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“Tracking the trackers: Gary Kovacs explains Mozilla Collusion” #data #privacy #opinions
It was said that data is the new oil [1]. The data mining industry is an annual US$39 billion business. Like it or not, data is being collected about you surf the web. The technology was not intended as evil, but as Internet citizens we have the right to know what data is being collected and how it might affect us.
During a recent TED Talk, Gary Kovacs, the CEO of the Mozilla Corporations, demonstrated Collusion, a free Firefox add-on which visualizes your browsing behavior in real time. [2, 3]
In the visualization: the blue dots are sites which you have visited, the red dots are third party sites which are tracking you, and the gray dots are tracking data which could not be identified.
In his demo, Gary showed that 25+ sites started tracking him by checking emails during breakfast. An even more alarming aspect of this was installing the addon on his 9 year-old daughter’s computer and visualizing what companies are tracking through her browsing kids’ sites.
What Gary showed is the tip of an iceberg. Through my own consulting gigs in New York, several multi-national corporations have demonstrated what their own tech can track—which goes far beyond what is thought to be humanly possible. A very alarming feat indeed.
Recommended.
1. Data is the new oil - Human Face of Big Data © Nigel Holmes 2012 www.flickr.com/photos/emcuki/8008798697/
2. TED: Gary Kovacs: Tracking the trackers: www.ted.com/talks/gary_kovacs_tracking_the_trackers.html
3. Mozilla: Collusion: discovers who is tracking you online: www.mozilla.org/en-US/collusion/
“Tracking the trackers: Gary Kovacs explains Mozilla Collusion” #data #privacy #opinions / SML.20130202.SC.Data.Privacy.Opinions
/ #SMLScreenshots #CCBY #SMLOpinions #SMLPublicMedia #SMLData #SML8BigData #SMLUniverse #SMLRec
/ #screenshots #Mozilla #GaryKovacs #bigdata data privacy opinions #technology #business #datamining #infovis #visualization #Firefox #addon #tools #security #IT #TED #internet #kids
"" The advantage over jpg is that you are not forced to have a perfect white balance from the beginning, that you can more efficiently catch up with chromatic aberrations and "unburn" the skies too bright. Also reveal details in the dark parts. You can even make a pseudo HDR from a single image!!!, Can you believe it ? Yeah, mom, raw is really great, I’m telling you ""
DSC04778_tak508e
A Chinese ceramic lotus shaped insence burner with a Montblanc. wrist watch.
THE HISTORY OF INCENSE:
The word "perfume" comes from Old Provincial French perfumar - per "through" and fumar "to smoke". This explains the art of perfumery, believed to have begun in the Middle East with the burning of incense. The use of incense dates back to biblical times and may have originated in Egypt, where aromatic trees were imported from Arabia to be used in religious ceremonies.
Ganjin, a Buddhist priest from Tang China, reached Japan in 754 AD. This venerable priest, well known for introducing Buddhist precepts into Japan, should also be remembered for his accomplishment in the history of incense. through medical incense and the skill of nerikoh (blended incense balls), Ganjin introduced a thriving incense culture from Tang dynasty China into Japan.
Takimono, a kind of nerikoh, is made of powdered incense for medical use, together with binding substances such as nectar and treacle. there was no fragrance incense before nerikoh in Japan, and people used to burn medical incense to generate fragrances. As nerikoh is a mixture of ingredients, different mixtures created subtly different fragrances. As a result, people made their own favorite fragrances from original concoctions. In this context, incense was no longer used as a religious offering, but as a tasteful pleasure called soradakimono designed for the enjoyment of graceful aromas. This was the start of the esthetic and artistic world of graceful incense-burning in Japan.
Court nobles in the Heian period (8th to 12th centuries) concocted original takimono in search of graceful and sophisticated fragrances for personal use. Different blends were used for different times, occasions or seasons, according to the mood of the moment. To impregnate their clothes or suffuse their rooms for guests, court people burnt their favorite blend of incense. “Takimonoawase”, an incense game where participants competed to produce better fragrances, also started in this period. Not quite satisfied with the simple fragrances of flowers and fruits in nature, court nobles created fragrances for their pleasure, thus establishing the foundation of a peculiar incense culture that was firmly attached to a keen awareness of the seasons. This is how the essential quality of Koh-Do (“the Way of Incense”) was formed.
Incense is aromatic biotic material that releases fragrant smoke when burned. The term refers to the material itself, rather than to the aroma that it produces. Incense is used for aesthetic reasons, and in therapy, meditation, and ceremony. It may also be used as a simple deodorant or insectifuge.
Incense is composed of aromatic plant materials, often combined with essential oils. The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing number of uses.
Incense can generally be separated into two main types: "indirect-burning" and "direct-burning". Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases a smoky fragrance. Direct-burning incense is either a paste formed around a bamboo stick, or a paste that is extruded into a stick or cone shape.
HISTORY:
The word incense comes from Latin incendere meaning "to burn".
Combustible bouquets were used by the ancient Egyptians, who employed incense in both pragmatic and mystical capacities. Incense was burnt to counteract or obscure malodorous products of human habitation, but was widely perceived to also deter malevolent demons and appease the gods with its pleasant aroma. Resin balls were found in many prehistoric Egyptian tombs in El Mahasna, giving evidence for the prominence of incense and related compounds in Egyptian antiquity. One of the oldest extant incense burners originates from the 5th dynasty. The Temple of Deir-el-Bahari in Egypt contains a series of carvings that depict an expedition for incense.
The Babylonians used incense while offering prayers to divining oracles. Incense spread from there to Greece and Rome.
Incense burners have been found in the Indus Civilization (3300–1300 BCE). Evidence suggests oils were used mainly for their aroma. India also adopted techniques from East Asia, adapting the formulation to encompass aromatic roots and other indigenous flora. This was the first usage of subterranean plant parts in incense. New herbs like Sarsaparilla seeds, frankincense, and cypress were used by Indians.
At around 2000 BCE, Ancient China began the use of incense in the religious sense, namely for worship. Incense was used by Chinese cultures from Neolithic times and became more widespread in the Xia, Shang, and Zhou dynasties. The earliest documented use of incense comes from the ancient Chinese, who employed incense composed of herbs and plant products (such as cassia, cinnamon, styrax, and sandalwood) as a component of numerous formalized ceremonial rites. Incense usage reached its peak during the Song dynasty with numerous buildings erected specifically for incense ceremonies.
Brought to Japan in the 6th century by Korean Buddhist monks, who used the mystical aromas in their purification rites, the delicate scents of Koh (high-quality Japanese incense) became a source of amusement and entertainment with nobles in the Imperial Court during the Heian Era 200 years later. During the 14th-century Ashikaga shogunate, a samurai warrior might perfume his helmet and armor with incense to achieve an aura of invincibility (as well as to make a noble gesture to whoever might take his head in battle). It wasn't until the Muromachi period during the 15th and 16th century that incense appreciation (kōdō) spread to the upper and middle classes of Japanese society.
COMPOSITION:
A variety of materials have been used in making incense. Historically there has been a preference for using locally available ingredients. For example, sage and cedar were used by the indigenous peoples of North America. Trading in incense materials comprised a major part of commerce along the Silk Road and other trade routes, one notably called the Incense Route.
Local knowledge and tools were extremely influential on the style, but methods were also influenced by migrations of foreigners, such as clergy and physicians.
COMBUSTIBLE BASE:
The combustible base of a direct burning incense mixture not only binds the fragrant material together but also allows the produced incense to burn with a self-sustained ember, which propagates slowly and evenly through an entire piece of incense with such regularity that it can be used to mark time. The base is chosen such that it does not produce a perceptible smell. Commercially, two types of incense base predominate:
Fuel and oxidizer mixtures: Charcoal or wood powder provides the fuel for combustion while an oxidizer such as sodium nitrate or potassium nitrate sustains the burning of the incense. Fragrant materials are added to the base prior to shaping, as in the case of powdered incense materials, or after, as in the case of essential oils. The formula for charcoal-based incense is superficially similar to black powder, though it lacks the sulfur.
Natural plant-based binders: Gums such as Gum Arabic or Gum Tragacanth are used to bind the mixture together. Mucilaginous material, which can be derived from many botanical sources, is mixed with fragrant materials and water. The mucilage from the wet binding powder holds the fragrant material together while the cellulose in the powder combusts to form a stable ember when lit. The dry binding powder usually comprises about 10% of the dry weight in the finished incense. These include:
Makko (incense powder) made from the bark of various trees in the genus Persea (such as Persea thunbergii)
Xiangnan pi (made from the bark of trees of genus Phoebe such as Phoebe nanmu or Persea zuihoensis.
Jigit: a resin based binder used in India
Laha or Dar: bark based powders used in Nepal, Tibet, and other East Asian countries.
Typical compositions burn at a temperature between 220 °C and 260 °C.
TYPES:
Incense is available in various forms and degrees of processing. They can generally be separated into "direct-burning" and "indirect-burning" types. Preference for one form or another varies with culture, tradition, and personal taste. The two differ in their composition due to the former's requirement for even, stable, and sustained burning.
INDIRECT-BURNING:
Indirect-burning incense, also called "non-combustible incense", is an aromatic material or combination of materials, such as resins, that does not contain combustible material and so requires a separate heat source. Finer forms tend to burn more rapidly, while coarsely ground or whole chunks may be consumed very gradually, having less surface area. Heat is traditionally provided by charcoal or glowing embers. In the West, the best known incense materials of this type are the resins frankincense and myrrh, likely due to their numerous mentions in the Bible. Frankincense means "pure incense", though in common usage refers specifically to the resin of the boswellia tree.
Whole: The incense material is burned directly in raw form on top of coal embers.
Powdered or granulated: Incense broken into smaller pieces burns quickly and provides brief but intense odor.
Paste: Powdered or granulated incense material is mixed with a sticky incombustible binder, such as dried fruit, honey, or a soft resin and then formed to balls or small pastilles. These may then be allowed to mature in a controlled environment where the fragrances can commingle and unite. Much Arabian incense, also called "Bukhoor" or "Bakhoor", is of this type, and Japan has a history of kneaded incense, called nerikō or awasekō, made using this method. Within the Eastern Orthodox Christian tradition, raw frankincense is ground into a fine powder and then mixed with various sweet-smelling essential oils.
DIRECT-BURNING:
Direct-burning incense, also called "combustible incense", is lit directly by a flame. The glowing ember on the incense will continue to smoulder and burn the rest of the incense without further application of external heat or flame. Direct-burning incense is either extruded, pressed into forms, or coated onto a supporting material. This class of incense is made from a moldable substrate of fragrant finely ground (or liquid) incense materials and odourless binder. The composition must be adjusted to provide fragrance in the proper concentration and to ensure even burning. The following types are commonly encountered, though direct-burning incense can take nearly any form, whether for expedience or whimsy.
Coil: Extruded and shaped into a coil without a core, coil incense can burn for an extended period, from hours to days, and is commonly produced and used in Chinese cultures.
Cone: Incense in this form burns relatively quickly. Incense cones were invented in Japan in the 1800s.
Cored stick: A supporting core of bamboo is coated with a thick layer of incense material that burns away with the core. Higher-quality variations have fragrant sandalwood cores. This type of incense is commonly produced in India and China. When used in Chinese folk religion, these are sometimes known as "joss sticks".
Dhoop or solid stick: With no bamboo core, dhoop incense is easily broken for portion control. This is the most commonly produced form of incense in Japan and Tibet.
Powder: The loose incense powder used for making indirect burning incense is sometimes burned without further processing. Powder incense is typically packed into long trails on top of wood ash using a stencil and burned in special censers or incense clocks.
Paper: Paper infused with incense, folded accordion style, is lit and blown out. Examples include Carta d'Armenia and Papier d'Arménie.
Rope: The incense powder is rolled into paper sheets, which are then rolled into ropes, twisted tightly, then doubled over and twisted again, yielding a two-strand rope. The larger end is the bight, and may be stood vertically, in a shallow dish of sand or pebbles. The smaller (pointed) end is lit. This type of incense is easily transported and stays fresh for extremely long periods. It has been used for centuries in Tibet and Nepal.
Moxa tablets, which are disks of powdered mugwort used in Traditional Chinese medicine for moxibustion, are not incenses; the treatment is by heat rather than fragrance.
Incense sticks may be termed joss sticks, especially in parts of East Asia, South Asia and Southeast Asia. Among ethnic Chinese and Chinese-influenced communities these are traditionally burned at temples, before the threshold of a home or business, before an image of a religious divinity or local spirit, or in shrines, large and small, found at the main entrance of every village. Here the earth god is propitiated in the hope of bringing wealth and health to the village. They can also be burned in front of a door or open window as an offering to heaven, or the devas. The word "joss" is derived from the Latin deus (god) via the Portuguese deos through the Javanese dejos, through Chinese pidgin English.
PRODUCTION:
The raw materials are powdered and then mixed together with a binder to form a paste, which, for direct burning incense, is then cut and dried into pellets. Incense of the Athonite Orthodox Christian tradition is made by powdering frankincense or fir resin, mixing it with essential oils. Floral fragrances are the most common, but citrus such as lemon is not uncommon. The incense mixture is then rolled out into a slab approximately 1 cm thick and left until the slab has firmed. It is then cut into small cubes, coated with clay powder to prevent adhesion, and allowed to fully harden and dry. In Greece this rolled incense resin is called 'Moskolibano', and generally comes in either a pink or green colour denoting the fragrance, with pink being rose and green being jasmine.
Certain proportions are necessary for direct-burning incense:
Oil content: an excess of oils may prevent incense from smoldering effectively. Resinous materials such as myrrh and frankincense are typically balanced with "dry" materials such as wood, bark and leaf powders.
Oxidizer quantity: Too little oxidizer in gum-bound incense may prevent the incense from igniting, while too much will cause the incense to burn too quickly, without producing fragrant smoke.
Binder: Water-soluble binders such as "makko" ensure that the incense mixture does not crumble when dry, dilute the mixture.
Mixture density: Incense mixtures made with natural binders must not be combined with too much water in mixing, or over-compressed while being formed, which would result in either uneven air distribution or undesirable density in the mixture, causing the incense to burn unevenly, too slowly, or too quickly.
Particulate size: The incense mixture has to be well pulverized with similarly sized particulates. Uneven and large particulates result in uneven burning and inconsistent aroma production when burned.
"Dipped" or "hand-dipped" direct-burning incense is created by dipping "incense blanks" made of unscented combustible dust into any suitable kind of essential or fragrance oil. These are often sold in the United States by flea-market and sidewalk vendors who have developed their own styles. This form of incense requires the least skill and equipment to manufacture, since the blanks are pre-formed in China or South East Asia.
Incense mixtures can be extruded or pressed into shapes. Small quantities of water are combined with the fragrance and incense base mixture and kneaded into a hard dough. The incense dough is then pressed into shaped forms to create cone and smaller coiled incense, or forced through a hydraulic press for solid stick incense. The formed incense is then trimmed and slowly dried. Incense produced in this fashion has a tendency to warp or become misshapen when improperly dried, and as such must be placed in climate-controlled rooms and rotated several times through the drying process.
Traditionally, the bamboo core of cored stick incense is prepared by hand from Phyllostachys heterocycla cv. pubescens since this species produces thick wood and easily burns to ashes in the incense stick. In a process known as "splitting the foot of the incense stick", the bamboo is trimmed to length, soaked, peeled, and split in halves until the thin sticks of bamboo have square cross sections of less than 3mm. This process has been largely replaced by machines in modern incense production.
In the case of cored incensed sticks, several methods are employed to coat the sticks cores with incense mixture:
Paste rolling: A wet, malleable paste of incense mixture is first rolled into a long, thin coil, using a paddle. Then, a thin stick is put next to the coil and the stick and paste are rolled together until the stick is centered in the mixture and the desired thickness is achieved. The stick is then cut to the desired length and dried.
Powder-coating: Powder-coating is used mainly to produce cored incense of either larger coil (up to 1 meter in diameter) or cored stick forms. A bundle of the supporting material (typically thin bamboo or sandalwood slivers) is soaked in water or a thin water/glue mixture for a short time. The thin sticks are evenly separated, then dipped into a tray of incense powder consisting of fragrance materials and occasionally a plant-based binder. The dry incense powder is then tossed and piled over the sticks while they are spread apart. The sticks are then gently rolled and packed to maintain roundness while more incense powder is repeatedly tossed onto the sticks. Three to four layers of powder are coated onto the sticks, forming a 2 mm thick layer of incense material on the stick. The coated incense is then allowed to dry in open air. Additional coatings of incense mixture can be applied after each period of successive drying. Incense sticks produced in this fashion and burned in temples of Chinese folk religion can have a thickness between 2 and 4 millimeters.
Compression: A damp powder is mechanically formed around a cored stick by compression, similar to the way uncored sticks are formed. This form is becoming more common due to the higher labor cost of producing powder-coated or paste-rolled sticks.
BURNING INCENSE:
Indirect-burning incense burned directly on top of a heat source or on a hot metal plate in a censer or thurible.
In Japan a similar censer called a egōro (柄香炉) is used by several Buddhist sects. The egōro is usually made of brass, with a long handle and no chain. Instead of charcoal, makkō powder is poured into a depression made in a bed of ash. The makkō is lit and the incense mixture is burned on top. This method is known as sonae-kō (religious burning).
For direct-burning incense, the tip or end of the incense is ignited with a flame or other heat source until the incense begins to turn into ash at the burning end. The flame is then fanned or blown out, leaving the incense to smolder.
CULTURAL VARIATIONS:
ARABIAN:
In most Arab countries, incense is burned in the form of scented chips or blocks called bakhoor (Arabic: بخور [bɑˈxuːɾ, bʊ-]. Incense is used on special occasions like weddings or on Fridays or generally to perfume the house. The bakhoor is usually burned in a mabkhara, a traditional incense burner (censer) similar to the Somali Dabqaad. It is customary in many Arab countries to pass bakhoor among the guests in the majlis ('congregation'). This is done as a gesture of hospitality.
CHINESE:
For over two thousand years, the Chinese have used incense in religious ceremonies, ancestor veneration, Traditional Chinese medicine, and daily life. Agarwood (chénxiāng) and sandalwood (tánxiāng) are the two most important ingredients in Chinese incense.
Along with the introduction of Buddhism in China came calibrated incense sticks and incense clocks. The first known record is by poet Yu Jianwu (487-551): "By burning incense we know the o'clock of the night, With graduated candles we confirm the tally of the watches." The use of these incense timekeeping devices spread from Buddhist monasteries into Chinese secular society.
Incense-stick burning is an everyday practice in traditional Chinese religion. There are many different types of stick used for different purposes or on different festive days. Many of them are long and thin. Sticks are mostly coloured yellow, red, or more rarely, black. Thick sticks are used for special ceremonies, such as funerals. Spiral incense, with exceedingly long burn times, is often hung from temple ceilings. In some states, such as Taiwan,
Singapore, or Malaysia, where they celebrate the Ghost Festival, large, pillar-like dragon incense sticks are sometimes used. These generate so much smoke and heat that they are only burned outside.
Chinese incense sticks for use in popular religion are generally odorless or only use the slightest trace of jasmine or rose, since it is the smoke, not the scent, which is important in conveying the prayers of the faithful to heaven. They are composed of the dried powdered bark of a non-scented species of cinnamon native to Cambodia, Cinnamomum cambodianum. Inexpensive packs of 300 are often found for sale in Chinese supermarkets. Though they contain no sandalwood, they often include the Chinese character for sandalwood on the label, as a generic term for incense.
Highly scented Chinese incense sticks are used by some Buddhists. These are often quite expensive due to the use of large amounts of sandalwood, agarwood, or floral scents used. The sandalwood used in Chinese incenses does not come from India, its native home, but rather from groves planted within Chinese territory. Sites belonging to Tzu Chi, Chung Tai Shan, Dharma Drum Mountain, Xingtian Temple, or City of Ten Thousand Buddhas do not use incense.
INDIAN:
Incense sticks, also known as agarbathi (or agarbatti) and joss sticks, in which an incense paste is rolled or moulded around a bamboo stick, are the main forms of incense in India. The bamboo method originated in India, and is distinct from the Nepali/Tibetan and Japanese methods of stick making without bamboo cores. Though the method is also used in the west, it is strongly associated with India.
The basic ingredients are the bamboo stick, the paste (generally made of charcoal dust and joss/jiggit/gum/tabu powder – an adhesive made from the bark of litsea glutinosa and other trees), and the perfume ingredients - which would be a masala (spice mix) powder of ground ingredients into which the stick would be rolled, or a perfume liquid sometimes consisting of synthetic ingredients into which the stick would be dipped. Perfume is sometimes sprayed on the coated sticks. Stick machines are sometimes used, which coat the stick with paste and perfume, though the bulk of production is done by hand rolling at home. There are about 5,000 incense companies in India that take raw unperfumed sticks hand-rolled by approximately 200,000 women working part-time at home, and then apply their own brand of perfume, and package the sticks for sale. An experienced home-worker can produce 4,000 raw sticks a day. There are about 50 large companies that together account for up to 30% of the market, and around 500 of the companies, including a significant number of the main ones, including Moksh Agarbatti and Cycle Pure, are based in Mysore.
JEWISH TEMPLE IN JERUSALEM:
KETORET:
Ketoret was the incense offered in the Temple in Jerusalem and is stated in the Book of Exodus to be a mixture of stacte, onycha, galbanum and frankincense.
TIBETAN:
Tibetan incense refers to a common style of incense found in Tibet, Nepal, and Bhutan. These incenses have a characteristic "earthy" scent to them. Ingredients vary from cinnamon, clove, and juniper, to kusum flower, ashvagandha, and sahi jeera.
Many Tibetan incenses are thought to have medicinal properties. Their recipes come from ancient Vedic texts that are based on even older Ayurvedic medical texts. The recipes have remained unchanged for centuries.
JAPANESE:
In Japan incense appreciation folklore includes art, culture, history, and ceremony. It can be compared to and has some of the same qualities as music, art, or literature. Incense burning may occasionally take place within the tea ceremony, just like calligraphy, ikebana, and scroll arrangement. The art of incense appreciation, or koh-do, is generally practiced as a separate art form from the tea ceremony, and usually within a tea room of traditional Zen design.
Agarwood (沈香 Jinkō) and sandalwood (白檀 byakudan) are the two most important ingredients in Japanese incense. Agarwood is known as "jinkō" in Japan, which translates as "incense that sinks in water", due to the weight of the resin in the wood. Sandalwood is one of the most calming incense ingredients and lends itself well to meditation. It is also used in the Japanese tea ceremony. The most valued Sandalwood comes from Mysore in the state of Karnataka in India.
Another important ingredient in Japanese incense is kyara (伽羅). Kyara is one kind of agarwood (Japanese incense companies divide agarwood into 6 categories depending on the region obtained and properties of the agarwood). Kyara is currently worth more than its weight in gold.
Some terms used in Japanese incense culture include:
Incense arts: [香道, kodo]
Agarwood: [ 沈香 ] – from heartwood from Aquilaria trees, unique, the incense wood most used in incense ceremony, other names are: lignum aloes or aloeswood, gaharu, jinko, or oud.
Censer/Incense burner: [香爐] – usually small and used for heating incense not burning, or larger and used for burning
Charcoal: [木炭] – only the odorless kind is used.
Incense woods: [ 香木 ] – a naturally fragrant resinous wood.
USAGE:
PRACTICAL:
Incense fragrances can be of such great strength that they obscure other less desirable odours. This utility led to the use of incense in funerary ceremonies because the incense could smother the scent of decay. An example, as well as of religious use, is the giant Botafumeiro thurible that swings from the ceiling of the Cathedral of Santiago de Compostela. It is used in part to mask the scent of the many tired, unwashed pilgrims huddled together in the Cathedral of Santiago de Compostela.
A similar utilitarian use of incense can be found in the post-Reformation Church of England. Although the ceremonial use of incense was abandoned until the Oxford Movement, it was common to have incense (typically frankincense) burned before grand occasions, when the church would be crowded. The frankincense was carried about by a member of the vestry before the service in a vessel called a 'perfuming pan'. In iconography of the day, this vessel is shown to be elongated and flat, with a single long handle on one side. The perfuming pan was used instead of the thurible, as the latter would have likely offended the Protestant sensibilities of the 17th and 18th centuries.
The regular burning of direct-burning incense has been used for chronological measurement in incense clocks. These devices can range from a simple trail of incense material calibrated to burn in a specific time period, to elaborate and ornate instruments with bells or gongs, designed to involve multiple senses.
Incense made from materials such as citronella can repel mosquitoes and other irritating, distracting, or pestilential insects. This use has been deployed in concert with religious uses by Zen Buddhists who claim that the incense that is part of their meditative practice is designed to keep bothersome insects from distracting the practitioner. Currently, more effective pyrethroid-based mosquito repellent incense is widely available in Asia.
Papier d'Arménie was originally sold as a disinfectant as well as for the fragrance.
Incense is also used often by people who smoke indoors and do not want the smell to linger.
AESTHETIC:
Many people burn incense to appreciate its smell, without assigning any other specific significance to it, in the same way that the foregoing items can be produced or consumed solely for the contemplation or enjoyment of the aroma. An example is the kōdō (香道), where (frequently costly) raw incense materials such as agarwood are appreciated in a formal setting.
RELIGIOUS:
Religious use of incense is prevalent in many cultures and may have roots in the practical and aesthetic uses, considering that many of these religions have little else in common. One common motif is incense as a form of sacrificial offering to a deity. Such use was common in Judaic worship and remains in use for example in the Catholic, Orthodox, and Anglican churches, Taoist and Buddhist Chinese jingxiang (敬香 "offer incense), etc.
Aphrodisiac Incense has been used as an aphrodisiac in some cultures. Both ancient Greek and ancient Egyptian mythology suggest the usage of incense by goddesses and nymphs. Incense is thought to heighten sexual desires and sexual attraction.
Time-keeper Incense clocks are used to time social, medical and religious practices in parts of eastern Asia. They are primarily used in Buddhism as a timer of mediation and prayer. Different types of incense burn at different rates; therefore, different incense are used for different practices. The duration of burning ranges from minutes to months.
Healing stone cleanser Incense is claimed to cleanse and restore energy in healing stones. The technique used is called “smudging” and is done by holding a healing stone over the smoke of burning incense for 20 to 30 seconds. Some people believe that this process not only restores energy but eliminates negative energy.
HEALTH RISK FROM INCENSE SMOKE:
Incense smoke contains various contaminants including gaseous pollutants, such as carbon monoxide (CO), nitrogen oxides (NOx), sulfur oxides (SOx), volatile organic compounds (VOCs), and adsorbed toxic pollutants (polycyclic aromatic hydrocarbons and toxic metals). The solid particles range between ~10 and 500 nm. In a comparison, Indian sandalwood was found to have the highest emission rate, followed by Japanese aloeswood, then Taiwanese aloeswood, while Chinese smokeless sandalwood had the least.
Research carried out in Taiwan in 2001 linked the burning of incense sticks to the slow accumulation of potential carcinogens in a poorly ventilated environment by measuring the levels of polycyclic aromatic hydrocarbons (including benzopyrene) within Buddhist temples. The study found gaseous aliphatic aldehydes, which are carcinogenic and mutagenic, in incense smoke.
A survey of risk factors for lung cancer, also conducted in Taiwan, noted an inverse association between incense burning and adenocarcinoma of the lung, though the finding was not deemed significant.
In contrast, epidemiologists at the Hong Kong Anti-Cancer Society, Aichi Cancer Center in Nagoya, and several other centers found: "No association was found between exposure to incense burning and respiratory symptoms like chronic cough, chronic sputum, chronic bronchitis, runny nose, wheezing, asthma, allergic rhinitis, or pneumonia among the three populations studied: i.e. primary school children, their non-smoking mothers, or a group of older non-smoking female controls. Incense burning did not affect lung cancer risk among non-smokers, but it significantly reduced risk among smokers, even after adjusting for lifetime smoking amount." However, the researchers qualified their findings by noting that incense burning in the studied population was associated with certain low-cancer-risk dietary habits, and concluded that "diet can be a significant confounder of epidemiological studies on air pollution and respiratory health."
Although several studies have not shown a link between incense and lung cancer, many other types of cancer have been directly linked to burning incense. A study published in 2008 in the medical journal Cancer found that incense use is associated with a statistically significant higher risk of cancers of the upper respiratory tract, with the exception of nasopharyngeal cancer. Those who used incense heavily also were 80% more likely to develop squamous-cell carcinomas. The link between incense use and increased cancer risk held when the researchers weighed other factors, including cigarette smoking, diet and drinking habits. The research team noted that "This association is consistent with a large number of studies identifying carcinogens in incense smoke, and given the widespread and sometimes involuntary exposure to smoke from burning incense, these findings carry significant public health implications."
In 2015, the South China University of Technology found toxicity of incense to Chinese hamsters' ovarian cells to be even higher than cigarettes.
Incensole acetate, a component of Frankincense, has been shown to have anxiolytic-like and antidepressive-like effects in mice, mediated by activation of poorly-understood TRPV3 ion channels in the brain.
Check out my blog where I explain, step-by-step, how to accomplish this:
Photoshop Tutorial: "How To Make Eyes "Pop" In Pictures:
Here you can see that through the use of some interesting lift arms and a pneumatic piston, I can change the points quite easily.
There is actually a second piston and set up for the other half of the track that works in tandem, so the train can effectively change tracks regardless of the direction of travel.
"Game Time: Marine 1st Lieutenant Norman K. Billipp, 23 (Deerfield, Illinois), a pilot of Marine Attack Squadron 211 [VMA-211], Marine Aircraft Group 12 [MAG-12], explains the use of a Tether ball presented to Vietnamese students of Khuong Long Elementary School, near the Marine Air Base, Chu Lai. Squadron Leathernecks have adopted the school, providing money for the scholarship program and playground equipment. Most of all, they are demonstrating an ‘I care’ attitude (official USMC photo by 1st Lieutenant Joe Collins)."
From the Jonathan Abel Collection (COLL/3611), Marine Corps Archives & Special Collections.
OFFICIAL USMC PHOTOGRAPH
How do you explain the feeling you get when you know someone is watching you.
It is said, your ears will ring when someone is talking about you.
Have you ever thought of someone and they call you.
When a person is blind or deaf, they adapt greater abilities in the other of five senses.
Is their a sixth sense, The Chinese for ten thousand years talked about Chi, the vital life force energy of the Universe, present within every living thing.
Everything in creation is made up of electromagnetic energy vibrating at different frequencies that correspond to sound, light and color. The existence of electromagnetic fields around every object in the world, known as an Aura, is a scientifically proven fact.
The Western medical science is now beginning to take a serious look at ancient Far Eastern traditions that focus on Chi - the life force energy which flows through the pathways (meridians and chakras) of all living forms - in order to maintain health and wellness, mentally, physically and emotionally.
In many civilizations, cultures and folklore make mention of such powers,
It makes sense to me that all things would be connected and needed, to maintain balance,
to perform in harmony with all things.
When I say my cat Cole talks to me, I mean we communicate with eye contact,
and body language, I can feel him….and many people too.
One day a deer ran out of the bush as I looked up, right behind the deer was Cole giving chase, in a moment Cole stopped, he felt me and looked over toward me, saying how much fun he is having.
I have been having so much fun with the Chickadees in the woods of my home.
They have one of the most complex sounds of clicks and whistles and peeps..
In the past Chickadees have landed on me in the woods as I hike…
I know they are communicating with me and it’s more than just me feeding them.
They have much to say, this gives such a peaceful calm deep within.
I believe this is the message…….
We are all connected…
Even…
The Chickadee and Me….
Pumatube
Near one of the "comfort stations", also called "porta-johns, smelly toilets, Johnny-on-the-Spot, Here's Johnny," we came across a discussion between man and his best friend, or was it dog and biggest fan. The man spoke with a decidedly British accent and for all we knew, so did the canine. "It will only be a minute, mate. Surely, you understand that there are times when we humans need to relieve ourselves, old chap. You don't have the problem of having to do it in a sanctioned proper loo, out of sight of all but those in similar straits, understood. But try to see it from my perspective, not yours, Harvey," he pleaded to the unsympathetic Labrador, who was determined to stand his ground and not to be left unchaperoned. "I don't think he's in a mood to compromise," Ash said, startling the man, who was unaware of our presence, "But if it's alright with Harvey, and you of course, I'd be more than happy to hold his leash and pet him, while you....uh, well you know." "How frightfully kind of you. By the by my name's Nick and this handsome fellow is Harvey," he answered happily as he handed over the line and Harvey immediately jumped up to cuddle at Ashley's side. They took to each other instantly....it was a communication that seemed second nature to her with any dog. "Well, I needn't worry that you'll miss me, Harvey, so I'll take leave briefly," Nick said and then hurried toward relief.
When he returned, much relaxed, Nick told us that both he and Harvey were huge fans of Wee Jackie and were in the country to catch several of his races. "I hope he wins for Harvey today, and you too, of course," Ash wished for them. "Oh, he won't win today. Won't even finish. You see , his car just overheated not far from here and we watched the track crew tow it back to the pits. Jackie took it in stride though...always a gentleman...and rode with them in the lorry," Nick informed us. We talked a bit longer, Nick telling us about the way Peter Revson was passing car after car and had caught up with half the field, and his belief that Harvey had royal blood in his lineage, and was the descendant of Gelert, a canine owned by LLewellyn, the legendary king of ancient Wales. The leash was handed back by Ash and Harvey longingly looked back at her, as did she, when we walked away in opposite directions.
I hardly ever study the churches I am about to visit. Rather, rely on my first impressions, and how the multitude of elements hang together.
This does mean, sometimes, I have missed obvious details. But for the most part, I notice what is unusual at the time.
And then upon returning home, I research the building and the history of the parish, and my main two resources are posted below.
Also, churchcrawling can be a lonely hobby, spending hours and hours pouring over details with hardly anyone to share it with. Sometimes, on a Saturday morning, we weekly church clean is in progress, and one or two wardens might ask you questions.Even fewer of them might be interested.
So, in Wormshill, talking to the ringers, I was told that there was a coffee morning on at Frinsted, and a warden might be present.
This was after I lamented that the church was locked again.
So, drive back the two miles and call in the village hall. And ask about the key.
So, this is what we did.
This resulted in a lady taking me back to her house to meet her husband, Malcolm.
Can I see inside the church?
Why do you want to do that?
I explain the Kent church project.
Are you interested in the building or fittings?
And thinking that this was because of thefts, I said if needed I would not snap the fittings if needed.
But Malcolm backtracked. Oh no, you can photograph what you want to.
Meet me at the porch in ten minutes.
So, we did.
The church was dark inside, and Malcolm told us about his church. Very proud he was too.
And it became clear why.
The chancel and north chapel were decorated.
Decorated in the English Gothic Revival, by Hussey and then, later, Scott. These have been recently renovated, using the original stencils.
It was incredible. Like The Grange transported to the countryside. I think Pugin would have liked it.
Sadly, in the north chapel, a plaster panel had dropped off, so the pews were covered and access restricted, but Malcolm unlocked the door and let us in.
I walked round with a huge smile on my face, waxing lyrical about the church, and Malcolm enjoyed telling us the story of his church.
Without doubt, the best church visit this, or any other year.
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Not for those wishing to find a medieval church, although there is evidence of an old building here in the form of a Norman window and crownpost roof. It is of interest that the nineteenth-century work carried out first by Hussey (1856) and then by Scott (1870) for the Pemberton Leigh family is in complete contrast to the work commissioned at nearby Kingsdown by the family at the same time (see separate entry). The second phase of work included the wonderful stencilling of the church, recently restored to the designs of G.G. Scott Jr. The majority of the furnishings are also Victorian and show the quality that only a fortune could buy in post-industrialised England
www.kentchurches.info/church.asp?p=Frinsted
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FRINSTED
LIES the next parish north westward from Wichling. It is written in Domesday, Fredenestede; in antient deeds, Freyhanestede; and in later ones, most usually, Frensted, alias Wronsted.
That part of this parish northward of the church is in the division of East Kent, but the church itself, and the remaining part of it is in that of West Kent.
THE PARISH extends on both sides of the valley, called Syndall, or Newnham-bottom, through which the high road leads from Ospringe, through Doddington and Newnham, to Hollingborne hill, on each side of which the hills rise very steep, the summits of them being in general covered with wood grounds. On the east side of this valley, on the hill close to the woods, is Rinsted-court; and on the hill on the west, Yokes court, and Madams-court; and still further westward, the village and church. The soil of it is poor, and covered with flints, much like that of Wichling, before described; but the rising hills on each side of the valley are mostly chalk.
There is a district in this parish, consisting of about fifty acres of land, called Minis-hill, over which the manor of Whornes-place, near Rochester, claims jurisdiction.
This parish was part of those possessions which William the Conqueror gave his half-brother Odo, bishop of Baieux, under the general title of whose lands it is thus entered in the book of Domesday, taken about the year 1080:
Hugh, the grandson of Herbert, and Adelold the chamberlain, holds of the bishop (of Baieux) Fredenestede. It was taxed at one suling. The arable land is three carucates. In demesne . . . . Three villeins having seven oxen. There is a church, and two acres of meadow and an half, and wood for the pannage of two hogs. It is, and was worth, separately, twenty shillings. Leunin held it of king Edward.
About four years after taking the above survey, the bishop was disgraced, and the king his brother seized on this estate, among the rest of his possessions, which were all consiscated to the crown. After which, this manor came into the possession of Jeffry de Peverel, and with other lands, made up the barony of Peverel, as it was then called, being assigned to him for the desence of Dover-castle, of which it was held by him in capite by barony.
Nicholas de Gerund afterwards held this manor, with the advowson of the church, of which he died possessed in the 52d year of Henry III. holding it of the king in capite, as one knight's see. After which, the family of Crombwell became possessed of it; one of whom, Richard de Crombwell, was owner of it in the 8th year of Edward II. being younger brother of Sir John de Crombwell, knight-banneret. Ralph de Crombwell, his successor, next year, obtained a charter of free warren for his lands in this parish, and at his seat here, since called Meriam-court, and now commonly, Madams-court.
In the next reign of king Edward III. this estate was again come into the possession of the family of Gerund, in which, however, it did not remain long, for Richard le Gerund leaving an only daughter and heir Maud, she carried this manor and seat in marriage to Sir Henry de Chalshunt, who in the 20th year of that reign, paid aid for the manor of Wrensted, alias Frensted, with its appurtenances, holding it by the like service, as did his descendant Henry de Chalfhunt, at his death, in the 9th year of Richard II. when it was found, that John Bedeford, Roger Tournour, Sibill Jarconville, and Agnes, daughter of Walter at Style, were his heirs and next of kin; at which time it was likewise found, that this manor was held of the manor of Ospringe.
Soon after which, this manor, with the mansionhouse, called Wrensted, and now most usually Rinstedcourt, with Meriam, or Madams-court, and the advowson of the church of Wrensted, was conveyed by sale to Robert le Hadde, who was resident here in the reign of Henry IV. being descended from ancestors who had been resident at Chart Sutton, in this county, for many generations, Rob. Hadde being of that parish in the reign of Henry III. In his descendants this estate continued down to Henry Hadde, esq. of Frinsted, who died possessed of this manor, with the advowson of the church, and the other estates above-mentioned, in the 23d year of queen Elizabeth, leaving two sons, Arnold and Matthew, who was counsellor-at-law, of Lincoln's-inn, of which he was rector, the former of whom succeeded him here, and two years afterwards, anno 25 Elizabeth, alienated this manor, with its appurtenances, together with the rest of his estates in this parish, to Edward and George Hills. Arnold Hadde, esq. after the sale of this estate, resided in St. Alphage parish, in Canterbury, as his descendants did for several generations afterwards, till the end of the last century, and several of them lie buried in that church. They bore for their arms, Gules, three bucks heads caboshed, or, borned argent, between the borns of each a cross patee fitchee, argent. (fn. 1)
Edward and George Hills joined in the sale of the manor of Frinsted, with Rinsted, alias Wrensted-court, and the lands belonging to it, to Edward Jackman, esq. of Hornchurch, in Essex, and he, in the 5th year of James I. passed it away to Oliver Style, esq. of Watringbury, who died in 1622. Upon the death of whose descendant, Sir Thomas Style, bart. who died in 1702, an agreement was entered into by his heirs for a partition of his estates among them, which was confirmed by an act, passed anno 2 and 3 of queen Anne. In this partition, the manor of Frinsted, with Rinstedcourt, was allotted to Margaret, his only daughter by his second wife, who in 1716 sold it to Mr. Abraham Tilghman, descended from those of Snodland. He was a commissioner of the navy, and of the victuallingoffice, and dying in 1729, was buried in the south isle of this church, where there is a monument erected to his memory. He bore for his arms, Per fess, sable, and argent, a lion rampant, counterchanged, crowned, or. He was succeeded here by his son Abraham Tilghman, esq. who resided here till his death in 1779. He left by Olivia his wife, one of the two daughters and coheirs of Charles Finch, esq. of Chatham, one daughter Elizabeth, who married the Rev. Pierrepont Crompe, of Newnham, in Gloucestershire, son and heir of Thomas Cromp, esq. of Newnham, in that county, by Rebecca, the other daughter and coheir of Charles Finch, esq. He bore for his arms, Or, a chevron, voided gules, on a chief of the second, three escallops of the first. He afterwards resided here, and died in 1797, leaving his widow surviving, who now resides here, and one son Robert-Thomas, and a daughter, Henrietta Maria, the former of whom is now entitled to the see of this estate.
MADAMS-COURT, formerly called Meriams-court, as has been already mentioned, passed from Arnold Hadde in the 25th year of queen Elizabeth, with the rest of his estates in this parish, to Edward and George Hills, and they joined in the sale of Meriam, or Madams-court, to Archer, from which name it passed, in the reign of Charles I. to Thatcher, by a female heir of which family it passed in marriage to Batcheler, some of whose descendants lie buried in this church, one of whom, Mr. William Batcheler, at length alienated it to James Chapman, gent. of Milton, whose son Ed ward Chapman, esq. of Otterden, died in 1765, leaving by his wife, daughter of the Rev. Mr. Dennis, of Leyborne, one son, James Chapman, esq. now of Faversham, who is the present owner of it.
YOKES-COURT is a manor in this parish, which in the reign of Henry III. was part of the possessions of Fulk de Peyforer, whose descendant William de Peyforer, in the 20th year of Edward III. paid aid for it as half a knight's fee, which he then held at le Yoke, in this parish, of the honor of Ledes.
He soon afterwards alienated this manor to Roger Northwood, who died in the 35th year of that reign possessed of this manor of Yoke, held of the king in capite, by the service of making his suit at the gate of the castle of Leeds, from month to month, in lieu of all other service whatsoever. His descendant, John Northwood, esq. died possessed of it anno 4 Henry V. leaving his two sisters his coheirs, who entitled their husbands, John Barley, esq. of Hertfordshire, and Sir John Norton, of this county, to their respective shares of their brother's estates.
From one of them this manor was alienated to John Dyggs, esq. of Barham, whose descendant James Dyggs, esq. of Barham, died in the 27th year of Henry VIII. then holding this manor in capite by knight's service. He left two sons, John, who was of Barham, and Leonard, whose descendants were of Chilham-castle. His son John Dyggs, the eldest, succeeded him in this manor, and died in his life-time, leaving a son William, whose son Christopher Diggs, esq. of Barham, having levied fines of all his lands anno 15 and 17 Elizabeth, quickly afterwards alienated this manor to Archer, from which name, in the reign of Charles I. it passed by sale to Thatcher, of which name there were inhabitants of the adjoining parish of Wormsell, as appears by the parish register there, as early as king Henry the VIIIth's reign. These of Frinsted bore for their arms, Gules, a cross moline, argent, on a chief, or, three grasshoppers proper. In the name of Thatcher this manor continued, till by a female heir Mary, daughter of Thomas Thatcher, it went in marriage to Mr. Henry Bing, of Wickhambreux, on whose death, his son Mr. John Bing, became possessed of it. He died in 1766, and was buried in the north chancel of this church, leaving one son Henry, and two daughters; Mr. Henry Bing, the son, succeeded his father in the possession of this manor, of which he is the present owner. A court baron is held for it.
Charities.
JOHN WIATT, of Milsted, by will in 1722, gave the moiety of several pieces of land in Milsted, Frinsted, and Wormsell, containing about twenty acres, for sending four poor children yearly to school, to learn to read, vested in the minister and churchwardens, and of the annual value of 2l. 4s.
The number of poor constantly relieved are about sixteen; casually twelve.
FRINSTED is, within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sutton.
The church, which is dedicated to St. Dunstan, is situated westward from the village, but in the northern part of the parish; it consists of two isles and two chancels, the northern one belonging to the estate of Yokes-court, in it are several memorials for the Thatchers and the Bings. In the south isle is a monument for Abraham Tilghman, esq. who died in 1729. Against the north wall in this chancel, in a recess, is an antient tomb, with an engrailed arch over it. It has a square beacon tower at the west end of it, in which hang four bells. In the church yard is an altar tomb; under it, in a vault, lie buried A. Tilghman, esq. who died in 1779, and Olivia his wife; and the Rev. Mr. Crompe, and Henrietta-Maria, his daughter.
¶This church was formerly appendant to the manor of Frinsted, as has already been mentioned, and seems to have passed with it from Arnold Hadde, esq. toge ther with the rest of his estates in this parish, to Edward and George Hills, who alienated the manor of Frinsted, with Rinsted-court, to Edward Jackman, esq. and Meriam-court, or Madams-court, as it is now called, together with the advowson of the rectory of Frinsted, to Archer, from which name it passed with it, to Thatcher, in whose descendants it continued till Mary, daughter of Thomas Thatcher, carried it in marriage to Mr. Henry Bing, whose descendant, Mr. Henry Bing, gent. of this parish, is the present possessor of it.
In Strype's Stow's Survey, it is said, that in the reign of Edward III. the church of Frethensted, in the diocese of Canterbury, belonged to St. Catherine's hospital, near the Tower; and Tanner in his Monasticon, says, in patent 3 Edward III. p. 2, m. 2, is a licence for appropriating that church to the above-mentioned hospital, which cannot be reconciled to the records above-quoted, in which the advowson of the church of Frinsted is found to have been vested in the several owners of the manor of Frinsted.
This rectory is valued in the king's books at 9l. 11s. 8d. and the yearly tenths at 19s. 2d. and is of the yearly certified value of 71l. 7s. 4d.
In 1640 it was valued at sixty pounds. Communicants fifty.
My deal with Awe, in picture form.
For some reason it got shrunk. You'll have to click All Sizes to see it properly.
278|365 As a kid, the tooth fairy would drop off cash when I lost a tooth. Now, as an adult, it costs money to have them removed, and way more than I ever earned as a kid.
Jameson West (with the help of her assistant Kelia) explains her new beauty products line that she's created.
This is my first attempt at a microscale MOC. My wife and I just got into Doctor Who and we already miss the tenth Doctor. I hope to go in later and build an environment for the scene, maybe a space ship interior.
Kanyaka Homestead.
As explained in relation to the Pekina Run this run was established in 1851 by Hugh Proby who disappeared shortly afterwards whilst returning from a visit to Pekina Run. The next leaseholder John Phillips (with Alexander Grant) had the many fine stone buildings erected. It was a large and prosperous run except during drought years. The drought in the 1860s saw the sheep numbers drop from 41,000 to 10,000. When the government resumed large parts of Kanyaka Run for agricultural settlement, especially for towns like Wilson, the run became unviable. Phillips just walked out of the leasehold in 1881 and the buildings were left to crumble. The station cemetery which is not accessible is across Kanyaka Creek. Dozens were employed on the run in its heyday and many died there too. The large woolshed catered for 24 shearers at once. The property buildings included: station homestead; overseers house; men’s kitchen and dining room; carpenter shop; stables; shearers’ quarters; various huts and sheds; blacksmith shop; cellars etc.
from ift.tt/1NKysKI
Well, I survived my surgery.
Yay!
I got to the hospital on time & got checked in/taken to pre-op almost immediately. Of course I had to do the required pregnancy test.1
Eventually, a nurse2 came in to set-up an IV—she only stuck me once, thus allowing her to join my unofficial Hall of Fame—while my nurse3 reviewed my medical history, medications, allergies, and the results of the unnecessary pregnancy test.4 I praised Candi for her achievement and tried to interact with Danielle. I was more calm and relaxed once the IV56 was set up. Danielle said the change in my demeanor after the IV was very noticeable.7 She wasn’t really thrilled, at first, with my mom saying that she was there to mock me while my IV got set up, but my mom explained why she does that.8 But she didn’t need to.
One big fear down, a couple more to go.
The antibiotic they used was clindamycin. It’s amazing how my old acne medicine is one of the few antibiotics my atopy-prone body has not declared war on. I guess it’s because it’s not really used that often. Danielle said that typically they’ll give Keflex9 and, if the person is allergic, they’ll use penicillin.10 Or the other way around? Having a Keflex allergy while having a penicillin allergy isn’t exactly normal, despite their being related. It probably happened in me because of genetics11 and because my first antibiotic allergy was Ceclor, which is related to both Keflex & penicillin somehow. Anyway, Danielle made sure I was not allergic to clindamycin before they officially hooked it up.
When the anesthesiologist came in, he insinuated that I wasn’t allergic to the medicines I listed. That changed as I explained the reactions. Each person who reviewed my list, including him, did not understand why I listed my orange juice allergy12 under the section for food allergies. Hmm. I wonder why a person would list a food allergy as a food allergy.
Maybe because:
Oranges and other fruits contain proteins that are chemically similar to pollen; eating these can cause itching and irritation of the mouth in certain people, many of whom also happen to be allergic to pollen… (via Newsweek)
That article points out that orange juice allergies can be worse for asthmatics because of our already inflamed airways. There are also some who believe that orange juice allergies can be a result of salicylate (aspirin-relatives) allergies/sensitivities.13 Basically, this orange juice allergy stuff is serious as fuck.
But I digress…again.
Before taking me to the OR, I was given a dose or so of Versed, aka midazolam.14 In some people,15 there is an unexpected reaction16 and medical professionals can go into denial mode over it because it is pretty much the opposite of what the drug is meant for.
Eventually, I was rolled off to the OR. Special latex precautions were taken, which was expected, and was the reason my surgery took place at the hospital instead of an outpatient surgery facility. I think I was the last surgery on the schedule and there may have been a good reason. The anesthesiology team consisted of the anesthesiologists ans 2 nurse anesthetists—the 3 were monitoring me for allergic/adverse reactions. Seriously. The patient board in the OR also mentioned I had multiple allergy issues.17
Eventually, the sleepy-time doc gave me the propofol and I zonked out. My parents said the surgery took five minutes and that my orthopedist, who I saw one time today…before the surgery, said my meniscus and fat pad were fine, but that the debris in my patella was made of bone flakes and that I definitely have arthritis. He also said I need to start exercising and trying to lose weight. I got pissed when he said that because this particular doctor always dismisses that I do exercise. I told him with a previous injury that I was injured while exercising. I told him this issue became noticeable while exercising.
As for trying to lose weight?
I’ve lost around 27% of the weight I wanted to lose. I’ve lost 32% of what I need to lose to reach a healthy weight. I would have lost more if my knee hadn’t been fucked up since Spring. Being fat doesn’t mean I should be dismissed like this.
Pretending like all of this is due to weight and weight alone is also bullshit.18 I’m having a hard time believing that the meniscus and fat pad1920 are totally okay, given the symptoms. I just think he’s used this to tell me that he thinks poorly of me for my weight. And that’s pathetic and superficial crap. If he’d ever bothered to listen to me, he could have come to that conclusion on his own.
After surgery, I started talking like crazy21 to the nurses in the recovery section, including Danielle, who was literally keeping watch over me afterward. She got so busy talking to me that she almost forgot to give me a dose of Fentanyl.22 And she almost forgot once again with my Demerol dose. At first, I wondered if she wanted to give me the pain relief injections because she thought it would shut me up. It just made me worse. It wasn’t long before I was getting discharged; we did have to wait for a drug-induced23 vertigo spell to pass.
I also had the lovely experience of a different nurse doing a bad job of removing my IV. She was trying to take the tape off without tearing my skin. I would be grateful for that effort except that, while doing that, she ended up removing the catheter24 rather violently. It started bleeding. A lot. As I mentioned earlier on Instagram, removing an IV so violently is not only painful and dangerous to people with conditions like Ehlers-Danlos or any other chronic health issues, it is painful and dangerous for able-bodied, healthy folks, too. And if you factor in the time it takes to stop the bleeding, taking it out that way costs you more time. Be careful with IVs.
Soooo…
As you have probably figured out, the IV bleeding finally stopped & it didn’t kill me. Yay!
Anyway, it’s been several hours since I got home. I’m still pretty wired and may be so for several days to come.
I chose to avoid going to the bathroom upon waking to make sure I could take the test. If I hadn’t, they might have refused to do the surgery. They almost refused my endoscopy-colonoscopy procedures a few years ago because I didn’t have enough urine to take the test. Part of that lack of pee was from the dehydration that resulted from prep. ↩
Candi ↩
Danielle ↩
Danielle apologized for that multiple times, especially since she knew I was taking hormonal birth control. It’s funny how the nurses who wanted dehydrated, virginal me to take the pregnancy test a few years ago for my endoscopy-colonoscopy combo didn’t apologize for demanding the test. The one who did when I had my D&C and hysteroscopy did. ↩
Candi gave me lidocaine to ease some pain, which isn’t the greatest to use in Ehlers-Danlos patients. ↩
The IV itaelf was quite painful. ↩
She understood what it was like to be a hard stick. The last time she had an IV, it took ten times. I almost asked her if she was some long-lost cousin. ↩
I’ve repeatedly mentioned the hard stick issue. I used to, as a small child, get blood work done a lot and had IVs started, and there were always vein issues—including when, as a preschooler, I had blood work done using a vein in my foot. I also was admitted to the hospital for asthma issues and the nurses setting up my IV wouldn’t let my mom come in while they did it. I kicked and screamed and cried and they just were mocking and not compassionate. I remember that as one of the few truly dissociative moments I’ve ever experienced. As a result, I was terrified of needles until I was a teenager. My mom—who I get my bad veins from, so she’s got an idea of how terrifying and painful vein stuff can be—could keep me calm by telling jokes. The calmer I was, the easier it was to hit the veins. It’s amazing how that works. ↩
My latest antibiotic allergy. ↩
It was my fourth antibiotic allergy. ↩
Thanks, Nana & Mama. They had allergies to antibiotics, pain killers, and anesthetics, too. ↩
I vomit, have uncontrollable stomach pains, and have asthma flare ups whenever I ingest it. This even happens when it’s an ingredient in a dish. I have to check ingredient lists closely for it & caffeine, or related products. ↩
Guess what over the counter pain medication Nana has an anaphylactic reaction to when she takes it?! Even in the form of cream for arthritic joints. ↩
Midazolam is a benzodiazepine that is used in lethal injections to calm the convicted individual so they don’t panic as they are exposed to other drugs that stop their hearts or suppress their breathing. ↩
Children, some death row inmates who were executed in the recent past, and me… ↩
They don’t fall asleep or stay asleep; hyperactivity & its short-term sedative effect is actually well-documented. ↩
There were also my bright protocol bracelets. ↩
Yes, my weight contributes. That’s part of why I was trying to exercise. ↩
He’s never acknowledged that the MRI wasn’t the “nothing is wrong here” situation he has suggested. Maybe he doesn’t realize I’ve seen the results. ↩
It was swollen enough yesterday that there was a lump right over it. ↩
I think if I ever imbibed, I would be a chatty drunk. More specifically, a chatty, giggly drunk. Alas, I shall never know, unless you count my drunk-like state when dehydrated and my intoxicated state on anesthetics and pain killers. , booze, I think we could have had some fun, bur jt apparently wasn’t meant to be. ↩
She told me I’d already had two other doses of it. ↩
There were quite a few meds in my system. ↩
The tubing that goes under the skin & into the vein that connects it to the IV. ↩
Related Posts:
Bad Blood (Vessels) June 22, 2015
Anaphylaxis and You April 17, 2015
Get A Location on That July 4, 2015
“Unspecified” Knee Pain October 2, 2015
Something Stitch-ed This Way Comes December 2, 2015
This image is part of explaining how f stops work going from 1.4 to f16. You will get a feel for how the image is effected.
The title explains everything. I took fifteen versions of this photo last February 28, from nearly as many angles.
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At this point I'd been using the Panasonic 12-60 mm f3.5-5.6 lens on my camera pretty much exclusively for two months. Time to move on....
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This photograph is an outtake from my 2021 photo-a-day project, 365^4.
Number of project photos taken: 17
Title of folder: In the Basement
Other photos taken on 2/28/2021: When Joan got finished with the shelves we loaded them with paper products. (Hoarders!) I grabbed the phone and took a couple pix. Neither's worth sharing.
His words, copied from a post on social media....
"This is the floor of a formerly underground sandstone cave that was exhumed and eroded away including the ceiling and walls. The sandstone has various dissolution textures (vertical pipes, polished surface, lots of eroded fracture sets) than can only happen by groundwater. It’s a very unique rock and unlike the weathering textures seen in sea or ice caves. There’s more of this a few other places. I like this spot the best."
My second stay at this hotel. Anxious for my third. As I left, I was given a paper explaining the 522 year history of the hotel. I scanned it and corrected most typos. Here it is:
522 years of the Radisson SAS Schwarzer Bock Hotel
Martin Luther, the Christian reformist, was only three years old and America had not even been discovered by Christopher Columbus when the "Hotel Schwarzer Bock" (black goat hotel) in Wiesbaden was founded in the year 1486. The hotel is the oldest business in the city of Wiesbaden.
1800 years ago the Romans had their settlement, Aquae Mattiacorum, in the quarter where the health springs are located, stretching along the Langgasse from the Kranzplatz to the Mauritiusplatz. The Langgasse and the Kirchgasse are ancient Roman roads and the historical Roman bath system is still concealed under the Kranzplatz. Nowadays the curators of monuments regret that a lot of modern buildings have been constructed over these elegant baths.
Roman gravestones and bricks were also discovered during construction work in the cellar of the Hotel Schwarzer Bock. Ruins of a Hypocaustum, a Roman floor heating system, were unearthed as well.
The Romans were wise enough to make use of the hot springs, but in the times that followed during the conflicts between the Alemannic and the Frankish tribes in the 3rd century A.D., much was destroyed and partly forgotten. The luxurious bathing customs of the Romans cannot be compared to those of the Middle Ages. Life in the Roman baths took place on an entirely different level, while over 1000 years later landlords prepared hot baths from the spring water for their guests in order to earn a small extra income.
In those days, all the tiny houses around the Kranzplatz were probably very similar to each other in their appearance: One storey high and half-timbered, with gables, a yard, livestock,and gardens. The figure 1486, the earliest date the "Hotel Schwarzer Bock" is mentioned, is inscribed in the door of the bar in today's Radisson SAS Schwarzer Bock Hotel. Wiesbaden's bathhouses however were mentioned already in the 14th century.
And how did the "Schwarzer Bock Hotel" get its name?
We want to avoid being too scientific, since the ingenious vernacular of the common people is usually correct in such cases: The first proprietor of the bathhouse was the mayor Phillip zu Bock. Because he had black hair, his house was referred to as the "Schwarzer Bock". In 1486, the year of its founding, Wiesbaden had a population of 36 citizens.
It was customary at that time to name the houses after their owners. Only since 1450 the landlords used so-called inn-signs carrying the appropriate emblem. Thus the "Schwarzer Bock" had a sign hanging over the street showing the head of a black goat.
Other bathhouses had eagles, stags, swans, lions, and the like on their signboards. Otherwise little is known of the bathhouses in Wiesbaden in those days.
Chronological point of-reference: At this time the Turks besieged Vienna.
In the 16th century the small town of Wiesbaden suffered great damage by fires which also destroyed the "Hotel Schwarzer Bock". It is mentioned in historical documents that Hermann Burg rebuilt the house in 1578. Then the Thirty Years' War came; during that time imperial troops as well as Swedes, French, and Spaniards passed through Wiesbaden and the officers were accommodated in the bathhouses. The "Schwarzer Bock Hotel" was a special favourite for the billeting of soldiers. Plundering, murder and incendiarism were the order of the day.
At the end of the war there were no more than 51 citizens in the small town of Wiesbaden. It is hard to imagine the poverty in those days.
For a long time thereafter, the surviving inhabitants were unable to recover from the terrors of the war. The properties lay vacant, bathhouses were no longer required; who of the 51 people should be interested in bathing? And foreigners were no longer coming to visit anyway. Not until Count Johann restored the "Schwarzer Bock Hotel" along with other houses. But it was not until the year 1662 that we learn of the "Schwarzer Bock Hotel" being in operation once again: It had even been provided with two baths for the public.
Chronological point of reference: At this time the English were buying New Amsterdam from the Dutch and renaming it New York.
Ten years later Wiesbaden had once again to suffer, this time under the movements of the French troops of Louis XIV. Because of this, Count Johannes was constantly concerned about the welfare of his possessions. The town was fortified with trenches, towers, and gates. When he died in 1677 the worst ravages of the Thirty Years War had been set to rights, and the Hotel Schwarzer Bock is found in the list of bathhouses.
The Hotel Schwarzer Bock was redecorated in 1712 and in the same year it was enlarged by the acquisition of a pub named Rindsfuss (cattle foot), next door facing the Spiegelgasse. The "Hotel Schwarzer Bock" flourished and in 1736 got awarded for the designation "Bathhouse of the first order." The hot spring supplied water for 8 houses. This also meant that the proprietors had to reach an agreement in all questions of organisation. This was mainly attended by the landlord of the "Hotel Rose" and the "Hotel Schwarzer Bock", Johann Phillip Schramm. The 8 bath house owners who had the rights to use the water began in 1726 to elect two masters of the spring who were in charge of the supervision, repair and cleaning of the hot spring.
The spring water was not only used for supplying water to the baths, but was also very often sold off to Mainz, Frankfurt and other cities. The hot spring water (149°F/65°C) was filled into double walled barrels, sent off in the afternoon on wagons, and arrived the next morning at its destination at the right temperature.
Johann Phillip Schramm, the owner of the Hotel Schwarzer Bock installed a bath for horses to make his house profitable. This was an attraction for the small town.
Here it becomes necessary to mention that in 1730 Reverend Hellmund wanted to connect his paupers’ bath to the hot spring. The 8 bath house proprietors refused him, whereupon he lodged a bitter complaint, because the thermal spring was used for horses.
After Schramm had died in 1749 the Hotel Schwarzer Bock passed into the hands of the surgeon and hospital supervisor Johann Daniel Freinsheim. His widow continued running the bath house until 1779. As a result of the following division of the inheritance house and inventory were rated of the town councillor, and this list gives exactly information concerning the furnishings and facilities of the bathhouse.
At the same time elsewhere in the world: Czar Peter the Great was ruling Russia, the French Revolution, USA gained independence. Birth of Napoleon. Wiesbaden was now one of the most elegant tourist attractions of Europe.
In writing up their marriage contracts, ladies of Frankfurt reserved the rights to take the water at Wiesbaden once a year - without their husbands, of course.
The Freinsheims do not appear to have managed the house for a very long time, for it was taken over at the end of the century by the owner of the bathhouse Spiegel (mirror), Ferdinand Daniel Bergmann. He closed down the horse bath and expanded his property and procured additional income through the sale of colonial products, wine, and the profits of a company employing a horse drawn carriage.
Each bath house proprietor retained his individual economic resources. Not only that there was fowl fluttering around the large yard, there were also pigs, cows, and horses in the stables. Only gradually the custom of bathing became important. And for a long time there were complaints that the baths were not up to the standards of the time.
Proprietor Bergmann passed away in 1818, after having achieved a dignified level of prosperity. His widow continued to run the enterprise for further 4 years and then relinquished it to her son-in-Iaw Christian Bauer. In addition to the bathhouse, Bauer also maintained the post office and a wine tavern. Here we see that the sale of wine always played an important part, which is not surprising considering the proximity of the Rhine wine growing district. Following the advice of the government of Nassau he rebuilt the horse bath with room for 2 horses.
At the same time elsewhere in the world: At this time the emperor Napoleon was
conducting wars in an attempt to gain power over Europe.
In 1834 the "Hotel Schwarzer Bock" was sold to the Rudolphs, a married couple, who passed the bath house to their daughters in 1860/61. In the meantime the house had grown to 47 rooms and was capable of providing 50 baths daily. The guests in the bathhouse were supplied only with lodging and baths. They were responsible for their own victuals and had to cook their meals on the stoves in their rooms.
At the same time elsewhere in the world: Japan decided to open itself to the west, the term socialism appeared for the first time. In 1840 the first railway connected Frankfurt and Wiesbaden.
Johann Wolfgang von Goethe was one of the most famous guests in the "Schwarzer Bock Hotel" who composed the following lines: "The primary duty of every bather - is not to sit and think but rather - to bend to a higher purpose his wit/and make a merry life of it". The popular writer Dostojewski wrote his novel 'The gambler"- the casino is right around the corner.
In 1865 the ownership of the "Hotel Schwarzer Bock" was transferred to the merchant Theodor August Schäfer, who had presumably married one of Rudolph's daughters. The address book of the year shows Rudolph as the owner and Schäfer as the landlord of the baths.
In 1899 Schäfer acquired in addition the pub "Zur goldenen Kette" (golden chain) next door in the Langgasse.
All the bathhouses grouped around the Kranzplatz were of considerable age and were hardly able to meet the demands. Schäfer, too, was aware of this. So the bathhouses got replaced with a modern new building just before the First World War.
Once the "Zur goldenen Kette" had merged with the "Hotel Schwarzer Bock", the grounds of the "Schwarzer Bock bathhouse" were discovered to contain all the hot springs, and the owners considered about them being unified into a single spring and redefining it. This way they wanted to simplify the prevailing terms of possession and shares, and to effect an improvement in the hygienic conditions.
A proposal relating to this was approved by the town council. The city built the facilities and the cost was divided proportionally among the owners of the bathhouses. The new joint spring received the name "Drei Lilien Quelle" (spring of the three lilies) based on the three lilies found in the Wiesbaden coat of arms.
The new facilities were completed in 1906.
Untouched by world history, Wiesbaden was now a city of European format and an internationally cure city. The "Hotel Schwarzer Bock" now had baths with electric light, lifts, and 220 beds-room rate: 5 Mark (2,50 Euro). The Schäfer family continued to improve the house in the following years. In 1911/12 the roof was enlarged.
In 1927 the emblem of the black goat appeared for the first time on the letterhead of the hotel stationery. In 1929 the Hotel Schwarzer Bock had 260 rooms, all with running water and still for the price of only 5 Mark (2,50 Euro). Baths on the upper floors were built in addition to those on the ground floor.
Then the Second World War came along with bombs and occupation. In 1951 Karl Heinz Schäfer's damaged hotel was returned back to him. Bombs had destroyed the upper floors. The façade remained largely intact, but certain alterations were carried out which now give the house a much more sober look. The projections around the windows disappeared, as well as many other pretty decorations. The roof was completely restructured. On two floors in the Langgasse we can still see the magnificent old facades.
After the end of the Second World War the Americans occupied the hotel for another 12 years and left it in a sad state of repair. And once again it was necessary to make plans. In the autumn of 1957 the renovation work was completed and the family Schäfer was able to present a new, modern "Hotel Schwarzer Bock".
Nowadays you can still find old parts of the Roman foundations from the 3rd century in the cellar and the historical cellar door with the date 1486 inscribed, is today the entry to our Bar 1486.
In 1987 the family Schäfer sold the hotel. New proprietor was Winfried D.E. Völcker. He introduced the "Hotel Schwarzer Bock" as the first German hotel in the Association of Distinguished Hotels of the World, whose most famous member is the Oriental Hotel in Bangkok. Völcker had tried to preserve the European and German traditions in spite of all its undeniable risks. But Wiesbaden had been a well-known city within Europe since 1834 and became "Weltkurstadt" ("World Destination for Treatments and Cure") in 1852.
In 1995 Radisson SAS Hotels & Resorts (now Rezidor SAS Hospitality) with headquarters in Brussels took over the management of the hotel and many issues have been solved since then. The oldest hotel in Germany that has received a certificate of the German Hotel Association, rating the hotel officially as a five star hotel, had been renovated for more than 20 million Deutsche Mark (approx. 10,2 million Euro). All 142 guest rooms offer air conditioning, ISDN telephones, modem connections, free WiFi, and marble bathrooms. The traditional bath house is still an attraction for young and elder people, seeking relaxation and well-being. The restaurant "Capricorne" spoils the guests with regional and international dishes, served in an exceptional atmosphere. Tradition blends with modern arts. The flair of the "Ingelheimer Zimmer" - the event room for special occasions - is created by precious wooden carvings from the 16th century.
More information to be obtained from:
Radisson SAS Schwarzer Bock Hotel, Wiesbaden
Mr. Christian Hoffmann - Director of Sales & Marketing
Phone: +49 611 155 3610
E-Mail: christian.hoffmann@radissonsas.com
This image is loosely based on a diecast model in the collection of Flickr user creamlineneath, who explains that Bristol LS OTT49 was new to Southern National in 1953, passing to Creamline Services of Tonmawr in 1971/72 and Silcox in 1973. Another Flickr user mentions that Creamline had about ten similar LSs from a variety of sources, but they moved on after a short stay when more suitable, larger capacity former-Edinburgh Leyland PD2s arrived (12-Auig-11).
STRICTLY COPYRIGHT: You may download a copy of any image for your personal use, but it would be an offence to remove the copyright information or to post it elsewhere without the express permission of the copyright owner.
These bands tell me what’s inside the genes of the plants I’m growing, isn’t it awesome?
I’m going to try to explain it (just to practice my written english):
I cut one leaf of each one of “my plants”, and put them inside different tubes. Then I grind and “cook” the leaf with some liquids, following a simple recipe, to extract the DNA. At the end (less than 1 hour with 40 samples and I’m still quite slow), I obtain a white gelatinous stuff in tubes, the DNA of each leaf.
Then I place a drop of this DNA (0,2 μL, nothing!!) that belongs to each leaf in small PCR-tubes with a “reaction mix” that contains an enzyme able to make DNA copies (borrowed from a bacteria that lives in hot spots), and something called “primers”, let's explain what they are:
As everybody knows, DNA is a double helix. In order to make a copy, both strands have to be separated (e.g. by heating), and then the enzyme copy every single strand in a way that it results in a new double helix, with the old strand used as a mold and a 'brand new strand'.
But the enzyme can’t just start copying a strand without a small amount of 'double helix sequence' already conformed, that’s why we need the primers. They are short sequences of “single strand” that complements (and therefore binds to) a specific region in the genome (the one you want to gossip). As they bind, they conform a short double strand at this point, and once the enzyme has this “starting point” is able to makes copies and copies and copies of that precise DNA region.
It’s necessary to heat and cool the reaction mix for every copy-cycle, so I place the tubes (with the DNA, the enzyme, the primers and the molecules the enzyme needs to build the DNA sequence) in a machine that heats&cools the tubes in cycles. In 2,5 hours (40 cycles) I get a few drops (20 µl) with thousands of copies of the sequence chosen by the primers and amplified by the enzyme.
The next step is to find out what’s inside the gene I’m interested in, and the easiest way to do it is: look at the size!! If the amplified sequence has the right size, there’s nothing weird in that plant, it’s “wildtype”. But we work with mutant plants bearing insertions on the genes that makes them useless to do their job (this is, to build proteins). So, if the sequence is too long (or just if there’s just not amplified sequence because the enzyme can’t copy a very long sequence) that means an insertion inside, hence this plant is a “knockout” for this gene. In other words, this gene doesn’t work in this plant.
How do I find out the length? easy: I pour the liquid with the amplified sequence inside a gel (each sample inside a different well) and apply an electric field. The DNA starts literally running towards the + electrode (because the DNA molecule has negative charge), but the bigger the fragment the slower it will move, due to the density of the gel. After less than half an hour, fragments with different lengths form bands at different levels. This is the moment to take a beautiful picture.
My goal now is to get a single plant with 2 knockout genes. In order to obtain the "double mutant", we cross 2 plants, each one with a single mutation, and wait for the seeds to grow… but, who knows which one of the children inherited both mutations? just cutting a single leaf and looking at the length of these amplified sequences.
You can see the result in the b/w picture with rows of bands over my lab-book. Each row belongs to a leaf (of a single plant), and each band to an amplified sequence. Depending of the position of the bands, I know the length of the sequence and therefore what’s happening inside of "her" DNA.
And everything in one single morning, definitely awesome!
PS. Thanks to my reviewers for helping me so much!!
I explain to this Downy Woodpecker every day that Hummingbird food is NOT a part of a balanced Woodpecker diet. He feels that his diet will be balanced as soon as I fill the suet and peanut feeders. He has managed to break off the perches on my Hummingbird feeder and drains the whole thing in just a couple of days. He tried, unsuccessfully, to hide behind this little perch while I lectured him about his poor diet.
Taken in New Jersey, USA
© Steve Byland 2007 all rights reserved
Unauthorized use or reproduction for any reason is prohibited
Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.
ETYMOLOGY AND OTHER NAMES
Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.
The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).
Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).
A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".
In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.
In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.
ICONOGRAPHY
Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.
Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.
The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.
COMMON ATTRIBUTES
Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.
Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.
VAHANAS
The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.
Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.
The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.
ASSOCIATIONS
OBSTACLES
Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.
BUDDHI (KNOWLEDGE)
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".
AUM
Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:
(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).
Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.
FIRST CHAKRA
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".
FAMILY AND CONSORTS
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.
The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.
WOSHIP AND FESTIVALS
Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.
Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).
Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.
Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."
GANESH CHATURTI
An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.
TEMPLES
In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.
There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.
T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.
RISE TO PROMINENCE
FIRST APEARANCE
Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:
What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.
POSSIBLE INFLUENCES
Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:
In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.
Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."
One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.
A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.
First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).
VEDIC AND EPIC LITERATURE
The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".
Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.
PURANIC PERIOD
Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:
Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.
Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.
SCRIPTURES
Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.
The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.
BEYOND INDIA AND HINDUISM
Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.
Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.
Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.
Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.
Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.
The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.
WIKIPEDIA
Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.
ETYMOLOGY AND OTHER NAMES
Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.
The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).
Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).
A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".
In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.
In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.
ICONOGRAPHY
Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.
Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.
The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.
COMMON ATTRIBUTES
Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.
Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.
VAHANAS
The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.
Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.
The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.
ASSOCIATIONS
OBSTACLES
Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.
BUDDHI (KNOWLEDGE)
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".
AUM
Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:
(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).
Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.
FIRST CHAKRA
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".
FAMILY AND CONSORTS
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.
The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.
WOSHIP AND FESTIVALS
Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.
Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).
Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.
Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."
GANESH CHATURTI
An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.
TEMPLES
In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.
There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.
T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.
RISE TO PROMINENCE
FIRST APEARANCE
Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:
What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.
POSSIBLE INFLUENCES
Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:
In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.
Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."
One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.
A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.
First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).
VEDIC AND EPIC LITERATURE
The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".
Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.
PURANIC PERIOD
Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:
Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.
Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.
SCRIPTURES
Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.
The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.
BEYOND INDIA AND HINDUISM
Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.
Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.
Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.
Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.
Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.
The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.
WIKIPEDIA
wow so many things i come across when making a charger muscle car :-s
so i was ready to build a muscle car when i came up with this 4wd idea for small scale trucks and cars. would be nice on a el camino ;) soon on mocpages.
with working/spinning engine parts as well!
this photo explains how the simple 4wd mechanism works and how it moves some engine parts as well...
Twenty-two Transylvania County TIME 4 Real Science students advanced to two different state level science research competitions on March 24-25 in Raleigh-Durham, where they presented the results of 11 different year-long research projects. The team secured 19 state-level awards and will advance 11 students to the national and/or international level.
“My favorite part of the science competitions was being able to explain my project to people with minimal background in the scientific field,” said Sam Ballard, a sophomore from Rosman High School (RHS) and a student scientist in the TIME 4 Real Science Program. “When somebody came` over and asked about my project on their own terms, and then began to understand the science behind it, it made me feel so happy.” Ballard and Brevard High School (BHS) freshman Fritz Ruppert worked this year to levitate small particles using ultrasound.
“I think it is essential to remember that these science competitions are more than just competitions - they are chances for you, the scientist, to share and demonstrate your research; to show the world your accomplishments and your failures,” said Ruppert, reflecting on the competitions. “While receiving awards is nice, this is the most important part.”
As part of the North Carolina Student Academy of Science (NCSAS) Competition, students submit an original scientific paper for review by professional scientists and present their work to these scientists and their peers at the North Carolina School of Science and Mathematics. Students also have the honor of hearing from a keynote speaker. This year NCSU Professor Dr. Robert Dunn presented “Six keys to making totally new discoveries in biology before you finish high school.”
Research teacher Jennifer Williams said, “NCSAS is my favorite competition. Students get to share their original work and participate in the excitement of a scientific meeting, much like professional scientists do. First place winners also have the opportunity to present at the American Association for the Advancement of Science (AAAS) meeting alongside scientists from around the world-- a life-changing experience for students passionate about science. This year eight TIME student scientists were selected to present expenses paid at the AAAS meeting in Austin, Texas next year: Aidan Spradlin, Bryce Spradlin, Hannah Lemel, Matthew Bailey, John Nguyen, Sara Megown, Chase Bishop and Alex Eberhardt. Incredible!”
At the NCSAS meeting, students have the opportunity to seek leadership roles . This year, BHS sophomore Chase Bishop ran for NCSAS president-elect and defeated seven other candidates from across the state. “It was inspirational to see that people saw me as a leader and voted for me. In football we are told that we are to be the difference, and I hope that I can be that difference not only in the NCSAS but for the world as a scientist,” Bishop said, He will serve for one year as president-elect and then move into the role of president for a year.
When most people think of science competitions, the North Carolina Science and Engineering Fair (NCSEF) comes to mind. For this competition, students prepare a trifold poster that displays their research. Judges view the boards without the students and then ask the students to defend and elaborate on their work. After the judging, the public is invited to interact with the students and their projects. Like NCSAS, NCSEF models a key component of a professional scientific meeting, the poster presentation.
Emma Dauster, sophomore, said conducting a research project and preparing for NCSEF, “took a lot of hard work and dedication, but being part of the TIME program means always going the extra mile.” Dauster worked with sophomores Cullen Duval and Kylie Evans to study the attraction of mosquitoes to plant and fungal volatiles and win a Grand Award at this year’s NCSEF. The team will travel to Los Angeles from May 14-19 to compete in the International Science and Engineering Fair (ISEF). According to ISEF representatives, “Each year, approximately 1,800 high school students from more than 75 countries, regions, and territories are awarded the opportunity to showcase their independent research and compete for on average $4 million in prizes.” Duval says “it still hasn’t really sunk in yet!”
Junior A. Spradlin reflected on his experiences during the science competitions, “My group and I had the chance to share our research and contribute to the scientific field. Sharing what we discovered with respected scientists that may use our experiments to stem further research is very fulfilling.” A. Spradlin worked with juniors B. Spradlin and Lemel to design a new, safer method to test for Naegleria fowleri (the brain eating amoeba) in local waters.
A. Spradlin added, “As for the competition, I am extremely proud to say that the projects we completed in a small high school lab in Brevard, North Carolina were able to compete with and defeat projects that were conducted in advanced laboratories at Duke University and UNC Chapel Hill.”
The TIME 4 Real Science Program is an intensive, inquiry-based school-day course. Students learn about the process of science as they conduct original scientific research into topics of their own choosing. They are supported by both teacher and scientist mentors as they choose a topic of interest, develop a testable question, design a procedure, collect and analyze data and present their findings.
“TIME is a class that offers students, who like me have a strong interest in science, the ability to really pursue their passion and curiosity in this field. The TIME science program has opened countless doors and led to experiences that have shaped my personal interest in biotechnology, and science in general, so much so that I am currently pursuing a career in this field,” said B. Spradlin.
Current TIME students would like to thank all who have helped with their research during the year including students, teachers, administrators, parents, and numerous scientists and community volunteers. Thanks go to 2016-17 TIME volunteers: Brian Byrd, Neill Cagle, Ora Wells, Ann Farrash, Alan Smith, Inga Meadows, Courtney Long, Scott Stevens, Cindy Carpenter, Jeff Hinshaw, Adam Moticak, Ken Chepenik, Don Wauchope, Gordon Riedesel, David Williams, Jay Case, Sam Farrar, Jeremy Gibbs, and Heidi Bullock. Special thanks go to Dr. Kent Wilcox, without whose help, guidance, and actions the class could not have been possible!
The TIME 4 Real Science Program is a partnership between Transylvania County Schools and NC Cooperative Extension. Funding for the students’ trip was provided by generous donations from the Duke Energy Foundation and from TIME alumnus Abby Williams’ 2016-17 community fundraising campaign. Special thanks goes to the campaign donors that helped make this program year possible: George and Elin Abercrombie, Ann Farash and Paul Onnink, Harriett Walls, Donna and Frank Patton, Bruce and Belinda Roberts, Johnny, Elsa and Ben Strickland, Mark and Page Lemel, Pat Montgomery, Jane and Chris Dauster, John and Nancy Strickland, Marion Petterson, Steve and Mary Arnaudin, Jim and Barb Strickland, Ned Steadman, Abby and Erika Williams, Jessica Good, Jodie DuBrueil, Leah Johnson and Dawn Davenport, Kathie and George Williams,Jennifer Frick-Ruppert, Tracie and Daniel Trusler, Kristi Whitworth, Jeremy Gibbs, Frances Bradburn, Mark and Betsy Burrows, Mike Judd, Laura Patch, Mark and Ameran Tooley, Brooke Burrows, Seyl Park and John Burrows.
FOR MORE INFORMATION or to indicate an interest in volunteering or donating to the program, please visit our website at time4realscience.org or contact Jennifer Williams, BHS Science Instructional Leader and TIME 4 Real Science Co-director, at jwilliam@tcsnc.org .
Transylvania County State Level Science Awards:
A. Spradlin, B. Spradlin and Lemel: An Evaluation of Local, Thermally Polluted Lakes for the Presence of Naegleria fowleria via PCR Without Hazardous Cultivation: 1st place Biotechnology and AAAS Grand Award (NCSAS); 3rd place Biology B and 2nd place, Water Works Award (NCSEF).
Dauster, Evans and Duval: Olfactometer assays to measure the response of Culex quinquefasciatus to plant and fungal volatiles: 1st place Biology A and ISEF Grand Award (NCSEF); 2nd place Behavioral Science (NCSAS).
John Nguyen and Matthew Bailey: Oligochaete Populations in Transylvania County Trout Streams: A Risk Assessment of Susceptibility to the Whirling Disease Parasite, Myxobolus cerebralis: 1st place Environmental Science and AAAS Grand Award (NCSAS); Western Representative (NCSEF).
Bishop and Alex Eberhardt: Feasibility of Cultivating Arthrospira platensis as a Food Source for Mars Exploration and Colonization: 1st place Earth and Space Science and AAAS Grand Award (NCSAS); Western Representative (NCSEF).
Sara Megown: The Antifungal Effect of Plant Extracts on Candida albicans: 1st place Biological Sciences and AAAS Grand Award (NCSAS).
Ruppert and Ballard: Particle Manipulation by an Acoustic Levitator: 3rd place Technology and Engineering (NCSAS); 3rd place Army Award, Engineering, (NCSEF).
Bain Brown and Nicole Rideout: Screening Kudzu Associated Insects and Fungi for Enzymes with Potential Application in Aqueous Oil Extraction: 3rd place Biological Sciences (NCSAS); Western Representative (NCSEF).
Emily Trusler and Elise Poche: Isolation and Identification of Entomopathogenic Fungi for Use in Mosquito Control: 2nd Place Biological Sciences (NCSAS).
Carly Tabor and Lily Harris: Megacopta cribraria Attraction to Plant Volatiles: Western Representative (NCSAS).
Jasmine Gillespie: Toxicity of Nightshade Plants to the Freshwater Clam Corbicula fluminea: Western Representative, (NCSAS).
Caleb Fore: Developing a Cost Effective Solar Array While Capturing Energy for Heating Water: Western Representative (NCSAS).
Photo captions:
1: Twenty-two Transylvania County TIME 4 Real Science students made an impact at two recent state level science competitions. Eleven students advance to national and international competitions.
2: Chase Bishop (left), new president-elect for the NC Student Academy of Science, joins his partner Alex Eberhardt in congratulating another state level NCSAS winner. Chase and Alex studied the potential of using Martian resources to grow Spirulina, a potential source for nutrition in future Martian settlements.
3: Kylie Evans and Cullen Duval test mosquitoes in their homemade olfactometer. The team discovered that carnations are strongly attractive to mosquitoes and a new fungus isolated from kudzu repels them.
4: Elise Poche counts fungal spores using a hemocytometer and contrasting light microscope to prepare a spore concentration for dosing mosquito larvae.
5: Emily Trusler uses DNA analysis to identify entomopathogenic fungi isolated from local soil and tree holes. Trusler and her partner Elise Poche studied the fungi’s potential to control mosquito larvae.
6: Jasmine Gillespie prepares a dose of snuff. Gillespie worked with her partner Noah Graham to evaluate the sublethal toxicity of tobacco on golden clams.
7: Emma Dauster retrieves mosquitoes for testing. She and her partners Kylie Evans and Cullen Duvall will represent North Carolina at the International Science and Engineering Fair in Los Angeles next month.
8: Sara Megown tests the effect of herbal extracts on Candida albicans, the causative agent of yeast infections. She found that Goldenseal extract inhibits the growth of yeast in a petri dish. She also tested the extract in living wax moth larvae with some promising, if inconclusive results.
9: Matthew Bailey works to analyze DNA from oligochaetes collected from local streams. Bailey worked with partner John Nguyen to assess local susceptibility to whirling disease, a devastating trout pathogen.
@ 2017, Transylvania County Schools, TIME 4 Real Science. All rights reserved.
Report info organized and collected by KiskiPlanter
Meletios Zafaran of the Antiochian Orthodox Christian Archdiocese explaines how Christians in Syria have been protected in a peaceful country under the al-Assad government. Born and raised in Syria he grew up under the so called dictator Bashar al-Assad which he says makes know sense. He referenced a 2007 Diane Sawyers 1hour long documentary of how successful Syria is, and now Assad is all the sudden called a dictator. ABC news reporter Diane Sawyer walking the streets described the people as having “extreme friendliness” towards her (2007). Zafaran said he came to USA in 2005, and in 2007 he was back there helping a church and his church actually played Christian prayers over loudspeakers in Damascus, Syria. He also pointed out again: Why would Bashar al-Assad use the weapons Obama accuses him of using on the very day UN inspectors are in country. Assad is fighting Alquidia terrorist to protect a country that had strong Christian communities long before Mohammed was born. His point was that Assad kept an environment that had Muslims, and Christians living side by side in peace. Now Obama and the CIA are trying to destroy the peace by funding terrorist there. KiskiPlanter-News September-17-2013
Damascus, Syria from the eyes of
9-17-2013 Meletios Zafaran of Syria Antiochian Orthodox Christian Archdiocese September-17-2013 Bashar Hafez al-Assad, Bashar al-Assad, saudi arabia
Meletios Zafaran of the Antiochian Orthodox Christian Archdiocese explains how Christians during the Iraq war were no longer safe in Iraq and had to leave there homes and found refuge in Syria, but now Christians in Syria are in danger if the US, Saudi Military backed rebels over take the Bashar al-Assad government. When Zafaran was there he said just the city of Damascus took in over 1 million Christian refugees from Iraq. It seems to KiskiPlanter-News a repeat of history: Destroy the countries government on false charges(Saying saddam hussein had WMDs) and that power vacuum leads to rise of radical Muslims taking control, thankfully Obama has not been successful in doing to Syria what Bush did to Iraq, fill it with violence. Photo/Report by: “KiskiPlanter-News” September-17-2013
Meletios Zafaran was born and raised in Syria, and moved to the USA in 2005. Mr. Zafaran’s parents, 4 brothers, 3 sisters, and cousins still live in Syria. He pointed out it is a lie to call this a civil war because of all the foreign fighters streaming into Syria. For example just this week 369 fighters against the Syrian government were from Afghanistan, including Taliban. These are what Obama McCain Graham must be calling Rebels. Iraq, Saudi Arabia and some African countries also there. These fighters want Sharia law as is very strict in countries like Saudi Arabia. Zafaran came off as how Diane Sawyer described Syrians on her 2007 trip, friendly and peaceful. . Photo/Report by: “KiskiPlanter-News” September-17-2013 Murrysville (South West Pennsylvania)
Damascus, Syria from the eyes of
9-17-2013 Meletios Zafaran of Syria Antiochian Orthodox Christian Archdiocese September-17-2013 Christians in Syria
10,000 Emmons in US Prisons recruiting and training new Muslims to be radical like in Sharia law countries. This operation funded by Saudi Arabian government inside U.S.A. In France about 40% of newborn babies are in Muslim families. Women in Saudi Arabia treated badly under Sharia law, men also in danger if not following social interaction rules set by religious leaders. Info gathered from these men. Both having first hand dealings with these topics, and both literate in Arabic. Photo/Report by: “KiskiPlanter-News” September-17-2013
Meletios Zafaran was born and raised in Syria, and moved to the U.S.A. in 2005. Mr. Zafaran’s parents, 4 brothers, 3 sisters, and cousins still live in Syria. For more information about these photo reports is available at "KiskiPlanter"'s Bible studies.
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Pres. Obama. wants war in Syria and says he can wage war with who he wants, but says congress can vote on it if they like. The nobel peace prize war hawk does not care what the US constitution, people, US Congress, Russia, or the UN thinks, he is dictator.
Adam Kinzinger: Wants War War War!
(Trying to stop more war: KiskiPlanter-News Wednesday September 4, 2013)
Rep. Alan grayson: Some good questions on war in Syria. Seems to be a no vote.
(KiskiPlanter-News Wednesday September 4, 2013)
Rep. Tom Cotton, R,Arkanas. War War War. Weary of people being war weary. Wants war now.
(KiskiPlanter-News Wednesday September 4, 2013)
Jaun Vargus. D, California: asks:"Are you being truthful because I because I need you to promise your not lying because people are afraid of anther Iraq". Will likely vote yes since Obama's people said they are telling truth.Vargus is dumbest questioner I saw.
(KiskiPlanter-News Wednesday September 4, 2013)
Rep George Holding: Can we be hurt by retaliation? Can Russia hurt us and is Russia a superpower. Sec of State John Kerry responds that Russia will not get involved.
(KiskiPlanter-News Wednesday September 4, 2013)
Brad Schneider D, Illinois. Confused questions. Asks will Russia get involved. Sec of State John Kerry responds No. At one point Kerry says it’s safe.
(KiskiPlanter-News Wednesday September 4, 2013)
Randy Weber R. Texas: Says intervention is bad option. Millions to a billion $ per day cost. Asks for guarantee of peace, Sec of State John Kerry responds no guarantee of peace
(KiskiPlanter-News Wednesday September 4, 2013)
Rep. Ami Bera: Thanks obama for graciously letting congress vote before taking war action. Similar clueless questions like Rep. Castro asked.
(KiskiPlanter-News Wednesday September 4, 2013)
Scott Perry R, PA. Asks if Pres. Obama will listen to a no vote to start a war in Syria. Sec of State John Kerry responds Obama will make war regardless of congress.
(KiskiPlanter-News Wednesday September 4, 2013)
Rep. Tulsi Gabbard.D, Hawiie Former Military medical. Says Obama's path has unclear objective, that does not make sense. Looks like a no vote. Thank you.
(KiskiPlanter-News Wednesday September 4, 2013)
Ron Desantis. Asks if this strike will scare Assade, what is replacement. Sec of State John Kerry responds Assade is secular; we need rebels that support minority groups.
(KiskiPlanter-News Wednesday September 4, 2013)
Rep. Castro, is open to Missile strike. Basically asks Sec of State John Kerry for pre made answers to repeat to his electors. Not a statesmen, just place holder that will vote to war with a total stranger he knows nothing about.
(KiskiPlanter-News Wednesday September 4, 2013)
Luke Messer: Thanks Obama for graciously including the congress in deciding. yes to war, based on the liar Sec of State John Kerry. Nothing to say but blaw blaw.
(KiskiPlanter-News Wednesday September 4, 2013)
Rep Doug Collins R. Georgia.Rep Doug Collins R. Georgia. Asks some "take up time" type questions.
(KiskiPlanter-News Wednesday September 4, 2013).
Rep. Ted Yoho, R. Flordia: Some good questions on war in Syria. Seems to be a no vote.Thank you!
(KiskiPlanter-News Wednesday September 4, 2013)
Ok here it is. I took one image of the model using the strobes . I had the camera on Auto bracket mode , so the dark frame was taken immediately after that, before the flashes could recharge. The dark frame is for the outside detail coming in through the cracks in the door and the first shot is for the model only. LAter.. I had the model walk out and took a bunch of different exposures of the barn by itself. I used photomatix Image blending to compile them. Strobes were used in that image as well but were moved to different places for each frame to ensure an even distribution. later in photoshop I used the pen tool to vector out the model and created a mask ( Bottom Right) since the hair was really difficult, I chopped it off with the pen tool mask and duplicated the original (1) picture, placed it on top and set the blend mode to either overlay or multiply... whatever one leaves lighter (hair) detail and makes darker areas transparent. Thats how I got the hair edges so finite. A separate mask was also used to get the outside detail from the second image and place it on top of layer 3 so that it appears that My camera has that kind of dynamic range. :) YEah.. I cheated :) other than that, I used the basic retouching like skin smoothing and some toning using curves. whole thing took about an hour and a half.
Link to final img
www.flickr.com/photos/40889933@N07/4879681429/in/photostr...