1s replaced C-119s. After Air Force C-130Ds proved the type's usefulness in Antarctica, the U.S. Navy purchased a number of B-models equipped with skis that were designated as LC-130s. C-130B-II electronic reconnaissance aircraft were operated under the SUN VALLEY program name primarily from Yokota Air Base, Japan. All reverted to standard C-130B cargo aircraft after their replacement in the reconnaissance role by other aircraft.
The C-130 was also used in the 1976 Entebbe raid in which Israeli commando forces carried a surprise assault to rescue 103 passengers of an airliner hijacked by Palestinian and German terrorists at Entebbe Airport, Uganda. The rescue force — 200 soldiers, jeeps, and a black Mercedes-Benz (intended to resemble Ugandan Dictator Idi Amin's vehicle of state) — was flown over 2,200 nmi (4,074 km; 2,532 mi) almost entirely at an altitude of less than 100 ft (30 m) from Israel to Entebbe by four Israeli Air Force (IAF) Hercules aircraft without mid-air refueling (on the way back, the planes refueled in Nairobi, Kenya).
During the Falklands War (Spanish: Guerra de las Malvinas) of 1982, Argentine Air Force C-130s undertook highly dangerous, daily re-supply night flights as blockade runners to the Argentine garrison on the Falkland Islands. They also performed daylight maritime survey flights. One was lost during the war. Argentina also operated two KC-130 tankers during the war, and these refueled both the Douglas A-4 Skyhawks and Navy Dassault-Breguet Super Étendards; some C-130s were modified to operate as bombers with bomb-racks under their wings. The British also used RAF C-130s to support their logistical operations.
USMC C-130T Fat Albert performing a rocket-assisted takeoff (RATO)
During the Gulf War of 1991 (Operation Desert Storm), the C-130 Hercules was used operationally by the U.S. Air Force, U.S. Navy and U.S. Marine Corps, along with the air forces of Australia, New Zealand, Saudi Arabia, South Korea, and the UK. The MC-130 Combat Talon variant also made the first attacks using the largest conventional bombs in the world, the BLU-82 "Daisy Cutter" and GBU-43/B "Massive Ordnance Air Blast" bomb, (MOAB). Daisy Cutters were used to clear landing zones and to eliminate minefields. The weight and size of the weapons make it impossible or impractical to load them on conventional bombers. The GBU-43/B MOAB is a successor to the BLU-82 and can perform the same function, as well as perform strike functions against hardened targets in a low air threat environment.
Since 1992, two successive C-130 aircraft named Fat Albert have served as the support aircraft for the U.S. Navy Blue Angels flight demonstration team. Fat Albert I was a TC-130G (151891),[40] while Fat Albert II is a C-130T (164763).[41] Although Fat Albert supports a Navy squadron, it is operated by the U.S. Marine Corps (USMC) and its crew consists solely of USMC personnel. At some air shows featuring the team, Fat Albert takes part, performing flyovers. Until 2009, it also demonstrated its rocket-assisted takeoff (RATO) capabilities; these ended due to dwindling supplies of rockets.[42]
The AC-130 also holds the record for the longest sustained flight by a C-130. From 22 to 24 October 1997, two AC-130U gunships flew 36 hours nonstop from Hurlburt Field Florida to Taegu (Daegu), South Korea while being refueled seven times by KC-135 tanker aircraft. This record flight shattered the previous record longest flight by over 10 hours while the two gunships took on 410,000 lb (190,000 kg) of fuel. The gunship has been used in every major U.S. combat operation since Vietnam, except for Operation El Dorado Canyon, the 1986 attack on Libya.[43]
C-130 Hercules performs a tactical landing on a dirt strip
During the invasion of Afghanistan in 2001 and the ongoing support of the International Security Assistance Force (Operation Enduring Freedom), the C-130 Hercules has been used operationally by Australia, Belgium, Canada, Denmark, France, Italy, the Netherlands, New Zealand, Norway, Portugal, South Korea, Spain, the UK and the United States.
During the 2003 invasion of Iraq (Operation Iraqi Freedom), the C-130 Hercules was used operationally by Australia, the UK and the United States. After the initial invasion, C-130 operators as part of the Multinational force in Iraq used their C-130s to support their forces in Iraq.
Since 2004, the Pakistan Air Force has employed C-130s in the War in North-West Pakistan. Some variants had forward-looking infrared (FLIR Systems Star Safire III EO/IR) sensor balls, to enable close tracking of Islamist militants.[44]
Civilian[edit]
A C-130E fitted with a MAFFS-1 dropping fire retardant
The U.S. Forest Service developed the Modular Airborne FireFighting System for the C-130 in the 1970s, which allows regular aircraft to be temporarily converted to an air tanker for fighting wildfires.[45] In the late 1980s, 22 retired USAF C-130As were removed from storage at Davis-Monthan Air Force Base and transferred to the U.S. Forest Service who then sold them to six private companies to be converted into air tankers (see U.S. Forest Service air tanker scandal). After one of these aircraft crashed due to wing separation in flight as a result of fatigue stress cracking, the entire fleet of C-130A air tankers was permanently grounded in 2004 (see 2002 airtanker crashes). C-130s have been used to spread chemical dispersants onto the massive oil slick in the Gulf Coast in 2010.[46]
A recent development of a C-130–based airtanker is the Retardant Aerial Delivery System developed by Coulson Aviation USA . The system consists of a C-130H/Q retrofitted with an in-floor discharge system, combined with a removable 3,500- or 4,000-gallon water tank. The combined system is FAA certified.[47]
Variants[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2014)
C-130H Hercules flight deck
A U.S. JC-130 aircraft retrieving a reconnaissance satellite film capsule under parachute.
C-130s from the: U.S., Canada, Australia and Israel (foreground to background)
RAAF C-130J-30 at Point Cook, 2006
Brazilian Air Force C-130 (L-382)
For civilian versions, see Lockheed L-100 Hercules.
Significant military variants of the C-130 include:
C-130A/B/E/F/G/H/K/T
Tactical airlifter basic models
C-130A-II Dreamboat
Early version Electronic Intelligence/Signals Intelligence (ELINT/SIGINT) aircraft[48]
C-130J Super Hercules
Tactical airlifter, with new engines, avionics, and updated systems
C-130K
Designation for RAF Hercules C1/W2/C3 aircraft (C-130Js in RAF service are the Hercules C.4 and Hercules C.5)
AC-130A/E/H/J/U/W
Gunship variants
C-130D/D-6
Ski-equipped version for snow and ice operations United States Air Force / Air National Guard
CC-130E/H/J Hercules
Designation for Canadian Armed Forces / Royal Canadian Air Force Hercules aircraft. U.S. Air Force used the CC-130J designation to differentiate standard C-130Js from "stretched" C-130Js (Company designation C-130J-30s).
DC-130A/E/H
USAF and USN Drone control
EC-130
EC-130E/J Commando Solo – USAF / Air National Guard psychological operations version
EC-130E – Airborne Battlefield Command and Control Center (ABCCC)
EC-130E Rivet Rider – Airborne psychological warfare aircraft
EC-130H Compass Call – Electronic warfare and electronic attack.[49]
EC-130V – Airborne early warning and control (AEW&C) variant used by USCG for counter-narcotics missions[50]
GC-130
Permanently Grounded "Static Display"
HC-130
HC-130B/E/H – Early model combat search and rescue
HC-130P/N Combat King – USAF aerial refueling tanker and combat search and rescue
HC-130J Combat King II – Next-generation combat search and rescue tanker
HC-130H/J – USCG long-range surveillance and search and rescue
JC-130
Temporary conversion for flight test operations
KC-130F/R/T/J
United States Marine Corps aerial refueling tanker and tactical airlifter
LC-130F/H/R
USAF / Air National Guard – Ski-equipped version for Arctic and Antarctic support operations; LC-130F previously operated by USN
MC-130
MC-130E/H Combat Talon I/II – Special operations infiltration/extraction variant
MC-130W Combat Spear/Dragon Spear – Special operations tanker/gunship[51]
MC-130P Combat Shadow – Special operations tanker
MC-130J Commando II (formerly Combat Shadow II) – Special operations tanker Air Force Special Operations Command[52]
YMC-130H – Modified aircraft under Operation Credible Sport for second Iran hostage crisis rescue attempt
NC-130
Permanent conversion for flight test operations
PC-130/C-130-MP
Maritime patrol
RC-130A/S
Surveillance aircraft for reconnaissance
SC-130J Sea Herc
Proposed maritime patrol version of the C-130J, designed for coastal surveillance and anti-submarine warfare.[53][54]
TC-130
Aircrew training
VC-130H
VIP transport
WC-130A/B/E/H/J
Weather reconnaissance ("Hurricane Hunter") version for USAF / Air Force Reserve Command's 53d Weather Reconnaissance Squadron in support of the National Weather Service's National Hurricane Center
From Wikipedia, the free encyclopedia
"Khajuraho"
UNESCO World Heritage Site
Location Madhya Pradesh, India Edit this at Wikidata
Coordinates 24°51′08″N 79°55′20″E
Criteria Cultural: (i), (iii) Edit this on Wikidata[1]
Reference 240
Inscription 1986 (10th Session)
Khajuraho Group of Monuments is located in India
Khajuraho Group of Monuments
Location of Khajuraho Group of Monuments
[edit on Wikidata]
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres (109 mi) southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India.[2][3] The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.[4]
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty.[5] Historical records note that the Khajuraho temple site had 85 temples by the 12th century, spread over 20 square kilometers Of these, only about 25 temples have survived, spread over 6 square kilometers.[3] Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.[6]
The Khajuraho group of temples were built together but were dedicated to two religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains in the region.[7]
Contents
1 Location
2 History
3 Description
3.1 Architecture of the temples
4 Construction
5 Chronology
6 Arts and sculpture
7 Tourism and cultural events
8 See also
9 References
10 Further reading
11 External links
Location
The Khajuraho monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres (385 mi) southeast of New Delhi. The temples are near a small town also known as Khajuraho,[8] with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai.[9] The site is also linked by the Indian Railways service, with the railway station located approximately six kilometres from the entrance to the monuments .
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, which is connected to the state capital Bhopal by the SW-NE running National Highway 86.
The 10th century Bhand Deva Temple in Rajasthan was built in the style of the Khajuraho monuments and is often referred to as 'Little Khajuraho'.
History
The Khajuraho group of monuments was built during the rule of the Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand.[10] Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by The Lakshmana Temple. Vishvanatha temple best highlights King Dhanga's reign.[11]:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Vidyadhara.[12] The temple inscriptions suggest many of the currently surviving temples were complete between 970 and 1030 CE, with further temples completed during the following decades.[7]
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba,[13] the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.[14]
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti.[15] The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.[14]
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century; after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them "Kajarra"[16][17] as follows:
Until the 12th century, Khajuraho was under Hindu kings and featured 85 temples. Central India was seized by Delhi Sultanate in 13th century. Under Muslim rule, some temples were destroyed and the rest left in neglect. Ruins of some old temples (Ghantai temple above) are still visible.
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell[18]
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect.[7][10] In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho.[19] The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims.[20][21] Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience.[22] Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.[23]
Nomenclature
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm,[24] and vāhaka, वाहक means "one who carries" or bearer[25]). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).[26]
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use.[23] He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.[27]
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
Description
Sections and orientation of Khajuraho temples.
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area.[27] The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.[27][29]
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river).[30] The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.[27][31]
All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthankars.[27] For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design.[32] Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara.[27] The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.[28]
The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture.[33] Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images.[34] The viewer has to look closely to find them, or be directed by a guide.[35] The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.[36]
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.[37]
Of all temples, the Matangeshvara temple remains an active site of worship.[28] It is another square grid temple, with a large 2.5 metres (8.2 ft) high and 1.1 metres (3.6 ft) diameter lingam, placed on a 7.6 metres (25 ft) diameter platform.[27]
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet.[10][27]
Jain temples
Main article: Jain temples of Khajuraho
The Jain temples are located on east-southeast region of Khajuraho monuments.[38] Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
Architecture of the temples
The layout plan of Kandariya Mahadeva Temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan.[39]
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala.[40] This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.[41]
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.[42]
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other.[29] The square is divided into perfect 64 sub-squares called padas.[40]
Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires.[39] The primary deity or lingas are located in the grid’s Brahma padas.
Khajuraho temples use the 8x8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Shikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.[29][43]
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts.[44] The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas.[45] This fractal pattern that is common in Hindu temples.[46] Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.[26]
All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.
An illustration of Khajuraho temple Spires (Shikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.
Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire).[41] Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.[29]
In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity.[29] The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.[41]
Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India.[47] Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as "an organism of repeating cells".[48]
Construction
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view.[49] The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.[50] Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved.[51] Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone.[52] They concluded that these temples would have required hundreds of highly trained sculptors.
Chronology
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions.[53] In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
Temples, religious affiliations and consecration years
Sequence Modern Temple name Religion Deity Completed by
(CE)[27][54] Image
1 Chausath Yogini Hinduism Devi, 64 Yoginis 885 Khajuraho,Chausath-Yogini-Tempel2.jpg
2 Brahma Hinduism Vishnu 925
3 Lalgun Mahadev Hinduism Shiva 900 India-5696 - Flickr - archer10 (Dennis).jpg
4 Matangeshwar Hinduism Shiva 1000 India-5772 - Flickr - archer10 (Dennis).jpg
5 Varaha Hinduism Vishnu 950 India-5595 - Flickr - archer10 (Dennis).jpg
6 Lakshmana Hinduism Vaikuntha Vishnu 939 India-5679 - Flickr - archer10 (Dennis).jpg
7 Parshvanatha Jainism Parshvanatha 954 Le temple de Parshvanath (Khajuraho) (8638423582).jpg
8 Vishvanatha Hinduism Shiva 999 India-5749 - Visvanatha Temple - Flickr - archer10 (Dennis).jpg
9 Devi Jagadambi Hinduism Devi, Parvati 1023 Khajuraho Devi Jagadambi Temple 2010.jpg
10 Chitragupta Hinduism Sun, Chitragupta 1023 India-5707 - Flickr - archer10 (Dennis).jpg
11 Kandariya Mahadeva (Largest temple) Hinduism Shiva 1029 Temple at Khajuraho, Madhya Pradesh, India.jpg
12 Vamana Hinduism Vamana 1062 Khajuraho Vaman Temple 2010.jpg
13 Adinath Jain Temple Jainism Adinatha 1027 Adinath Jain Temple Khajuraho 12.jpg
14 Javeri Hinduism Vishnu 1090 Javari Temple, Khajuraho.jpg
15 Chaturbhuja Hinduism Vishnu 1110 Khajuraho Chaturbhuja Temple.jpg
16 Duladeo (Duladeva) Hinduism Shiva 1125 Khajuraho Dulhadeo 2010.jpg
17 Ghantai Jainism Adinatha 960 A ruin, pillars at Khajuraho, India.jpg
18 Vishnu-Garuda Hinduism Vishnu 1000
19 Ganesha Hinduism Shiva 1000
20 Hanuman Hinduism Hanuman 922[55] Hanuman Inscription at Khajuraho.jpg
21 Mahishasuramardini Hinduism Mahishasuramardini 995 Khajuraho India, Lakshman Temple, Sculpture 10.JPG
22 Shantinatha temple Jainism Shantinatha 1027 Jain group of temples - Khajuraho 09.jpg
Arts and sculpture
Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the monuments.
Erotic sculptures
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices.[56] Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples.[6][57] James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art":
"Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
Over 90% of the art work at the temple is about daily life and symbolic values in ancient Indian culture.
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities;[58] however the kama arts represent diverse sexual expressions of different human beings.[59] The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition.[3][6] For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era.[60] These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples.[6] Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976[29]
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa.[61] Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples.[26][62] Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples.[63] Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.[64]
Tourism and cultural events
Temples layout map – Khajuraho Group of Monuments.
The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.[65]
The Khajuraho Dance Festival is held every year in February.[66] It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
See also
List of megalithic sites
Jain temples of Khajuraho
Ajanta Caves
Badami Chalukya architecture
Western Chalukya architecture
Hindu temple
Madan Kamdev
Hemvati
Kama Sutra
Kamashastra
The Kandariya Mahadeva Temple (Devanagari: कंदारिया महादेव मंदिर, Kaṇḍāriyā Mahādeva Mandir), meaning "the Great God of the Cave", is the largest and most ornate Hindu temple in the medieval temple group found at Khajuraho in Madhya Pradesh, India. It is considered one of the best examples of temples preserved from the medieval period in India.
Contents
1 Location
2 History
3 Features
4 References
5 Bibliography
6 Further reading
7 External links
Location
Temples layout map of Khajuraho Group of Monuments: Kandariya Mahadeva Temple is in the western group
Kaṇḍāriyā Mahādeva Temple is located in the Chhatarpur district of Madhya Pradesh in Central India.[1] It is in the Khajuraho village, and the temple complex is spread over an area of 6 square kilometres (2.3 sq mi).[2] It is in the western part of the village to the west of the Vishnu temple.[3][4]
The temple complex, in the Khajuraho village at an elevation of 282 metres (925 ft), is well connected by road, rail and air services. Khajuraho is 55 kilometres (34 mi) to the south of Mahoba, 47 kilometres (29 mi) away from the Chhatarpur city to its east, 43 kilometres (27 mi) away from Panna, 175 kilometres (109 mi) by road away from Jhansi on the north, and 600 kilometres (370 mi) to the south - east of Delhi. It is 9 kilometres (5.6 mi) from the railway station.[1][5] Khajuraho is served by Khajuraho Airport (IATA Code: HJR), with services to Delhi, Agra and Mumbai. It is 6 kilometres (3.7 mi) from the temple.[5][6]
History
Khajuraho was once the capital of the Chandela dynasty. The Kandariya Mahadeva Temple, one of the best examples of temples preserved from the medieval period in India,[1][7] is the largest of the western group of temples in the Khajuraho complex which was built by the Chandela rulers. Shiva is the chief deity in the temple deified in the sanctum sanctorium.[8]
The Kandariya Mahadeva temples was built during the reign of Vidyadhara (r. c. 1003-1035 CE).[9] At various periods of the reign of this dynasty many famous temples dedicated to Vishnu, Shiva, Surya, Shakti of the Hindu religion and also for the Thirthankaras of Jain religion were built. Vidhyadhara, also known as Bida in the recordings of the Muslim historian Ibn-al-Athir, who is credited with building the Kaṇḍāriyā Mahādeva Temple, was a powerful ruler who fought Mahmud of Ghazni in the first offensive launched by the latter in 1019.[1] This battle was not conclusive and Mahmud had to return to Ghazni. Mahmud again waged war against Vidhyadhara in 1022. He attacked the fort of Kalinjar.[1] The siege of the fort was unsuccessful. It was lifted and Mahmud and Vidhyadhara called a truce and parted by exchanging gifts. Vidhyadhara celebrated his success over Mahmud and other rulers by building the Kaṇḍāriyā Mahādeva Temple, dedicated to his family deity Shiva. Epigraphic inscriptions on a pilaster of the mandapa in the temple mentions the name of the builder of the temple as Virimda, which is interpreted as the pseudonym of Vidhyadhara.[1] Its construction is dated to the period from 1025 and 1050 AD.[4]
All the extant temples including the Kandariya Mahadeva Temple were inscribed in 1986 under the UNESCO List of World Heritage Sites under Criterion III for its artistic creation and under Criterion V for the culture of the Chandelas that was popular till the country was invaded by Muslims in 1202.[10][11]
Features
Various features of the temple marked on the Kandariya Mahadeo Temple.
Simplified map of the temple
The Kandariya Mahadeva Temple, 31 metres (102 ft) in height, is in the western complex, which is the largest among the three groups of the Khajuraho complex of temples.[12] This western group of temples, consisting of the Kandariya, Matangeshwara and Vishvanatha temples, is compared to a "cosmic design of a hexagon (a yantra or Cosmo gram)" representing the three forms of Shiva.[5] The temple architecture is an assemblage of porches and towers which terminates in a shikhara or spire, a feature which was common from the 10th century onwards in the temples of Central India.[12]
The temple is founded on a massive plinth of 4 metres (13 ft) height.[13] The temple structure above the plinth is dexterously planned and pleasingly detailed.[14] The superstructure is built in a steep mountain shape or form, symbolic of Mount Meru which is said to be the mythical source of creation of the world.[8] The superstructure has richly decorated roofs which rise in a grand form terminating in the shikara, which has 84 miniature spires.[4] The temple is in layout of 6 square kilometres (2.3 sq mi), of which 22 are extant including the Kaṇḍāriyā Mahādeva Temple. This temple is characteristically built over a plan of 31 metres (102 ft) in length and 20 metres (66 ft) in width with the main tower soaring to a height of 31 metres (102 ft), and is called the "largest and grandest temple of Khajuraho".[2][14][15] A series of steep steps with high rise lead from the ground level to the entrance to the temple.[16] The layout of the temple is a five-part design, a commonality with the Lakshmana and Vishvanatha temples in the Khajuraho complex. Right at the entrance there is torana, a very intricately carved garland which is sculpted from a single stone; such entrances are part of a Hindu wedding procession.[4] The carvings on the entrance gate shows the "tactile quality of the stone and also the character of the symmetrical design" that is on view in the entire temple which has high relief carvings of the figurines. Finely chiseled, the decorative quality of the ornamentation with the sharp inscribed lines has "strong angular forms and brilliant dark-light patterns". The carvings are of circles, undulations giving off spirals or sprays, geometric patterns, masks of lions and other uniform designs which has created a pleasant picture that is unique to this temple, among all others in the complex.[14]
The main temple tower with 84 mini spires
Erotic sculptures on the external walls of the temple
In the interior space from the entrance there are three mandapas or halls, which successively rise in height and width, which is inclusive of a small chamber dedicated to Shiva, a chamber where Shiva's wife, Parvati is deified, and a central sanctum or garbhagriha (literal meaning "womb chamber") where the Shiva linga, the phallic emblem of Shiva is deified. The sanctum sanctorum is surrounded by interlinked passages which also have side and front balconies. Due to inadequate natural light in the balconies the sanctum has very little light thus creating a "cave like atmosphere" which is in total contrast to the external parts of the temple.[4][13][17][18] In the interior halls of the temple and on its exterior faces there are elaborately carved sculptures of gods and goddesses, musicians and apsaras or nymphs.[4] The huge pillars of the halls have architectural features of the "vine or scroll motif". In the corners of the halls there are insets which are carved on the surface with incised patterns.[14] There is a main tower above the sanctum and there are two other towers above the other mantapas also in the shape of "semi-rounded, stepped, pyramidal form with progressively greater height". The main tower is encircled by a series of interlinked towers and spires of smaller size.[19] These are in the form of a repeated subset of miniature spires that abut a central core which gives the temple an unevenly cut contour similar to the shape of a mountain range of mount Kailasa of the Himalayas where god Shiva resides, which is appropriate to the theme of the temples here.[18]
The exterior surfaces of the temples are entirely covered with sculptures in three vertical layers.[4] Here, there are horizontal ribbons carved with images, which shine bright in the sun light, providing rhythmic architectural features. Among the images of gods and heavenly beings, Agni, the god of fire is prominent.[14] They are niches where erotic sculptures are fitted all round which are a major attraction among visitors. Some of these erotic sculptures are very finely carved and are in mithuna (coitus) postures with maidens flanking the couple, which is a frequently noted motif. There is also a "male figure suspended upside" in coitus posture, a kind of yogic pose, down on his head.[4] The niches also have sculptures of Saptamatrikas, the septad of mother goddesses along with the gods Ganesha and Virabhadra. The seven fearful protector goddesses include: Brahmi seated on a swan of Brahma; Maheshwari with three eyes seated on Shiva's bull Nandi; Kumari; Vaishnavi mounted on Garuda; the boar-headed Varahi; the lion-headed Narasimhi and Chamunda, the slayer of demons Chanda and Munda.[4]
From Wikipedia, the free encyclopedia
"Lubavich" and "Lubavitch" redirect here. For the Russian village associated with Chabad, see Lyubavichi, Rudnyansky District, Smolensk Oblast.
For other uses of "Chabad", see Chabad (disambiguation).
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Chabad, also known as Lubavitch, Habad and Chabad-Lubavitch,[1] (Hebrew: חב"ד) is an Orthodox Jewish, Hasidic movement. Chabad is today one of the world's best known Hasidic movements and is well known for its outreach. It is the largest Hasidic group[2][3][4] and Jewish religious organization in the world.[5][6]
Founded in 1775 by Rabbi Schneur Zalman of Liadi, the name "Chabad" (Hebrew: חב״ד) is a Hebrew acronym for Chochmah, Binah, Da'at (חכמה, בינה, דעת): "Wisdom, Understanding, and Knowledge", which represent the intellectual underpinnings of the movement.[7][8] The name "Lubavitch" is the Yiddish name for the originally Belorussian village Lyubavichi where the movement's leaders lived for over 100 years.
In 1951, Rabbi Menachem Mendel Schneerson became the seventh Rebbe of Chabad-Lubavitch, and he transformed it from a small chasidic movement into the largest and most widespread Jewish movement in the world today. He established a network of more than 3,600 institutions that provide religious, social and humanitarian needs in over 1,000 cities, spanning 80 countries and 49 of the 50 American states.[9][10][11][12][13][14] Chabad institutions provide outreach to both affiliated and unaffiliated Jews and humanitarian aid, as well as religious, cultural and educational activities at Chabad-run community centers, synagogues, schools, camps, and soup kitchens.
Studies conducted between 1993-1996 stated the movement is thought to number between 40,000[15] and 200,000 adherents.[16][17][18][19] In 2005 the Jerusalem Center for Public Affairs reported that up to one million Jews attend Chabad services at least once a year.[15][20][21] In 2013, Chabad forecasted that their Chanukah activities would reach up to 8,000,000 Jews in 80 countries worldwide.[
Pietá, de Michelangelo. Pietà (Michelangelo)
Following, a text, in english, from Wikipedia, the free encyclopedia:
The Pietà (1499) is a masterpiece of Renaissance sculpture by Michelangelo in St. Peter's Basilica in Vatican City. It is the first of a number of works of the same theme by the artist. The statue was commissioned for the French cardinal Jean de Billheres, who was a representative in Rome. The statue was made for the cardinal's funeral monument, but was moved to its current location, the first chapel on the right as one enters the basilica, in the 18th century.
This famous work of art depicts the body of Jesus on the lap of his mother Mary after the Crucifixion. The theme is of Northern origin, popular by that time in France but not yet in Italy. Michelangelo's interpretation of the Pietà is unique to the precedents. It is an important work as it balances the Renaissance ideals of classical beauty with naturalism. The statue is one of the most highly finished works by Michelangelo.
The structure is pyramidal, and the vertex coincides with Mary's head. The statue widens progressively down the drapery of the Virgin's dress, to the base, the rock of Golgotha. The figures are quite out of proportion, owing to the difficulty of depicting a fully-grown man cradled full-length in a woman's lap. Much of the Virgin's body is concealed by her monumental drapery, and the relationship of the figures appears quite natural.
The marks of the Crucifixion are limited to very small nail marks and an indication of the wound in Jesus' side.
The Madonna is represented as being very young, and about this peculiarity there are different interpretations. One is that her youth symbolizes her incorruptible purity, as Michelangelo himself said to his biographer and fellow sculptor Ascanio Condivi:
Do you not know that chaste women stay fresh much more than those who are not chaste? How much more in the case of the Virgin, who had never experienced the least lascivious desire that might change her body?
Another explanation suggests that Michelangelo's treatment of the subject was influenced by his passion for Dante's Divina Commedia: so well-acquainted was he with the work that when he went to Bologna he paid for hospitality by reciting verses from it. In Paradiso (cantica 33 of the poem) Saint Bernard, in a prayer for the Virgin Mary, says "Vergine madre, figlia del tuo figlio" (Virgin mother, daughter of your son). This is said because, being that Christ is one of the three figures of Trinity, Mary would be his daughter, but it is also she who bore him.
A third interpretation is that suggested by Condivi shortly after the passage quoted above: simply that "such freshness and flower of youth, besides being maintained in by natural means, were assisted by act of God".
Yet another exposition posits that the viewer is actually looking at an image of Mary holding the baby Jesus. Mary's youthful appearance and apparently serene facial expression, coupled with the position of the arms could suggest that she is seeing her child, while the viewer is seeing an image of the future.
Interpreting the sculpture in terms of its name, one might trace the origin: "The duty children owed their parents, termed pietas, was associated by Romans with the duty humans owed their gods" (James S. Jeffers, The Greco-Roman World of the New Testament Era: Exploring the Background of Early Christianity, Downers Grove, Ill. InterVarsity Press, 1999).
While there was a precedent for painted depictions of the Virgin grieving over the dead Christ in Florentine art, the subject appears to have been novel to Italian sculpture. There was, however, a tradition of sculptured pietàs in Northern art, particularly in Germany, Poland and the Cardinal's native France. In addition, the church of San Domenico in Bologna had a German sculpted pietà. This has led some to believe that the donor had these statues in mind when the work was commissioned.
The process took less than two years. Michelangelo's interpretation of the Pieta was far different than those previously created by other artists—he decided to create a youthful, serene and celestial Virgin Mary instead of a broken-hearted and somewhat older woman.
The Pietà's first home was the Chapel of Santa Petronilla, a Roman mausoleum near the south transept of St. Peter's, which the Cardinal chose as his funerary chapel. The chapel was later demolished by Bramante during his rebuilding of the basilica. According to Giorgio Vasari, shortly after the installation of his Pietà Michelangelo overheard someone remark that it was the work of another sculptor, Cristoforo Solari. Michelangelo then carved MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBA[T] (Michelangelo Buonarroti, Florentine, made it) on the sash running across Mary's breast. It was the only work he ever signed. He later regretted his outburst of pride and swore never to sign another work of his hands.[1]
In subsequent years the Pietà sustained much damage. Four fingers on the Virgin's left hand, broken during a move, were restored in 1736 by Giuseppe Lirioni and scholars are divided as to whether the restorer took liberties to make the gesture more 'rhetorical'. The most substantial damage occurred on May 21, 1972 (Pentecost Sunday) when a mentally disturbed geologist named Laszlo Toth walked into the chapel and attacked the Virgin with a geologist's hammer while shouting "I am Jesus Christ."
After the attack, the work was painstakingly restored and returned to its place in St. Peter's, just to the right of the entrance, between the Holy door and the altar of Saint Sebastian, and is now protected by a bullet-proof acrylic glass panel.
The sculpture was shipped to New York in 1964 in order to become the main draw for the Vatican pavilion at the 1964 New York World's Fair, where it was viewed by millions.
A seguir, Texto, em português, da Wikipédia a Enciclopédia livre:
A Pietá (em português Piedade) de Michelangelo é talvez a Pietá mais conhecida e uma das mais famosas esculturas feitas pelo artista. Representa Jesus morto nos braços da Virgem Maria. A fita que atravessa o peito da Virgem Maria traz a assinatura do autor, única que se conhece: MICHAEL ANGELUS. BONAROTUS. FLORENT. FACIEBA(T), ou seja, «Miguel Angelo Buonarotus de Florença fez.»
Fica na basílica de São Pedro, na primeira capela da alameda do lado direito. Desde que a estátua foi atacada em 1972, está protegida por um vidro a prova de bala. Tem 174 centímetros por 69 centímetros e é feita em mármore.
Em 26 de Agosto de 1498 o cardeal francês Jean Bilhères de Lagraulas encomendou a Miguel Ângelo uma imagem da Virgem para a Capela dos Reis de França, para a antiga basílica de São Pedro.
Juntando capacidades criadoras geniais a uma técnica perfeita, o artista toscano criou então a sua mais acabada e famosa escultura: a Pietá. O tema vem da Europa do Norte, a dor de Maria sobre o corpo morto do filho, mas Michelangelo abandonou o realismo cruel típico do gênero em favor de uma visão idealizada.
Iniciara-se como artista ainda durante o Quattrocento, em Florença, onde trabalhou para os Médicis, mas a Pietá foi a sua primeira grande obra escultórica. Trata-se de um trabalho de admirável perfeição, organizado segundo um esquema em forma de pirâmide, um formato muito utilizado pelos pintores e escultores renascentistas.
Nesta obra delicada o artista encontrou a solução ideal para um problema que preocupara os escultores do Primeiro Renascimento: a colocação do Corpo de Jesus Cristo morto no regaço de Maria. Para isso alterou deliberadamente as proporções: o Cristo é menor que a Virgem, que é para dar a impressão de não esmagar a Mãe e mostrar que é seu Filho, para não “sair” do esquema triangular. A Virgem Maria foi representada muito jovem e com uma nobre resignação: a expressão dolorosa do rosto é idealizada, contrastando com a angústia que tradicionalmente os artistas lhe imprimiam. Torna-se assim evidente a influência do “pathos” dos clássicos gregos. E o autor imaginou a juventude de Maria, objeções que erguem contra ele seus críticos, como sua expressão de sua pureza incorruptível.
O requinte e esmero da modelação e o tratamento da superfície do mármore, polido como um marfim, deram-lhe a reputação de uma das mais belas esculturas de todos os tempos. Importante como o autor conseguiu harmonizar a figura horizontal do Cristo, estendido sobre os joelhos da mãe, como que inserido entre suas amplas vestes, com a figura « vertical» de Maria.
Michelangelo tinha 23 anos. Em função da pouca idade, muitos não acreditaram que fosse o autor. Assim, por isso teria inscrito o nome na faixa que atravessa o peito de Maria.
Ipê Amarelo, Tabebuia [chrysotricha or ochracea].
Ipê-amarelo em Brasília (UnB), Brasil.
This tree is in Brasília, Capital of Brazil.
Text, in english, from Wikipedia, the free encyclopedia
"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).
Tabebuia
Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil
Scientific classification
Kingdom: Plantae
(unranked): Angiosperms
(unranked): Eudicots
(unranked): Asterids
Order: Lamiales
Family: Bignoniaceae
Tribe: Tecomeae
Genus: Tabebuia
Gomez
Species
Nearly 100.
Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.
They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.
Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.
Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.
Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.
Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)
Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.
Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.
Tabebuia alba
Tabebuia anafensis
Tabebuia arimaoensis
Tabebuia aurea – Caribbean Trumpet Tree
Tabebuia bilbergii
Tabebuia bibracteolata
Tabebuia cassinoides
Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)
Tabebuia chrysotricha – Golden Trumpet Tree
Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)
A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.
Tabebuia dubia
Tabebuia ecuadorensis
Tabebuia elongata
Tabebuia furfuracea
Tabebuia geminiflora Rizz. & Mattos
Tabebuia guayacan (Seem.) Hemsl.
Tabebuia haemantha
Tabebuia heptaphylla (Vell.) Toledo – tajy
Tabebuia heterophylla – roble prieto
Tabebuia heteropoda
Tabebuia hypoleuca
Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"
Tabebuia incana
Tabebuia jackiana
Tabebuia lapacho – lapacho amarillo
Tabebuia orinocensis A.H. Gentry[verification needed]
Tabebuia ochracea
Tabebuia oligolepis
Tabebuia pallida – Cuban Pink Trumpet Tree
Tabebuia platyantha
Tabebuia polymorpha
Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate
A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela
Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco
Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)
Tabebuia shaferi
Tabebuia striata
Tabebuia subtilis Sprague & Sandwith
Tabebuia umbellata
Tabebuia vellosoi Toledo
Ipê-do-cerrado
Texto, em português, da Wikipédia, a enciclopédia livre.
Ipê-do-cerrado
Classificação científica
Reino: Plantae
Divisão: Magnoliophyta
Classe: Magnoliopsida
Subclasse: Asteridae
Ordem: Lamiales
Família: Bignoniaceae
Género: Tabebuia
Espécie: T. ochracea
Nome binomial
Tabebuia ochracea
(Cham.) Standl. 1832
Sinónimos
Bignonia tomentosa Pav. ex DC.
Handroanthus ochraceus (Cham.) Mattos
Tabebuia chrysantha (Jacq.) G. Nicholson
Tabebuia hypodictyon A. DC.) Standl.
Tabebuia neochrysantha A.H. Gentry
Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry
Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry
Tecoma campinae Kraenzl.
ecoma grandiceps Kraenzl.
Tecoma hassleri Sprague
Tecoma hemmendorffiana Kraenzl.
Tecoma heteropoda A. DC.
Tecoma hypodictyon A. DC.
Tecoma ochracea Cham.
Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.
Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].
Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].
Há uma espécie homônima descrita por A.H. Gentry em 1992.
Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.
Características
Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.
Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.
Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.
FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.
O desenvolvimento da planta é rápido.
Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.
Tabebuia alba (Ipê-Amarelo)
Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto
Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller
Atualizado em 10/07/2006
O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).
A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.
As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.
A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.
Taxonomia
Família: Bignoniaceae
Espécie: Tabebuia Alba (Chamiso) Sandwith
Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso
Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.
Aspectos Ecológicos
O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).
Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.
Informações Botânicas
Morfologia
As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.
Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.
As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.
As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.
Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.
As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.
Reprodução
A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.
As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).
As sementes são dispersas pelo vento.
A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.
Ocorrência Natural
Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.
Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.
Clima
Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.
A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.
Solo
A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).
Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).
Pragas e Doenças
De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.
ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.
ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.
A Madeira
A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).
MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.
Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.
A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.
Usos da Madeira
Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.
Produtos Não-Madeireiros
A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.
O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.
Outros Usos
É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.
Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.
Aspectos Silviculturais
Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.
Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.
Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).
Produção de Mudas
A propagação deve realizada através de enxertia.
Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.
A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.
Sementes
Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).
As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.
As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.
Preço da Madeira no Mercado
O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).
Colosseum
Following, a text, in english, from the Wikipedia the Free Encyclopedia:
The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.
Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).
Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.
Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]
The Colosseum is also depicted on the Italian version of the five-cent euro coin.
The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]
The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.
In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.
The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]
The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).
Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]
Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.
The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.
In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.
The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.
Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.
During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.
In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.
The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.
Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).
Exterior
Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.
The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.
The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.
Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]
The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]
Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.
Interior
According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.
The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.
Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.
Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.
The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]
The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]
Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.
The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.
Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.
Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.
Right next to the Colosseum is also the Arch of Constantine.
he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.
During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]
Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.
The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]
The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.
In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.
It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.
Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.
At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.
Coliseu (Colosseo)
A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:
O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.
O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.
Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.
O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.
Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.
Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.
Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.
Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.
O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".
A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.
Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.
O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.
Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.
O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.
Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.
Wikipedia is a marvelous resource that I use frequently. Only 2 percent of Wikipedia users donate to keeping it free for everyone. The average donation is $2.75. They really do keep costs down.
When more detail is needed, the Encyclopedia Brittanica online is a wonderful resource.
Singapore Botanic Gardens (Chinese: 新加坡植物园; Malay: Taman Botanik Singapura or Kebun Botani Singapura) is a 63.7-hectare (157-acre) botanical garden in Singapore. It is half the size of the Royal Botanic Gardens in Kew or around one-fifth the size of Central Park in New York. It is the only botanic garden in the world that opens from 5 a.m. to 12 midnight every single day of the year, and does not charge an admission fee, except for the National Orchid Garden. The garden is bordered by Holland & Napier Road in the South, Cluny Road on the East, Tyersall Ave & Cluny Park Road on its West and Bukit Timah Road in the North. The linear distance between the Northern and Southern end is around 2.5 km (1.5 miles).
National Orchid Garden
The main attraction within the botanic gardens. Located on the mid-western side of the garden, the hilly three hectare site has a collection of more than 1,000 species and 2,000 hybrids of orchids.
Within the orchid garden, there are a number of mini-attractions such as:
Burkill Hall & VIP Orchid Garden: Burkill Hall is a colonial plantation bungalow built in the year 1886. It used to be the Director’s House and was named in honour of the only father and son pair, Isaac and Humphrey Burkill, to hold the post of Director of Singapore Botanic Gardens. Currently the ground level serves as an exhibition area. It showcases information on the different hybrids named after VIPs who have visited the garden.
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Mecca
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This article contains Arabic text, written from right to left in a cursive style with some letters joined. Without proper rendering support, you may see unjoined Arabic letters written left-to-right, instead of right-to-left or other symbols instead of Arabic script.
Coordinates: 21°25′00″N 39°49′00″E / 21.416667°N 39.816667°E / 21.416667; 39.816667
مكّة المكرمة
City of Mecca / Makkah Al Mukarrammah
Masjid al-Haram, the center of Mecca, and the source of its prominence
Nickname(s): Umm Al Qura (Mother of Villages)
Location of Mecca
Country Saudi Arabia
Province Makkah Province
Construction of Kaaba +2000 BC
Established Ibrahim
Joined Saudi Arabia 1924
Government
- Mayor Osama Al-Bar
- Provincial Governor Khalid al Faisal
Area Mecca Municipality
- Urban 850 km2 (328.2 sq mi)
- Metro 1,200 km2 (463.3 sq mi)
Population (2007)
- City 1,700,000
- Density 4,200/km2 (2,625/sq mi)
- Urban 2,053,912
- Metro 2,500,000
Makkah Municipality estimate
Time zone EAT (UTC+3)
- Summer (DST) EAT (UTC+3)
Postal Code (5 digits)
Area code(s) +966-2
Website Mecca Municipality
Mecca IPA: /ˈmɛkə/, also spelled Makkah IPA: [ˈmækə], Arabic: مكة Makka (in full: Makka al-Mukarrama IPA: [(Arabic) mækːæ(t) ælmʊkarˑamæ]; Arabic: مكّة المكرمة, literally: Honored Mecca) is a city in Saudi Arabia. Home to the Masjid al-Haram, it is the holiest city in Islam and plays an important role in the faith. As of 2008 the annual Hajj pilgrimage attracts two to three million pilgrims to the city,[1][2] and presents both opportunities for the city's economy, and challenges for its infrastructure. Culturally, the city is modern, cosmopolitan and ethnically diverse.[3][4][5][6]
Islamic tradition attributes the beginning of Mecca to Ishmael's descendants. In the 7th century, the Islamic prophet Muhammad proclaimed Islam in the city, by then an important trading center, and the city played an important role in the early history of Islam. After 966, Mecca was led by local sharifs, until 1924, when it came under the rule of the Saudis.[7] In its modern period, Mecca has seen a great expansion in size and infrastructure.
The modern day city is located in and is the capital of Saudi Arabia's Makkah Province, in the historic Hejaz region. With a population of 1.7 million (2008), the city is located 73 km (45 mi) inland from Jeddah, in a narrow valley, and 277 m (910 ft) above sea level.
Etymology
Mecca is the original English translation of the Arabic name. Historically, the city has also been called Becca.[8][9] In the 1980s, the Saudi Arabian government and others began promoting the spelling Makkah (in full form, Makkah al-Mukarramah), which more closely resembles the actual Arabic pronunciation. This spelling is starting to be taken up by many organizations, including the United Nations,[10] United States Department of State,[11] and the British Foreign Office, [12] but the spelling Mecca remains in common use. Another alternative is Meccah.[13]
Government
Mecca is governed by the Municipality of Mecca, headed by a mayor (Also known as Amin) appointed by the Saudi Government. The current mayor of the city is Osama Al-Bar. A municipal council of fourteen locally elected members is responsible for the functioning of the municipality.
Mecca is the capital of Makkah Province, which includes neighboring Jeddah. The governor was Prince Abdul Majeed bin Abdul Aziz from 2000 until his death in 2007.[14] On May 16, 2007, Prince Khalid al Faisal was appointed as the new governor.[15]
History
1787 Turkish artwork of the Holy Mosque and related religious sites (Jabal al-Nur)
Early history
According to Islamic tradition, the history of Mecca goes back to Ibrahim (ابراهيم, Abraham) when he built the Kaaba with the help of his son Ismā'īl (اسماعيل, Ishmael), around 2000 BC. The inhabitants were stated to have fallen away from monotheism through the influence of the Amelkites.[16] Historians state that the Kaaba later became the repository of 360 idols and tribal gods of all of Arabia's nomadic tribes. Until the 7th century, Mecca's most important god would remain to be Hubal, having been placed there by the ruling Quraysh tribe.[17][18]
Ptolemy may have called the city "Macoraba", though this identification is controversial.[19] In the 5th century, the Quraysh took control of Mecca, and became skilled merchants and traders. In the 6th century they joined the lucrative spice trade as well, since battles in other parts of the world were causing trade routes to divert from the dangerous sea routes to the relatively more secure overland routes. The Byzantine Empire had previously controlled the Red Sea, but piracy had been on the increase. Another previous route, that from the Persian Gulf via the Tigris and Euphrates rivers, was also being threatened by exploitation from the Sassanid Empire, as well as being disrupted by the Lakhmids, the Ghassanids, and the Roman–Persian Wars. Mecca's prominence as a trading center surpassed the cities of Petra and Palmyra.[20][21]
By the middle of the 6th century, there were three major settlements in northern Arabia, all along the southwestern coast that borders the Red Sea, in a habitable region between the sea and the great desert to the east. This area, known as the Hejaz, featured three settlements grown around oases, where water was available. In the center of the Hejaz was Yathrib, later renamed as Medina. 250 mi (400 km) south of Yathrib was the mountain city Ta’if, northwest of which lay Mecca. Though the area around Mecca was completely barren, Mecca was the wealthiest and most important of the three settlements. Islamic histories state that it had abundant water via the Zamzam Well, which was the site of the holiest shrine in Arabia, the Kaaba, and was also at the crossroads of major caravan routes.[22]. Actually the well of Zamzam was barely sufficient to support the small community there, the Kaaba was but one of many such Arabian Polytheistic temple found in the peninsula, and the city was the terminus for a single caravan route which ran from Mecca to Syria.[23]
The harsh conditions of the Arabian peninsula usually meant a constant state of conflict between the tribes, but once a year they would declare a truce and converge upon Mecca in an annual pilgrimage. This journey was intended for religious reasons, to pay homage to the shrine, and to drink from the Well of Zamzam. However, it was also the time each year that disputes would be arbitrated, debts would be resolved, and trading would occur at Meccan fairs. These annual events gave the tribes a sense of common identity and made Mecca extremely important throughout the peninsula.[24]
Muhammad's great-grandfather had been the first to equip a camel caravan, and they became a regular part of the town's economy. Alliances were struck between the merchants in Mecca, and the local nomadic tribes, who would bring leather, livestock, and metals which were mined in the local mountains. Caravans would then be loaded up in Mecca, and would take the goods to the cities in Syria and Iraq.[25] Islamic tradition claims that goods from other continents also flowed through Mecca. From Africa and the Far East towards Syria supposedly flowed spices, leather, drugs, cloth, and slaves; and in return Mecca was to have received money, weapons, cereals, and wine, which were distributed throughout Arabia. The Meccans signed treaties with both the Byzantines and the Bedouins, and negotiated safe passage for caravans, which included such things as water and pasture rights. These further increased Mecca's political power as well as economic, and Mecca became the center of a loose confederation of client tribes, which included those of the Banu Tamim. Other forces such as the Abyssinian, Ghassan, and Lakhm were in decline, and Meccan influence was the primary binding force in Arabia in the late 6th century.[24]
Muhammad
Main articles: Muhammad, Conquest of Mecca, and Muhammad in Mecca
Muhammad was born in Mecca in August[26] 570, and thus Islam has been inextricably linked with Mecca ever since. Muhammad was born in a minor faction, the Hashemites, of the ruling Quraysh tribe. Islamic tradition states that he began receiving divine revelations here in 610 AD, and began to preach monotheism against Meccan animism. After enduring persecution for 13 years, Muhammad emigrated (see Hijra) in 622 with his followers to Yathrib (later called Medina). The conflict between the Quraysh and the Muslims, however, continued: the two fought in the Battle of Badr, where Muslims defeated the Quraysh outside Medina; whilst the Meccans overcame the Muslims at the Battle of Uhud. Overall, however, Meccan efforts to annihilate Islam were unsuccessful, and during the Battle of the Trench in 627, the combined armies of Arabia were unable to defeat Muhammad.[27]
The Ottoman Empire, including MeccaIn 628, Muhammad and his followers peacefully marched to Mecca, attempting to enter the city for pilgrimage. Instead, however, both Muslims and Meccans entered into the Treaty of Hudaybiyyah, whereby Muslims and Quraysh would cease fighting and Muslims would be allowed into the city the following year. Two years later the Quraysh violated the truce, but instead of continuing their fight, the city of Mecca shortly surrendered to Muhammad, who declared amnesty for the inhabitants and gave generous gifts to the leading Quraysh. Mecca was cleansed of all its idols and cult images in the Kaaba. Muhammad declared Mecca as the holiest site in Islam ordaining it as the center of Muslim pilgrimage, one of the faith's five pillars. Despite his conquest, however, Muhammad chose to return to Medina, leaving behind Attab bin Usaid to govern the city. Muhammad's other activities in Arabia led to the unification of the peninsula, putting an end to the wars that had disrupted life in the city for so long.[27][20]
Muhammad died in 632, but with the sense of unity that he had passed on to the Arabians, Islam began a rapid expansion, and within the next few hundred years stretched from North Africa well into Asia. As the Islamic Empire grew, Mecca continued to attract pilgrims not just from Arabia, but now from all across the Empire, as Muslims sought to perform the annual Hajj.
Mecca also attracted a year-round population of scholars, pious Muslims who wished to live close to the Kaaba, and local inhabitants who served the pilgrims. Due to the difficulty and expense of the Hajj, pilgrims arrived by boat at Jeddah, and came overland, or joined the annual caravans from Syria or Iraq.
Medieval and pre-modern times
The First Saudi State, Including MeccaMecca was never the capital of any of the Caliphates including the Ottoman Empire. Muslim rulers did, however, contribute to its upkeep. During the reign of Umar and Uthman Ibn Affan, concerns of flooding caused the caliphs to bring in Christian engineers to build barrages in the high-lying quarters, and also to construct dykes and embankments to protect the area round the Kaaba.[20]
In Islamic history, Muhammad's emigration to Medina established the city as the first capital of the nation. When the Umayyad Caliphate took power they moved the capital to Damascus, Syria, and then the Abbasid Caliphate moved the capital to Baghdad, Iraq. The center of the Islamic Empire remained at Baghdad for nearly 500 years, and flourished into a center of research and commerce. In the 13th century, the Mongols invaded Baghdad and sacked the city. This event was one of the most detested events in Islamic history. Soon after the Battle of Baghdad, the Mongols rampaged west and conquered Syria. The next city to quickly emerge as the center of power in the Islamic state was Cairo, in Egypt. When the Ottoman Empire came into prominence the capital was moved to Constantinople. However, Mecca remained a prominent trading center. Pilgrims arriving for the Hajj often financed their journey by bringing goods to sell in the Meccan markets, and acquiring goods there which they could sell when they returned home.[28]
Mecca re-entered Islamic political history briefly when it was held by Abd-Allah ibn al-Zubayr, an early Muslim who opposed the Umayyad caliphs. The Caliph Yazid I besieged Mecca in 683.[29]
Thereafter the city figured little in politics, it was a city of devotion and scholarship. For centuries it was governed by the Hashemite Sharifs of Mecca.
In 930, Mecca was attacked and sacked by Qarmatians, a millenarian Ismaili Muslim sect led by Abu Tahir Al-Jannabi and centered in eastern Arabia.[30] The Black Death pandemic hit Mecca in 1349.[31] In 1517, the Sharif of Mecca, Barakat bin Muhammed, acknowledged the supremacy of the Ottoman Caliph, but maintained a great degree of local autonomy.[32]
Mecca in 1850The city was captured in 1802 by the First Saudi State (also known as Wahhabis[citation needed]), and the Saudis held Mecca until 1813[citation needed]. This was a massive blow to the prestige of the Ottoman Empire, who had exercised sovereignty over the holy cities since 1517, and the lethargic Ottomans were finally moved to action. The task of bringing Mecca back under Ottoman control was assigned to their powerful viceroy of Egypt, Muhammad Ali Pasha,[33] who successfully returned Mecca following the victory at Mecca in 1813. In 1818, the Wahhabis were again defeated, but some of the Al Saud clan lived on to found the Second Saudi State that lasted until 1891, and later the present Saudi Arabia.
Saudi Arabia
In June 1916, During the Arab Revolt, the Sharif of Mecca, Hussein bin Ali revolted against the Ottoman Empire from Mecca and it was the first city captured by his forces following Battle of Mecca (1916). Sharif Hussein declared a new state, Kingdom of Hejaz, and declared Mecca as the capital of the new kingdom. Following the Battle of Mecca (1924), the Sharif of Mecca was overthrown by the Saudis, and Mecca was incorporated into Saudi Arabia.[7]
View of Mecca 1910On November 20, 1979 two hundred armed Islamist dissidents led by Saudi preacher Juhayman al-Otaibi seized the Grand Mosque. They claimed that the Saudi royal family no longer represented pure Islam and that the mosque, and the Kaaba, must be held by those of the true faith. The rebels seized tens of thousands of pilgrims as hostages and barricaded themselves in the mosque. The siege lasted two weeks, and resulted in several hundred deaths and significant damage to the shrine, especially the Safa-Marwa gallery. While it was the Pakistani forces that carried out the bloodless assault, they were assisted with weapons and planning by a small team of advisors from The French GIGN commando unit.[34]
On July 31, 1987, during an anti-US demonstration by pilgrims, 402 people were killed (275 Iranian pilgrims, 85 Saudis [including policemen], and 45 pilgrims from other countries) and 649 wounded (303 Iranian pilgrims, 145 Saudis [including policemen] and 201 pilgrims from other countries) after the Saudi police opened fire against the unarmed demonstrators.
Geography
Mecca's skyline, 2008
The Zamzam well was once an important source of fresh water. Today it serves pilgrims who visit the Grand Mosque.Mecca is at an elevation of 277 m (910 ft) above sea level, and approximately 50 mi (80 km) inland from the Red Sea.[22] The city is situated between mountains, which has defined the contemporary expansion of the city. The city centers on the Masjid al-Haram area, whose altitude is lower than most of the city. The area around the mosque comprises the old city. The main avenues are Al-Mudda'ah and Sūq al-Layl to the north of the mosque, and As-Sūg Assaghīr to the south. As the Saudis expanded the Grand Mosque in the center of the city, where there were once hundreds of houses are now replaced with wide avenues and city squares. Traditional homes are built of local rock and are generally two to three stories. The total area of Mecca metro today stands over 1,200 km2 (460 sq mi).[35]
Central Mecca lies in a corridor between mountains, which is often called the "hollow of Mecca." Mecca's location was also important for trade, and it was the stop for important trade routes.[20]
In pre-modern Mecca, the city exploited a few chief sources of water. The first were local wells, such as the Zamzam Well, that produced generally brackish water. The second source was the spring of Ayn Zubayda. The sources of this spring are the mountains of J̲abal Saʿd (Jabal Sa'd) and Jabal Kabkāb, which lie a few kilometers east of Ḏj̲abal ʿArafa (Djabal 'Arafa) or about 20 km (12 mi) east southeast of Mecca. Water was transported from it using underground channels. A very sporadic third source was rainfall which was stored by the people in small reservoirs or cisterns. The rainfall, as scant as it is, also presents the threat of flooding and has been a danger since earliest times. According to Al-Kurdī, there had been 89 historic floods by 1965, including several in the Saudi period. In the last century the most severe one occurred in 1942. Since then, dams have been constructed to ameliorate the problem.[36]
From Wikipedia, the free encyclopedia
Christiansholm Fortress (Christiansholm festning) was a Norwegian fortress built to defend the city of Kristiansand.
Background
The fortress was finished in 1672 and formed a part of King Christian IV's plan for defense of Kristiansand when the city was founded in 1641. The architect of the fortress was quartermaster general Willem Coucheron. It was built on an islet, about 100 yards from shore. Today the fortress is connected to the mainland.
The only time the fortress has been in battle was against a British fleet force, led by HMS Spencer (1800) in 1807 during the Napoleonic Wars. One of the very few remaining larger warships under Danish-Norwegian command was the ship of the line HDMS Prinds Christian Frederik with 70 cannons that was in the eastern harbor of Kristiansand. Captain Stopford on board HMS Spencer ordered to sail toward the city and announced in a letter that he wanted to take over the HDMS Prinds Christian Fredrik, and threatened to open fire on the city if the ship were not disclosed. When the ships approached, they were met by fierce resistance from Christiansholm Fortress. The attack was repulsed by massive gunfire and the British sailed instead to the abandoned Fredriksholm Fortress, which was blown up and destroyed.
The fortress was decommissioned by royal decree during June 1872 as part of a major redevelopment of fortifications across the nation.
Today, Christiansholm is a tourist attraction by the Kristiansand Boardwalk and venue for a variety of cultural events and festivities. It is now owned by the municipality and is a site used principally for recreation and cultural events.
From Wikipedia, the free encyclopedia
Szeged Synagogue
The Szeged Synagogue (Hungarian: Szegedi zsinagóga) is a synagogue in Szeged, Hungary. It is a 1907 building designed by the Jewish Hungarian architect Lipót Baumhorn (1860–1932), whose work is considered to contain the finest examples of the unique fin de siècle Hungarian blending of Art Nouveau and Historicist styles sometimes known as Magyar style. It served Szeged's large Neolog community.
The building's interior, with its 48.5 meters (159 feet) tall domed ceiling, draws on multiple historical styles to produce its overall Art Nouveau/Moorish Revival style. The rib-like wall above the organ has Gothic origins, while the columns supporting the galleries are Roman.
The interior of the great dome, and all of the building's stained glass, are the work of the artist Miksa Róth.
The design of the Torah Ark alludes to the Holy of Holies in the Temple of Solomon by using sittimwood from the banks of Nile, the wood called for in the building of the Temple of Solomon in 1 Kings. The hinges are in the shape of the Hyssop plant, a plant used in the ancient Temple service.
The Szeged Synagogue is the second largest in Hungary after the Dohány Street Synagogue in Budapest, and the 4th largest in the world
I was so tempted to buy the whole collection, just out of curiosity... The luggage fee convinced me that it wasn't such a good idea.
From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
Children's Encyclopedia, edited by Arthur Mee, and published in 10 volumes by the Educational Book Company, London. It was published from 1908 to 1964.
The Palisades (Hudson River)
From Wikipedia, the free encyclopedia
The Palisades
The cliffs of the Palisades as seen from West 187th Street and Chittenden Avenue in Washington Heights, Manhattan
LocationNortheastern New Jersey (Hudson and Bergen counties)
U.S. National Natural Landmark
Designated1983
The Palisades, also called the New Jersey Palisades or the Hudson River Palisades, are a line of steep cliffs along the west side of the lower Hudson River in Northeastern New Jersey and Southeastern New York in the United States. The cliffs stretch north from Jersey City about 20 miles (32 km) to near Nyack, New York, and visible at Haverstraw, New York. They rise nearly vertically from near the edge of the river, and are about 300 feet (90 m) high at Weehawken, increasing gradually to 540 feet (160 m) high near their northern terminus.[1] North of Fort Lee, the Palisades are part of Palisades Interstate Park and are a National Natural
The Palisades are among the most dramatic geologic features in the vicinity of New York City, forming a canyon of the Hudson north of the George Washington Bridge, as well as providing a vista of the Manhattan skyline. They sit in the Newark Basin, a rift basin located mostly in New Jersey.
Palisade is derived from the same root as the word pole, ultimately from the Latin word palus, meaning stake. A "palisade" is, in general, a defensive fence or wall made up of wooden stakes or tree trunks. The Lenape called the cliffs "rocks that look like rows of trees", a phrase that became "Weehawken", the name of a town in New Jersey that sits at the top of the cliffs across from Midtown Manhattan.
Geology
Main article: Palisades Sill
The basalt cliffs are the margin of a diabase sill, formed about 200 million years ago,[3] at the close of the Triassic period by the intrusion of molten magma upward into sandstone.[4] The molten material cooled and solidified before reaching the surface. Water erosion of the softer sandstone left behind the columnar structure of harder rock that exists today. The cliffs are about 300 ft (100 m) thick in sections and originally may have reached 1,000 ft (300 m).
The end-Triassic extinction event that coincided with the formation of the Hudson Palisades, Central Atlantic magmatic province, 200 million years ago ranks second in severity of the five major extinction episodes that span geologic time.[4][5] The most severe extinction in the past 500 million years was the Permian–Triassic extinction event, informally known as the Great Dying,[6][7][8] coincided with flood basalt eruptions that produced the Siberian Traps, which constituted one of the largest known volcanic events on Earth and covered over 770,000 sq mi (2,000,000 km2) with lava[9]
Franklyn Van Houten did trailblazing research on a rock formation known as the Newark Basin. His discovery of a consistent geological pattern in which lake levels rose and fell is now known as the "Van Houten cycle".
History
The cliffs of the Palisades as seen from the Ross Dock Picnic Area in Palisades Interstate Park
The Palisades appear on the first European map of the New World, made by Gerardus Mercator in 1541 based on the description given him by Giovanni da Verrazzano, who suggested they look like a "fence of stakes".
During the early stages of the American Revolution, British military Commander Lord Cornwallis landed a force of between 2,500 and 5,000 at Huyler's Landing on November 20, 1776 In an effort to ambush American General George Washington and crush the rebellion in the wake of the rebel's defeat in the Battle of Brooklyn and the Battle of Fort Washington, Cornwallis marched his men up the steep Palisades and southward through the Northern Valley. Washington, stationed near Fort Lee, was alerted to the ambush effort by an unknown horseback patriot, remembered only as the Closter Rider, and successfully fled west through Englewood and over the Hackensack River, avoiding capture in what is remembered as Washington's Retreat.
The Palisades were the site of 18 documented duels and probably many unrecorded ones in the years 1798–1845. The most famous is the Burr–Hamilton duel between Alexander Hamilton and Aaron Burr, which took place in a spot known as the Heights of Weehawken on July 11, 1804.
An English visitor, Fanny Trollope, in her 1832 book Domestic Manners of the Americans, wrote of a park established at the Palisades by a Hoboken ferryboat entrepreneur at that time:
It is hardly possible to imagine one of greater attraction; a broad belt of light underwood and flowering shrubs, studded at intervals with lofty forest trees
Text, in english, from Wikipedia, the free encyclopedia:
Sistine Chapel (Italian: Cappella Sistina) is the best-known chapel in the Apostolic Palace, the official residence of the Pope in Vatican City. Its fame rests on its architecture, evocative of Solomon's Temple of the Old Testament and on its decoration which has been frescoed throughout by the greatest Renaissance artists including Michelangelo, Raphael, Bernini, and Sandro Botticelli. Under the patronage of Pope Julius II, Michelangelo painted12,000 square feet (1,100 m2) of the chapel ceiling between 1508 and 1512. He resented the commission, and believed his work only served the Pope's need for grandeur. However, today the ceiling, and especially The Last Judgement, are widely believed to be Michelangelo's crowning achievements in painting.
The Sistine Chapel takes its name from a pope, Pope Sixtus IV, who restored the old Cappella Magna between 1477 and 1480. During this period a team of painters that included Pietro Perugino, Sandro Botticelli and Domenico Ghirlandaio created a series of frescoed panels depicting the life of Moses and the life of Christ, offset by papal portraits above and trompe l’oeil drapery below. These paintings were completed in 1482, and on August 15, 1483, Sixtus IV consecrated the first mass in honor of Our Lady of the Assumption.
Since the time of Sixtus IV, the chapel has served as a place of both religious and functionary papal activity. Today it is the site of the Papal conclave, the ceremony by which a new Pope is selected.
The Sistine Chapel is best known for being the location of Papal conclaves. More commonly, it is the physical chapel of the Papal Chapel. At the time of Pope Sixtus IV in the late 15th century, this corporate body comprised about 200 people, including clerics, officials of the Vatican and distinguished laity. There were 50 occasions during the year on which it was prescribed by the Papal Calendar that the whole Papal Chapel should meet. Of these 50 occasions, 35 were masses, of which 8 were held in Basilicas, generally St. Peters, and were attended by large congregations. These included the Christmas Day and Easter masses, at which the Pope himself was the celebrant. The other 27 masses could be held in a smaller, less public space, for which the Cappella Maggiore was used before it was rebuilt on the same site as the Sistine Chapel.
The Cappella Maggiore derived its name, the Greater Chapel, from the fact that there was another chapel also in use by the Pope and his retinue for daily worship. At the time of Pope Sixtus IV this was the Chapel of Pope Nicholas V, which had been decorated by Fra Angelico. The Cappella Maggiore is recorded as existing in 1368. According to a communication from Andreas of Trebizond to Pope Sixtus IV, by the time of its demolition to make way for the present chapel the Cappella Maggiore was in a ruinous state with its walls leaning.
The present chapel, on the site of the Cappella Maggiore, was designed by Baccio Pontelli for Pope Sixtus IV, for whom it is named, and built under the supervision of Giovannino de Dolci between 1473 and 1481. The proportions of the present chapel appear to closely follow those of the original. After its completion, the chapel was decorated with frescoes by a number of the most famous artists of the High Renaissance, including Botticelli, Ghirlandaio, Perugino and Michelangelo.
The first mass in the Sistine Chapel was celebrated on August 9, 1483, the Feast of the Assumption, at which ceremony the chapel was consecrated and dedicated to the Virgin Mary.
The Sistine Chapel has maintained its function to the present day, and continues to host the important services of the Papal Calendar, unless the Pope is travelling. There is a permanent choir for whom much original music has been written, the most famous piece being Allegri's Miserere.
One of the primary functions of the Sistine Chapel is as a venue for the election of each successive pope in a conclave of the College of Cardinals. On the occasion of a conclave, a chimney is installed in the roof of the chapel, from which smoke arises as a signal. If white smoke appears, created by burning the ballots of the election and some chemical additives, a new Pope has been elected. If a candidate receives less than a two-thirds majority, the cardinals send up black smoke—created by burning the ballots along with wet straw or chemical additives—it means that no successful election has yet occurred.
The conclave also provides for the cardinals a space in which they can hear mass, and in which they can eat, sleep, and pass time abetted by servants. From 1455, conclaves have been held in the Vatican; until the Great Schism, they were held in the Dominican convent of Santa Maria sopra Minerva.
Canopies for each cardinal-elector were once used during conclaves—a sign of equal dignity. After the new Pope accepts his election, he would give his new name; at this time, the other Cardinals would tug on a rope attached to their seats to lower their canopies. Until reforms instituted by Saint Pius X, the canopies were of different colours to designate which Cardinals had been appointed by which Pope. Paul VI abolished the canopies altogether, since under his papacy, the population of the College of Cardinals had increased so much to the point that they would need to be seated in rows of two against the walls, making the canopies obstruct the view of the cardinals in the back row.
The Chapel is a high rectangular brick building, its exterior unadorned by architectural or decorative details, as common in many Medieval and Renaissance churches in Italy. It has no exterior facade or exterior processional doorways as the ingress has always been from internal rooms within the Papal Palace, and the exterior can only be seen from nearby windows and light-wells in the palace. The internal spaces are divided into three stories of which the lowest is huge with a robustly vaulted basement with several utilitarian windows and a doorway giving onto the exterior court.
Above is the main space, the Chapel, the internal measurements of which are 40.9 meters (134 ft) long by 13.4 meters (44 ft) wide—the dimensions of the Temple of Solomon, as given in the Old Testament. The vaulted ceiling rises to 20.7 meters (68 ft). The building had six tall arched windows down each side and two at either end. Several of these have been blocked, but the chapel is still accessible. Above the vault rises a third story with wardrooms for guards. At this level an open projecting gangway was constructed, which encircled the building supported on an arcade springing from the walls. The gangway has been roofed as it was a continual source of water leaking in to the vault of the Chapel.
Subsidence and cracking of masonry such as must also have affected the Cappella Maggiore has necessitated the building of very large buttresses to brace the exterior walls. The accretion of other buildings has further altered the exterior appearance of the Chapel.
As with most buildings measured internally, absolute measurement is hard to ascertain. However, the general proportions of the chapel are clear to within a few centimetres. The length is the measurement and has been divided by three to get the width and by two to get the height. Maintaining the ratio, there were six windows down each side and two at either end. The screen which divides the chapel was originally placed half way from the altar wall, but this has changed. Clearly defined proportions were a feature of Renaissance architecture and reflected the growing interest in the Classical heritage of Rome.
The ceiling of the chapel is a flattened barrel vault springing from a course that encircles the walls at the level of the springing of the window arches. This barrel vault is cut transversely by smaller vaults over each window, which divide the barrel vault at its lowest level into a series of large pendentives rising from shallow pilasters between each window. The barrel vault was originally painted brilliant blue and dotted with gold stars, to the design of Piermatteo Lauro de' Manfredi da Amelia. The pavement is in opus alexandrinum, a decorative style using marble and coloured stone in a pattern that reflects the earlier proportion in the division of the interior and also marks the processional way form the main door, used by the Pope on important occasions such as Palm Sunday.
The screen or transenna in marble by Mino da Fiesole, Andrea Bregno and Giovanni Dalmata divides the chapel into two parts. Originally these made equal space for the members of the Papal Chapel within the sanctuary near the altar and the pilgrims and townsfolk without. However, with growth in the number of those attending the Pope, the screen was moved giving a reduced area for the faithful laity. The transenna is surmounted by a row of ornate candlesticks, once gilt, and has a wooden door, where once there was an ornate door of gilded wrought iron. The sculptors of the transenna also provided the cantoria or projecting choir gallery.
During occasional ceremonies of particular importance, the side walls are covered with a series of tapestries originally designed for the chapel from Raphael, but looted a few years later in the 1527 Sack of Rome and either burnt for their precious metal content or scattered around Europe. The tapestries depict events from the Life of St. Peter and the Life of St. Paul as described in the Gospels and the Acts of the Apostles. In the late 20th century a set was reassembled (several further sets had been made) and displayed again in the Sistine Chapel in 1983. The full-size preparatory cartoons for seven of the ten tapestries are known as the Raphael Cartoons and are in London.
Michelangelo Buonarroti was commissioned by Pope Julius II in 1508 to repaint the ceiling, originally representing golden stars on a blue sky; the work was completed between 1508 and 1 November 1512. He painted the Last Judgment over the altar, between 1535 and 1541, on commission from Pope Paul III Farnese.
Michelangelo was intimidated by the scale of the commission, and made it known from the outset of Julius II's approach that he would prefer to decline. He felt he was more of a sculptor than a painter, and was suspicious that such a large scale project was being offered to him by enemies as a set-up for an inevitable fall. For Michelangelo, the project was a distraction from the major marble sculpture that had preoccupied him for the previous few years.
The sources of Michelangelo's inspiration are not easily determined; both Joachite and Augustinian theologians were within the sphere of Julius influence. Nor is known the extent to which his own hand physically contributed to the actual physical painting of any of particular images attributed to him.
n 1508, Michelangelo was commissioned by Pope Julius II to paint the vault, or ceiling of the chapel. It took him until 1512 to complete. To be able to reach the ceiling, Michelangelo needed a support; the first idea was by Julius' favoured architect Donato Bramante, who wanted to build for him a scaffold to be suspended in the air with ropes. However, Bramante did not successfully complete the task, and the structure he built was flawed. He had perforated the vault in order to lower strings to secure the scaffold. Michelangelo laughed when he saw the structure, and believed it would leave holes in the ceiling once the work was ended. He asked Bramante what was to happen when the painter reached the perforations, but the architect had no answer.
The matter was taken before the Pope, who ordered Michelangelo to build a scaffold of his own. Michelangelo created a flat wooden platform on brackets built out from holes in the wall, high up near the top of the windows. He stood on this scaffolding while he painted.
Michelangelo used bright colours, easily visible from the floor. On the lowest part of the ceiling he painted the ancestors of Christ. Above this he alternated male and female prophets, with Jonah over the altar. On the highest section Michelangelo painted nine stories from the Book of Genesis. He was originally commissioned to paint only 12 figures, the Apostles. He turned down the commission because he saw himself as a sculptor, not a painter. The Pope offered to allow Michelangelo to paint biblical scenes of his own choice as a compromise. When the work was finished there were more than 300. His figures showed the creation, Adam and Eve in the Garden of Eden and the Great Flood.
The Sistine Chapel's ceiling restoration began on November 7th, 1984. The restoration complete, the chapel was re-opened to the public on April 8th, 1994. The part of the restoration in the Sistine Chapel that has caused the most concern is the ceiling, painted by Michelangelo. The emergence of the brightly-coloured Ancestors of Christ from the gloom sparked a reaction of fear that the processes being employed in the cleaning were too severe.
The problem lies in the analysis and understanding of the techniques utilised by Michelangelo, and the technical response of the restorers to that understanding. A close examination of the frescoes of the lunettes convinced the restorers that Michelangelo worked exclusively in "buon fresco"; that is, the artist worked only on freshly laid plaster and each section of work was completed while the plaster was still in its fresh state. In other words, Michelangelo did not work "a secco"; he did not come back later and add details onto the dry plaster.
The restorers, by assuming that the artist took a universal approach to the painting, took a universal approach to the restoration. A decision was made that all of the shadowy layer of animal glue and "lamp black", all of the wax, and all of the overpainted areas were contamination of one sort or another:- smoke deposits, earlier restoration attempts and painted definition by later restorers in an attempt to enliven the appearance of the work. Based on this decision, according to Arguimbau's critical reading of the restoration data that has been provided, the chemists of the restoration team decided upon a solvent that would effectively strip the ceiling down to its paint-impregnated plaster. After treatment, only that which was painted "buon fresco" would remain.
Teto da Capela Sistina
Um texto, em português, da Wikipédia, a Enciclopédia livre:
Teto da Capela Sistina
O Teto da Capela Sistina é um monumental afresco de Michelangelo realizado entre os anos de 1508 e 1512 na Capela Sistina, no Vaticano, como o nome indica.
Na realização desta grandiloqüente obra concorreram amor e ódio... Michelangelo teria feito contrariado este trabalho convencido que era mais um escultor, que um pintor. Encarregado pelo Papa Júlio II, sobrinho do Papa Sisto IV, de pintar o teto da capela, julgou ser um conluio de seus rivais para desviá-lo da obra para a qual havia sido chamado à Roma: o mausoléu do Papa. Mas, dedicou-se a tarefa e fez com tanta mestria que praticamente ofuscou as obras primas de seus antecessores na empresa. Os afrescos no teto da Capela Sistina são, de fato, um dos maiores tesouros artísticos da humanidade.
É difícil acreditar que tenha sido obra de um só homem, e que o mesmo ainda encontraria forças para retornar ao local, duas décadas depois, e pintar na parede do altar, sacrificando, inclusive, alguns afrescos de Perugino, o “extraordinário espetáculo” do Juízo Final, entre 1535 e 1541, já sob o pontificado de Paulo III.
A superfície da abóbada foi dividida em áreas concebendo-se arquitetonicamente o trabalho de maneira que resultasse numa articulação do espaço dividido por pilares. Nas áreas triangulares alocou as figuras de profetas e sibilas; nas retangulares, os episódios do Gênese. Para entender estas últimas deve-se atentar para as que tocam a parede do fundo:
* Deus separando a Luz das Trevas;
* Deus criando o Sol e a Lua;
* Deus separa a terra das águas;
* A Criação de Adão;
* A Criação de Eva;
* o Pecado Original e a expulsão do Paraíso;
* o Sacrifício de Noé;
* o Dilúvio Universal;
* e o Noé Embriagado.
A Capela Sistina é uma capela situada no Palácio Apostólico, residência oficial do Papa na Cidade do Vaticano, erigida entre os anos 1475 e 1483, durante o pontificado do Papa Sisto IV. A Celebração Eucarística de inauguração ocorreu em 15 de Agosto de 1483.
Era um projeto relativamente simples e despretensioso, no início, destinado ao culto particular dos papas e da alta hierarquia eclesiástica, contudo, fruto de uma época de expansão política e territorial da Santa Sé, viria a tornar-se num dos símbolos desta, tamanha magnificência adquiriu.
A celebridade da capela deve-se, também, ao fato de nela se realizarem os conclaves para a eleição do Sumo Pontífice da Igreja Católica Romana.
A virada do Quattrocento para o Cinquecento foi um dos momentos mais marcantes para a História da arte ocidental, quiçá mundial. A Itália, com epicentro em Florença, deu ao mundo uma tal gama de geniais artistas que parece milagrosa. "Não há como explicar a existência do gênio. É preferível apreciá-lo", diz Gombrich, tentando entender por que tantos grandes mestres nasceram no mesmo período.
A Capela Sistina é um dos locais mais propícios para aquilatar a dimensão desta explosão criativa. Para a sua feitura concorreram os maiores nomes de que dispunha a Itália no momento.
Sisto IV, como parte da política que empreendia para o restabelecimento do prestígio e fortalecimento do papado, convocou a Roma os maiores artistas da Itália. Florença era o centro de excelência até então. De lá e da Úmbria vieram os maiores nomes, fato que deslocaria para Roma a capitalidade cultural, que atingiria o zênite algumas décadas depois, com a eleição de Júlio II para ocupar a Cátedra de São Pedro. Para a história da cultura o significado do projeto e construção da Sistina é imenso, juntamente com as demais obras encomendadas por Sisto IV. Não somente porque marca o deslocamento da capitalidade cultural para Roma, mas por se tratar do ciclo pictórico de maior relevo da Itália no final do século XV, "constituindo além disso um documento inapreciável para observar as virtudes e os limites da pintura do Quattrocento'".
Com exceção de Ghirlandaio, os pintores que nela assinalaram seus talentos avançam com a sua obra o século seguinte e os gênios que mudaram os rumos da pintura no período estão todos estreitamente relacionados com eles: Ghirlandaio fora mestre de Michelangelo; Rafael aprendiz de Perugino; e no atelier de Verrocchio passaram: Leonardo, Perugino e Botticelli.
Mais que um liame entre o Quattrocento e o Cinquecento, esta geração de artistas "representa um ponto final, a constatação de uma crise. Algo que ficará manifesto pelo fato de que tanto Leonardo como Michelangelo construírem em boa medida suas respectivas linguagens sobre a negação da deles".
foi o autor do projeto arquitetônico para a construção da capela. Este florentino era um dos responsáveis pela reformulação e revitalização urbanística que Sisto IV efetuava em Roma, tendo realizado dezenas de obras públicas.
No projeto, construído com a supervisão de Giovannino de Dolci entre 1473 e 1484, emprestaram seus dons: Perugino, Botticelli, Ghirlandaio, Rosselli, Signorelli, Pinturicchio, Piero di Cosimo, Bartolomeo della Gatta, Rafael e outros. Coroando este festival, alguns anos depois, um dos maiores gênios artísticos de todos os tempos: Michelangelo Buonarroti.
As dimensões do projeto de Baccio Pontelli tiveram como inspiração as descrições contidas no Antigo Testamento relativas ao Templo de Salomão. A sua forma é retangular medindo 40,93 m de longitude, 13,41 m e largura e 20,70 m de altura. Os numerosos artistas vestiram o seu interior, esculpindo e pintando as suas paredes, transformando-a em um estupendo e célebre lugar conhecido em todo o mundo pelas maravilhosas obras de arte que encerra.
Uma finíssima transenna de mármore, em que trabalharam Mino de Fiesole, Giovanni Dálmata e Andréa Bregno, divide a capela em duas partes desiguais. Os mesmos artistas levaram a cabo a construção do coro.
Internamente, as paredes, divididas por cornijas horizontais, apresentam 3 níveis:
* o primeiro nível, junto ao chão em mármore - que, em alguns setores, apresenta o característico marchetado cosmatesco - simula refinadas tapeçarias. No lado direito, próximo à transenna está o coro;
* o intermediário é onde figuram os afrescos narrando os episódios da vida de Cristo e de Moisés. A cronologia inicia-se a partir da parede do altar, onde se encontravam, antes da feitura do Juízo Final de Michelangelo, as primeiras cenas e um retábulo de Perugino representando a Virgem da Assunção, a quem foi dedicada a capela.
* o nível mais alto, onde estão as pilastras que sustentam os pendentes do teto. Acima da cornija estão situadas as lunettes, entre as quais foram alocadas as imagens dos primeiros papas.
No último quartel do século XX, obras empreendidas no teto da Capela Sistina no intuito de recuperar o brilho original do tempo de Michelangelo foram motivo de inúmeras controvérsias.
Restaurações vinham sendo feitas ao longo dos anos, e desde a década de 1960 já se trabalhava nos afrescos mais antigos. O projeto mais audacioso, a cargo do restaurador Gianluigi Colalucci, iniciou-se em 1979 com a limpeza da parede do altar: o Juízo Final, de Michelangelo.
Durante este período a capela esteve fechada ao público que visita o Museu do Vaticano - cerca de 3.000.000 pessoas por ano - só voltando a ser reaberta em 8 de Abril de 1994.
Camera: Canon EOS 1V
Film: Kodak Vision 2 500T
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From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
Photograph your local culture, help Wikipedia.
From Wikipedia, the free encyclopedia
SS Great Britain in dry dock at Bristol in 2005, preserved for exhibition as a museum ship
History
United Kingdom
NameGreat Britain
OwnerGreat Western Steamship Company
Port of registryBristol
BuilderWilliam Patterson
Cost
Projected: £70,000
Actual: £117,000
Laid downJuly 1839
Launched19 July 1843
Completed1845
Maiden voyage26 July 1845
In service1845–1886
HomeportBristol, England
StatusMuseum ship
General characteristics
TypePassenger steamship
Displacement3,674 tons load draught
Tons burthen3,443 bm
Length322 ft (98 m)
Beam50 ft 6 in (15.39 m)
Draught16 ft (4.88 m)[1]
Depth of hold32.5 ft (9.9 m)
Installed power2 × twin 88-inch (220 cm) cylinder, bore, 6 ft (1.83 m) stroke, 500 hp (370 kW), 18 rpm inclined direct-acting steam engines
PropulsionSingle screw propeller
Sail plan
Original: Five schooner-rigged and one square-rigged mast
After 1853: Three square-rigged masts
Speed10 to 11 knots (19 to 20 km/h; 12 to 13 mph)
Capacity
360 passengers, later increased to 730
1,200 long tons (1,300 short tons; 1,200 t) of cargo
Complement130 officers and crew (as completed)
SS Great Britain is a museum ship and former passenger steamship that was advanced for her time. She was the largest passenger ship in the world from 1845 to 1854. She was designed by Isambard Kingdom Brunel (1806–1859), for the Great Western Steamship Company's transatlantic service between Bristol and New York City. While other ships had been built of iron or equipped with a screw propeller, Great Britain was the first to combine these features in a large ocean-going ship. She was the first iron steamer to cross the Atlantic Ocean, which she did in 1845, in 14 days.
The ship is 322 ft (98 m) in length and has a 3,400-ton displacement. She was powered by two inclined two-cylinder engines of the direct-acting type, with twin high pressure cylinders (diameter uncertain) and twin low pressure cylinders 88 in (220 cm) bore, all of 6-foot (1.8 m) stroke cylinders. She was also provided with secondary masts for sail power. The four decks provided accommodation for a crew of 120, plus 360 passengers who were provided with cabins, and dining and promenade saloons.
When launched in 1843, Great Britain was by far the largest vessel afloat. But her protracted construction time of six years (1839–1845) and high cost had left her owners in a difficult financial position, and they were forced out of business in 1846, having spent all their remaining funds refloating the ship after she ran aground at Dundrum Bay in County Down near Newcastle in what is now Northern Ireland, after a navigation error. In 1852 she was sold for salvage and repaired. Great Britain later carried thousands of emigrants to Australia from 1852 until being converted to all-sail in 1881. Three years later, she was retired to the Falkland Islands, where she was used as a warehouse, quarantine ship and coal hulk until she was scuttled in 1937, 98 years after being laid down.[2]
In 1970, after Great Britain had been abandoned for 33 years, Sir Jack Arnold Hayward, OBE (1923–2015) paid for the vessel to be raised and repaired enough to be towed north through the Atlantic back to the United Kingdom, and returned to the Bristol dry dock where she had been built 127 years earlier. Hayward was a prominent businessman, developer, philanthropist and owner of the English football club Wolverhampton Wanderers. Now listed as part of the National Historic Fleet, Great Britain is a visitor attraction and museum ship in Bristol Harbour, with between 150,000 and 200,000 visitors annually.
Development
The SS Great Western on her maiden voyage
After the initial success of its first liner, SS Great Western of 1838, the Great Western Steamship Company collected materials for a sister ship, tentatively named City of New York.[2] The same engineering team that had collaborated so successfully on Great Western—Isambard Brunel, Thomas Guppy, Christopher Claxton and William Patterson—was again assembled. This time however, Brunel, whose reputation was at its height, came to assert overall control over the design of the ship—a state of affairs that would have far-reaching consequences for the company. Construction was carried out in a specially adapted dry dock in Bristol, England.[3]
Adoption of iron hull
Two chance encounters were profoundly to affect the design of Great Britain. In late 1838, John Laird's 213-foot (65 m) English Channel packet ship Rainbow—the largest iron-hulled ship then in service—made a stop at Bristol. Brunel despatched his associates Christopher Claxton and William Patterson to make a return voyage to Antwerp on Rainbow to assess the utility of the new building material. Both men returned as converts to iron-hulled technology, and Brunel scrapped his plans to build a wooden ship and persuaded the company directors to build an iron-hulled ship.[4]
Hull section of the Great Britain, showing the boiler
Great Britain's builders recognised a number of advantages of iron over the traditional wooden hull. Wood was becoming more expensive, while iron was getting cheaper. Iron hulls were not subject to dry rot or woodworm, and they were also lighter in weight and less bulky. The chief advantage of the iron hull was its much greater structural strength. The practical limit on the length of a wooden-hulled ship is about 300 feet (91 m), after which hogging—the flexing of the hull as waves pass beneath it—becomes too great. Iron hulls are far less subject to hogging so the potential size of an iron-hulled ship is much greater.[5] The ship's designers, led by Brunel, were initially cautious in the adaptation of their plans to iron-hulled technology. With each successive draft however, the ship grew ever larger and bolder in conception. By the fifth draft, the vessel had grown to 3,400 tons, over 1,000 tons larger than any ship then in existence.[6]
Adoption of screw propulsion
Replica of Great Britain's original six-bladed propeller on the museum ship. This propeller proved totally unsatisfactory in service and was quickly replaced with a four-bladed model.
In early 1840, a second chance encounter occurred, the arrival of the revolutionary SS Archimedes at Bristol, the first screw-propelled steamship, completed only a few months before by Francis Pettit Smith's Propeller Steamship Company. Brunel had been looking into methods of improving the performance of Great Britain's paddlewheels, and took an immediate interest in the new technology. Smith, sensing a prestigious new customer for his own company, agreed to lend Archimedes to Brunel for extended tests.[6] Over several months, Smith and Brunel tested a number of different propellers on Archimedes to find the most efficient design, a four-bladed model submitted by Smith.[7]
Having satisfied himself as to the advantages of screw propulsion, Brunel wrote to the company directors to persuade them to embark on a second major design change, abandoning the paddlewheel engines (already half-constructed) for completely new engines suitable for powering a propeller.
Brunel listed the advantages of the screw propeller over the paddlewheel as follows:
Screw propulsion machinery was lighter in weight, thus improving fuel economy;
Screw propulsion machinery could be kept lower in the hull, lowering the ship's centre of gravity and making it more stable in heavy seas;
By taking up less room, propeller engines would allow more cargo to be carried;
Elimination of bulky paddle boxes would lessen resistance through the water, and also allow the ship to manoeuvre more easily in confined waterways;
The depth of a paddlewheel is constantly changing, depending on the ship's cargo and the movement of waves, while a propeller stays fully submerged and at full efficiency at all times;
Screw propulsion machinery was cheaper.[8]
Brunel's arguments proved persuasive, and in December 1840, the company agreed to adopt the new technology. The decision became a costly one, setting the ship's completion back by nine months.[8]
Reporting on the ship's arrival in New York, in its first issue Scientific American opined, "If there is any thing objectionable in the construction or machinery of this noble ship, it is the mode of propelling her by the screw propeller; and we should not be surprised if it should be, ere long, superseded by paddle wheels at the sides."[9]
Launch
The launching or, more accurately, the float-out took place on 19 July 1843. Conditions were generally favourable and diarists recorded that, after a dull start, the weather brightened with only a few intermittent showers. The atmosphere of the day can best be gauged from a report the following day in The Bristol Mirror:
Large crowds started to gather early in the day including many people who had travelled to Bristol to see the spectacle. There was a general atmosphere of anticipation as the Royal Emblem was unfurled. The processional route had been cleaned and Temple Street decorated with flags, banners, flowers and ribbons. Boys of the City School and girls of Red Maids were stationed in a neat orderly formation down the entire length of the Exchange. The route was a mass of colour and everybody was out on the streets as it was a public holiday. The atmosphere of gaiety even allowed thoughts to drift away from the problems of political dissension in London.[10]
Prince Albert arrived at 10 a.m. at the Great Western Railway terminus. The royal train, conducted by Brunel himself, had taken two hours and forty minutes from London.[11] There was a guard of honour of members of the police force, soldiers and dragoons and, as the Prince stepped from the train, the band of the Life Guards played works by Labitsky and a selection from the "Ballet of Alma". Two sections of the platform were boarded off for the reception and it was noted by The Bristol Mirror that parts were covered with carpets from the Council House. The Prince Consort, dressed as a private gentleman, was accompanied by his equerry-in-waiting, personal secretary, the Marquess of Exeter, and Lords Wharncliffe, Liverpool, Lincoln and Wellesley.[10]
Launch of Great Britain at Bristol, July 1843
Introductions were made, followed by the "Address to His Royal Highness the Prince Albert", by the town clerk, D. Burgess. Honours were then bestowed on him by the Society of Merchant Venturers, and there were speeches from members of the Bristol clergy. The royal party then had breakfast and, after 20 minutes, reappeared to board horse-drawn carriages.[10]
At noon, the Prince arrived at the Great Western Steamship yard only to find the ship already "launched" and waiting for royal inspection. He boarded the ship, took refreshments in the elegantly decorated lounge then commenced his tour of inspection. He was received in the ship's banqueting room where all the local dignitaries and their ladies were gathered.[10]
After the banquet and the toasts, he left for the naming ceremony. It had already been decided that the christening would be performed by Clarissa (1790–1868), wife of Philip John Miles (1773–1845) and mother of Bristol's MP, Philip William Skinner Miles (1816–1881), a director of the company.[12][13] She stepped forward, grasped the champagne bottle and swung it towards the bows. Unfortunately, the steam packet Avon had started to tow the ship into the harbour and the bottle fell about 10 feet (3.0 m) short of its target and dropped unbroken into the water. A second bottle was rapidly obtained and the Prince hurled it against the iron hull.[14]
In her haste, Avon had started her work before the shore warps had been released. The tow rope snapped and, due to the resultant delay, the Prince was obliged to return to the railway station and miss the end of the programme.[10]
Another extended delay
Following the launch ceremony, the builders had planned to have Great Britain towed to the Thames for her final fitting out. Unfortunately, the harbour authorities had failed to carry out the necessary modifications to their facilities in a timely manner.[15] Exacerbating the problem, the ship had been widened beyond the original plans to accommodate the propeller engines, and her designers had made a belated decision to fit the engines prior to launch, which resulted in a deeper draught.[16]
This dilemma was to result in another costly delay for the company, as Brunel's negotiations with the Bristol Dock Board dragged on for months. It was only through the intervention of the Board of Trade that the harbour authorities finally agreed to the lock modifications, which began in late 1844.[17]
After being trapped in the harbour for more than a year, Great Britain was, at last, floated out in December 1844, but not before causing more anxiety for her proprietors. After passing successfully through the first set of lock gates, she jammed on her passage through the second, which led to the River Avon. Only the seamanship of Captain Claxton (who after naval service held the position of quay warden (harbour master) at Bristol) enabled her to be pulled back and severe structural damage avoided. The following day an army of workmen, under the direct control of Brunel, took advantage of the slightly higher tide and removed coping stones and lock gate platforms from the Junction Lock, allowing the tug Samson, again under Claxton's supervision, to tow the ship safely into the Avon that midnight.[18]
When completed in 1845, Great Britain was a revolutionary vessel—the first ship to combine an iron hull with screw propulsion, and at 322 ft (98 m) in length and with a 3,400-ton displacement, more than 100 ft (30 m) longer and 1,000 tons larger than any ship previously built. Her beam was 50 ft 6 in (15.39 m) and her height from keel to main deck, 32 ft 6 in (9.91 m). She had four decks, including the spar (upper) deck, a crew of 120, and was fitted to accommodate a total of 360 passengers, along with 1,200 tons of cargo and 1,200 tons of coal for fuel.[1]
Like other steamships of the era, Great Britain was provided with secondary sail power, consisting of one square-rigged and five schooner-rigged masts—a relatively simple sail plan designed to reduce the number of crew required. The masts were of iron, fastened to the spar deck with iron joints, and with one exception, hinged to allow their lowering to reduce wind resistance in the event of a strong headwind. The rigging was of iron cable instead of the traditional hemp, again with a view to reducing wind resistance.[19] Another innovative feature was the lack of traditional heavy bulwarks around the main deck; a light iron railing [20] both reduced weight and allowed water shipped in heavy weather to run unimpeded back to sea.
The hull and single funnel amidships were both finished in black paint, with a single white stripe running the length of the hull highlighting a row of false gunports. The hull was flat-bottomed, with no external keel, and with bulges low on each side amidships which continued toward the stern in an unusual implementation of tumblehome—a result of the late decision to install propeller engines, which were wider at the base than the originally planned paddlewheel engines.[21]
Brunel, anxious to ensure the avoidance of hogging in a vessel of such unprecedented size, designed the hull to be massively redundant in strength. Ten longitudinal iron girders were installed along the keel, running from beneath the engines and boiler to the forward section. The iron ribs were 6 by 3 inches (15.2 cm × 7.6 cm) in size. The iron keel plates were an inch thick, and the hull seams were lapped and double riveted in many places. Safety features, which also contributed to the structural strength of the vessel, included a double bottom and five watertight iron bulkheads.[22][23] The total amount of iron, including the engines and machinery, was 1,500 tons.[24]
Two giant propeller engines, with a combined weight of 340 tons, were installed amidships.[24] They were built to a modified patent of Brunel's father Marc. The engines, which rose from the keel through the three lower decks to a height just below the main deck, were of the direct-acting type, with twin 88 in (220 cm) bore, 6-foot (1.8 m) stroke cylinders inclined upward at a 60° angle, capable of developing a total of 1,000 horsepower (750 kW) at 18 rpm.[22][25] Steam power was provided by three 34-foot (10 m) long by 22-foot (6.7 m) high by 10-foot (3.0 m) wide, 5 psi (34 kPa) "square" saltwater boilers, forward of the engines, with eight furnaces each – four at each end.[a]
In considering the gearing arrangement, Brunel had no precedent to serve as a guide. The gearing for Archimedes, of the spur-and-pinion type, had proven almost unbearably noisy, and would not be suitable for a passenger ship.[28] Brunel's solution was to install a chain drive. On the crankshaft between Great Britain's two engines, he installed an 18-foot (5.5 m) diameter primary gearwheel,[29] which, by means of a set of four massive inverted-tooth or "silent" chains, operated the smaller secondary gear near the keel, which turned the propeller shaft. This was the first commercial use of silent chain technology, and the individual silent chains installed in Great Britain are thought to have been the largest ever constructed.[30]
Great Britain's main propeller shaft, built by the Mersey Iron Works, was the largest single piece of machinery. 68 ft (21 m) long and 28 inches (71 cm) in diameter, the shaft was bored with a 10-inch (25 cm) diameter hole, reducing its weight and allowing cold water to be pumped through to reduce heat. At each end of the main propeller shaft were two secondary coupling shafts: a 28-foot (8.5 m), 16-inch (41 cm) diameter shaft beneath the engine, and a screw shaft of 25 ft (7.6 m) in diameter 16 inches (41 cm) at the stern. Total length of the three shafts was 130 ft (40 m), and the total weight 38 tons.[24] The shaft was geared upward at a ratio of 1 to 3, so that at the engines' normal operating speed of 18 rpm, the propeller turned at a speed of 54 rpm.[30] The initial propeller was a six-bladed "windmill" model of Brunel's own design,[31] 16 ft (4.9 m) in diameter and with pitch of 25 ft (7.6 m).[32]
Interior
The interior was divided into three decks, the upper two for passengers and the lower for cargo. The two passenger decks were divided into forward and aft compartments, separated by the engines and boiler amidships.[33]
In the after section of the ship, the upper passenger deck contained the after or principal saloon, 110 ft (34 m) long by 48 ft (15 m) wide, which ran from just aft of the engine room to the stern. On each side of the saloon were corridors leading to 22 individual passenger berths, arranged two deep, a total of 44 berths for the saloon as a whole. The forward part of the saloon, nearest the engine room, contained two 17-by-14-foot (5.2 m × 4.3 m) ladies' boudoirs or private sitting rooms, which could be accessed without entering the saloon from the 12 nearest passenger berths, reserved for women. The opposite end of the saloon opened onto the stern windows. Broad iron staircases at both ends of the saloon ran to the main deck above and the dining saloon below. The saloon was painted in "delicate tints", furnished along its length with fixed chairs of oak, and supported by 12 decorated pillars.[34]
Beneath the after saloon was the main or dining saloon, 98 ft 6 in (30.02 m) long by 30 ft (9.1 m) wide, with dining tables and chairs capable of accommodating up to 360 people at one sitting. On each side of the saloon, seven corridors opened onto four berths each, for a total number of berths per side of 28, or 56 altogether. The forward end of the saloon was connected to a stewards' galley, while the opposite end contained several tiers of sofas. This saloon was apparently the ship's most impressive of all the passenger spaces. Columns of white and gold, 24 in number, with "ornamental capitals of great beauty", were arranged down its length and along the walls, while eight Arabesque pilasters, decorated with "beautifully painted" oriental flowers and birds, enhanced the aesthetic effect. The archways of the doors were "tastefully carved and gilded" and surmounted with medallion heads. Mirrors around the walls added an illusion of spaciousness, and the walls themselves were painted in a "delicate lemon-tinted hue" with highlights of blue and gold.[34]
The two forward saloons were arranged in a similar plan to the after saloons, with the upper "promenade" saloon having 36 berths per side and the lower 30, totalling 132. Further forward, separate from the passenger saloons, were the crew quarters.[34] The overall finish of the passenger quarters was unusually restrained for its time, a probable reflection of the proprietors' diminishing capital reserves.[35] Total cost of construction of the ship, not including £53,000 for plant and equipment to build her, was £117,000[36]—£47,000 more than her original projected price tag of £70,000.
Service history
Transatlantic service
On 26 July 1845—seven years after the Great Western Steamship Company had decided to build a second ship, and five years overdue—Great Britain embarked on her maiden voyage, from Liverpool to New York under Captain James Hosken, with 45 passengers. The ship made the passage in 14 days and 21 hours, at an average speed of 9.25 knots (17.13 km/h; 10.64 mph) – almost 1.5 knots (2.8 km/h; 1.7 mph) slower than the prevailing record. She made the return trip in 13+1⁄2 days, again an unexceptional time.[35]
Brunel, who prior to commencement of service had substituted a six-bladed "windmill" design of his own for Smith's proven four-bladed propeller design, now decided to try to improve the speed by riveting an extra two inches of iron to each propeller blade. On her next crossing to New York, carrying 104 passengers, the ship ran into heavy weather, losing a mast and three propeller blades.[14] On 13 October, she ran aground on the Massachusetts Shoals. She was refloated and after obtaining a supply of coal from the American schooner David Coffin resumed her voyage.[37] After repairs in New York, she set out for Liverpool with only 28 passengers and lost four propeller blades during the crossing. By this time, another design flaw had become evident. The ship rolled heavily, especially in calm weather without the steadying influence of the sail, causing discomfort to passengers.[35]
The shareholders of the company again provided further funding to try to solve the problems. The six-bladed propeller was dispensed with and replaced with the original four-bladed, cast iron design. The third mast was removed, and the iron rigging, which had proven unsatisfactory, was replaced with conventional rigging. In a major alteration, two 110-foot-long (34 m) bilge keels were added to each side in an effort to lessen her tendency to roll.[38] These repairs and alterations delayed her return to service until the following year.[39]
In her second season of service in 1846, Great Britain successfully completed two round trips to New York at an acceptable speed, but was then laid up for repairs to one of her chain drums, which showed an unexpected degree of wear. Embarking on her third passage of the season to New York, her captain made a series of navigational errors that resulted in her being run hard aground in Dundrum Bay on the northeast coast of Ireland on 22 September. There was no formal inquiry but it has been recently suggested by Dr Helen Doe in her book 'SS Great Britain' that it was mainly due to the captain not having updated charts, so that he mistook the new St John's light for the Calf light on the Isle of Man.[40][41][42]
She remained aground for almost a year, protected by temporary measures organised by Brunel and James Bremner.[43] On 25 August 1847,[44] she was floated free at a cost of £34,000 and taken back to Liverpool, but this expense exhausted the company's remaining reserves. After languishing in Prince's Dock, Liverpool for some time, she was sold to Gibbs, Bright & Co., former agents of the Great Western Steamship Company, for a mere £25,000.[45][46]
Refit and return to service
Great Britain in 1853, after her refit to four masts
The new owners decided not merely to give the vessel a total refit; the keel, badly damaged during the grounding, was completely renewed along a length of 150 feet (46 m), and the owners took the opportunity to further strengthen the hull. The old keelsons were replaced and 10 new ones laid, which ran the entire length of the keel. Both the bow and stern were also strengthened by heavy frames of double angle iron.[47]
Reflecting the rapid advances in propeller engine technology, the original engines were removed and replaced with a pair of smaller, lighter and more modern oscillating engines, with 82.5-inch (210 cm) cylinders and 6-foot (180 cm) stroke, built by John Penn & Sons of Greenwich. They were also provided with more support at the base and supported further by the addition of both iron and wood beams running transversely across the hull, which had the added benefit of reducing engine vibration.[47]
The cumbersome chain-drive gearing was replaced with a simpler and by now proven cog-wheel arrangement, although the gearing of the engines to the propeller shaft remained at a ratio of one to three. The three large boilers were replaced with six smaller ones, operating at 10 psi (69 kPa) or twice the pressure of their predecessors. Along with a new 300-foot (91 m) cabin on the main deck, the smaller boilers allowed the cargo capacity to be almost doubled, from 1,200 to 2,200 tons.[47]
The four-bladed propeller was replaced by a slightly smaller three-bladed model, and the bilge keels, previously added to reduce the tendency to roll, were replaced by a heavy external oak keel for the same purpose. The five-masted schooner sail-plan was replaced by four masts, two of which were square-rigged.[47] With the refit complete, Great Britain went back into service on the New York run. After only one further round trip she was sold again, to Antony Gibbs & Sons, which planned to place her into England–Australia service.[47]
Australian service
Antony Gibbs & Sons may have intended to employ Great Britain only to exploit a temporary demand for passenger service to the Australian goldfields following the discovery of gold in Victoria in 1851,[48] but she found long-term employment on this route. For her new role, she was given a third refit. Her passenger accommodation was increased from 360 to 730, and her sail plan altered to a traditional three-masted, square-rigged pattern. She was fitted with a removable propeller, which could be hauled up on deck by chains to reduce drag when under sail power alone.[49]
In 1852, Great Britain made her first voyage to Melbourne, Australia, carrying 630 emigrants. She excited great interest there, with 4,000 people paying a shilling each to inspect her. She operated on the England–Australia route for almost 30 years, interrupted only by two relatively brief sojourns as a troopship during the Crimean War and the Indian Mutiny.[49] Gradually, she earned a reputation as the most reliable of the emigrant ships to Australia and carried the first English cricket team to tour Australia in 1861.[50]
Alexander Reid, writing in 1862, recorded some statistics of a typical voyage. The ship, with a crew of 143, put out from Liverpool on 21 October 1861, carrying 544 passengers (including the English cricket team that was the first to visit Australia), a cow, 36 sheep, 140 pigs, 96 goats and 1,114 chickens, ducks, geese and turkeys. The journey to Melbourne (her ninth) occupied 64 days, during which the best day's run was 354 miles and the worst 108. With favourable winds the ship travelled under sail alone, the screw being withdrawn from the water. Three passengers died en route. The captain was John Gray, a Scot, who had held the post since before the Crimean War.[51]
On 8 December 1863, she was reported to have been wrecked on Santiago, Cape Verde Islands whilst on a voyage from London to Nelson, New Zealand. All on board were rescued.[52] On 8 October 1868 The Argus reported "To-day, at daylight, the fine steamship Great Britain will leave her anchorage in Hobson's Bay, for Liverpool direct. On this occasion she carries less than her usual complement of passengers, the season not being a favourite one with colonists desiring to visit their native land. Great Britain, however, has a full cargo, and carries gold to the value of about £250,000. As she is in fine trim, we shall probably have, in due time, to congratulate Captain Gray on having achieved another successful voyage."[53][54] Gray died under mysterious circumstances, going missing overnight during a return voyage from Melbourne, on the night of 25/26 November 1872.[55][56] On 22 December, she rescued the crew of the British brig Druid, which had been abandoned in the Atlantic Ocean.[57] On 19 November 1874, she collided with the British ship Mysore in the Sloyne, losing an anchor and sustaining hull damage.[58] Great Britain was on a voyage from Melbourne to Liverpool.[59]
Later history
In 1882 Great Britain was converted into a sailing ship to transport bulk coal.[60] She made her final voyage in 1886, after loading up with coal and leaving Penarth Dock in Wales for Panama on 8 February.[61] After a fire on board en route she was found on arrival at Port Stanley in the Falkland Islands where she ran aground. She was found to be damaged beyond economic repair.[60][62] She was sold to the Falkland Islands Company and used, afloat, as a storage hulk (coal bunker) until 1937, when she was towed to Sparrow Cove, 3.5 miles (5.6 km) from Port Stanley, scuttled and abandoned.[63] As a bunker, she coaled the South Atlantic fleet that defeated Admiral Graf Maximilian von Spee's fleet in the First World War Battle of the Falkland Islands.[64] In the Second World War, some of her iron was scavenged to repair HMS Exeter, one of the Royal Navy ships that fought Graf Spee and was badly damaged during the Battle of the River Plate.[65]
From Wikipedia, the free encyclopedia
+++++++++++++++++++++++++++++++++
Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
the painting, statue, and sun made from a metal drum were all handmade in haiti. someday i will scan all of my photos from my trip there. haiti is a beautiful county and its lovely people are never far from my mind. the encyclopedias were my grandfathers' and i will never part with them.
source: wikipedia
Dolomites
From Wikipedia, the free encyclopedia
For other uses, see Dolomite (disambiguation).
Dolomites
Italian: Dolomiti
German: Dolomiten
Dolomites cablecar view 2009.JPG
View from Pordoi
Highest point
PeakMarmolada
Elevation3,343 m (10,968 ft)
Coordinates46°26′N 11°51′ECoordinates: 46°26′N 11°51′E
Geography
Dolomites is located in Alps DolomitesDolomites
Location of the Dolomites in the Alps
CountryItaly
ProvinceBelluno, South Tyrol and Trentino
Geology
OrogenyAlpine orogeny
Age of rockMostly Triassic
Type of rockSedimentary rocks,
including dolomite, and volcanics
UNESCO World Heritage Site
The Dolomites
Name as inscribed on the World Heritage List
Criteriavii, viii
Reference1237
UNESCO regionEurope
Inscription history
Inscription2009 (33rd Session)
Parco Nazionale Dolomiti Bellunesi
IUCN category II (national park)
Dolomites.jpg
View of the Dolomites
LocationVeneto
Nearest cityVenice
Area315.12 km2 (121.67 sq mi)
Established1990
Governing bodyMinistero dell'Ambiente
www.dolomitipark.it/Eindex.php
The Dolomites (Italian: Dolomiti [doloˈmiːti]; Ladin: Dolomites; German: Dolomiten [doːloːˈmɪtn̩]; Venetian: Dołomiti [doɰoˈmiti]: Friulian: Dolomitis) are a mountain range located in northeastern Italy. They form a part of the Southern Limestone Alps and extend from the River Adige in the west to the Piave Valley (Pieve di Cadore) in the east. The northern and southern borders are defined by the Puster Valley and the Sugana Valley (Italian: Valsugana). The Dolomites are nearly equally shared between the provinces of Belluno, South Tyrol and Trentino.
There are also mountain groups of similar geological structure that spread over the River Piave to the east – Dolomiti d'Oltrepiave; and far away over the Adige River to the west – Dolomiti di Brenta (Western Dolomites). There is also another smaller group called Piccole Dolomiti (Little Dolomites) located between the provinces of Trentino, Verona and Vicenza (see the map).
One national park and many other regional parks are located in the Dolomites. In August 2009, the Dolomites were declared a UNESCO World Heritage Site.
The Dolomites, also known as the "Pale Mountains," take their name from the carbonate rock dolomite, itself named for 18th-century French mineralogist Déodat Gratet de Dolomieu (1750-1801), who was the first to describe the mineral.[1]
History[edit]
During the First World War, the line between the Italian and Austro-Hungarian forces ran through the Dolomites. There are now open-air war museums at Cinque Torri (Five Towers) and Mount Lagazuoi. Many people visit the Dolomites to climb the vie ferrate, protected paths created during the First World War. A number of long distance footpaths run across the Dolomites, which are called "alte vie" (i.e., high paths). Such long trails, which are numbered from 1 to 8, require at least a week to be walked through and are served by numerous "Rifugi" (huts). The first and, perhaps, most renowned is the Alta Via 1.
Geography[edit]
The region is commonly divided into the Western and Eastern Dolomites, separated by a line following the Val Badia – Campolongo Pass – Cordevole Valley (Agordino) axis.
Current classification[edit]
Based on current classifications, the Dolomites may be divided into the following ranges:
Sella
Marmolada
Tofane
Langkofel Group
Geisler Group
Peitlerkofel Group
Puez Group
Fanes Group
Schlern Group
Rosengarten
Latemar
Pala
Lüsen Mountains
Civetta
Pelmo
Marmarole
Cadini Group
Cristallo Group
Sorapiss
Antelao
Lagorai
Bosconero
Vette Feltrine
Schiara
Prague Dolomites
Sexten Dolomites
Friulan Dolomites
Tourism[edit]
A tourist mecca, the Dolomites are famous for skiing in the winter months and mountain climbing, hiking, cycling, and BASE jumping, as well as paragliding and hang gliding in summer and late spring/early autumn.[citation needed] Free climbing has been a tradition in the Dolomites since 1887, when 17-year-old Georg Winkler soloed the first ascent of the pinnacle Die Vajolettürme.[2] The main centres include: Rocca Pietore alongside the Marmolada Glacier, which lies on the border of Trentino and Veneto, the small towns of Alleghe, Falcade, Auronzo, Cortina d'Ampezzo and the villages of Arabba, Urtijëi and San Martino di Castrozza, as well as the whole of the Fassa, Gardena and Badia valleys.
The Maratona dles Dolomites, an annual single-day road bicycle racing race covering seven mountain passes of the Dolomites, occurs in the first week of July.
Indian Neck Hall
From Wikipedia, the free encyclopedia
The mansion in 2012
Indian Neck Hall was a country residence of Frederick Gilbert Bourne, president of the Singer Sewing Machine Company. Located on the Great South Bay in Oakdale, New York, it was reputed to have been the largest estate on Long Island when it was built in 1897.
The Georgian-style home was designed by noted architect, Ernest Flagg. In 1926, the property was sold and became La Salle Military Academy. St. John's University acquired the property in 2001 and offers a number of its graduate degree programs from the Oakdale campus.[1]
Dated Southampton, December 7, 1930.
From Wikipedia, the free encyclopedia
History
United Kingdom
NameRMS Aquitania
NamesakeAquitania (Roman province in France)[3]
Owner
1914–1934: Cunard Line[1]
1934–1949: Cunard White Star Line
1949–1950: Cunard Line
OperatorCunard Line
Port of registryUnited Kingdom Liverpool, United Kingdom
RouteSouthampton-New York (1914) (1920–1939) (1945–1948) (1945–1950) Southampton-Halifax (1948–1950)
Ordered8 December 1910[1]
BuilderJohn Brown & Company, Clydebank, Scotland[1]
Yard number409[2]
Laid downDecember 1910
Launched21 April 1913[1]
Christened21 April 1913 by the Countess of Derby
Acquired24 May 1914
Maiden voyage30 May 1914[1]
In service30 May 1914
Out of service1950
FateScrapped in 1950 at Faslane, Scotland.[1]
General characteristics
TypeOcean liner
Tonnage45,647 GRT[4]
Length901 ft (274.6 m)[4]
Beam97 ft (29.6 m)[4]
Draught36 ft (11.0 m)[1]
Decks10
Installed power
Direct drive Parsons steam turbines;[4]
59,000 shp (44,000 kW)
PropulsionFour shafts[4]
Speed
24 knots (44 km/h; 28 mph) (service)
25 knots (46 km/h; 29 mph) (max)[4]
Capacity
1914: 3,230[1]
618 1st class passengers
614 2nd class passengers
2,004 3rd class passengers
1926: 2,200[1]
610 1st class passengers
950 2nd class passengers
640 tourist class passengers
Crew972[1]
RMS Aquitania was a British ocean liner of the Cunard Line in service from 1914 to 1950. She was designed by Leonard Peskett and built by John Brown & Company in Clydebank, Scotland. She was launched on 21 April 1913[5] and sailed on her maiden voyage from Liverpool to New York on 30 May 1914. Aquitania was the third in Cunard Line's grand trio of express liners, preceded by RMS Mauretania and RMS Lusitania, and was the last surviving four-funnelled ocean liner.[6] Shortly after Aquitania entered service, World War I broke out, during which she was first converted into an auxiliary cruiser before being used as a troop transport and a hospital ship, notably as part of the Dardanelles Campaign.
Returned to transatlantic passenger service in 1920, she served alongside the Mauretania and the Berengaria. Considered during this period of time as one of the most attractive ships, Aquitania earned the nickname "the Ship Beautiful" from her passengers.[4] She continued in service after the merger of Cunard Line with White Star Line in 1934. The company planned to retire her and replace her with RMS Queen Elizabeth in 1940.
However, the outbreak of World War II allowed the ship to remain in service for ten more years. During the war and until 1947, she served as a troop transport. She was used in particular to take home Canadian soldiers from Europe. After the war, she transported migrants to Canada before the Board of Trade found her unfit for further commercial service. Aquitania was retired from service in 1949 and was sold for scrapping the following year. Having served as a passenger ship for 36 years, Aquitania ended her career as the longest-serving Cunard vessel, a record which stood for six years until overtaken by RMS Scythia's service record of 37 years. In 2004 Aquitania's service record was pushed into third place when Queen Elizabeth 2 became the longest-serving Cunard vessel.
Conception
The origins of Aquitania lay in the rivalry between the White Star Line and Cunard Line, Britain's two leading shipping companies. The White Star Line's Olympic, Titanic and the upcoming Britannic were larger than the latest Cunard ships, Mauretania and Lusitania, by 15,000 gross register tons. The Cunard duo were significantly faster than the White Star ships, while White Star's ships were seen as more luxurious. Cunard needed another liner for its weekly transatlantic express service, and elected to copy the White Star Line's Olympic-class model with a slower but larger and more luxurious ship.[4][7][8] The plan for the building of that liner began in 1910. Several draft plans were conceived in order to determine the main axes of what should be the ship for which an average speed of 23 knots was planned. In July of that year, the company launched the construction offers to several shipyards before choosing John Brown and Company, the builder of the Lusitania. The company chose Aquitania as the name for its new ship in continuity with those of its two previous duo. The three ships were named respectively after the Ancient Roman provinces Lusitania, Mauretania, and Gallia Aquitania.[9]
Aquitania was designed by Cunard naval architect Leonard Peskett.[4] Peskett drew up plans for a larger and wider vessel than Lusitania and Mauretania (about 130 feet (40 m) longer). With four large funnels the ship would resemble the famous speed duo, but Peskett also designed the superstructure with "glassed in" touches from the smaller Carmania, a ship he also designed. Another design feature from Carmania was the addition of two tall forward deck ventilator cowlings. Although the ship's outward dimensions were greater than that of Olympic, her displacement and tonnage were lower.[10] With Aquitania's keel being laid at the end of 1910, the experienced Peskett took a voyage on Olympic in 1911 so as to experience the feel of a ship reaching nearly 50,000 tonnes as well as to copy pointers for his company's new vessel.[10] Though Aquitania was built solely with Cunard funds, Peskett designed her according to strict British Admiralty specifications.[citation needed] Aquitania was built in the John Brown and Company yards in Clydebank, Scotland, where the majority of the Cunard ships were built.[5] The keel was laid in the same plot where Lusitania had been built, and would later be used to construct Queen Mary, Queen Elizabeth, and Queen Elizabeth 2.[11] Just like with Mauretania, for the launch the hull was painted in a light grey colour for photographic purposes; a common practice of the day for the first ship in a new class, as it made the lines of the ship clearer in the black-and-white photographs. Her hull was repainted to black in dry dock.[12]
In the wake of the Titanic sinking, Aquitania was one of the first new ships to carry enough lifeboats for all passengers and crew.[4] Eighty lifeboats, including two motorised launches with Marconi wireless equipment, were carried in both swan-neck and newer Welin type davits.[13] There was also a double hull and watertight compartments that were designed to allow the ship to float with five compartments flooded.[14] As required by the British Admiralty, she was designed to be converted into an armed merchant cruiser, and was reinforced to mount guns for service in that role. The ship displaced approximately 49,430 tons, of which the hull accounted for 29,150 tons, machinery 9,000 and bunkers 6,000 tons.[15]
Aquitania was launched on 21 April 1913 after being christened by Alice Stanley, the Countess of Derby, and fitted out over the next thirteen months. Notable installations were electrical wiring and decorations. The fitting out was led by Arthur Joseph Davis and his associate Charles Mewès.[10] On 10 May 1914, she was tested in her sea trials and steamed at one full knot over the expected speed. On 14 May, she reached Mersey and stayed at a port there for fifteen days, during which she underwent a final major cleaning and finishing in preparation for her maiden voyage.[16]
Technical aspects
Aquitania was the first Cunard liner to have a length in excess of 900 feet.[10] Unlike some four-funneled ships, such as White Star Line's Olympic-class ocean liners, Aquitania did not have a dummy funnel; each funnel was utilised in venting smoke from the ship's boilers.[17][18]
Steam was provided by twenty-one forced-draft, double-ended Scotch boilers, having eight furnaces each, that were 22 feet (6.7 m) long with diameter of 17 feet 8 inches (5.4 m) arranged in four boiler rooms.[19] Each boiler room had seven ash expellers with pump capacity of approximately 4,500 tons per hour that could also be used as emergency bilge pumps.[19]
Steam drove Parsons turbines in three separate engine rooms in a triple expansion system for four shafts.[19] The port engine room contained the high pressure ahead (240 tons, 40 feet 2 inches (12.2 m) long with four stage expansion) and astern turbine (120 tons, 22 feet 11 inches (7.0 m) long) for the port shaft, the centre room contained two low pressure turbines with ahead and astern capability within single casings (54 feet 3 inches (16.5 m) long, nine expansion stages in ahead turbine, four in astern turbine) for the two centre shafts and the starboard room contained the intermediate pressure ahead turbine (41 feet 6.5 inches (12.7 m) long) and a high pressure astern turbine (twin of the port high pressure turbine) for the starboard shaft.[19][20]
The electrical plant, located on G deck below the waterline, consisted of four 400 kW British Westinghouse generator sets generating 225 volt direct current, with emergency power provided by a diesel driven 30 kW generator up on the promenade deck.[21] Power was provided for about 10,000 lamps and about 180 electric motors.[21] She also had brass triple chambered 3 chime steam whistles on the 1st funnel and 2nd funnel.
In 1914, Aquitania had the capacity to carry 3,220 passengers (618 First Class, 614 Second Class, 2,004 Third Class). After a refit in 1926, the figure was reduced to 610 in first class, 950 in second class, and 640 in tourist class. Although the original specification mentioned a capacity of 972 crew members, the ship sometimes carried around 1,100.[9]
Although Aquitania lacked the lean, yacht-like appearance of running mates Mauretania and Lusitania, the greater length and wider beam allowed for grander and more spacious public rooms. Her public spaces were designed by the British architect Arthur Joseph Davis of the interior decorating firm Mewès and Davis. This firm had overseen the construction and decoration of the Ritz Hotel in London and Davis himself had designed several banks in that city. His partner in the firm, Charles Mewès, had designed the interiors of the Paris Ritz, and had been commissioned by Albert Ballin, head of Germany's Hamburg America Line (HAPAG), to decorate the interiors of the company's new liner Amerika in 1905.[10]
In the years prior to the First World War, Mewès was charged with the decoration of HAPAG's trio of giant new ships, Imperator, Vaterland, and Bismarck, while Davis was awarded the contract for Aquitania.[10] In a curious arrangement between the rival Cunard and Hamburg-Amerika Lines, Mewès and Davis worked apart—in Germany and England respectively and exclusively—with neither partner being able to disclose details of his work to the other. Although this arrangement was almost certainly violated, Aquitania's first-class interiors were largely the work of Davis. The Louis XVI dining saloon owed much to Mewès' work on the HAPAG liners, but it is likely that having worked so closely together for many years the two designers' work had become almost interchangeable. Indeed, Davis must be given credit for the Carolean smoking room and the Palladian lounge; a faithful interpretation of the style of architect John Webb.[22]
The second class had a dining room, several lounges, a smoking room, a veranda café, and a gymnasium; many being unique facilities for this class on British liners. The third class had several common areas, a promenade, and three shared bathrooms.[22] The cabins offered great comfort. The first class included eight luxury suites, named after famous painters. A large number of first-class cabins had bathrooms, although not all did. The second-class cabins were larger than average, most being capable of accommodating three people as opposed to the standard four. Her Third Class accommodations were a great expansion in facilities compared to her running mates. While most Cunard liners had their Third Class areas confined forward, aboard Aquitania such spaces spanned the full length of the ship, and included several large open areas, three large dining rooms and both open and enclosed promenades.[23]
Over her thirty-five years career, her facilities changed. Examples of this were the addition of a cinema during her refit from 1932 to 1933[24] and the reorganisation of the tourist class during the 1920s for giving greater comfort to poor passengers.[25]
Early career and World War I
Aquitania's maiden voyage was under the command of Captain William Turner on 30 May 1914 with arrival in New York on 5 June.[1][15] The voyage and arrival in New York received great attention.[26] Fifteen days later, the German liner SS Vaterland, being the largest ship in the world at the time, was put into service. In the eye of the press, this maiden voyage was a matter of national prestige.[27] However, this event was overshadowed by the sinking of RMS Empress of Ireland in Quebec the previous day with over a thousand drowned.[28] However, no passenger cancelled their voyage aboard the Aquitania, despite the strong emotion aroused by this sinking.[16] During her maiden voyage, the ship carried around 1,055 passengers, which was about a third of her total capacity. This was because a superstition pushed some people away from travelling on a ship's maiden voyage.[citation needed] The crossing fully satisfied the crew and the company. Average speed for the voyage, a distance of 3,181 nautical miles (5,891 km; 3,661 mi) measured from Liverpool to the Ambrose Channel lightship, was 23.1 knots (42.8 km/h; 26.6 mph),[15] taking into account a five-hour stop due to fog and the proximity of icebergs. The ship briefly managed to exceed 25 knots. Also, her coal consumption was significantly lower than that of Lusitania and Mauretania. Many passengers enjoyed the voyage. On the return trip, the success was renewed; she carried a total of 2,649 passengers, which was a record for a British liner leaving New York.[29]
Upon arrival at her home port, she underwent minor modifications, which took into account observations made during the two first crossings (this was typical for a liner after its first round trip).[29] Two more round trips took place in the second half of June and the whole of July of that year. Her architect Leonard Peskett was on board during those trips to note any defect and room for improvement. In total, 11,208 passengers travelled on the ship during her first six crossings. Her career was abruptly interrupted by the outbreak of World War I, which removed her from passenger service for six years.[30]
The following month Archduke Franz Ferdinand of Austria was assassinated, and the world was plunged into World War I. Aquitania was converted into an armed merchant cruiser on 5 August 1914, for which provision had been made in her design. On 8 August, having been rid of decorative elements and armed with guns, she was sent on patrol. On 22 August, she collided with a liner named Canadian. Shortly after, the Admiralty found that large liners were too expensive to operate as cruisers. On 30 September, she was repaired, disarmed, and returned to Cunard Line.[31][4]
After being idle for a time, in the spring of 1915 she was recalled by the Admiralty and converted into a troopship, and made voyages to the Dardanelles, sometimes running alongside Britannic or Mauretania. Around 30,000 men were transported on the ship to the battlefield between May and August of that year.[31] Aquitania then was converted into a hospital ship, and acted in that role during the Dardanelles campaign.[1][32] In 1916, the year that White Star's flagship, and one of Aquitania's main rivals, Britannic, was sunk, Aquitania was returned to the trooping front, and then in 1917 was laid up in the Solent.[1][33] In 1918, now under the command of James Charles, the ship was back on the high seas in troopship service, conveying North American troops to Britain. Many of these departures were from the port of Halifax, Nova Scotia where the ship's dazzle paint scheme was captured by artists and photographers, including Antonio Jacobsen. On one occasion Aquitania transported over 8,000 men. During her nine voyages, she transported approximately a total of 60,000 men. During this period, she collided with USS Shaw and tore apart its bow. The accident killed a dozen members of the American ship's crew.[34]
After the end of the war, in December 1918, Aquitania was dismissed from military service. She collided with the British cargo ship Lord Dufferin at New York in the United States on 28 February 1919. Lord Dufferin sank and Aquitania rescued her crew.[35] Lord Dufferin was later refloated and beached.[36]
Interwar career
In June 1919, Aquitania ran a Cunard "austerity service" between Southampton and New York. In December of that year Aquitania was docked at the Armstrong Whitworth yards in Newcastle to be refitted for post-war service. The ship was converted from coal burner to oil-fired, which greatly reduced the number of engine room crew required.[1][37] The original fittings and art pieces, removed when refitted for military use, were brought out of storage and re-installed. At some point during this time, a new wheelhouse was constructed above the original one as the officers had complained about the visibility over the ship's bow. The second wheelhouse can be seen in later pictures of the era and the original wheelhouse area below had the windows plated in.[38]
1920s
Aquitania resumed her commercial service on 17 July 1920, leaving from Liverpool with 2,433 passengers on board. The crossing was a success; the ship maintained good speed while showing that now being oil-fuelled was much cheaper than coal-fuelled propulsion.[39] The ship's arrival in New York Harbor was filmed as part of the pioneering 1921 documentary Manhatta, in which she is seen being pushed to her destination by tugboats. The months that followed were just as promising, despite a stewards' strike in May 1921.[40] At the beginning of the decade, Aquitania was the only large liner in the service of Cunard Line as the Mauretania was undergoing repair after a fire. The year 1921 was thus an exceptional year for her; she broke a record by transporting around 60,000 passengers that year.[41] In the following year, the Mauretania rejoined her in Cunard service. Aquitania operated in service with the Mauretania and Berengaria (formerly the German liner Imperator) in a trio known as "The Big Three."[4][42]
In 1924, a new restriction on immigration was passed in the United States, causing the number of third-class passengers to decline significantly. From about 26,000 third-class passengers transported by Aquitania in 1921, the figure fell to about 8,200 third-class passengers in 1925. The number of crew was thus reduced to around 850 people from the original 1,200.[42] The third class was no longer the key to the profitability of the liner, and so the company had to adapt. The third-class gradually became a tourist class, which offered decent service at a low price. In 1926, the ship underwent a major overhaul, which reduced the passenger capacity from around 3,300 to around 2,200.[43]
Still, the Cunard Line benefited from prohibition in the United States, which started in 1919. American liners were legally part of the territory of the United States, and thus alcoholic beverages could not be served on them. Passengers who wanted to drink therefore travelled on British liners in order to do so.[44] Aquitania enjoyed great success, making much profit for her company. In 1929, she underwent a major refit. A bathroom was added to many first-class cabins, and the tourist class was renovated. While new competitors, such as the German liner SS Bremen, entered service, Aquitania remained particularly popular after fifteen years of service.[45]
Crisis of 1929 and its consequences
Following the stock market crash of 1929, many ships were affected by the economic downturn and reduced traffic. Aquitania found herself in a tough position. Only a few could afford expensive passage on her now, so Cunard sent Aquitania on cheap cruises to the Mediterranean. These were successful, especially for Americans who went on "booze cruises," tired of their country's prohibition.[46] Another problem also arose: the two liners of the Norddeutscher Lloyd, SS Bremen and SS Europa, successfully captured the Blue Riband and many customers.[47] In 1934, the number of passengers Aquitania carried declined to around 13,000 from 30,000 in 1929.[48] The ship, however, remained popular and she was the third busiest in the early 1930s behind those two German liners.[46]
To keep the ship up to date, she underwent a refit, which added a cinema, between 1932 and 1933. At the same time, in order to modernise its fleet, the company ordered the Queen Mary. The Great Depression, however, prevented the company from being able to fully finance the construction, and the company merged with its rival, the White Star Line, in 1934 in order to do so. The Queen Mary entered service in 1936.[49] Author C. R. Bonsor writing in 1963 states, from 1936 on it became necessary to squeeze the maximum speed out of Aquitania in order to make her a suitable running mate for Queen Mary thus 24 knot passages became regular.[50] Aquitania ran aground in the Solent on 24 January 1934 but was refloated later the same day.[51] The merger of the two companies into Cunard-White Star Line resulted in a large surplus of liners being owned by a single company. Thus, very old ships, such as the Mauretania and the Olympic, were removed from service immediately and sent to the scrapyard. However, the Aquitania was not, despite her age.[52] On 10 April 1935, Aquitania went hard aground on Thorne Knoll in the Solent near Southampton, England, but with the aid of ten tugboats, on the next high tide the ship was freed.[1] When the new liner RMS Queen Elizabeth was due to enter service in 1940, newspapers speculated that Aquitania would be scrapped that year. However, during that period, her performance continued to satisfy her company. The year 1939 saw an increase in the number of wealthy passengers on board. The ship was then already 26 years old.[53]
World War II service
Aquitania, with a normal troop capacity of 7,400, was among the select group of large, fast former passenger ships capable of sailing independently without escort transporting large numbers of troops that were assigned worldwide as needed.[54] These ships, often termed "Monsters" until London requested the term be dropped, were Aquitania, Queen Mary, Queen Elizabeth, Mauretania (II), Île de France and Nieuw Amsterdam with "lesser monsters" being other large ex-liners capable of independent sailing with large troop capacity that accounted for much of the troop capacity and deployment, particularly in the early days of the war.[55][56]
Plans to replace Aquitania with the newer Queen Elizabeth in 1940 had been forestalled by outbreak of World War II in 1939.[4] On 16 September 1939 Aquitania, awaiting initial refit as a troop ship, was at pier 90 in New York along with Queen Mary while nearby, at pier 88, were the French ships Île de France and Normandie.[1][4] She returned to Southampton and was requisitioned on 18 November.[57]
Aquitania's initial troop transport operation was taking Canadian troops to Scotland, Convoy TC1 in company with Empress of Britain, Empress of Australia, Duchess of Bedford, Monarch of Bermuda, HMS Hood, HMS Warspite, HMS Barham, HMS Resolution, HMS Repulse, HMS Furious, December 1939.[1] Meanwhile, a massive transport of Australian and New Zealand troops to Suez and North Africa, with possible diversion to the United Kingdom if events required, was in planning with the numbered convoys to be designated as "US" with the large Atlantic liners assigned a role.[58] The fast convoy designated as US.3 was composed of Aquitania and the liners Queen Mary, Mauretania, Empress of Britain, Empress of Canada, Empress of Japan and Andes.[59] Aquitania, Empress of Britain and Empress of Japan, after embarking New Zealand troops at Wellington in May, sailed escorted by HMAS Canberra, HMAS Australia, and HMNZS Leander to join the Australian component off Sydney on 5 May 1940.[60] Joined off Sydney by Queen Mary and Mauretania the convoy sailed the same day to be joined the next by Empress of Canada from Melbourne for a stop at Fremantle 10–12 May before the voyage intended to be for Colombo.[60] About midway to Colombo, on 15 May, the convoy was rerouted due to the rapid German penetrations into France with the ultimate destination of Gourock, Scotland via Cape Town, South Africa and Freetown, Sierra Leone where the escort strengthened by various ships including the aircraft carriers HMS Hermes and HMS Argus and the battlecruiser HMS Hood.[61] The convoy arrived in the Clyde and anchored off Gourock on 16 June 1940.[62]
Now repainted battleship grey, in November 1941 Aquitania was in the British colony of Singapore, from which she sailed to take part indirectly in the loss of the Australian cruiser HMAS Sydney. Sydney had engaged in battle with the German auxiliary cruiser Kormoran. There has been much unsubstantiated speculation that Kormoran was expecting Aquitania, after spies in Singapore had notified Kormoran's crew of the liner's sailing, and planned to ambush her in the Indian Ocean west of Perth but instead encountered Sydney on 19 November. Both ships were lost after a fierce battle. On the morning of 24 November Aquitania en route to Sydney from Singapore spotted and picked up twenty-six survivors of the German ship but maintained radio silence and did not pass word until in visual range of Wilson's Promontory on 27 November.[63] The captain had gone against orders not to stop for survivors of sinkings.[1] There were no survivors from Sydney.
December saw the outbreak of war in the Pacific, then Japanese advances throughout Southeast Asia and toward Australia, necessitating the redeployment of defensive forces.[64] On 28 December Aquitania and two smaller transports departed Sydney with 4,150 Australian troops and 10,000 tons of equipment for Port Moresby, New Guinea. (On the same date, USS Houston and other U.S. ships evacuating from the north reached Darwin, with USS Pensacola, and elements of her diverted Philippine convoy some 300 miles (480 km) ahead.) Aquitania was back in Sydney on 8 January 1942.[65] The next effort was reinforcement of Singapore and the Netherlands East Indies with Aquitania transporting Australian troops (whose equipment was in Convoy MS.1) as the single ship MS.2 convoy, under escort of HMAS Canberra.[66] The ship had been the only suitable transport for such a large movement. Originally, transport directly to Singapore was considered, but the danger from aircraft to such a valuable asset and so many troops caused a change of plans. Instead, Aquitania departed Sydney on 10 January, reaching Ratai Bay at the Sunda Strait on 20 January, where 3,456 personnel (including some Navy, Air Force and civilians) were transhipped[66] under a covering naval force to seven smaller vessels (six of them Dutch KPM ships) that would continue to Singapore as convoy MS.2A.[66] Aquitania was returned to Sydney on 31 January.[66]
With the United States in the war, Aquitania (then with a troop capacity of 4,500) had been scheduled for transport duties from the United States to Australia in February, but necessary repairs delayed that. Because her deep draft was hazardous in Australian and intermediate ports in the Pacific Islands,[67] she spent March and April 1942 transporting troops from the west coast of the U.S. to Hawaii.[55][68] Then Aquitania was temporarily transferred from Pacific duties to support the movement of troops from the United States to Britain, sailing 30 April from New York in a large convoy that transported some 19,000 troops.[69] On 12 May 1942 Aquitania loaded troops at Gourock destined for the war in the Middle East, departing in convoy WS19P on 1 June with destroyers and heavy weather, she broke off independently on 7 June due to her greater speed with designation WS19Q.[70] The first port of call was 48 hours at Freetown (West Africa) on 11 June, then 3 days at Simonstown, South Africa 20 June 48 hours at Diego Suarez, Madagascar from 30 June 24 hours at Steamer Point, Aden on 3 July, and then disembarkation at Port Tewfik, Egypt from 8 July 1942.[71] The return journey was via Diego Suarez, Capetown, Freetown and then to Boston. By September Aquitania was engaged in a triangular troop deployment of United States-United Kingdom-Indian Ocean voyages.[72]
Pamphlet
As part of the major redeployment of Australian troops from North Africa to the defence of Australia and start of offensive operations in the Southwest Pacific Aquitania, Queen Mary, Île de France, Nieuw Amsterdam, and the armed merchant cruiser HMS Queen of Bermuda transported the Australian 9th Division to Sydney in Operation Pamphlet during January and February 1943.[73]
By the buildup for the invasion of Europe in 1944 troop deployments to Britain depended heavily on Aquitania and the other "Monsters" and no allowance could be made for interruption of their service for other transport requirements.[74]
Wartime embarkation at New York is described in some detail in the description of the departure of the Special Navy Advance Group 56 (SNAG 56) that was to become Navy Base Hospital Number 12 at the Royal Victoria Hospital, Netley, England, to receive casualties from Normandy. The unit was sent by "devious routes" by train to Jersey City where under cover of darkness they boarded a ferry crossing to the covered pier 86 in New York where a band played and the Red Cross served their last coffee and doughnuts as they boarded "N.Y. 40", the New York Port of Embarkation code designation for Aquitania, which got underway the morning of 29 January 1944 with some 1,000 Navy and 7,000 Army personnel for arrival at Gourock, Scotland 5 February.[75]
In eight years of military work, Aquitania sailed more than 500,000 miles, and carried nearly 400,000 soldiers,[1][76] to and from places as far afield as New Zealand, Australia, the South Pacific, Greece and the Indian Ocean.[77]
Postwar service and retirement
After completing troopship service, the vessel was handed back to Cunard-White Star in 1948. She underwent a refit for passenger service. She was then used to transport war brides and their children to Canada under charter from the Canadian government. This final service created a special fondness for Aquitania in Halifax, Nova Scotia, the port of disembarkation for these immigration voyages.[78][4]
On completion of that task in December 1949, Aquitania was taken out of service when the ship's Board of Trade certificate was not renewed as the condition of the ship had deteriorated, and it would have been cost-prohibitive to be brought up to new safety standards, namely fire code regulations. The decks leaked in foul weather, the bulkheads and funnels were corroded to a point that one could stick their finger through them. A piano had fallen through the roof of one of the dining rooms from the deck above during a corporate luncheon held on the ship. This signalled the end of Aquitania's operational life.[4][79]
The vessel was retired and sold to British Iron and Steel Corporation for scrap for £125,000 in 1950 at Faslane in Scotland.[1] Dismantling took almost a year to complete.[79] This ended a career which included steaming 3 million miles over 450 round voyages. Aquitania carried 1.2 million passengers through an active sea career that spanned nearly 36 years, making her the longest-serving Express Liner of the 20th century. Aquitania was the only major liner, and the largest commercial vessel, to serve in both World Wars. She was also the last four-funnelled passenger ship to be scrapped.[76] The ship's wheel and a detailed scale model of Aquitania may be seen in the Cunard exhibit at the Maritime Museum of the Atlantic in Halifax.
Maritime author N. R. P. Bonsor wrote of Aquitania in 1963: "Cunard had recovered possession of their veteran in 1948 but she was not worth reconditioning. In 35 years of service Aquitania had sailed more than 3 million miles and apart from one or two early Allan Line steamers no other ship served for as long in a single ownership."[80][81][82]
Texture by Lenabem-Anna
Lake Powell is a reservoir on the Colorado River, straddling the border between Utah and Arizona (most of it, along with Rainbow Bridge, is in Utah). It is the second largest man-made reservoir in the United States behind Lake Mead, storing 24,322,000 acre feet (30 km³) of water when full. Lake Powell was created by the flooding of Glen Canyon by the controversial Glen Canyon Dam, which also led to the creation of Glen Canyon National Recreation Area, a popular summer destination. The reservoir is named for explorer John Wesley Powell, a one-armed American Civil War veteran who explored the river via three wooden boats in 1869. In 1972, Glen Canyon National Recreation Area was established. It is public land managed by the National Park Service, and available to the public for recreational purposes. It lies in parts of Garfield, Kane, and San Juan counties in southern Utah, and Coconino County in northern Arizona.
Lake Powell is a storage facility for the Upper Basin states of the Colorado River Compact (Colorado, Utah, Wyoming, and New Mexico). The Compact specifies that the Upper Basin states are to provide a minimum annual flow of 8.23 million acre feet (10 km³) to the Lower Basin states (Arizona, Nevada, and California).
From Wikipedia, the free encyclopedia
From Wikipedia, the free encyclopedia
Berkeley Pit's location in Montana
Shows the terraced levels and access roadways of the open mine pitsThe Berkeley Pit is a former open pit copper mine located in Butte, Montana, USA. It is one mile long by half a mile wide with an approximate depth of 1,780 feet (540 m). It is filled to a depth of about 900 feet (270 m) with water that is heavily acidic (2.5 pH level). The pit is laden with heavy metals and dangerous chemicals, including arsenic, cadmium, zinc, and sulfuric acid.
The mine was opened in 1955 and operated by Anaconda Copper and later by the Atlantic Richfield Company (ARCO), until its closure in 1982. When the pit was closed, the water pumps at the bottom were removed, and groundwater from the surrounding aquifers began to slowly fill the pit. Since the pit closure in 1982, the level has risen to within 150 feet of the natural groundwater level.
The pit and its water present a serious environmental problem because the water, with dissolved oxygen, allows pyrite and sulfide minerals in the ore and wall rocks to decay, releasing acid. If the pit water level reaches the natural water table, the pit water has the potential to seep into surrounding groundwater. The acidic water in the pit can carry a heavy load of dissolved heavy metals. In fact, the water contains so much dissolved metal (up to 187 ppm Cu) that the material is mined directly from the water.
In the 1990s plans were devised for solving the groundwater problem. Water flowing into the pit has been diverted to slow the rise of the water level. Plans have been made for more extensive treatment in the future. The Berkeley Pit has since become one of the largest Superfund sites.
As far as I know, the Berkeley Pit is the only place in the country where you can pay good money to see toxic waste. Visitors gladly fork over $2 because, after all, this is not your average environmental disaster. No sirree, this is the mother of them all, the country's largest superfund site. There's 37 billion gallons of of highly acidic, toxic water, laden with heavy metals and chemicals like arsenic and sulfuric acid. And you wanted to see it for free? C'mon!
Use this link for google........View Larger Map
This has nothing to do with this photo, BUT.....is anyone else upset by the way the Flickr page format looks? On my page, things are off centered and my header photo is only showing half way across the page. Anyone else having problems or it is just me?
Gemma Galgani
From Wikipedia, the free encyclopedia
For other uses, see Gemma (disambiguation).
Saint Gemma Galgani
Gemma gazes upward
The Flower of Lucca
The Virgin of Lucca
Born March 12, 1878
Borgonuovo, Capannori, Italy
Died April 11, 1903 (aged 25)
Lucca, Italy
Honored in Roman Catholic Church
Beatified May 14, 1933 by Pope Pius XI
Canonized May 2, 1940, Saint Peter's Basilica, Vatican City by Pope Pius XII
Major shrine Passionist Monastery in Lucca, Italy
Feast April 11 (celebrated by Passionists on May 16)
Attributes Passionist robe, flowers (lilies and roses), guardian angel, stigmata, heavenward gaze
Patronage Students, pharmacists, tuberculosis patients, love, hope, spinal injury
Controversy Visions, stigmata, ecstasy
Maria Gemma Umberta Pia Galgani (March 12, 1878 – April 11, 1903) was an Italian mystic, venerated as a saint in the Roman Catholic Church since 1940.[1] She has been called the "Daughter of Passion" because of her profound imitation of the Passion of Christ.[2]
Contents
1 Early life
2 Education
3 Mysticism
4 Stigmata
5 Reception
5.1 Family and public
5.2 Church
6 Death
7 See also
8 References
9 External links
Early life
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Maria Gemma Umberta Pia Galgani (or Gemma Galgani as she became commonly known) was born on March 12, 1878, in the hamlet of Borgo Nuovo in the provincial town of Capannori.[3] Gemma was the fifth of eight children; her father, Enrico Galgani, was a prosperous pharmacist.[4]
Soon after Gemma's birth, the family relocated north from Borgo Nuovo to a large new home in the Tuscan city of Lucca in a move which was undertaken to facilitate an improvement in the children's education. Gemma's mother, Aurelia Galgani, contracted tuberculosis. Because of this hardship, Gemma was placed in a private nursery school run by Elena and Ersilia Vallini when she was two-and-a-half years old, and was regarded as a highly intelligent child.[1]
Several members of the Galgani family died during this period. Their firstborn child, Carlo, died at an early age. On September 17, 1885, Aurelia Galgani died from tuberculosis, which she had for five years. Gemma's beloved brother Gino, while studying for the priesthood, died from tuberculosis and her little sister Giulia also died at a young age.[1]
Education
Gemma was sent to a Catholic half-boarding school in Lucca run by the Sisters of St. Zita. She excelled in French, arithmetic and music. Gemma was allowed at age nine to receive her first communion. Later she was not accepted by the Passionists to become a nun because of her poor health and her visions. At age 20, Gemma developed spinal meningitis, but was healed, attributing her extraordinary cure to the Sacred Heart of Jesus through the intercession of Venerable Gabriel of Our Lady of Sorrows (later canonized a saint), and Saint Marguerite Marie Alacoque.[1]
Gemma was orphaned shortly after she turned 18, making her responsible for the upbringing of her younger siblings, which she did with her aunt Carolina. She declined two marriage proposals and became a housekeeper with the Giannini family.[1]
Mysticism
Further information: Mysticism, Ecstasy (emotion), and Saints and levitation
According to a biography written by her spiritual director, the Reverend Germanus Ruoppolo, CP (now a venerable), Gemma began to display signs of the stigmata on June 8, 1899, at the age of twenty-one. She stated that she had spoken with her guardian angel, Jesus, the Virgin Mary, and other saints—especially Gabriel of Our Lady of Sorrows. According to her testimonies, she sometimes received special messages from them about current or future events. With her health in decline, Ruoppolo directed her to pray for the disappearance of her stigmata; she did so and the marks ceased.[1] She said that she resisted the Devil's attacks often.
Gemma was frequently found in a state of ecstasy. She has also been reputed to levitate. In one instance, in the dining room of her home was a large crucifix that was highly venerated by the whole family, particularly by Gemma. She claimed that at least once that she found herself raised from the floor with her arms around the crucifix while kissing the wound on the side of the crucified.[5]
Stigmata
Saint Gemma was one of the recipients of the Holy Wounds of Christ. She tells what took place when she received the Holy Stigmata on June 8 in the year 1899, a Thursday, on the eve of the feast of the Sacred Heart. The Saint discloses:
I felt an inward sorrow for my sins, but so intense that I have never felt the like again ... My will made me detest them all, and promise willingly to suffer everything as expiation for them. Then the thoughts crowded thickly within me, and they were thoughts of sorrow, love, fear, hope and comfort.
Saint Gemma then experienced a rapture in which she saw her guardian angel in the company of the Blessed Virgin Mary. Saint Gemma tells what took place next:
The Blessed Virgin Mary opened her mantle and covered me with it. At that very moment Jesus appeared with his wounds all open; blood was not flowing from them, but flames of fire which in one moment came and touched my hands, feet and heart. I felt I was dying, and should have fallen down but for my Mother (Blessed Virgin Mary) who supported me and kept me under her mantle. Thus I remained for several hours. Then my Mother kissed my forehead, the vision disappeared and I found myself on my knees; but I still had a keen pain in my hands, feet and heart. I got up to get into bed and saw that blood was coming from the places where I had the pain. I covered them as well as I could and then, helped by my guardian angel, got into bed.[5]
Reception
Gemma Galgani, published in 1916
Family and public
Gemma was well known in the vicinity of Lucca before her death, especially to those in poverty. Opinions of her were divided. Some people admired her extraordinary virtues and referred to her as The Virgin of Lucca out of pious respect and admiration. Others mocked her (including her younger sister, Angelina, who apparently used to make fun of Gemma during such experiences, and during Gemma's canonization process was deemed as 'unfit' to testify due to accusations of attempting profit from Gemma's reputation). In light of the extraordinary events surrounding her life, some skeptics thought that she had a mental illness.
Church
Gemma was often treated with disdain by some in the Church's hierarchy; even her own confessor was at times skeptical of her mystical gifts. Her spiritual director, the Reverend Ruoppolo, was initially reserved, but after a thorough and prudent examination of the ongoing events surrounding her, he became completely convinced of the authenticity of her mystical life. After her death, he wrote a detailed biography of her life and was responsible for gathering all her writings, including her diary, autobiography, and letters.
Death
In early 1903, Gemma was diagnosed with tuberculosis, and thus began a long and often painful death. There were numerous extraordinary mystical phenomena that occurred during her final illness. One of the religious nursing sisters who attended to her stated, "We have cared for a good many sick people, but we have never seen anything like this." At the beginning of Holy Week 1903, her health quickly deteriorated, and by Good Friday she was suffering tremendously. Gemma died in a small room across from the Giannini house on April 11, 1903—Holy Saturday. After a thorough examination of her life by the Church, she was beatified on May 14, 1933 and canonized on May 2, 1940.[6] Galgani's relics are housed at the Passionist monastery in Lucca, Italy.
She was beatified within 30 years from the date of her death which included the mandatory five years waiting period before the process of canonization starts. Very few in the Catholic Church have had sainthood conferred on them this quickly.
As one of the most popular saints of the Passionist Order, the devotion to Gemma Galgani is particularly strong both in Italy and Latin America. She is a patron saint of students (said to be the top of her class before having to leave school) and of pharmacists.
See also
Victim soul
References
Notes
Bell, Rudolph M.; Cristina Mazzoni (2003). The Voices of Gemma Galgani: The Life and Afterlife of a Modern Saint. Chicago, IL, US: University of Chicago Press. ISBN 978-0-226-04196-4. Retrieved 2009-06-15.
An Anthology of Christian mysticism by Harvey D. Egan 1991 ISBN 0-8146-6012-6 p. 539
Saint Gemma, p. 7.
Germanus 2000, p. 1
Mysteries, Marvels, Miracles in the Lives of Saints by Joan Carroll Cruz ISBN 978-0-89555-541-0
Saint Gemma, p. 46.
Bibliography
Germanus, Venerable Father (2000). The Life of St. Gemma Galgani. Illinois: Tan Books and Publishers, Inc. ISBN 978-0895556691.
Orsi, Robert A. "Two Aspects of One Life" in Between Heaven and Earth: The Religious Worlds People Make and the Scholars Who Study Them. Princeton University Press, 2005, 110–45.
Saint Gemma Galgani. Lucca, Italy: Monastero-Santuario Saint Gemma.
External links
Wikimedia Commons has media related to Gemma Galgani.
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WorldCat
VIAF: 29668903
LCCN: n50058596
ISNI: 0000 0001 0883 7866
GND: 11868924X
BNF: cb13091959t (data)
ICCU: IT\ICCU\CFIV\088528
Categories:
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20th-century Christian female saints
Deaths from tuberculosis
Infectious disease deaths in Italy
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
Book cover for the "Illustrated Encyclopedia of Cryptozoology" MA art graduation project.
See all the cryptid creatures here: www.behance.net/gallery/Illustrated-Encyclopedia-of-Crypt...
Thanks for visiting!
From Wikipedia, the free encyclopedia
+++++++++++++++++++++++++++++++++
Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
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www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
Kolomenskoye (Russian: Коло́менское) is a former royal estate situated several miles to the south-east of Moscow downtown, on the ancient road leading to the town of Kolomna (hence the name). The scenic area which overlooks the steep banks of the Moskva River became a part of Moscow in the 1960s.
The White Column of Kolomenskoye
Kolomenskoye village was first mentioned in the testament of Ivan Kalita (1339). As the time went by, the village was developed as a favourite country estate of grand princes of Muscovy. The earliest extant structure is the exceptional Ascension church (1532), built in white stone to commemorate the long-awaited birth of an heir to the throne, the future Ivan the Terrible. Being the first stone church of tent-like variety, the uncanonical "White Column" (as it is sometimes referred to) marked a stunning rupture with the Byzantine tradition.
The church stands up toward the sky from a low cross-shaped podklet (ground floor), then follows a prolonged chetverik (octagonal body) of the church, and then an octagonal tent, crowned by a tiny dome. The narrow pilasters on the sides of the chetverik, the arrow-shaped window frames, the three tiers of the kokoshniks and the quiet rhythm of stair arcades and open galleries underline the dynamic tendency of this masterpiece of the Russian architecture. The whole vertical composition is believed to have been borrowed from hipped roof-style wooden churches of the Russian North. Recognizing its outstanding value for humanity, UNESCO decided to inscribe the church on the World Heritage List in 1994.
The great palace and other structures
On the other side of the ravine from Kolomenskoye may be seen the five-tented Church of St John the Baptist, tentatively dated to 1547. Actually, the church's origin is enshrouded in mystery. Some say the masters were Italians, others assign it to Postnik Yakovlev, reputedly the author of Saint Basil's Cathedral on the Red Square. Whatever the truth may be, it is clear that the church represents a transitional stage between the Ascension church, described above, and the famous 8-tented cathedral on the Red Square.
Tsar Alexis I of Russia had all the previous wooden structures in Kolomenskoye demolished and replaced them with a new great wooden palace, famed for its fanciful, fairy-tale roofs. The foreigners referred to this huge maze of intricate corridors and 250 rooms, built without using saws, nails, or hooks, as 'an eighth wonder of the world'. The future Empress Elizabeth Petrovna was born in the palace in 1709. Upon departure of the court for St Petersburg, the palace got dilapidated, so that Catherine II refused to make it her Moscow residence. On her orders the palace was demolished in 1768. Fortunately a wooden model of the palace survives, and the Moscow Government has begun its full-scale reconstruction.
Remaining vestiges of the palace complex include the five-domed Kazanskaya church (1662), of rather conventional architecture, and the wooden and stone gates of the former palace.
During the Soviet years, old wooden buildings were transported to Kolomenskoye from the Far North (the barbican church of the Nikolo-Korelsky Monastery), Siberia (the Bratsk Stockade Tower), and other areas (loghouses, windmills, a Dvina stone, etc). Some of these structures date back to the 17th century.
en.wikipedia.org/wiki/Kolomenskoe
From Wikipedia, the free encyclopedia
From Wikipedia, the free encyclopedia
History
United States
NameCalifornia
NamesakeState of California
Ordered28 December 1915
BuilderMare Island Naval Shipyard, Vallejo, California
Laid down25 October 1916
Launched20 November 1919
Commissioned10 August 1921
Decommissioned14 February 1947
Stricken1 March 1959
IdentificationHull symbol: BB-44
FateBroken up, 1959
General characteristics (as built)
Class and typeTennessee-class battleship
Displacement
Normal: 32,300 long tons (32,818 t)
Full load: 33,190 long tons (33,723 t)
Length
600 ft (180 m) lwl
624 ft (190 m) loa
Beam97 ft 5 in (29.69 m)
Draft30 ft 2 in (9.19 m)
Installed power
8 × Babcock & Wilcox boilers
28,600 shp (21,300 kW)
Propulsion
2 × Westinghouse electric generators
4 × electric motors
4 × screw propellers
Speed21 knots (39 km/h; 24 mph)
Range8,000 nmi (15,000 km; 9,200 mi) at 10 knots (19 km/h; 12 mph)
Complement
57 officers
1,026 enlisted
Armament
4 × triple 14 in (356 mm) guns
14 × single 5 in (127 mm) guns
4 × single 3 in (76 mm) guns
2 × 21 in (533 mm) torpedo tubes
Armor
Belt: 8–13.5 in (203–343 mm)
Barbettes: 13 in (330 mm)
Turret face: 18 in (457 mm)
Conning tower: 16 in (406 mm)
Decks: 3.5 in (89 mm)
General characteristics (1943)
Displacement
34,858 long tons (35,417 t) (design)
40,345 long tons (40,992 t) (full load)
Complement
114 officers
2,129 enlisted
Armament
4 × triple 14 in guns
8 × twin 5 in/38 cal guns
11 × quadruple, 6 × twin 40 mm (1.6 in) AA guns
43 × single 20 mm (0.79 in) AA guns
Aircraft carried3 × floatplanes
Aviation facilities2 × catapults
USS California (BB-44) was the second of two Tennessee-class battleships built for the United States Navy between her keel laying in October 1916 and her commissioning in August 1921. The Tennessee class was part of the standard series of twelve battleships built in the 1910s and 1920s, and were developments of the preceding New Mexico class. They were armed with a battery of twelve 14-inch (356 mm) guns in four three-gun turrets. California served as the flagship of the Battle Fleet in the Pacific Ocean for the duration of her peacetime career. She spent the 1920s and 1930s participating in routine fleet training exercises, including the annual Fleet Problems, and cruises around the Americas and further abroad, such as a goodwill visit to Australia and New Zealand in 1925.
California was moored in Pearl Harbor on 7 December 1941 when the Japanese attacked the port, bringing the United States into World War II. The ship was moderately damaged by a pair of torpedoes and a bomb, but a fire disabled the ship's electrical system, preventing the pumps from being used to keep the ship afloat. California slowly filled with water over the following three days and eventually sank. Her crew suffered heavy casualties in the attack and four men were awarded the Medal of Honor for their actions during the attack. She was raised in April 1942, repaired and heavily rebuilt, and returned to service in January 1944.
The ship thereafter supported the amphibious operations conducted during the Pacific War, including the Mariana and Palau Islands campaign (though she was damaged in a collision with Tennessee and thus missed the Battle of Peleliu) and the Philippines campaign, during which she took part in the Battle of Surigao Strait. She was hit by a kamikaze during the invasion of Lingayen Gulf in January 1945, but after undergoing repairs, she rejoined the fleet supporting troops fighting on Okinawa during the Battle of Okinawa. Her crew took part in the occupation of Japan after the end of the war, and after returning to the United States via the Indian and Atlantic Oceans, was laid up in Philadelphia in 1946. She remained in the fleet's inventory until 1959, when she was broken up for scrap.
Design
Main article: Tennessee-class battleship
The two Tennessee-class battleships were authorized on 3 March 1915, and they were in most respects repeats of the earlier New Mexico-class battleships, the primary differences being enlarged bridges, greater elevation for the main battery turrets, and relocation of the secondary battery to the upper deck.[1]
California was 624 feet (190 m) long overall and had a beam of 97 ft 5 in (29.69 m) and a draft of 30 ft 2 in (9.19 m). She displaced 32,300 long tons (32,800 t) as designed and up to 33,190 long tons (33,720 t) at full combat load. The ship was powered by four-shaft General Electric turbo-electric transmission and eight oil-fired Babcock & Wilcox boilers rated at 26,800 shaft horsepower (20,000 kW), generating a top speed of 21 knots (39 km/h; 24 mph). The ship had a cruising range of 8,000 nautical miles (15,000 km; 9,200 mi) at a speed of 10 kn (19 km/h; 12 mph). Her crew numbered 57 officers and 1,026 enlisted men. As built, she was fitted with two lattice masts with spotting tops for the main gun battery.[2][3]
The ship was armed with a main battery of twelve 14-inch (356 mm)/50 caliber guns[Note 1] in four, three-gun turrets on the centerline, placed in two superfiring pairs forward and aft of the superstructure. Unlike earlier American battleships with triple turrets, these mounts allowed each barrel to elevate independently. The secondary battery consisted of fourteen 5-inch (127 mm)/51 caliber guns mounted in individual casemates clustered in the superstructure amidships. Initially, the ship was to have been fitted with twenty-two of the guns, but experiences in the North Sea during World War I demonstrated that the additional guns, which would have been placed in the hull, would have been unusable in anything but calm seas. As a result, the casemates were plated over to prevent flooding. The secondary battery was augmented with four 3-inch (76 mm)/50 caliber guns. In addition to her gun armament, California was also fitted with two 21-inch (530 mm) torpedo tubes, mounted submerged in the hull, one on each broadside.[2]
The main armored belt was 8–13.5 in (203–343 mm) thick, while the main armored deck was up to 3.5 in (89 mm) thick. The main battery gun turrets had 18 in (457 mm) thick faces on 13 in (330 mm) barbettes. The conning tower had 16 in (406 mm) thick sides.[2]
Service history
Pre-war service
California's keel was laid down on 25 October 1916 at the Mare Island Naval Shipyard in Vallejo, California.[2] Work was halted for a short time during World War I while the shipyard focused on outfitting smaller craft.[4] She was launched 20 November 1919 and commissioned on 10 August 1921.[2] On entering service, she joined the Battle Fleet, serving as its flagship. For the duration of her peacetime career, California was occupied with routine training exercises, including joint Army-Navy maneuvers and the annual fleet problems. On the night of 11 November 1924, Lieutenant Dixie Kiefer took off from the ship, the first night aircraft launch in history. Further experimentation with aircraft continued in early 1925, when the ships of the Battle Fleet received a squadron of Curtiss TS-1 floatplanes on 31 March. In mid-1925, the Battle Fleet crossed the Pacific Ocean on a goodwill cruise to Australia and New Zealand; on the way, the ships stopped in Pago Pago, American Samoa. California underwent a refit at the Puget Sound Navy Yard at Bremerton, Washington later that year.[5]
In 1926, California had an aircraft catapult installed on one of her main battery turrets, and she carried up to three Vought UO-1 floatplanes. She participated in a naval review for President Calvin Coolidge held off Hampton Roads, Virginia on 4 June 1927.[5] In late 1929 and early 1930, the ship received a new battery of eight 5-inch (127 mm)/25 cal guns on anti-aircraft mounts in place of the old 3-inch guns.[6] She took part in Fleet Problem X, conducted in the Caribbean Sea, from 10 to 15 March 1930. Fleet Problem XI followed, again in the Caribbean, from 14 to 18 April. After the conclusion of the exercises, California steamed north to New York City, thereafter joining a naval review for President Herbert Hoover off the Virginia Capes on 20 May. The ship then returned to the Pacific and after arriving, visited Port Angeles, Washington from 7 to 11 July. She operated off Puget Sound through 11 August before steaming south to San Francisco, where she stayed from 17 to 24 August. In early 1931, she and the rest of the Battle Fleet steamed south to the Panama Canal zone.[5]
Fleet Problem XII took place from 15 to 21 February in the waters off the canal; the exercises consisted of an attack by a fleet reliant on aircraft carriers against the canal zone, which was defended by California and the battleships of the Battle Fleet. The maneuvers revealed critical limitations in the endurance and armament of the carrier aircraft of the day, and the battleships were easily able to defeat the carrier force. From 1 July to 16 August, California was stationed in Puget Sound, and later in August she steamed south to San Francisco and then to San Pedro. The ship took part in gunnery practice in early 1932 off San Nicolas Island. In March 1933, the frigate USS Constitution, then on a tour of the United States, arrived in California; a fleet of 130 ships, including California, welcomed the vessel on her arrival in Long Beach on 9 March. The next day, the 1933 Long Beach earthquake occurred, causing significant damage to the city and killing around 120 people. The fleet sent some 4,000 men ashore to assist in the relief effort, including crewmen from California.[5]
In 1934, California was assigned to Battleship Division (BatDiv) 4, though she retained her role as fleet flagship. Following Fleet Problem XV, held from 19 April to 12 May in the Caribbean, the fleet visited Haiti for two weeks. On 25 May, the ships steamed north for another naval review off New York on 31 May, attended by President Franklin D. Roosevelt. On its return to the Pacific over the course of 27 October to 9 November, the Battle Fleet conducted exercises as it passed through the canal and steamed to San Pedro, including nighttime attacks by the accompanying destroyers. The maneuvers culminated in an attack by a force of simulated battleships—played by a group of light cruisers—the carrier Lexington, and several submarines. Thereafter, California and several other vessels participated in amphibious assault training on San Clemente Island on 15 November. For Fleet Problem XVI, held from 29 April to 10 June 1935, the fleet conducted a series of maneuvers in the eastern Pacific, ranging from Alaskan waters down to Midway Island and Hawaii.[5]
In mid-1937, California transferred to BatDiv 2, and on 7 July the ships of the division visited Hawaii, returning to California on 22 August. California and her sister Tennessee transited the Panama Canal in early 1938 for a visit to Ponce, Puerto Rico, which lasted from 6 to 11 March. In 1939, the Navy decided to acquire six experimental XAF radar sets; on being delivered to the Navy, they were designated as CXAM radar; one set was installed aboard California in 1940, with the other five going to the carrier Yorktown and three heavy cruisers. In April and May, California participated in Fleet Problem XX, which was again held in the eastern Pacific. Following the conclusion of the maneuvers, Roosevelt ordered the Battle Fleet to remain in Hawaii permanently; the new forward deployment was calculated to deter Japanese aggression in the Pacific. As tensions rose owing to World War II in Europe and the Second Sino-Japanese War in Asia, the Navy cancelled Fleet Problem XXII, which had been scheduled for 1941. Early that year, the ship underwent an overhaul that concluded on 15 April, after which the ship made a visit to San Francisco.[5]
World War II
Pearl Harbor attack
On the morning of 7 December 1941, California was moored on the southeastern side of Ford Island, the southernmost ship along Battleship Row. At the time, the ship had two of her 5-inch guns and two of her .50-cal. machine guns designated as ready guns, with fifty 5-inch shells and four hundred .50-cal. rounds at the guns. Immediately after the Japanese attack on Pearl Harbor began, California's first lieutenant, Lieutenant Commander Marion Little, who was the senior officer aboard the ship at the time, issued the order to general quarters. Little ordered the guns into action and prepared to get the ship underway. At 08:03, the crews of the ready guns began to engage the Japanese aircraft, which included Mitsubishi A6M Zero fighters that strafed the ship. The gunners quickly expended the ready ammunition, however, and the magazines had to be unlocked before they could be resupplied. While this effort was going on, a pair of Nakajima B5N torpedo bombers approached and dropped their torpedoes toward California. Both hit the ship at 08:05, one forward and the other further aft. The former detonated below the armor belt at frame 52 (between number 2 turret and the bridge), creating a hole 10 feet (3 m) high and 24 feet (7.3 m) long, destructively deforming the first torpedo bulkhead and transverse stiffeners between frames 47 and 60, and holing the second bulkhead with fragments. The latter tore a hole that was 40 feet (12 m) long below the belt armor.[5][7] The interior torpedo bulkheads nevertheless held and helped to contain the flooding.[8]
The ship had been prepared for inspection at the time of the attack, so the watertight doors had all been opened; the crew was still in the process of closing the doors when the torpedoes struck and flooding began. Many of the portholes and exterior doors were also open for the inspection, which allowed water to enter the ship, particularly as the ship took on water from the torpedo hits. As uncontrolled flooding started to spread throughout the ship, California began to list to port of 5 to 6 degrees. Little ordered damage control teams to counter-flood on the starboard side to keep the list to 4 degrees, but the flooding on the port side continued to spread. The torpedo blasts had also ruptured the forward fuel tanks, which allowed water to enter the fuel system. The contamination shut down the ship's electrical system, hindering the efforts of the damage control teams. Between 08:15 and 09:15, the ship was repeatedly attacked by Aichi D3A dive-bombers; one bomb hit on the starboard side and a near-miss on the port side caused minor damage. Anti-aircraft gunners aboard the ship claimed to have shot down two of the bombers, though credit for the downed aircraft is difficult to establish owing to the chaotic situation.[5][9]
At 08:45, Commander Earl Stone, the ship's executive officer, boarded the ship and took command of the vessel. At the same time, California was struck by a bomb (which may have been one of the modified 16-inch (410 mm) armor-piercing shell) near the forwardmost casemate on the starboard side. After penetrating the upper deck, the bomb ricocheted off the second deck and detonated in the ship's interior, where it caused extensive damage, started a serious fire, and killed around 50 men. At around the same time, the boiler room crew got four of the boilers restarted, which restored power. By 09:15, the fire had spread to casemates No. 3, 5, and 7, by which time Captain Joel Bunkley and Vice Admiral William S. Pye, the Battle Fleet commander, had returned to the ship. Smoke from the fire eventually reached the forward engine room at 10:00 and forced the men inside to evacuate the area. This ended pumping efforts, though after the end of the attack other vessels came alongside to first battle the blaze and then to pump the water out. The portable pumps used by these vessels lacked the power necessary to counteract the flooding, and the ship eventually settled into the mud as the hull slowly filled with water over the next three days.[5][10]
In the course of the attack, 98 men were killed and 61 were wounded. Several men were awarded the Medal of Honor for their actions during the attack. Jackson C. Pharris, one of the ship's gunners, organized a group of men to carry ammunition up from the magazines and rescued several sailors who had been overcome by fuel oil fumes. Herbert C. Jones and Thomas Reeves both organized similar parties to carry ammunition, but both were killed during the attack. Robert R. Scott was also killed after he refused to leave his battle station.[5] On 6 December 2019, the Department of Defense announced that twenty-five unknown remains from California had been exhumed for future identification.[11]
Salvage, repair, and return to service
Over the next several months, salvage efforts proceeded as workers patched the hull and pumped out the water, finally re-floating the ship on 25 March 1942. On 5 April, the ship suffered an accidental explosion at 13:15, most likely the result of a mixture of fuel oil vapor and hydrogen sulfide gas. The explosion dislodged the patch that had been used to cover the forward hole in the hull and damaged watertight doors, which caused serious flooding. Over the next few days, the salvage team had to re-patch the hull and pump it out again. On 9 April, California was able to enter Dry Dock No. 2 in Pearl Harbor; after completing initial repairs, she was re-floated on 9 June and remained in port for several months.[5]
On 10 October, California departed Pearl Harbor and met the destroyer Gansevoort at sea; the two vessels proceeded to Puget Sound, where California would undergo permanent repairs and a major modernization. This work lasted from 20 October 1942 to 31 January 1944. All of the ship's guns save her main battery were removed and her superstructure was razed completely in preparation for the reconstruction. Her hull was widened to improve the underwater protection scheme and increase stability. New fire control systems, which had been diverted from light cruisers that were converted into light aircraft carriers, were installed and her CXAM radar was removed and installed on Oahu. Her secondary battery was replaced with sixteen 5-inch/38 cal dual-purpose guns in new twin turrets and she received a large number of close-range anti-aircraft guns. In total, she was fitted with forty Bofors 40 mm (1.6 in) guns in ten quadruple mounts and forty-three 20 mm (0.79 in) Oerlikon guns.[5][6][12]
Horizontal protection was considerably strengthened to improve her resistance to air attack; 3 inches of special treatment steel (STS) was added to the deck over the magazines and 2 inches (51 mm) of STS was added elsewhere. In place of her original conning tower, she received one of the towers that had been removed from the Brooklyn-class cruisers that had recently been rebuilt. California also had her old cage masts removed, with a modern tower mast installed in place of the forward cage mast.[12] The changes doubled the ship's crew, to a total of 114 officers and 2,129 enlisted men.[13]
On 31 January 1944, California, Captain Henry Poynter Burnett, commanding, departed Puget Sound and began a series of sea trials followed by a shakedown cruise off San Pedro. The ship was then occupied with a variety of training to prepare the crew, many of whom were fresh from initial training, for combat operations in the Pacific. While in San Francisco, the ship underwent another machinery overhaul in April, and on 5 May the ship departed to join the fleet that was assembling in the central Pacific for the Marianas campaign. She proceeded first to the Hawaiian islands, where she took part in shore bombardment practice off Kahoolawe. She departed the area on 31 May, bound for the anchorage at Roi-Namur in the Marshall Islands. California arrived there on 8 June, where she joined Task Group (TG) 52.17, Fire Support Group 1, under the command of Rear Admiral Jesse B. Oldendorf.[5]
Central Pacific campaigns
California and the rest of the fleet steamed to the Mariana Islands to begin the Mariana and Palau Islands campaign. The fleet arrived off the initial target, Saipan, late on 13 June. The next morning, California and the other ships of TG 52.17 moved into their bombardment positions, launched their spotting aircraft, and began shelling Japanese positions on the island. California opened fire at 05:58 at a range of 14,500 yards (13,300 m), engaging targets in the area around the capital, Garapan. A Japanese shell from a 4.7-inch (120 mm) field gun struck the ship at 09:10 aft of the fire control platform, killing one man and injuring ten. The ship's air search radar was disabled by the hit, which started a fire that was quickly contained by damage control teams. Later in the day, California left the area for the night, returning the next morning. At 09:54, American observers spotted a group of Japanese Type 95 and Type 97 tanks in Garapan, and California engaged them, destroying at least one of the tanks. The ship then helped to suppress a battery of Japanese guns on Mañagaha island that had been engaging the battleship Maryland. California bombarded Japanese positions throughout the day, withdrawing for the night at 18:30.[5]
On the morning of 15 June, the American 2nd Marine Division went ashore and California supported the assault, opening fire at 06:12, first at Garapan and then at the landing beaches as dug-in defenders attempted to repel the landing. The ship also attacked Japanese artillery on Afetna Point, which had been shelling the marines. She remained off shore overnight, and after establishing radio communications with the marines ashore, provided fire support to break up Japanese night time counterattacks. California remained on station for several days, bombarding Japanese defenses as the marines pushed inland. On 17 June, she and Maryland shot down a Kawasaki Ki-61 fighter, and the next day California came under attack from another Ki-61 but was not damaged, apart from one of the 5-inch guns that was accidentally shot by one of the 40 mm guns. On 22 June, California withdrew to replenish ammunition and stores at Eniwetok in the Marshalls.[5]
California off Guam in July 1944
After arriving in Eniwetok, she underwent repairs from 25 June to 16 July, thereafter returning to Saipan, which had by that time been secured. The next target, Guam, was to be attacked in Operation Stevedore. On arrival in the Marianas, California joined Tennessee and four destroyers to form Task Unit 53.1.16, which arrived off Guam on 19 July. The ships joined the preparatory bombardment that day as the ships sought to neutralize Japanese defenses around the invasion beaches. The shelling continued over the course of the next day before the landings on 21 July, with California concentrating her fire on the areas around Tumon and Agana. California provided initial support to the amphibious assault that began at 08:30, but left later that day at 15:00, bound for Saipan.[5]
California replenished her ammunition at Saipan and then proceeded to Tinian, the next island to be attacked in the campaign. California and Tennessee arrived on 23 July and began a bombardment of San Jose on the southern end of the island as a diversion from the actual landing beaches on further north. The two battleships fired a total of 480 shells from their main guns and 800 rounds from their 5-inch guns, completely obliterating the town. At 17:00, the two ships checked their fire and withdrew for the night. The next morning, they returned to support the marines as they landed on the island. Fighting raged for the next several days, during which time California patrolled off the island, shelling Japanese forces. The ship's role in the battle culminated in a last stand by the Japanese defenders on 31 July, during which California and the other bombardment ships fired a terrific barrage against their positions. California then departed the area and returned to Guam to support the troops still fighting there until 9 August, when she left to replenish ammunition and fuel at Eniwetok.[5]
On 19 August, California departed Eniwetok as part of a task force of battleships, cruisers, and destroyers bound for Espiritu Santo; while underway on 23 August, Tennessee suffered a steering malfunction that caused her to turn out of line and collide with California, tearing a hole in the latter's bow. Seven crewmen aboard California were killed in the accident, and several were trapped in their berthing compartment by bent bulkheads that had to be cut through to free them. Damage control teams shored up the damaged bulkheads and were able to pump the water out of the hull. Tennessee suffered more serious damage and she had to leave the group for repairs at Pearl Harbor; California continued with the convoy, and after arriving at their destination, entered the floating drydock Artisan for repairs that lasted from 25 August to 10 September. The collision prevented the ship from taking part in the Battle of Peleliu.[5]
Philippines campaign
California left Espiritu Santo on 17 September and passed along the coast of New Guinea, where crewmen observed battles between Japanese and Australian forces during the New Guinea campaign. The ship arrived in Manus on 22 September, where preparations for the next operation began. California, again part of Oldendorf's bombardment group, which now included Maryland, Mississippi, Pennsylvania, Tennessee, and West Virginia, departed on 12 October bound for the Philippines. The Philippines campaign began five days later with initial landings by the 6th Ranger Battalion on the islands of Dinagat and Suluan. The latter attack made the Japanese aware of the impending assault on the Philippines, leading to the activation of Operation Shō-Gō 1, the planned riposte to an Allied landing. Allied minesweepers then began clearing channels into Leyte Gulf in preparation for the main landings at Leyte. On 19 October, the bombardment of the island began, continuing the next day as troops went ashore. A Zero fighter dove toward the ship later that day, one of the first kamikazes, but heavy anti-aircraft fire sent the plane off course and it crashed harmlessly off the starboard bow.[5]
Battle of Leyte Gulf
Over the following days, California remained off the invasion beach, pounding Japanese positions as American forces pushed their way inland. During this period, the Japanese fleet began moving into position for their counterattack. Allied reconnaissance aircraft and submarines reported sightings of the fleet as it approached the area, prompting the bombardment group to withdraw to southern Leyte every night in anticipation of a Japanese attack on the amphibious assault ships. On 24 October, reports of Japanese naval forces approaching the area led Oldendorf's ships to prepare for action at the exit of the Surigao Strait. Vice Admiral Shōji Nishimura's Southern Force steamed through the Surigao Strait to attack the invasion fleet in Leyte Gulf; his force comprised Battleship Division 2—the battleships Yamashiro and Fusō, the heavy cruiser Mogami, and four destroyers—and Vice Admiral Kiyohide Shima's Second Striking Force—the heavy cruisers Nachi and Ashigara, the light cruiser Abukuma, and four more destroyers.[14] As Nishimura's flotilla passed through the strait on the night of 24 October, they came under attack from American PT boats, followed by destroyers, initiating the Battle of Surigao Strait. One of these destroyers torpedoed Fusō and disabled her, though Nishimura continued on toward his objective.[15]
At 03:12, California picked up the Japanese ships with her SG radar at a range of 42,200 yards (38,600 m); eight minutes later her forward Mk 8 fire control radar began tracking the ships, the range having fallen to 38,000 yards (35,000 m) by that time. West Virginia opened fire first at 03:52, followed by most of the other American battleships. California engaged the leading Japanese vessel at a range of 20,400 yards (18,700 m) with a six-gun salvo. After the initial phase of the battle, the American battle line turned about, but California misinterpreted the vague order to "turn one five" (meaning to turn 150 degrees—Captain Henry Burnett read it as an instruction to turn 15 degrees) and turned incorrectly, passing across Tennessee's bow. By now realizing his mistake, Burnett ordered California to turn hard to starboard while Tennessee hauled out of line. The two ships narrowly avoided each other but in the confusion, California masked Tennessee and blocked her from firing for several minutes, though California continued firing during this period. The ship suffered a misfire in the right gun of her rearmost turret, and concussion from the third salvo disabled the rear Mk 8 radar and damaged the scope for the forward radar, but the gunlayers nevertheless continued to accurately direct the guns. Sixteen minutes after opening fire, California checked her fire as the surviving Japanese ships turned and fled. By this time, several torpedoes launched by the Japanese vessels approached the American line, but none of them struck the battleships. In the course of the action, California fired a total of 63 shells from her main battery; the Japanese had lost both battleships, Abukuma, and four destroyers in the battle.[5][16]
In the meantime, the main Japanese fleet, the Central Force under Vice Admiral Takeo Kurita, had passed through the San Bernardino Strait under cover of darkness and arrived early on 25 October. The Japanese battleships and cruisers attacked Taffy 3, a force of escort carriers and destroyers guarding the invasion fleet in the Battle off Samar, prompting its commander, Rear Admiral Clifton Sprague to make urgent calls for help. Oldendorf immediately turned his ships northward to join the battle, and while en route the ships came under Japanese air attack. California's 5-inch and 40 mm guns attempted to engage the aircraft but did not score any hits. By the time the bombardment group arrived on the scene, Kurita had disengaged, having been convinced by Taffy 3's heavy resistance that he was instead facing the far more powerful Fast Carrier Task Force. With the battle over, the ships of the bombardment group resumed their ground support operations for the next month.[5]
Battle of Lingayen Gulf
On 20 November, she departed for Manus for repairs that lasted from 25 November to 15 December. She then proceeded to the Kossol Roads in Palau, where she remained until 1 January 1945 when she got underway to return to Leyte Gulf. After rejoining the bombardment group, the fleet steamed to western Luzon to make the next major assault in Lingayen Gulf on the western side of the island. Japanese aircraft attacked the fleet while en route, though California was not damaged in the attacks. The fleet arrived off the gulf on 5 January and entered it the following morning. Early that morning California launched her floatplanes to spot for her guns before opening fire on Santiago Island on the western side of the gulf to silence any Japanese artillery that might threaten Allied forces once they entered Lingayen Gulf. The fleet's minesweepers then swept channels further into the gulf, which California helped to cover. With Oldendorf aboard, she led the bombardment group into the gulf to begin the bombardment to prepare for the invasion of Lingayen Gulf.[5]
Shortly after 17:15 that day, a pair of Zero kamikazes approached the ship; California's gunners shot one of them down, but the other struck her on the port side abreast of the mainmast. Gasoline from the plane's fuel tanks started a fire and a 5-inch shell from another ship accidentally hit one of California's 5-inch guns, exploded inside the turret, and started another fire. Both fires were suppressed within twelve minutes, but the kamikaze inflicted significant casualties: 44 men were killed and another 155 were injured. Temporary repairs were made while the ship remained on station, continuing to bombard Japanese positions. Troops from the US Sixth Army went ashore on 9 January, and from 10 to 18 January, California left the gulf to patrol the South China Sea to guard against a possible attack by the Japanese fleet. She then returned to Lingayen Gulf but departed on 22 January for Ulithi, arriving there on 28 January.[5][17]
California departed Ulithi and continued on to Pearl Harbor, where she stayed from 6 to 8 February, thereafter departing for Puget Sound for permanent repairs and modifications. On 24 April, California got underway for a brief set of trials before steaming south to Long Beach on 29 April. Further work was done there from 2 to 10 May, during which time she also underwent a shakedown cruise. On 10 May, she departed California to return to the fleet, then preparing for the attack on Okinawa. While en route, she stopped in Pearl Harbor from 16 to 29 May and in Ulithi from 9 to 12 June, after which she turned north to the Ryūkyū Islands.[5]
Final operations
California anchored off Okinawa on 15 June, by which time the American forces had been fighting on the island for more than two months. The Japanese had launched a major kamikaze campaign during the operations on and around Okinawa, and these attacks continued while California was on station. On 17 and 18 June, she and the heavy cruisers New Orleans and Tuscaloosa bombarded Japanese positions on Yaesu-Dake and Yuza-Dake ridges in support of the 96th Infantry Division. Heavy fog hampered efforts by the ship's floatplanes to locate concealed Japanese positions, but California nevertheless conducted a heavy bombardment of the area over the two days. She thereafter patrolled off the island until 14 July to prevent any Japanese naval forces from attacking the invasion fleet. From 15 to 22 July, she lay at Kerama Rettō, replenishing fuel and stores, thereafter joining Task Force 95, which was sent into the East China Sea to clear mines. On 8 August, she was detached from TF 95 for maintenance at San Pedro Bay in the Philippines, the work lasting from 11 to 15 August.[5]
While there, California's crew received word of the Japanese surrender. Once the work was completed, she steamed north to Nakagusuku Bay, Okinawa, where she remained from 23 August to 20 September, awaiting further orders. She then departed, bound for Wakayama, where she arrived on 23 September to support Sixth Army troops as they began the occupation of Japan. The following week, she proceeded further north to Yokosuka, arriving on 3 October and anchoring near the battleship Nagato. California thereafter joined Task Group 50.5, along with Tennessee and several other vessels for the return to the United States. They departed Japan on 15 October, bound for the Philadelphia Navy Yard. They sailed south to Singapore, stopping there on 23 October, where they met British, French, and Italian warships. The task group then proceeded through the Strait of Malacca into the Indian Ocean, stopping in Colombo from 30 October to 3 November. There, she embarked a contingent of South African troops bound for home.[5]
The ships next stopped in Cape Town, South Africa from 15 to 18 November, where the South African soldiers were disembarked. California and the other vessels then steamed into the Atlantic, stopping in Saint Helena and Ascension Island on the way to their destination. They reached Philadelphia on 7 December, where 754 officers and men were sent to discharge centers. Another 40 officers and 1,345 men were discharged over the following months as the crew prepared the ship to be laid up. She was formally placed in reserve, still in commission, on 7 August 1946. The ship was decommissioned on 14 February 1947 and remained in the Navy's inventory for another decade before being stricken from the Naval Vessel Register on 1 March 1959. She was thereafter sold to the Bethlehem Shipbuilding Corporation on 10 July and broken up.[5] The 350-pound (160 kg) cast bronze bell was saved and put on display in Sacramento at the California State Capitol Park.[18]
The Scream by Edvard Munch
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/The_Scream
The Scream
Norwegian: Skrik, German: Der Schrei der Natur
The Scream.jpg
Artist: Edvard Munch
Year1893
TypeOil, tempera, pastel and crayon on cardboard
Dimensions91 cm × 73.5 cm (36 in × 28.9 in)
LocationNational Gallery, Oslo, Norway
The Scream (Norwegian: Skrik) is the popular name given to each of four versions of a composition, created as both paintings and pastels, by the Expressionist artist Edvard Munch between 1893 and 1910. Der Schrei der Natur (The Scream of Nature) is the title Munch gave to these works, all of which show a figure with an agonized expression against a landscape with a tumultuous orange sky. Arthur Lubow has described The Scream as "an icon of modern art, a Mona Lisa for our time."[1]
Edvard Munch created the four versions in various media. The National Gallery, Oslo, holds one of two painted versions (1893, shown here). The Munch Museum holds the other painted version (1910, see gallery, below) and a pastel version from 1893. These three versions have not traveled for years.[2]
The fourth version (pastel, 1895) was sold for $119,922,600 at Sotheby's Impressionist and Modern Art auction on 2 May 2012 to financier Leon Black,[3][4] the third highest nominal price paid for a painting at auction.[5] The painting was on display in the Museum of Modern Art in New York from October 2012 to April 2013.
Also in 1895, Munch created a lithograph stone of the image. Of the lithograph prints produced by Munch, several examples survive.[6] Only approximately four dozen prints were made before the original stone was resurfaced by the printer in Munch's absence.[7]
The Scream has been the target of several high-profile art thefts. In 1994, the version in the National Gallery was stolen. It was recovered several months later. In 2004, both The Scream and Madonna were stolen from the Munch Museum, and were both recovered two years later.
Contents [hide]
1Sources of inspiration
2Painting materials
3Thefts
4Record sale at auction
5In popular culture
6Gallery of versions
7References
8Further reading
9External links
Sources of inspiration[edit]
Edvard Munch, 1921
The original German title given by Munch to his work was Der Schrei der Natur ("The Scream of Nature"). The Norwegian word skrik usually is translated as scream, but is cognate with the English shriek. Occasionally, the painting also has been called The Cry.
In his diary in an entry headed, Nice 22 January 1892, Munch described his inspiration for the image:
One evening I was walking along a path, the city was on one side and the fjord below. I felt tired and ill. I stopped and looked out over the fjord—the sun was setting, and the clouds turning blood red. I sensed a scream passing through nature; it seemed to me that I heard the scream. I painted this picture, painted the clouds as actual blood. The color shrieked. This became The Scream.[8]
This memory was later rendered by Munch as a poem, which he hand-painted onto the frame of the 1895 pastel version of the work:
I was walking along the road with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted, and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature.[9]
Among theories advanced to account for the reddish sky in the background is the artist's memory of the effects of the powerful volcanic eruption of Krakatoa, which deeply tinted sunset skies red in parts of the Western hemisphere for months during 1883 and 1884, about a decade before Munch painted The Scream.[10] This explanation has been disputed by scholars, who note that Munch was an expressive painter and was not primarily interested in literal renderings of what he had seen. Alternatively, it has been suggested that the proximity of both a slaughterhouse and a lunatic asylum to the site depicted in the painting may have offered some inspiration.[11] The scene was identified as being the view from a road overlooking Oslo, the Oslofjord and Hovedøya, from the hill of Ekeberg.[12] At the time of painting the work, Munch's manic depressive sister Laura Catherine was a patient at the asylum at the foot of Ekeberg.[citation needed]
In 1978, the Munch scholar Robert Rosenblum suggested that the strange, sexless creature in the foreground of the painting was inspired by a Peruvian mummy, which Munch could have seen at the 1889 Exposition Universelle in Paris. This mummy, which was buried in a fetal position with its hands alongside its face, also struck the imagination of Munch's friend Paul Gauguin: it stood as a model for the central figure in his painting, Human misery (Grape harvest at Arles) and for the old woman at the left in his painting, Where Do We Come From? What Are We? Where Are We Going?. In 2004, an Italian anthropologist speculated that Munch might have seen a mummy in Florence's Museum of Natural History, which bears an even more striking resemblance to the painting.[13]
The imagery of The Scream has been compared to that which an individual suffering from depersonalization disorder experiences, a feeling of distortion of the environment and one's self,[14] and also facial pain in the form of Trigeminal neuralgia.[15]0
Painting materials[edit]
The material composition of the 1893 painted version was examined in 2010.[16] The pigment analysis revealed the use of cadmium yellow, vermilion, ultramarine and viridian among other pigments of the 19th century.[17]
Thefts[edit]
The Scream has been the target of a number of thefts and theft attempts. Some damage has been suffered in these thefts.
Two men breaking into the National Gallery, Oslo, to steal the gallery's (1893 tempera on cardboard) version of The Scream, February 1994
On 12 February 1994, the same day as the opening of the 1994 Winter Olympics in Lillehammer, two men broke into the National Gallery, Oslo, and stole its version of The Scream, leaving a note reading "Thanks for the poor security".[18][19] The painting had been moved down to a second-story gallery[20] as part of the Olympic festivities.[21] After the gallery refused to pay a ransom demand of US$1 million in March 1994, Norwegian police set up a sting operation with assistance from the British police (SO10) and the Getty Museum and the painting was recovered undamaged on 7 May 1994.[20] In January 1996, four men were convicted in connection with the theft, including Pål Enger, who had been convicted of stealing Munch's Vampire in 1988.[22] They were released on appeal on legal grounds: the British agents involved in the sting operation had entered Norway under false identities.[23]
Thieves taking paintings from the Munch Museum in Oslo on 22 August 2004
The 1910 tempera on board version of The Scream was stolen on 22 August 2004, during daylight hours, when masked gunmen entered the Munch Museum in Oslo and stole it and Munch's Madonna.[24] A bystander photographed the robbers as they escaped to their car with the artwork. On 8 April 2005, Norwegian police arrested a suspect in connection with the theft, but the paintings remained missing and it was rumored that they had been burned by the thieves to destroy evidence.[25][26] On 1 June 2005, with four suspects already in custody in connection with the crime, the city government of Oslo offered a reward of 2 million Norwegian krone (roughly US$313,500 or €231,200) for information that could help locate the paintings.[27] Although the paintings remained missing, six men went on trial in early 2006, variously charged with either helping to plan or participating in the robbery. Three of the men were convicted and sentenced to between four and eight years in prison in May 2006, and two of the convicted, Bjørn Hoen and Petter Tharaldsen, were also ordered to pay compensation of 750 million kroner (roughly US$117.6 million or €86.7 million) to the City of Oslo.[28] The Munch Museum was closed for ten months for a security overhaul.[29]
On 31 August 2006, Norwegian police announced that a police operation had recovered both The Scream and Madonna, but did not reveal detailed circumstances of the recovery. The paintings were said to be in a better-than-expected condition. "We are 100 percent certain they are the originals," police chief Iver Stensrud told a news conference. "The damage was much less than feared."[30][31] Munch Museum director Ingebjørg Ydstie confirmed the condition of the paintings, saying it was much better than expected and that the damage could be repaired.[32] The Scream had moisture damage on the lower left corner, while Madonna suffered several tears on the right side of the painting as well as two holes in Madonna's arm.[33] Before repairs and restoration began, the paintings were put on public display by the Munch Museum beginning 27 September 2006. During the five-day exhibition, 5,500 people viewed the damaged paintings. The conserved works went back on display on 23 May 2008, when the exhibition "Scream and Madonna — Revisited" at the Munch Museum in Oslo displayed the paintings together.[34] Some damage to The Scream may prove impossible to repair, but the overall integrity of the work has not been compromised.[35][36]
Record sale at auction[edit]
The 1895 pastel-on-board version of the painting, owned by Norwegian businessman Petter Olsen, sold at Sotheby's in London for a record price of nearly US$120 million at auction on 2 May 2012.[37] The bidding started at $40 million and lasted for over 12 minutes when American businessman Leon Black by phone gave the final offer of US$119,922,500, including the buyer's premium.[4] Sotheby's said the painting was the most colorful and vibrant of the four versions painted by Munch and the only version whose frame was hand-painted by the artist to include his poem, detailing the work's inspiration.[2] After the sale, Sotheby's auctioneer Tobias Meyer said the painting was "worth every penny", adding: "It is one of the great icons of art in the world and whoever bought it should be congratulated."[38]
The previous record for the most expensive work of art sold at auction had been held by Picasso's Nude, Green Leaves and Bust, which went for US$106.5 million at Christie's two years prior on 4 May 2010.[39] When accounting for inflation, the highest price paid for art at an auction is still held by Van Gogh's Portrait of Dr. Gachet, which sold for $82.5 million in 1990, or about $149 million 2012 dollars.[40] There have been reports that The Card Players, by Cézanne, sold privately for $250m in 2011,[41][42] which can not be verified for the establishment of a record price.
In popular culture[edit]
In the late twentieth century, The Scream was imitated, parodied, and outright copies have been made following its copyright expiration, which led to it acquiring an iconic status in popular culture. It was used on the cover of some editions of Arthur Janov's book The Primal Scream.[43] In 1983–1984, pop artist Andy Warhol made a series of silk prints copying works by Munch, including The Scream. His stated intention was to desacralize the painting by making it into a mass-reproducible object. Munch had already begun that process, however, by making a lithograph of the work for reproduction. Erró's ironic and irreverent treatment of Munch's masterpiece in his acrylic paintings The Second Scream (1967) and Ding Dong (1979) is considered a characteristic of post-modern art.[44] Cartoonist Gary Larson included a "tribute" to The Scream (entitled The Whine) in his Wiener Dog Art painting and cartoon compilation, in which the central figure is replaced by a howling dachshund. The Scream has been used in advertising, in cartoons, such as The Simpsons, films, and on television. The principal alien antagonists depicted in the 2011 BBC series of Doctor Who, named "The Silence", have an appearance partially based on The Scream.[45] The Ghostface mask worn by the primary antagonists of the Scream series of horror movies is based on the painting, and was created by Brigitte Sleiertin, a Fun World employee, as a Halloween costume, prior to being discovered by Marianne Maddalena and Wes Craven for the film.[46]
In 2013, The Scream was one of four paintings that the Norwegian postal service chose for a series of stamps marking the 150th anniversary of Edvard Munch’s birth.[47]
A patient resource group for trigeminal neuralgia (which has been described as the most painful condition in existence) have also adopted the image as a symbol of the condition.[48]
In the anime Detective Conan episode 774 (2015) "The Missing Scream of Munch", the disappearance of The Scream plays the main part of story.[49]
Following, a text, in english, from Wikipedia the free encyclopedia:
Great Egret
For the similar Australasian species, see Eastern Great Egret.
The Great Egret (Ardea alba), also known as the Great White Egret or Common Egret or (now not in use) Great White Heron,[1][2] is a large, widely-distributed egret. Distributed across most of the tropical and warmer temperate regions of the world, in southern Europe it is rather localized. In North America it is more widely distributed, and it is ubiquitous across the Sun Belt of the United States and in the rainforests of South America. It is sometimes confused with the Great White Heron in Florida, which is a white morph of the closely related Great Blue Heron (A. herodias). Note, however, that the name Great White Heron has occasionally been used to refer to the Great Egret.
Description:
The Great Egret is a large bird with all-white plumage that can reach one meter in height, weigh up to 950 grams (2.1 lb) and a wingspan of 165 to 215 cm. It is thus only slightly smaller than the Great Blue or Grey Heron (A. cinerea). Apart from size, the Great Egret can be distinguished from other white egrets by its yellow bill and black legs and feet, though the bill may become darker and the lower legs lighter in the breeding season. In breeding plumage, delicate ornamental feathers are borne on the back. Males and females are identical in appearance; juveniles look like non-breeding adults. It is a common species, usually easily seen. It has a slow flight, with its neck retracted. This is characteristic of herons and bitterns, and distinguishes them from storks, cranes, ibises, and spoonbills, which extend their necks in flight.
The Great Egret is not normally a vocal bird; at breeding colonies, however, it often gives a loud croaking cuk cuk cuk.
Systematics and taxonomy:
Like all egrets, it is a member of the heron family, Ardeidae. Traditionally classified with the storks in the Ciconiiformes, the Ardeidae are closer relatives of pelicans and belong in the Pelecaniformes instead. The Great Egret—unlike the typical egrets—does not belong to the genus Egretta but together with the great herons is today placed in Ardea. In the past, however, it was sometimes placed in Egretta or separated in a monotypic genus Casmerodius.
Subspecies
There were four subspecies in various parts of the world, which differ but little. Differences are bare part coloration in the breeding season and size; the largest A. a. modesta from Asia and Australasia is now considered a full species, the Eastern Great Egret (Ardea modesta). The remaining three subspecies are:
Ardea alba alba (Europe)
Ardea alba egretta (Americas)
Ardea alba melanorhynchos (Africa)
Ecology and status:
The Great Egret is partially migratory, with northern hemisphere birds moving south from areas with colder winters. It breeds in colonies in trees close to large lakes with reed beds or other extensive wetlands. It builds a bulky stick nest.
The Great Egret is generally a very successful species with a large and expanding range. In North America, large numbers of Great Egrets were killed around the end of the 19th century so that their plumes could be used to decorate hats. Numbers have since recovered as a result of conservation measures. Its range has expanded as far north as southern Canada. However, in some parts of the southern United States, its numbers have declined due to habitat loss. Nevertheless, it adapts well to human habitation and can be readily seen near wetlands and bodies of water in urban and suburban areas. In 1953 the Great Egret in flight was chosen as the symbol of the National Audubon Society, which was formed in part to prevent the killing of birds for their feathers.[3][4]
The Great Egret is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies.
Diet:
The Great Egret feeds in shallow water or drier habitats, feeding mainly on fish, frogs, small mammals, and occasionally small birds and reptiles, spearing them with its long, sharp bill most of the time by standing still and allowing the prey to come within its striking distance of its bill which it uses as a spear. It will often wait motionless for prey, or slowly stalk its victim.
Though it might appear that they feed on the parasites of African buffaloes, they actually feed on leafhoppers, grasshoppers and other insects which are stirred open as buffaloes move about in water.
In culture:
The Great Egret is depicted on the reverse side of a 5-Brazilian reais banknote.
"White Egrets" is the title of Saint Lucian Poet Derek Walcott's fourteenth collection of poems.
A seguir, texto em português da Wikipédia, a enciclopédia livre:
Garça-branca-grande
A garça-branca-grande (Casmerodius albus, sin. Ardea alba), também conhecida apenas como garça-branca, é uma ave da ordem Ciconiiformes. É uma garça de vasta distribuição e pode ser encontrada em todo o Brasil.
Dieta:
Se alimenta de presas aquáticas, depois de aproximar-se sorrateiramente com o corpo abaixado e o pescoço recolhido e bicar seu alimento, esticando seu longo pescoço.
Taxonomia:
Subespécies
C. a. modesta - Ásia e Australasia
C. a. alba - Europa
C. a. egretta - América do Norte
C. a. melanorhynchos - África
Ipê Amarelo, Tabebuia [chrysotricha or ochracea].
Ipê-amarelo em Brasília, Brasil.
This tree is in Brasília, Capital of Brazil.
Text, in english, from Wikipedia, the free encyclopedia
"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).
Tabebuia
Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil
Scientific classification
Kingdom: Plantae
(unranked): Angiosperms
(unranked): Eudicots
(unranked): Asterids
Order: Lamiales
Family: Bignoniaceae
Tribe: Tecomeae
Genus: Tabebuia
Gomez
Species
Nearly 100.
Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.
They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.
Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.
Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.
Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.
Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)
Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.
Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.
Tabebuia alba
Tabebuia anafensis
Tabebuia arimaoensis
Tabebuia aurea – Caribbean Trumpet Tree
Tabebuia bilbergii
Tabebuia bibracteolata
Tabebuia cassinoides
Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)
Tabebuia chrysotricha – Golden Trumpet Tree
Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)
A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.
Tabebuia dubia
Tabebuia ecuadorensis
Tabebuia elongata
Tabebuia furfuracea
Tabebuia geminiflora Rizz. & Mattos
Tabebuia guayacan (Seem.) Hemsl.
Tabebuia haemantha
Tabebuia heptaphylla (Vell.) Toledo – tajy
Tabebuia heterophylla – roble prieto
Tabebuia heteropoda
Tabebuia hypoleuca
Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"
Tabebuia incana
Tabebuia jackiana
Tabebuia lapacho – lapacho amarillo
Tabebuia orinocensis A.H. Gentry[verification needed]
Tabebuia ochracea
Tabebuia oligolepis
Tabebuia pallida – Cuban Pink Trumpet Tree
Tabebuia platyantha
Tabebuia polymorpha
Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate
A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela
Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco
Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)
Tabebuia shaferi
Tabebuia striata
Tabebuia subtilis Sprague & Sandwith
Tabebuia umbellata
Tabebuia vellosoi Toledo
Ipê-do-cerrado
Texto, em português, da Wikipédia, a enciclopédia livre.
Ipê-do-cerrado
Classificação científica
Reino: Plantae
Divisão: Magnoliophyta
Classe: Magnoliopsida
Subclasse: Asteridae
Ordem: Lamiales
Família: Bignoniaceae
Género: Tabebuia
Espécie: T. ochracea
Nome binomial
Tabebuia ochracea
(Cham.) Standl. 1832
Sinónimos
Bignonia tomentosa Pav. ex DC.
Handroanthus ochraceus (Cham.) Mattos
Tabebuia chrysantha (Jacq.) G. Nicholson
Tabebuia hypodictyon A. DC.) Standl.
Tabebuia neochrysantha A.H. Gentry
Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry
Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry
Tecoma campinae Kraenzl.
ecoma grandiceps Kraenzl.
Tecoma hassleri Sprague
Tecoma hemmendorffiana Kraenzl.
Tecoma heteropoda A. DC.
Tecoma hypodictyon A. DC.
Tecoma ochracea Cham.
Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.
Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].
Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].
Há uma espécie homônima descrita por A.H. Gentry em 1992.
Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.
Características
Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.
Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.
Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.
FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.
O desenvolvimento da planta é rápido.
Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.
Tabebuia alba (Ipê-Amarelo)
Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto
Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller
Atualizado em 10/07/2006
O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).
A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.
As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.
A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.
Taxonomia
Família: Bignoniaceae
Espécie: Tabebuia Alba (Chamiso) Sandwith
Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso
Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.
Aspectos Ecológicos
O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).
Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.
Informações Botânicas
Morfologia
As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.
Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.
As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.
As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.
Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.
As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.
Reprodução
A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.
As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).
As sementes são dispersas pelo vento.
A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.
Ocorrência Natural
Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.
Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.
Clima
Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.
A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.
Solo
A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).
Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).
Pragas e Doenças
De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.
ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.
ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.
A Madeira
A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).
MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.
Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.
A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.
Usos da Madeira
Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.
Produtos Não-Madeireiros
A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.
O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.
Outros Usos
É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.
Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.
Aspectos Silviculturais
Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.
Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.
Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).
Produção de Mudas
A propagação deve realizada através de enxertia.
Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.
A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.
Sementes
Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).
As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.
As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.
Preço da Madeira no Mercado
O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).
A text, in english, from Wikipedia, the free encyclopedia:
The Burrowing Owl (Speotyto cunicularia) (ex-Athene cunicularia) is a small, long-legged owl found throughout open landscapes of North and South America. Burrowing owls can be found in grasslands, rangelands, agricultural areas, deserts, or any other dry, open area with low vegetation (Lewis 2005). They nest and roost in burrows, such as those abandoned by prairie dogs. Unlike most owls, burrowing owls are often active during the day. However, most hunting is done at dusk or at night.
Burrowing owls are able to live for at least 9 years in the wild and over 10 years in captivity.[citation needed] They are often killed by vehicles when crossing roads, and have many natural enemies, including badgers, coyotes, and snakes. They are also killed by both feral and domestic cats and dogs.
Burrowing owls have bright yellow eyes. The bill can be yellow or greenish depending on the subspecies. The legs are incompletely feathered, and the toes are grayish in color. They lack ear tufts and have a flattened facial disc. The owls have prominent white eyebrows and a white "chin" patch which they expand and display during certain behaviors.
Adult owls have brown upperparts with white spotting. The breast and belly are white with variable brown spotting or barring. Juvenile owls are similar in appearance, but they lack most of the white spotting above and brown barring below. Also, the young owls have a buff bar across the upper wing and their breast may be buffy rather than white.
Males and females are similar in size and appearance. However, adult males sometimes appear lighter in color because they spend more time outside the burrow during daylight, and their feathers become sun-bleached. The average adult is slightly larger than an American Robin, at 25 cm (10 inches) length, 53 cm (21 inches) wingspan, and 170g (6 oz) weight (Lewis 2005).
The typical "who who" call of a burrowing owl is associated with territory defense and breeding, often given by adult males to attract a female to a promising burrow. They also make other sounds, which are described as chucks, chattering, and screams. These sounds are usually accompanied by an up and down bobbing of the head. When alarmed, young birds will give a hissing call - a case of acoustic Batesian mimicry - that sounds like a rattlesnake (Haug et al. 1993).
Before European colonization, burrowing owls probably inhabited every suitable area of the New World, but they have experienced some restrictions in distribution since. They range from the southern portions of the western Canadian provinces through southern Mexico and western Central America. They are also found in Florida and many Caribbean islands. In South America, they are patchy in the northwest and through the Andes, but widely distributed from southern Brazil to Patagonia and Tierra del Fuego.
Burrowing owls are year-round residents in most of their range. Birds that breed in Canada and northern USA usually migrate south to Mexico and southern USA during winter months.
The burrowing owl is endangered in Canada[1], threatened in Mexico, and a species of special concern in Florida and most of the western USA. It is common and widespread in open regions of many Neotropical countries, where they sometimes even inhabit fields and parks in cities. In regions bordering the Amazon Rainforest they are spreading with deforestation. It is therefore listed as Least Concern on the IUCN Red List.
The major reasons for declining populations in North America are control programs for prairie dogs and loss of habitat, although burrowing owls readily inhabit some anthropogenic landscapes, such as airport grasslands or golf courses (Korfanta et al. 2005).
Burrowing owls are protected under the Migratory Bird Treaty Act in Canada, the United States, and Mexico. They are also included in CITES Appendix II.
Genetic analysis of the two North American subspecies indicates that inbreeding is not a problem within those populations (Korfanta et al. 2005).
The nesting season begins in late March or April in North America. Burrowing owls are usually monogamous, but occasionally a male will have two mates (Lewis 2005). Pairs of owls will sometimes nest in loose colonies. Their typical breeding habitat is open grassland or prairie, but they can occasionally adapt to other open areas like airports, golf courses, and agricultural fields. Burrowing owls are slightly tolerant of human presence, often nesting near roads, farms, homes, and regularly maintained irrigation canals.
The owls nest in an underground burrow, hence the name Burrowing Owl. They use burrows created by other burrowing animals such as prairie dogs, ground squirrels, or badgers (Holt et al. 1999). If burrows are unavailable and the soil is not hard or rocky, the owls may excavate their own. Burrowing owls will also nest in shallow, underground, man-made structures that have easy access to the surface.
The female will lay as many as 8-12 eggs over a two week period. She will then incubate the eggs for three to four weeks while the male brings her food. After the eggs hatch both parents will feed the chicks. Four weeks after hatching, the chicks are able to make short flights and begin leaving the nest burrow. The parents will still help feed the chicks for 1 to 3 months. While most of the eggs will hatch, only four to five chicks usually survive to leave the nest.
During the nesting season, burrowing owls will line the burrow with mammal dung, usually from cattle. The dung helps to control the microclimate inside the burrow and to attract insects, which the owls may eat (Levey et al. 2004).
Site fidelity rates appear to vary among populations. In some locations, owls will frequently reuse a nest several years in a row. Owls in migratory northern populations are less likely to return to the same burrow every year. Also, as with many other birds, the female owls are more likely to disperse to a different site than are male owls (Lutz & Plumpton 1999).
The highly variable diet includes small mammals, small birds, snakes, lizards, frogs, insects, and scorpions. But the owls mainly eat large insects and small rodents. Although burrowing owls often live in close proximity to ground squirrels, they rarely prey upon them. Unlike other owls, they also eat fruits and seeds, especially the fruit of tasajillo (Cylindropuntia leptocaulis) and other prickly pear and cholla cacti. When hunting they wait on a perch until they spot prey. Then they swoop down on prey or fly up to catch insects in flight. Sometimes they chase prey on foot across the ground.
The burrowing owl is sometimes separated in the monotypic genus Speotyto. This is based on an overall different morphology and karyotype. On the other hand, osteology and DNA sequence data suggests that the Burrowing Owl is just a terrestrial version of the Athene little owls, and it is today placed in that genus by most authorities.
A considerable number of subspecies have been described, but they differ little in appearance and the taxonomy of several needs to be validated (Holt et al. 1999). Most subspecies are found in the Andes and the Antilles. Only A. c. hypugaea and A. c. floridana are found in North America. Although distinct from each other, the relationship of the Floridan subspecies to (and its distinctness from) the Caribbean birds is not quite clear (Korfanta et al. 2005).
Um texto em português:
Coruja-buraqueira (Speotyto cunicularia).
Veja um vídeo clicando no endereço a seguir:
br.youtube.com/watch?v=BhCP0YqJDnY
Ficha Técnica
Nome comum: coruja-buraqueira, coruja-martelo, coruja-do-campo, caburé-de-cupim, caburé-do-campo, coruja-barata, coruja-buraqueira, coruja-do-campo, coruja-mineira, corujinha-buraqueira, corujinha-do-buraco, corujinha-do-campo, guedé, urucuera, urucuréia e urucuriá.
Nome científico: Speotyto cunicularia
Reino: Animal
Filo: Vertebrado
Classe: Aves
Ordem: Strigiformes
Família: Strigidae
Ave muito interessante e com características peculiares é tida pelo povo grego como a ave da sabedoria. Outros povos porém, acham que causa azar e arrepios seu canto quando rasga o silêncio noturno. Dizem ainda que é sinal de mal agouro e que o seu canto está pressagiando alguma tragédia, o que é pura crendice popular, pois o que se sabe é que as corujas são muito úteis ao homem predando pragas nas lavouras e controlando a população de ratos ao redor das cidades e no campo.
Pode girar seu pecoço em 270º
Características:
A coruja-buraqueira é muito comum pelos campos do Brasil.
Mede em torno de 20-30 cm com envergadura de 50-61cm e pesando em média 170g.
Com peito branco e plumagem amarelada o macho é ligeiramente maior que a fêmea, possuem cabeça arredondada e são aves muito tímidas.
Com olhos grandes e amarelos, a coruja-buraqueira tem a visão 100 vezes mais aguçada que a do homem e seus olhos estão dispostos frontalmente, como os do ser humano.
Quando necessita olhar algum objeto ao seu redor gira o pescoço em um ângulo de até 270 graus, aumentando assim o seu campo visual.
Essa disposição frontal, proporciona à coruja uma visão binocular (enxerga um objeto com ambos os olhos e ao mesmo tempo), isso significa que a coruja pode ver objetos em três dimensões, ou seja, altura, largura e profundidade.
Pode julgar distâncias similares ao ser humano e seu campo visual é de 110 graus, sendo 70 graus de visão binocular.
Os olhos da coruja-buraqueira são bem grandes, em algumas espécies de corujas até maiores que o próprio cérebro, a fim de melhorar sua eficiência em condições de baixa luminosidade, captando e processando melhor a luz disponível.
Além de sua privilegiada visão, a coruja-buraqueira é dona de uma audição potentíssima, conseguindo localizar e abater sua presa com apenas este sentido.
Abate preferencialmente pequenos roedores, insetos, anfíbios e pássaros. A coruja é uma ave de rapina, portanto mata para se alimentar. A tradução da palavra rapina é "roubo", o que caracteriza o fato de tais aves retirarem a vida de suas presas.
Rapineira e atenta à tudo
A coruja como a grande maioria dos animais possue território de caça. São ""equipadas "" com adaptações especiais que as tornam predadoras eficientes, sendo uma delas o vôo.
Sempre muito silenciosa e sorrateira, isso devido às penas especiais de sua asa, muito macias e em grande quantidade, conseguem cortar o ar e planar por muito tempo sendo muito discretas e imperceptíveis às suas presas.
A observação das presas se dá no alto de árvores ou em mourões de cercas nos pastos e até durante o vôo silencioso, quando fazem uma varredura na área de caça. Quando um alvo é avistado a coruja voa silenciosamente até ele, mantendo sua cabeça em linha reta ao alvo, quando então a joga para trás e empurra suas garras para frente a fim de prender seguramente sua presa. A força do impacto é violenta e certeira não dando chances à presa. Posteriormente a vítima é morta pela pressão do bico, num processo de abatimento de presas no solo.
O período reprodutivo da coruja-buraqueira começa nos meses de março e abril, os ninhos são feitos no solo, aproveitando antigas tocas de tatus ou simplesmente promovem a abertura de novos ninhos, num trabalho revezado entre o casal.
Os ninhos são escavados com os pés e bicos, formando uma galeria horizontal de até 3 m de profundidade por 30cm-60cm de largura.
Em média botam de 6 a 12 ovos, que são incubados por 28 dias pela fêmea; fica por conta do macho proteger o ninho e procurar alimento para toda a prole.
Com 14 dias os filhotes já ficam empoleirados na saída da cova, aos 44 dias saem do ninho e com 60 dias estão caçando pequenos insetos.
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