Former sanatorium in Belgium with a unique architecture as well as beautiful and untouched interiors. Built in 1905, the site is now relieved of its clinical function (but not abandoned), waiting for a future conversion ...

 

Ancien sanatorium belge à l'architecture unique et aux magnifiques intérieurs inviolés… Érigé en 1905, le site est aujourd'hui désaffecté de sa fonction clinique (mais pas à l'abandon pour autant), dans l'attente d'une prochaine reconversion…

La iglesia y convento de las Salesas es un conjunto formado por la iglesia y el antiguo convento de las monjas salesas de la Orden de la Visitación.

Considerada su obra más importante, fue proyectada por el arquitecto Joan Martorell i Montells, quien fue uno de los maestros y mentores de Antoni Gaudí, al que recomendó para la construcción de la Sagrada Família.

El maestro de obras de la iglesia fue Pere Bassegoda i Mateu, con colaboraciones de Pau Boronay en la carpintería, Lluís Ferreri en la talla de piedra, Joan Oñós en cerrajería, Fills de Ramon Amigó en las vidrieras, Joan Flotats y Josep Puiggener en las esculturas, Luigi Pallarin en los mosaicos.

Según el arquitecto Joan Bassegoda, en ciertas fases de la obra se contó con la participación de Antoni Gaudí, el cual en aquella época era discípulo y ayudante de Joan Martorell, se dice que el artesonado central del techo de la iglesia podría ser obra de Gaudí.

 

Las obras del convento se iniciaron en 1877 y la iglesia fue edificada entre 1882 y 1885, correspondiendo a la actual parroquia de San Francisco de Sales.

El antiguo convento, de piedra y ladrillo visto, se desarrolla siguiendo el perímetro del solar dejando en su interior un patio y un claustro porticado que se cierra con respecto al exterior, en donde hay ladrillo visto combinado con cerámica y piedra.

El conjunto está remarcado por la larga y esbelta aguja del campanario poligonal. A banda y banda de la puerta principal hay dos agujas que reproducen a menor escala la torre central, a la cual flanquean.

La iglesia está situada en el eje del conjunto, presidiéndolo, siendo uno de los más bellos ejemplares neogóticos de Barcelona, con influencia violletiana y neomudéjar.

 

En 1874 se estableció por primera vez en Barcelona una fundación salesiana, posteriormente en 1876 las monjas salesas compraron el terreno donde el 28 de marzo de 1877 se colocó la primera piedra del futuro convento.

Ya en 1878 las salesas ya ocupaban el convento.

 

La construcción de la iglesia comenzó en 1882, con la primera piedra colocada por el obispo Urquinaona, fue consagrado en 1885.

En 1909, durante la Semana Trágica y posteriormente durante la guerra civil, la iglesia y el convento fueron muy dañados, en julio de 1936 la iglesia y el convento fueron incendiados, y se desenterraron los cuerpos momificados de algunas monjas, que fueron sacrílegamente expuestos en la puerta.

 

En 1942 el conjunto fue adquirido por los Hermanos Maristas, convirtiéndolo el convento en un colegio en 1943.

De 1943 a 1960 se hicieron obras importantes en la iglesia, abriendo los muros entre las capillas laterales para convertirla en una iglesia de tres naves y haciendo un nuevo altar mayor.

 

El 9 de octubre de 1945 el obispo Gregorio Modrego erigió canónicamente una nueva parroquia bajo la advocación de Francisco de Sales, que comenzó a funcionar el 16 de enero de 1949.

En el convento, convertido en escuela, se añadió un segundo piso alrededor del claustro y el jardín se convirtió en patio de juegos.

 

En 1960 se construyó una piscina y un gimnasio, proyectados por el arquitecto M. Brullet i Monmany, a partir de 1967 el arquitecto Miquel Ponsetí Vives realizó los locales administrativos, el salón de actos, la biblioteca, el laboratorio y la sala de música.

 

En los años 80 la iglesia sufrió incendio que ennegreció paredes y arcadas, a partir del año 1991 se restauró parte del interior y más tarde se emprendió la restauración del exterior, con el fin de devolver el templo a su esplendor inicial.

En el año 2010 se celebraron los 125 años de la consagración del templo.

 

Barcelona, España.

 

Fuente: wikipedia.org

museumPASSmusees 2021 - BAM - Fernando Botero - Au dela des formes

 

BAM (Beaux-Arts Mons)

 

Pour la premiere fois en Belgique, dans le cadre de la Biennale d'Art et de Culture de la Federation Wallonie-Bruxelles a Mons, le BAM consacre au peintre et sculpteur colombien Fernando Botero une vaste retrospective du 9 octobre 2021 au 30 janvier 2022.

 

Depuis ses recherches de jeunesse, peu connues du grand public, jusqu'aux oeuvres iconiques de la maturite, dont des toiles recentes presentees pour la premiere fois, cette exposition d'envergure brassera l'ensemble de la carriere de l'artiste.

 

Reputee pour ses personnages aux formes rondes et voluptueuses, l'oeuvre de Botero est le resultat d'une recherche exigeante et determinee, dans lequel l'artiste s'est engage il y a plus de 70 ans.

 

A l'heure ou, plus que jamais, le sens commun est en peril, l'exposition interroge la maniere dont une oeuvre, bien que personnelle et situee, parvient a developper un langage universel et accessible. Le parcours emportera les visiteurs dans l'univers foisonnant de Botero, inspire tant par l'art precolombien et l'iconographie populaire que par les muralistes mexicains ou l'art de la Renaissance italienne.

 

L'exposition Fernando Botero. Au-dela des formes rassemblera des oeuvres importantes empruntees a de prestigieux musees, comme le Gunggenheim de New-York, dont des peintures historiques rarement montrees au public europeen. Des toiles, dessins et sculptures appartenant a des collections privees internationales, notamment de Colombie, seront egalement presents.

 

Au centre du parcours d'exposition, une quinzaine d'oeuvres issues des collections meconnues du BAM illustreront les inspirations majeures de l'artiste colombien autour de differentes thematiques : natures mortes, nus, scenes de genre...

 

( 200 musees

 

Des maintenant, vous pouvez visiter tous les musees participants pendant un an. Pas une fois, mais aussi souvent que vous le souhaitez !

 

297 expositions

 

Vous pouvez egalement visiter les expositions temporaires des musees participants gratuitement ou a un tarif fortement reduit.

 

1 pass musees

 

Tout ceci avec seulement 1 pass.

 

www.museumpassmusees.be )

Table Mountain (Khoekhoe: Huriǂoaxa, lit. 'sea-emerging'; Afrikaans: Tafelberg) is a flat-topped mountain forming a prominent landmark overlooking the city of Cape Town in South Africa.

 

It is a significant tourist attraction, with many visitors either using the cableway or hiking to the top.[4] The mountain has 2,285 plant species,[5] of which around 80% are fynbos (Afrikaans for 'fine bush'). Table Mountain National Park is the most visited national park in South Africa, attracting 4.2 million people every year for various activities.[6] It forms part of the lands formerly inhabited by Khoe-speaking clans, such as the !Uriǁʼaes (the "High Clan").

 

Table Mountain is home to a large array of mostly endemic flora and fauna.[7] Its top rises about 1,000 m above the surrounding city, making the popular hike upwards on a large variety of different, often steep and rocky pathways a serious mountain tour which requires fitness, preparation and hiking equipment.

 

Features

 

Table Mountain as seen from Lion's Head, with low-lying cloud cover over Cape Town

Cape Town under the clouds

The main feature of Table Mountain is the level plateau approximately three kilometres (2 mi) from side to side, edged by steep cliffs. The plateau, flanked by Devil's Peak to the east and by Lion's Head to the west, forms a dramatic backdrop to Cape Town. This broad sweep of mountainous heights, together with Signal Hill, forms the natural amphitheatre of the City Bowl and Table Bay harbour. The highest point on Table Mountain is towards the eastern end of the plateau and is marked by Maclear's Beacon, a stone cairn built in 1865 by Sir Thomas Maclear for trigonometrical survey. It is 1,086 metres (3,563 ft) above sea level, and about 19 metres (62 ft) higher than the cable station at the western end of the plateau.

 

The cliffs of the main plateau are split by Platteklip Gorge ("Flat Stone Gorge"), which provides an easy and direct ascent to the summit and was the route taken by António de Saldanha on the first recorded ascent of the mountain in 1503.[8]

 

The flat top of the mountain is often covered by orographic clouds, formed when a southeasterly wind is directed up the mountain's slopes into colder air, where the moisture condenses to form the so-called "table cloth" of cloud. Legend attributes this phenomenon to a smoking contest between the Devil and a local pirate called Van Hunks.[9] When the table cloth is seen, it symbolises the contest.

 

Table Mountain is at the northern end of a sandstone mountain range that forms the spine of the Cape Peninsula that terminates approximately 50 kilometres (30 mi) to the south at the Cape of Good Hope and Cape Point. Immediately to the south of Table Mountain is a rugged "plateau" at a somewhat lower elevation than the Table Mountain Plateau (at about 1,000 m or 3,300 ft), called the "Back Table". The "Back Table" extends southwards for approximately 6 km to the Constantia Nek-Hout Bay valley. The Atlantic side of the Back Table is known as the Twelve Apostles, which extends from Kloof Nek (the saddle between Table Mountain and Lion's Head) to Hout Bay. The eastern side of this portion of the Peninsula's mountain chain, extending from Devil's Peak, the eastern side of Table Mountain (Erica and Fernwood Buttresses), and the Back Table to Constantia Nek, does not have a single name, as on the western side. It is better known by the names of the conservation areas on its lower slopes: Groote Schuur Estate, Newlands Forest, Kirstenbosch Botanical Gardens, Cecilia Park, and Constantia Nek. Wikipedia

++++++ Form Wikipedia +++++

  

Kalaw (Burmese: ကလောမြို့; Shan: ၵလေႃး [ka lɔ]) is a hill town in the Shan State of Myanmar. It is located in Kalaw Township in Taunggyi District.

Kalaw

ကလောမြို့

Kalaw 21.jpg

Kalaw is located in Myanmar

Kalaw

 

Location in Myanmar

Coordinates: 20°38′N 96°34′E

Country Myanmar

Division Shan State

Districts Taunggyi District

Township Kalaw Township

Population (2005)

• Religions Buddhism

Time zone MST (UTC+6.30)

OverviewEdit

 

The town was popular with the British during colonial rule. Kalaw is the main setting of the novel "The Art of Hearing Heartbeats" by Jan-Philipp Sendker.

 

The hill station is located at an elevation of 1320 metres, 50 km from the Inle lake. Kalaw is famous for hiking and trekking.[1]

Kalaw Train station sign altitude.

 

Myanmar (Burmese pronunciation: [mjəmà]),[nb 1][8] officially the Republic of the Union of Myanmar and also known as Burma, is a sovereign state in Southeast Asia. Myanmar is bordered by India and Bangladesh to its west, Thailand and Laos to its east and China to its north and northeast. To its south, about one third of Myanmar's total perimeter of 5,876 km (3,651 mi) forms an uninterrupted coastline of 1,930 km (1,200 mi) along the Bay of Bengal and the Andaman Sea. The country's 2014 census counted the population to be 51 million people.[9] As of 2017, the population is about 54 million.[10] Myanmar is 676,578 square kilometers (261,228 square miles) in size. Its capital city is Naypyidaw, and its largest city and former capital is Yangon (Rangoon).[1] Myanmar has been a member of the Association of Southeast Asian Nations (ASEAN) since 1997.

 

Early civilisations in Myanmar included the Tibeto-Burman-speaking Pyu city-states in Upper Burma and the Mon kingdoms in Lower Burma.[11] In the 9th century, the Bamar people entered the upper Irrawaddy valley and, following the establishment of the Pagan Kingdom in the 1050s, the Burmese language, culture and Theravada Buddhism slowly became dominant in the country. The Pagan Kingdom fell due to the Mongol invasions and several warring states emerged. In the 16th century, reunified by the Taungoo Dynasty, the country was for a brief period the largest empire in the history of Mainland Southeast Asia.[12] The early 19th century Konbaung Dynasty ruled over an area that included modern Myanmar and briefly controlled Manipur and Assam as well. The British took over the administration of Myanmar after three Anglo-Burmese Wars in the 19th century and the country became a British colony. Myanmar was granted independence in 1948, as a democratic nation. Following a coup d'état in 1962, it became a military dictatorship.

 

For most of its independent years, the country has been engrossed in rampant ethnic strife and its myriad ethnic groups have been involved in one of the world's longest-running ongoing civil wars. During this time, the United Nations and several other organisations have reported consistent and systematic human rights violations in the country.[13] In 2011, the military junta was officially dissolved following a 2010 general election, and a nominally civilian government was installed. This, along with the release of Aung San Suu Kyi and political prisoners, has improved the country's human rights record and foreign relations, and has led to the easing of trade and other economic sanctions.[14] There is, however, continuing criticism of the government's treatment of ethnic minorities, its response to the ethnic insurgency, and religious clashes.[15] In the landmark 2015 election, Aung San Suu Kyi's party won a majority in both houses. However, the Burmese military remains a powerful force in politics.

 

Myanmar is a country rich in jade and gems, oil, natural gas and other mineral resources. In 2013, its GDP (nominal) stood at US$56.7 billion and its GDP (PPP) at US$221.5 billion.[6] The income gap in Myanmar is among the widest in the world, as a large proportion of the economy is controlled by supporters of the former military government.[16] As of 2016, Myanmar ranks 145 out of 188 countries in human development, according to the Human Development Index.[7]

Etymology

Main article: Names of Myanmar

 

In 1989, the military government officially changed the English translations of many names dating back to Burma's colonial period or earlier, including that of the country itself: "Burma" became "Myanmar". The renaming remains a contested issue.[17] Many political and ethnic opposition groups and countries continue to use "Burma" because they do not recognise the legitimacy of the ruling military government or its authority to rename the country.[18]

 

In April 2016, soon after taking office, Aung San Suu Kyi clarified that foreigners are free to use either name, "because there is nothing in the constitution of our country that says that you must use any term in particular".[19]

 

The country's official full name is the "Republic of the Union of Myanmar" (ပြည်ထောင်စုသမ္မတ မြန်မာနိုင်ငံတော်, Pyidaunzu Thanmăda Myăma Nainngandaw, pronounced [pjìdàʊɴzṵ θàɴməda̰ mjəmà nàɪɴŋàɴdɔ̀]). Countries that do not officially recognise that name use the long form "Union of Burma" instead.[20]

 

In English, the country is popularly known as either "Burma" or "Myanmar" /ˈmjɑːnˌmɑːr/ (About this sound listen).[8] Both these names are derived from the name of the majority Burmese Bamar ethnic group. Myanmar is considered to be the literary form of the name of the group, while Burma is derived from "Bamar", the colloquial form of the group's name.[17] Depending on the register used, the pronunciation would be Bama (pronounced [bəmà]) or Myamah (pronounced [mjəmà]).[17] The name Burma has been in use in English since the 18th century.

 

Burma continues to be used in English by the governments of many countries, such as Canada and the United Kingdom.[21][22] Official United States policy retains Burma as the country's name, although the State Department's website lists the country as "Burma (Myanmar)" and Barack Obama has referred to the country by both names.[23] The Czech Republic officially uses Myanmar, although its Ministry of Foreign Affairs mentions both Myanmar and Burma on its website.[24] The United Nations uses Myanmar, as do the Association of Southeast Asian Nations, Australia,[25] Russia, Germany,[26] China, India, Bangladesh, Norway,[27] Japan[21] and Switzerland.[28]

 

Most English-speaking international news media refer to the country by the name Myanmar, including the BBC,[29] CNN,[30] Al Jazeera,[31] Reuters,[32] RT (Russia Today) and the Australian Broadcasting Corporation (ABC)/Radio Australia.[33]

 

Myanmar is known with a name deriving from Burma as opposed to Myanmar in Spanish, Italian, Romanian, and Greek – Birmania being the local version of Burma in the Spanish language, for example. Myanmar used to be known as "Birmânia" in Portuguese, and as "Birmanie" in French.[34] As in the past, French-language media today consistently use Birmanie.,[35][36]

History

Main article: History of Myanmar

Prehistory

Main articles: Prehistory of Myanmar and Migration period of ancient Burma

Pyu city-states c. 8th century; Pagan is shown for comparison only and is not contemporary.

 

Archaeological evidence shows that Homo erectus lived in the region now known as Myanmar as early as 750,000 years ago, with no more erectus finds after 75,000 years ago.[37] The first evidence of Homo sapiens is dated to about 11,000 BC, in a Stone Age culture called the Anyathian with discoveries of stone tools in central Myanmar. Evidence of neolithic age domestication of plants and animals and the use of polished stone tools dating to sometime between 10,000 and 6,000 BC has been discovered in the form of cave paintings in Padah-Lin Caves.[38]

 

The Bronze Age arrived circa 1500 BC when people in the region were turning copper into bronze, growing rice and domesticating poultry and pigs; they were among the first people in the world to do so.[39] Human remains and artefacts from this era were discovered in Monywa District in the Sagaing Division.[40] The Iron Age began around 500 BC with the emergence of iron-working settlements in an area south of present-day Mandalay.[41] Evidence also shows the presence of rice-growing settlements of large villages and small towns that traded with their surroundings as far as China between 500 BC and 200 AD.[42] Iron Age Burmese cultures also had influences from outside sources such as India and Thailand, as seen in their funerary practices concerning child burials. This indicates some form of communication between groups in Myanmar and other places, possibly through trade.[43]

Early city-states

Main articles: Pyu city-states and Mon kingdoms

 

Around the second century BC the first-known city-states emerged in central Myanmar. The city-states were founded as part of the southward migration by the Tibeto-Burman-speaking Pyu city-states, the earliest inhabitants of Myanmar of whom records are extant, from present-day Yunnan.[44] The Pyu culture was heavily influenced by trade with India, importing Buddhism as well as other cultural, architectural and political concepts, which would have an enduring influence on later Burmese culture and political organisation.[45]

 

By the 9th century, several city-states had sprouted across the land: the Pyu in the central dry zone, Mon along the southern coastline and Arakanese along the western littoral. The balance was upset when the Pyu came under repeated attacks from Nanzhao between the 750s and the 830s. In the mid-to-late 9th century the Bamar people founded a small settlement at Bagan. It was one of several competing city-states until the late 10th century when it grew in authority and grandeur.[46]

Imperial Burma

Main articles: Pagan Kingdom, Taungoo Dynasty, and Konbaung Dynasty

See also: Ava Kingdom, Hanthawaddy Kingdom, Kingdom of Mrauk U, and Shan States

Pagodas and kyaungs in present-day Bagan, the capital of the Pagan Kingdom.

 

Pagan gradually grew to absorb its surrounding states until the 1050s–1060s when Anawrahta founded the Pagan Kingdom, the first ever unification of the Irrawaddy valley and its periphery. In the 12th and 13th centuries, the Pagan Empire and the Khmer Empire were two main powers in mainland Southeast Asia.[47] The Burmese language and culture gradually became dominant in the upper Irrawaddy valley, eclipsing the Pyu, Mon and Pali norms by the late 12th century.[48]

 

Theravada Buddhism slowly began to spread to the village level, although Tantric, Mahayana, Hinduism, and folk religion remained heavily entrenched. Pagan's rulers and wealthy built over 10,000 Buddhist temples in the Pagan capital zone alone. Repeated Mongol invasions (1277–1301) toppled the four-century-old kingdom in 1287.[48]

Temples at Mrauk U.

 

Pagan's collapse was followed by 250 years of political fragmentation that lasted well into the 16th century. Like the Burmans four centuries earlier, Shan migrants who arrived with the Mongol invasions stayed behind. Several competing Shan States came to dominate the entire northwestern to eastern arc surrounding the Irrawaddy valley. The valley too was beset with petty states until the late 14th century when two sizeable powers, Ava Kingdom and Hanthawaddy Kingdom, emerged. In the west, a politically fragmented Arakan was under competing influences of its stronger neighbours until the Kingdom of Mrauk U unified the Arakan coastline for the first time in 1437.

 

Early on, Ava fought wars of unification (1385–1424) but could never quite reassemble the lost empire. Having held off Ava, Hanthawaddy entered its golden age, and Arakan went on to become a power in its own right for the next 350 years. In contrast, constant warfare left Ava greatly weakened, and it slowly disintegrated from 1481 onward. In 1527, the Confederation of Shan States conquered Ava itself, and ruled Upper Myanmar until 1555.

 

Like the Pagan Empire, Ava, Hanthawaddy and the Shan states were all multi-ethnic polities. Despite the wars, cultural synchronisation continued. This period is considered a golden age for Burmese culture. Burmese literature "grew more confident, popular, and stylistically diverse", and the second generation of Burmese law codes as well as the earliest pan-Burma chronicles emerged.[49] Hanthawaddy monarchs introduced religious reforms that later spread to the rest of the country.[50] Many splendid temples of Mrauk U were built during this period.

Taungoo and colonialism

Bayinnaung's Empire in 1580.

 

Political unification returned in the mid-16th century, due to the efforts of Taungoo, a former vassal state of Ava. Taungoo's young, ambitious king Tabinshwehti defeated the more powerful Hanthawaddy in the Toungoo–Hanthawaddy War (1534–41). His successor Bayinnaung went on to conquer a vast swath of mainland Southeast Asia including the Shan states, Lan Na, Manipur, Mong Mao, the Ayutthaya Kingdom, Lan Xang and southern Arakan. However, the largest empire in the history of Southeast Asia unravelled soon after Bayinnaung's death in 1581, completely collapsing by 1599. Ayutthaya seized Tenasserim and Lan Na, and Portuguese mercenaries established Portuguese rule at Thanlyin (Syriam).

 

The dynasty regrouped and defeated the Portuguese in 1613 and Siam in 1614. It restored a smaller, more manageable kingdom, encompassing Lower Myanmar, Upper Myanmar, Shan states, Lan Na and upper Tenasserim. The Restored Toungoo kings created a legal and political framework whose basic features would continue well into the 19th century. The crown completely replaced the hereditary chieftainships with appointed governorships in the entire Irrawaddy valley, and greatly reduced the hereditary rights of Shan chiefs. Its trade and secular administrative reforms built a prosperous economy for more than 80 years. From the 1720s onward, the kingdom was beset with repeated Meithei raids into Upper Myanmar and a nagging rebellion in Lan Na. In 1740, the Mon of Lower Myanmar founded the Restored Hanthawaddy Kingdom. Hanthawaddy forces sacked Ava in 1752, ending the 266-year-old Toungoo Dynasty.

A British 1825 lithograph of Shwedagon Pagoda shows British occupation during the First Anglo-Burmese War.

 

After the fall of Ava, the Konbaung–Hanthawaddy War involved one resistance group under Alaungpaya defeating the Restored Hanthawaddy, and by 1759, he had reunited all of Myanmar and Manipur, and driven out the French and the British, who had provided arms to Hanthawaddy. By 1770, Alaungpaya's heirs had subdued much of Laos (1765) and fought and won the Burmese–Siamese War (1765–67) against Ayutthaya and the Sino-Burmese War (1765–69) against Qing China (1765–1769).[51]

 

With Burma preoccupied by the Chinese threat, Ayutthaya recovered its territories by 1770, and went on to capture Lan Na by 1776. Burma and Siam went to war until 1855, but all resulted in a stalemate, exchanging Tenasserim (to Burma) and Lan Na (to Ayutthaya). Faced with a powerful China and a resurgent Ayutthaya in the east, King Bodawpaya turned west, acquiring Arakan (1785), Manipur (1814) and Assam (1817). It was the second-largest empire in Burmese history but also one with a long ill-defined border with British India.[52]

 

The breadth of this empire was short lived. Burma lost Arakan, Manipur, Assam and Tenasserim to the British in the First Anglo-Burmese War (1824–1826). In 1852, the British easily seized Lower Burma in the Second Anglo-Burmese War. King Mindon Min tried to modernise the kingdom, and in 1875 narrowly avoided annexation by ceding the Karenni States. The British, alarmed by the consolidation of French Indochina, annexed the remainder of the country in the Third Anglo-Burmese War in 1885.

 

Konbaung kings extended Restored Toungoo's administrative reforms, and achieved unprecedented levels of internal control and external expansion. For the first time in history, the Burmese language and culture came to predominate the entire Irrawaddy valley. The evolution and growth of Burmese literature and theatre continued, aided by an extremely high adult male literacy rate for the era (half of all males and 5% of females).[53] Nonetheless, the extent and pace of reforms were uneven and ultimately proved insufficient to stem the advance of British colonialism.

British Burma (1824–1948)

Main articles: British rule in Burma and Burma Campaign

Burma in British India

The landing of British forces in Mandalay after the last of the Anglo-Burmese Wars, which resulted in the abdication of the last Burmese monarch, King Thibaw Min.

British troops firing a mortar on the Mawchi road, July 1944.

 

The eighteenth century saw Burmese rulers, whose country had not previously been of particular interest to European traders, seek to maintain their traditional influence in the western areas of Assam, Manipur and Arakan. Pressing them, however, was the British East India Company, which was expanding its interests eastwards over the same territory. Over the next sixty years, diplomacy, raids, treaties and compromises continued until, after three Anglo-Burmese Wars (1824–1885), Britain proclaimed control over most of Burma.[54] British rule brought social, economic, cultural and administrative changes.

 

With the fall of Mandalay, all of Burma came under British rule, being annexed on 1 January 1886. Throughout the colonial era, many Indians arrived as soldiers, civil servants, construction workers and traders and, along with the Anglo-Burmese community, dominated commercial and civil life in Burma. Rangoon became the capital of British Burma and an important port between Calcutta and Singapore.

 

Burmese resentment was strong and was vented in violent riots that paralysed Yangon (Rangoon) on occasion all the way until the 1930s.[55] Some of the discontent was caused by a disrespect for Burmese culture and traditions such as the British refusal to remove shoes when they entered pagodas. Buddhist monks became the vanguards of the independence movement. U Wisara, an activist monk, died in prison after a 166-day hunger strike to protest against a rule that forbade him to wear his Buddhist robes while imprisoned.[56]

Separation of British Burma from British India

 

On 1 April 1937, Burma became a separately administered colony of Great Britain and Ba Maw the first Prime Minister and Premier of Burma. Ba Maw was an outspoken advocate for Burmese self-rule and he opposed the participation of Great Britain, and by extension Burma, in World War II. He resigned from the Legislative Assembly and was arrested for sedition. In 1940, before Japan formally entered the Second World War, Aung San formed the Burma Independence Army in Japan.

 

A major battleground, Burma was devastated during World War II. By March 1942, within months after they entered the war, Japanese troops had advanced on Rangoon and the British administration had collapsed. A Burmese Executive Administration headed by Ba Maw was established by the Japanese in August 1942. Wingate's British Chindits were formed into long-range penetration groups trained to operate deep behind Japanese lines.[57] A similar American unit, Merrill's Marauders, followed the Chindits into the Burmese jungle in 1943.[58] Beginning in late 1944, allied troops launched a series of offensives that led to the end of Japanese rule in July 1945. The battles were intense with much of Burma laid waste by the fighting. Overall, the Japanese lost some 150,000 men in Burma. Only 1,700 prisoners were taken.[59]

 

Although many Burmese fought initially for the Japanese as part of the Burma Independence Army, many Burmese, mostly from the ethnic minorities, served in the British Burma Army.[60] The Burma National Army and the Arakan National Army fought with the Japanese from 1942 to 1944 but switched allegiance to the Allied side in 1945. Under Japanese occupation, 170,000 to 250,000 civilians died.[61]

 

Following World War II, Aung San negotiated the Panglong Agreement with ethnic leaders that guaranteed the independence of Myanmar as a unified state. Aung Zan Wai, Pe Khin, Bo Hmu Aung, Sir Maung Gyi, Dr. Sein Mya Maung, Myoma U Than Kywe were among the negotiators of the historical Panglong Conference negotiated with Bamar leader General Aung San and other ethnic leaders in 1947. In 1947, Aung San became Deputy Chairman of the Executive Council of Myanmar, a transitional government. But in July 1947, political rivals[62] assassinated Aung San and several cabinet members.[63]

Independence (1948–1962)

Main article: Post-independence Burma, 1948–62

British governor Hubert Elvin Rance and Sao Shwe Thaik at the flag raising ceremony on 4 January 1948 (Independence Day of Burma).

 

On 4 January 1948, the nation became an independent republic, named the Union of Burma, with Sao Shwe Thaik as its first President and U Nu as its first Prime Minister. Unlike most other former British colonies and overseas territories, Burma did not become a member of the Commonwealth. A bicameral parliament was formed, consisting of a Chamber of Deputies and a Chamber of Nationalities,[64] and multi-party elections were held in 1951–1952, 1956 and 1960.

 

The geographical area Burma encompasses today can be traced to the Panglong Agreement, which combined Burma Proper, which consisted of Lower Burma and Upper Burma, and the Frontier Areas, which had been administered separately by the British.[65]

 

In 1961, U Thant, then the Union of Burma's Permanent Representative to the United Nations and former Secretary to the Prime Minister, was elected Secretary-General of the United Nations, a position he held for ten years.[66] Among the Burmese to work at the UN when he was Secretary-General was a young Aung San Suu Kyi (daughter of Aung San), who went on to become winner of the 1991 Nobel Peace Prize.

 

When the non-Burman ethnic groups pushed for autonomy or federalism, alongside having a weak civilian government at the centre, the military leadership staged a coup d’état in 1962. Though incorporated in the 1947 Constitution, successive military governments construed the use of the term ‘federalism’ as being anti-national, anti-unity and pro-disintegration.[67]

Military rule (1962–2011)

 

On 2 March 1962, the military led by General Ne Win took control of Burma through a coup d'état, and the government has been under direct or indirect control by the military since then. Between 1962 and 1974, Myanmar was ruled by a revolutionary council headed by the general. Almost all aspects of society (business, media, production) were nationalised or brought under government control under the Burmese Way to Socialism,[68] which combined Soviet-style nationalisation and central planning.

 

A new constitution of the Socialist Republic of the Union of Burma was adopted in 1974. Until 1988, the country was ruled as a one-party system, with the General and other military officers resigning and ruling through the Burma Socialist Programme Party (BSPP).[69] During this period, Myanmar became one of the world's most impoverished countries.[70]

Protesters gathering in central Rangoon, 1988.

 

There were sporadic protests against military rule during the Ne Win years and these were almost always violently suppressed. On 7 July 1962, the government broke up demonstrations at Rangoon University, killing 15 students.[68] In 1974, the military violently suppressed anti-government protests at the funeral of U Thant. Student protests in 1975, 1976, and 1977 were quickly suppressed by overwhelming force.[69]

 

In 1988, unrest over economic mismanagement and political oppression by the government led to widespread pro-democracy demonstrations throughout the country known as the 8888 Uprising. Security forces killed thousands of demonstrators, and General Saw Maung staged a coup d'état and formed the State Law and Order Restoration Council (SLORC). In 1989, SLORC declared martial law after widespread protests. The military government finalised plans for People's Assembly elections on 31 May 1989.[71] SLORC changed the country's official English name from the "Socialist Republic of the Union of Burma" to the "Union of Myanmar" in 1989.

 

In May 1990, the government held free elections for the first time in almost 30 years and the National League for Democracy (NLD), the party of Aung San Suu Kyi, won 392 out of a total 492 seats (i.e., 80% of the seats). However, the military junta refused to cede power[72] and continued to rule the nation as SLORC until 1997, and then as the State Peace and Development Council (SPDC) until its dissolution in March 2011.

Protesters in Yangon during the 2007 Saffron Revolution with a banner that reads non-violence: national movement in Burmese. In the background is Shwedagon Pagoda.

 

On 23 June 1997, Myanmar was admitted into the Association of Southeast Asian Nations (ASEAN). On 27 March 2006, the military junta, which had moved the national capital from Yangon to a site near Pyinmana in November 2005, officially named the new capital Naypyidaw, meaning "city of the kings".[73]

Cyclone Nargis in southern Myanmar, May 2008.

 

In August 2007, an increase in the price of diesel and petrol led to the Saffron Revolution led by Buddhist monks that were dealt with harshly by the government.[74] The government cracked down on them on 26 September 2007. The crackdown was harsh, with reports of barricades at the Shwedagon Pagoda and monks killed. There were also rumours of disagreement within the Burmese armed forces, but none was confirmed. The military crackdown against unarmed protesters was widely condemned as part of the international reactions to the Saffron Revolution and led to an increase in economic sanctions against the Burmese Government.

 

In May 2008, Cyclone Nargis caused extensive damage in the densely populated, rice-farming delta of the Irrawaddy Division.[75] It was the worst natural disaster in Burmese history with reports of an estimated 200,000 people dead or missing, damage totalled to 10 billion US dollars, and as many as 1 million left homeless.[76] In the critical days following this disaster, Myanmar's isolationist government was accused of hindering United Nations recovery efforts.[77] Humanitarian aid was requested but concerns about foreign military or intelligence presence in the country delayed the entry of United States military planes delivering medicine, food, and other supplies.[78]

 

In early August 2009, a conflict known as the Kokang incident broke out in Shan State in northern Myanmar. For several weeks, junta troops fought against ethnic minorities including the Han Chinese,[79] Wa, and Kachin.[80][81] During 8–12 August, the first days of the conflict, as many as 10,000 Burmese civilians fled to Yunnan province in neighbouring China.[80][81][82]

Civil wars

Main articles: Internal conflict in Myanmar, Kachin Conflict, Karen conflict, and 2015 Kokang offensive

 

Civil wars have been a constant feature of Myanmar's socio-political landscape since the attainment of independence in 1948. These wars are predominantly struggles for ethnic and sub-national autonomy, with the areas surrounding the ethnically Bamar central districts of the country serving as the primary geographical setting of conflict. Foreign journalists and visitors require a special travel permit to visit the areas in which Myanmar's civil wars continue.[83]

 

In October 2012, the ongoing conflicts in Myanmar included the Kachin conflict,[84] between the Pro-Christian Kachin Independence Army and the government;[85] a civil war between the Rohingya Muslims, and the government and non-government groups in Rakhine State;[86] and a conflict between the Shan,[87] Lahu, and Karen[88][89] minority groups, and the government in the eastern half of the country. In addition, al-Qaeda signalled an intention to become involved in Myanmar. In a video released on 3 September 2014, mainly addressed to India, the militant group's leader Ayman al-Zawahiri said al-Qaeda had not forgotten the Muslims of Myanmar and that the group was doing "what they can to rescue you".[90] In response, the military raised its level of alertness, while the Burmese Muslim Association issued a statement saying Muslims would not tolerate any threat to their motherland.[91]

 

Armed conflict between ethnic Chinese rebels and the Myanmar Armed Forces have resulted in the Kokang offensive in February 2015. The conflict had forced 40,000 to 50,000 civilians to flee their homes and seek shelter on the Chinese side of the border.[92] During the incident, the government of China was accused of giving military assistance to the ethnic Chinese rebels. Burmese officials have been historically "manipulated" and pressured by the Chinese government throughout Burmese modern history to create closer and binding ties with China, creating a Chinese satellite state in Southeast Asia.[93] However, uncertainties exist as clashes between Burmese troops and local insurgent groups continue.

Democratic reforms

Main article: 2011–12 Burmese political reforms

 

The goal of the Burmese constitutional referendum of 2008, held on 10 May 2008, is the creation of a "discipline-flourishing democracy". As part of the referendum process, the name of the country was changed from the "Union of Myanmar" to the "Republic of the Union of Myanmar", and general elections were held under the new constitution in 2010. Observer accounts of the 2010 election describe the event as mostly peaceful; however, allegations of polling station irregularities were raised, and the United Nations (UN) and a number of Western countries condemned the elections as fraudulent.[94]

U.S. President Barack Obama and Secretary of State Hillary Clinton with Aung San Suu Kyi and her staff at her home in Yangon, 2012

 

The military-backed Union Solidarity and Development Party declared victory in the 2010 elections, stating that it had been favoured by 80 percent of the votes; however, the claim was disputed by numerous pro-democracy opposition groups who asserted that the military regime had engaged in rampant fraud.[95][96] One report documented 77 percent as the official turnout rate of the election.[95] The military junta was dissolved on 30 March 2011.

 

Opinions differ whether the transition to liberal democracy is underway. According to some reports, the military's presence continues as the label "disciplined democracy" suggests. This label asserts that the Burmese military is allowing certain civil liberties while clandestinely institutionalising itself further into Burmese politics. Such an assertion assumes that reforms only occurred when the military was able to safeguard its own interests through the transition—here, "transition" does not refer to a transition to a liberal democracy, but transition to a quasi-military rule.[97]

 

Since the 2010 election, the government has embarked on a series of reforms to direct the country towards liberal democracy, a mixed economy, and reconciliation, although doubts persist about the motives that underpin such reforms. The series of reforms includes the release of pro-democracy leader Aung San Suu Kyi from house arrest, the establishment of the National Human Rights Commission, the granting of general amnesties for more than 200 political prisoners, new labour laws that permit labour unions and strikes, a relaxation of press censorship, and the regulation of currency practices.[98]

 

The impact of the post-election reforms has been observed in numerous areas, including ASEAN's approval of Myanmar's bid for the position of ASEAN chair in 2014;[99] the visit by United States Secretary of State Hillary Clinton in December 2011 for the encouragement of further progress, which was the first visit by a Secretary of State in more than fifty years,[100] during which Clinton met with the Burmese president and former military commander Thein Sein, as well as opposition leader Aung San Suu Kyi;[101] and the participation of Aung San Suu Kyi's National League for Democracy (NLD) party in the 2012 by-elections, facilitated by the government's abolition of the laws that previously barred the NLD.[102] As of July 2013, about 100[103][104] political prisoners remain imprisoned, while conflict between the Burmese Army and local insurgent groups continues.

Map of Myanmar and its divisions, including Shan State, Kachin State, Rakhine State and Karen State.

 

In 1 April 2012 by-elections, the NLD won 43 of the 45 available seats; previously an illegal organisation, the NLD had not won a single seat under new constitution. The 2012 by-elections were also the first time that international representatives were allowed to monitor the voting process in Myanmar.[105]

2015 general elections

Main article: Myanmar general election, 2015

 

General elections were held on 8 November 2015. These were the first openly contested elections held in Myanmar since 1990. The results gave the National League for Democracy an absolute majority of seats in both chambers of the national parliament, enough to ensure that its candidate would become president, while NLD leader Aung San Suu Kyi is constitutionally barred from the presidency.[106]

 

The new parliament convened on 1 February 2016[107] and, on 15 March 2016, Htin Kyaw was elected as the first non-military president since the military coup of 1962.[108] On 6 April 2016, Aung San Suu Kyi assumed the newly created role of State Counsellor, a role akin to a Prime Minister.

Geography

Main article: Geography of Myanmar

A map of Myanmar

Myanmar map of Köppen climate classification.

 

Myanmar has a total area of 678,500 square kilometres (262,000 sq mi). It lies between latitudes 9° and 29°N, and longitudes 92° and 102°E. As of February 2011, Myanmar consisted of 14 states and regions, 67 districts, 330 townships, 64 sub-townships, 377 towns, 2,914 Wards, 14,220 village tracts and 68,290 villages.

 

Myanmar is bordered in the northwest by the Chittagong Division of Bangladesh and the Mizoram, Manipur, Nagaland and Arunachal Pradesh states of India. Its north and northeast border is with the Tibet Autonomous Region and Yunnan province for a Sino-Myanmar border total of 2,185 km (1,358 mi). It is bounded by Laos and Thailand to the southeast. Myanmar has 1,930 km (1,200 mi) of contiguous coastline along the Bay of Bengal and Andaman Sea to the southwest and the south, which forms one quarter of its total perimeter.[20]

 

In the north, the Hengduan Mountains form the border with China. Hkakabo Razi, located in Kachin State, at an elevation of 5,881 metres (19,295 ft), is the highest point in Myanmar.[109] Many mountain ranges, such as the Rakhine Yoma, the Bago Yoma, the Shan Hills and the Tenasserim Hills exist within Myanmar, all of which run north-to-south from the Himalayas.[110]

 

The mountain chains divide Myanmar's three river systems, which are the Irrawaddy, Salween (Thanlwin), and the Sittaung rivers.[111] The Irrawaddy River, Myanmar's longest river, nearly 2,170 kilometres (1,348 mi) long, flows into the Gulf of Martaban. Fertile plains exist in the valleys between the mountain chains.[110] The majority of Myanmar's population lives in the Irrawaddy valley, which is situated between the Rakhine Yoma and the Shan Plateau.

Administrative divisions

Main article: Administrative divisions of Myanmar

A clickable map of Burma/Myanmar exhibiting its first-level administrative divisions.

About this image

 

Myanmar is divided into seven states (ပြည်နယ်) and seven regions (တိုင်းဒေသကြီး), formerly called divisions.[112] Regions are predominantly Bamar (that is, mainly inhabited by the dominant ethnic group). States, in essence, are regions that are home to particular ethnic minorities. The administrative divisions are further subdivided into districts, which are further subdivided into townships, wards, and villages.

 

Climate

Main article: Climate of Myanmar

The limestone landscape of Mon State.

 

Much of the country lies between the Tropic of Cancer and the Equator. It lies in the monsoon region of Asia, with its coastal regions receiving over 5,000 mm (196.9 in) of rain annually. Annual rainfall in the delta region is approximately 2,500 mm (98.4 in), while average annual rainfall in the Dry Zone in central Myanmar is less than 1,000 mm (39.4 in). The Northern regions of Myanmar are the coolest, with average temperatures of 21 °C (70 °F). Coastal and delta regions have an average maximum temperature of 32 °C (89.6 °F).[111]

Environment

Further information: Deforestation in Myanmar

 

Myanmar continues to perform badly in the global Environmental Performance Index (EPI) with an overall ranking of 153 out of 180 countries in 2016; among the worst in the South Asian region, only ahead of Bangladesh and Afghanistan. The EPI was established in 2001 by the World Economic Forum as a global gauge to measure how well individual countries perform in implementing the United Nations' Sustainable Development Goals. The environmental areas where Myanmar performs worst (ie. highest ranking) are air quality (174), health impacts of environmental issues (143) and biodiversity and habitat (142). Myanmar performs best (ie. lowest ranking) in environmental impacts of fisheries (21), but with declining fish stocks. Despite several issues, Myanmar also ranks 64 and scores very good (ie. a high percentage of 93.73%) in environmental effects of the agricultural industry because of an excellent management of the nitrogen cycle.[114][115]

Wildlife

 

Myanmar's slow economic growth has contributed to the preservation of much of its environment and ecosystems. Forests, including dense tropical growth and valuable teak in lower Myanmar, cover over 49% of the country, including areas of acacia, bamboo, ironwood and Magnolia champaca. Coconut and betel palm and rubber have been introduced. In the highlands of the north, oak, pine and various rhododendrons cover much of the land.[116]

 

Heavy logging since the new 1995 forestry law went into effect has seriously reduced forest acreage and wildlife habitat.[117] The lands along the coast support all varieties of tropical fruits and once had large areas of mangroves although much of the protective mangroves have disappeared. In much of central Myanmar (the Dry Zone), vegetation is sparse and stunted.

 

Typical jungle animals, particularly tigers, occur sparsely in Myanmar. In upper Myanmar, there are rhinoceros, wild water buffalo, clouded leopard, wild boars, deer, antelope, and elephants, which are also tamed or bred in captivity for use as work animals, particularly in the lumber industry. Smaller mammals are also numerous, ranging from gibbons and monkeys to flying foxes. The abundance of birds is notable with over 800 species, including parrots, myna, peafowl, red junglefowl, weaverbirds, crows, herons, and barn owl. Among reptile species there are crocodiles, geckos, cobras, Burmese pythons, and turtles. Hundreds of species of freshwater fish are wide-ranging, plentiful and are very important food sources.[118] For a list of protected areas, see List of protected areas of Myanmar.

Government and politics

Main article: Politics of Myanmar

Assembly of the Union (Pyidaungsu Hluttaw)

 

The constitution of Myanmar, its third since independence, was drafted by its military rulers and published in September 2008. The country is governed as a parliamentary system with a bicameral legislature (with an executive President accountable to the legislature), with 25% of the legislators appointed by the military and the rest elected in general elections.

PGB Photographer & Creative - © 2022 Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.

The narrow channel formed by the Piers is 72 [m.] wide and its depth of water varies between 40 [m.] 55 [cm.] and 7 [m.] 90 [cm.]

G. Artaud, éditeur. av de la Close – Nantes

Edition Gaby

Postmarked August 6, 1938

 

after some further shaping on the chelicerae and mainly legs.

i made the pedipalps raised to correspond with the wide-open chelicerae to form a propper offensive pose before it will strike =P

though there are plenty of widespread myths about this arachnid, increasing its speed to 45mph and size to up to 3 feet across (obvious nonsense, but they still can go up to 10 mph, which is still faster that a human could perform in a desert environment, and the species in the muslim countries can grow around 6 inches across, which would still bring nightmares to arachnophobics, and to say the truth, i would probably run away from so big one myself, though being fascinated with this kind of creepy animals =P) the other myth says they clap with their chelicerae when they run. i don't know anything exact about them doing it when run, but they do clap with their mouthparts, creating a sound similar to the rattlesnake's tail. and it has the same purpose - warning. they aren't poisonous but they can bite painfully. (not to mention the myths about them being poisonous, or that they feed on camels and hence the name... there were myths that an iraq-war soldier lost hand asleep after he was bitten by this thing... what do you think folks? =/.... :-D)

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Zhangye National Geopark - Gansu Province - China

 

This scenery is composed of amaranth hillocks, formed by water erosion. Colourful hills formed by red-and-white rock layers.

The landforms in Zhangye were formed from red beds in the Mesozoic era from 135 to 65 million years ago.

 

The Zhangye Danxia National Geological Park (Chinese: 张掖丹霞国家地质公园), also known as Zhangye Danxia (Landform) Geopark, is located near the city of Zhangye in China's northwestern Gansu province. Known for its colorful rock formations, it has been voted by Chinese media outlets as one of the most beautiful landforms in China

 

en.wikipedia.org/wiki/Zhangye_Danxia_National_Geological_...

I have always liked this crusty old industrial building, especially when the ivy that covers the corner turns red in the fall. By contrast, the sign seen here represents a high tech company that centers around machining for an aerospace and defense group.

The long facade on Sterling Avenue has a lot of these caged windows which make it possible to open the windows though the screens would not keep bugs out. They might be more to prevent people from getting in or out!

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Split light with 2 softboxes, one to camera left, the other to camera right.

 

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1920s box camera manufactured by W. Butcher & Sons, London. Meniscus lens, 3 sliding stops. Takes 120 film.

Chloe Bruce at Judgement Day 2011.

 

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Skate Show 2018

embodied form: 198

7.16.16 nll

 

I created these two “couplings” tonight. I might cut them out and start piecing them together to see how they interact with each other. I used one of the pods as inspiration for another ‘digital sketch’.

HINDU GODDESS KALI

Kālī, also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, shakti. She is the fierce aspect of the goddess Durga (Parvati). The name Kali comes from kāla, which means black, time, death, lord of death: Shiva. Since Shiva is called Kāla— the eternal time — the name of Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Hence, Kāli is the Goddess of Time and Change. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilation of evil forces still has some influence. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. Comparatively recent devotional movements largely conceive Kāli as a benevolent mother goddess. Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing. Shiva lies in the path of Kali, whose foot on Shiva subdues her anger.

 

ETYMOLOGY

Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time" but also means "black" in honor of being the first creation before light itself. Kālī means "the black one" and refers to her being the entity of "time" or "beyond time." Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) to come from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः। तस्य पत्नीति - काली। kālaḥ śivaḥ। tasya patnīti kālī - "Shiva is Kāla, thus, his consort is Kāli" referring to Devi Parvathi being a manifestation of Devi MahaKali.

 

Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.

 

Kāli's association with darkness stands in contrast to her consort, Shiva, who manifested after her in creation, and who symbolises the rest of creation after Time is created. In his supreme awareness of Maya, his body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī.

 

ORIGINS

Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7). Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, "black night") and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona's son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija ("Bloodseed"). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.

 

According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts "usually place her on the periphery of Hindu society or on the battlefield." She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.

 

WORSHIP & MANTRA

Kali could be considered a general concept, like Durga, and is mostly worshiped in the Kali Kula sect of worship. The closest way of direct worship is Maha Kali or Bhadra Kali (Bhadra in Sanskrit means 'gentle'). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti (Goddess Durga) or Bhagavathy according to the region. The mantra for worship is called Devi Argala Stotram.

Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥

 

ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा क्षमा शिवा धात्री स्वाहा स्वधा नमोऽस्तु‍ते ॥

(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.

Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā kṣamā śivā dhātrī svāhā svadhā namō'stu‍tē.)

 

TANTRA

Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kāli who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kāli is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kāli's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.

 

In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial sakti, and in one passage Shiva praises her:

 

At the dissolution of things, it is Kāla [Time] Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art.

 

The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation. This is clear in the work of the Karpuradi-stotra, a short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)

 

He, O Mahākāli who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.

 

The Karpuradi-stotra clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.

 

BENGALI TRADITION

Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.

 

The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kāli's teachings adopting the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Rāmprasād's work. Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin.

 

To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.

 

A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama Sangeet ("Music of the Night"). Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyāma Sāngeet is Pannalal Bhattacharya.

 

In Bengal, Kāli is venerated in the festival Kali Puja, the new moon day of Ashwin month which coincides with Diwali festival.

 

In a unique form of Kāli worship, Shantipur worships Kāli in the form of a hand painted image of the deity known as Poteshwari (meaning the deity drawn on a piece of cloth).

 

LEGENDS

SLAYER OF RAKTABIJA

In Kāli's most famous legend, Devi Durga (Adi Parashakti) and her assistants, the Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabija he reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates. Durga, in need of help, summons Kāli to combat the demons. It is said, in some versions, that Goddess Durga actually assumes the form of Goddess Kāli at this time. The Devi Mahatmyam describes:

 

Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.

 

Kali destroys Raktabija by sucking the blood from his body and putting the many Raktabija duplicates in her gaping mouth. Pleased with her victory, Kali then dances on the field of battle, stepping on the corpses of the slain. In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda. Chamunda is very often identified with Kali and is very much like her in appearance and habit.

 

DAKSHINA KALI

In her most famous pose as Daksinakali, popular legends say that Kali, becoming drunk on the blood of her victims on the battlefield, dances with destructive frenzy. She is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her. In her fury, she fails to see the body of Shiva lying amongst the corpses on the battlefield and steps upon his chest. Realizing Shiva lies beneath her feet, her anger is pacified and she calms her fury. Though not included in any of the puranas, popular legends state that Kali was ashamed at the prospect of keeping her husband beneath her feet and thus stuck her tongue out in shame. The Devi-Bhagavata Purana, which goes into great depths about the goddess Kali, reveals the tongue's actual symbolism.

 

The characteristic icons that depict Kali are the following; unbridled matted hair, open blood shot eyes, open mouth and a drooping tongue; in her hands, she holds a Khadga (bent sword or scimitar) and a human head; she has a girdle of human hands across her waist and an enchanted Shiva lies beneath her feet. Each of these icons represent a deep philosophical epithet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali is undoubtedly the primeval energy. The depiction of Kali on Shiva shows that without energy, matter lies "dead". This concept has been simplified to a folk-tale depicting a wife placing her foot on her husband and sticking her tongue out in shame. In tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva.

 

If Kali steps on Shiva with her right foot and holds the sword in her left hand, she is considered to be Dakshina Kali. The Dakshina Kali Temple has important religious associations with the Jagannath Temple and it is believed that Daksinakali is the guardian of the kitchen of the Lord Jagannath Temple. Puranic tradition says that in Puri, Lord Jagannath is regarded as Daksinakalika. Goddess Dakshinakali plays an important role in the 'Niti' of Saptapuri Amavasya.

 

One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in the forest of Thiruvalankadu or Thiruvalangadu. She terrorizes the surrounding area with her fierce, disruptive nature. One of Shiva's devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, claiming the territory as her own. Shiva challenges Kali to a dance contest; both of them dance and Kali matches Shiva in every step that he takes until Shiva takes the "Urdhvatandava" step, by vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and became pacified.

 

SMASHAN KALI

If the Kali steps out with the left foot and holds the sword in her right hand, she is the terrible form of Mother, the Smashan Kali of the cremation ground. She is worshiped by tantrics, the followers of Tantra, who believe that one's spiritual discipline practiced in a smashan (cremation ground) brings success quickly. Sarda Devi, the consort of Ramakrishna Paramhansa, worshipped Smashan Kali at Dakshineshwar.

 

MATERNAL KALI

Another legend depicts the infant Shiva calming Kali. In this similar story, Kali has defeated her enemies on the battlefield and begun to dance out of control, drunk on the blood of the slain. To calm her down and to protect the stability of the world, Shiva is sent to the battlefield, as an infant, crying aloud. Seeing the child's distress, Kali ceases dancing to care for the helpless infant. She picks him up, kisses his head, and proceeds to breast feed the infant Shiva. This legend is notable because it shows Kali in her benevolent, maternal aspect, with which she is not usually identified.

 

MAHAKALI

Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली), literally translated as Great Kali, is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also be used as an honorific of the Goddess Kali, signifying her greatness by the prefix "Mahā-". Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi Mahatmya. Here she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who allows the cosmic order to be restored.

 

Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is carrying a various implement which vary in different accounts, but each of these represent the power of one of the Devas or Hindu Gods and are often the identifying weapon or ritual item of a given Deva. The implication is that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one headed image may be displayed with ten arms, signifying the same concept: the powers of the various Gods come only through Her grace.

 

ICONOGRAPHY

Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in color but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing on a seemingly dead Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.

 

In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces and ten feet and three eyes. She has ornaments decked on all her limbs. There is no association with Shiva.

 

The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.

 

In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible form, she is also often seen as a great protector. When the Bengali saint Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, "Maharaj, when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?"

 

According to Ramakrishna, darkness is the Ultimate Mother, or Kali:

 

My Mother is the principle of consciousness. She is Akhanda Satchidananda; indivisible Reality, Awareness, and Bliss. The night sky between the stars is perfectly black. The waters of the ocean depths are the same; The infinite is always mysteriously dark. This inebriating darkness is my beloved Kali.

 

SRI RAMAKRISHNA

This is clear in the works of such contemporary artists as Charles Wish, and Tyeb Mehta, who sometimes take great liberties with the traditional, accepted symbolism, but still demonstrate a true reverence for the Shakta sect.

 

POPULAR FORM

Classic depictions of Kali share several features, as follows:

 

Kali's most common four armed iconographic image shows each hand carrying variously a sword, a trishul (trident), a severed head and a bowl or skull-cup (kapala) catching the blood of the severed head.

 

Two of these hands (usually the left) are holding a sword and a severed head. The Sword signifies Divine Knowledge and the Human Head signifies human Ego which must be slain by Divine Knowledge in order to attain Moksha. The other two hands (usually the right) are in the abhaya (fearlessness) and varada (blessing) mudras, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.

 

She has a garland consisting of human heads, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a Japa Mala or rosary for repetition of Mantras) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari. Hindus believe Sanskrit is a language of dynamism, and each of these letters represents a form of energy, or a form of Kali. Therefore she is generally seen as the mother of language, and all mantras.

 

She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti. She is shown as very dark as she is brahman in its supreme unmanifest state. She has no permanent qualities - she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, bad do not apply to her - she is the pure, un-manifested energy, the Adi-shakti.

 

SHIVA IN KALI ICONOGRAPHY

In both these images she is shown standing on the prone, inert or dead body of Shiva. There is a legend for the reason behind her standing on what appears to be Shiva's corpse, which translates as follows:

 

Once Kali had destroyed all the demons in battle, she began a terrific dance out of the sheer joy of victory. All the worlds or lokas began to tremble and sway under the impact of her dance. So, at the request of all the Gods, Shiva himself asked her to desist from this behavior. However, she was too intoxicated to listen. Hence, Shiva lay like a corpse among the slain demons in order to absorb the shock of the dance into himself. When Kali eventually stepped upon Shiva, she realized she was trampling and hurting her husband and bit her tongue in shame.

 

The story described here is a popular folk tale and not described or hinted in any of the puranas. The puranic interpretation is as follows:

 

Once, Parvati asks Shiva to chose the one form among her 10 forms which he likes most. To her surprise, Shiva reveals that he is most comfortable with her Kali form, in which she is bereft of her jewellery, her human-form, her clothes, her emotions and where she is only raw, chaotic energy, where she is as terrible as time itself and even greater than time. As Parvati takes the form of Kali, Shiva lies at her feet and requests her to place her foot on his chest, upon his heart. Once in this form, Shiva requests her to have this place, below her feet in her iconic image which would be worshiped throughout.

 

This idea has been explored in the Devi-Bhagavata Purana and is most popular in the Shyama Sangeet, devotional songs to Kali from the 12th to 15th centuries.

 

The Tantric interpretation of Kali standing on top of her husband is as follows:

 

The Shiv tattava (Divine Consciousness as Shiva) is inactive, while the Shakti tattava (Divine Energy as Kali) is active. Shiva and Kali represent Brahman, the Absolute pure consciousness which is beyond all names, forms and activities. Kali, on the other hand, represents the potential (and manifested) energy responsible for all names, forms and activities. She is his Shakti, or creative power, and is seen as the substance behind the entire content of all consciousness. She can never exist apart from Shiva or act independently of him, just as Shiva remains a mere corpse without Kali i.e., Shakti, all the matter/energy of the universe, is not distinct from Shiva, or Brahman, but is rather the dynamic power of Brahman. Hence, Kali is Para Brahman in the feminine and dynamic aspect while Shiva is the male aspect and static. She stands as the absolute basis for all life, energy and beneath her feet lies, Shiva, a metaphor for mass, which cannot retain its form without energy.

 

While this is an advanced concept in monistic Shaktism, it also agrees with the Nondual Trika philosophy of Kashmir, popularly known as Kashmir Shaivism and associated most famously with Abhinavagupta. There is a colloquial saying that "Shiva without Shakti is Shava" which means that without the power of action (Shakti) that is Mahakali (represented as the short "i" in Devanagari) Shiva (or consciousness itself) is inactive; Shava means corpse in Sanskrit and the play on words is that all Sanskrit consonants are assumed to be followed by a short letter "a" unless otherwise noted. The short letter "i" represents the female power or Shakti that activates Creation. This is often the explanation for why She is standing on Shiva, who is either Her husband and complement in Shaktism or the Supreme Godhead in Shaivism.

 

To properly understand this complex Tantric symbolism it is important to remember that the meaning behind Shiva and Kali does not stray from the non-dualistic parlance of Shankara or the Upanisads. According to both the Mahanirvana and Kularnava Tantras, there are two distinct ways of perceiving the same absolute reality. The first is a transcendental plane which is often described as static, yet infinite. It is here that there is no matter, there is no universe and only consciousness exists. This form of reality is known as Shiva, the absolute Sat-Chit-Ananda - existence, knowledge and bliss. The second is an active plane, an immanent plane, the plane of matter, of Maya, i.e., where the illusion of space-time and the appearance of an actual universe does exist. This form of reality is known as Kali or Shakti, and (in its entirety) is still specified as the same Absolute Sat-Chit-Ananda. It is here in this second plane that the universe (as we commonly know it) is experienced and is described by the Tantric seer as the play of Shakti, or God as Mother Kali.

 

From a Tantric perspective, when one meditates on reality at rest, as absolute pure consciousness (without the activities of creation, preservation or dissolution) one refers to this as Shiva or Brahman. When one meditates on reality as dynamic and creative, as the Absolute content of pure consciousness (with all the activities of creation, preservation or dissolution) one refers to it as Kali or Shakti. However, in either case the yogini or yogi is interested in one and the same reality - the only difference being in name and fluctuating aspects of appearance. It is this which is generally accepted as the meaning of Kali standing on the chest of Shiva.

 

Although there is often controversy surrounding the images of divine copulation, the general consensus is benign and free from any carnal impurities in its substance. In Tantra the human body is a symbol for the microcosm of the universe; therefore sexual process is responsible for the creation of the world. Although theoretically Shiva and Kali (or Shakti) are inseparable, like fire and its power to burn, in the case of creation they are often seen as having separate roles. With Shiva as male and Kali as female it is only by their union that creation may transpire. This reminds us of the prakrti and purusa doctrine of Samkhya wherein prakāśa- vimarśa has no practical value, just as without prakrti, purusa is quite inactive. This (once again) stresses the interdependencies of Shiva and Shakti and the vitality of their union.

 

Gopi Krishna proposed that Kali standing on the dead Shiva or Shava (Sanskrit for dead body) symbolised the helplessness of a person undergoing the changing process (psychologically and physiologically) in the body conducted by the Kundalini Shakti.

 

DEVELOPMENT

In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable, and only Shiva is able to tame her just as only Kali can tame Shiva. This is both because she is often a transformed version of one of his consorts and because he is able to match her wildness.

 

The ancient text of Kali Kautuvam describes her competition with Shiva in dance, from which the sacred 108 Karanas appeared. Shiva won the competition by acting the urdva tandava, one of the Karanas, by raising his feet to his head. Other texts describe Shiva appearing as a crying infant and appealing to her maternal instincts. While Shiva is said to be able to tame her, the iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes close to unravelling.

 

Shiva's involvement with Tantra and Kali's dark nature have led to her becoming an important Tantric figure. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they accepted Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes grew beyond that of a chaos - which could be confronted - to that of one who could bring wisdom, and she is given great metaphysical significance by some Tantric texts. The Nirvāna-tantra clearly presents her uncontrolled nature as the Ultimate Reality, claiming that the trimurti of Brahma, Vishnu and Rudra arise and disappear from her like bubbles from the sea. Although this is an extreme case, the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra declare her the svarupa (own-being) of the Mahadevi (the great Goddess, who is in this case seen as the combination of all devis).

 

The final stage of development is the worshipping of Kali as the Great Mother, devoid of her usual violence. This practice is a break from the more traditional depictions. The pioneers of this tradition are the 18th century Shakta poets such as Ramprasad Sen, who show an awareness of Kali's ambivalent nature. Ramakrishna, the 19th century Bengali saint, was also a great devotee of Kali; the western popularity of whom may have contributed to the more modern, equivocal interpretations of this Goddess. Rachel McDermott's work, however, suggests that for the common, modern worshipper, Kali is not seen as fearful, and only those educated in old traditions see her as having a wrathful component. Some credit to the development of Devi must also be given to Samkhya. Commonly referred to as the Devi of delusion, Mahamaya or Durga, acting in the confines of (but not being bound by) the nature of the three gunas, takes three forms: Maha-Kali, Maha-Lakshmi and Maha-Saraswati, being her tamas-ika, rajas-ika and sattva-ika forms. In this sense, Kali is simply part of a larger whole.

 

Like Sir John Woodroffe and Georg Feuerstein, many Tantric scholars (as well as sincere practitioners) agree that, no matter how propitious or appalling you describe them, Shiva and Devi are simply recognizable symbols for everyday, abstract (yet tangible) concepts such as perception, knowledge, space-time, causation and the process of liberating oneself from the confines of such things. Shiva, symbolizing pure, absolute consciousness, and Devi, symbolizing the entire content of that consciousness, are ultimately one and the same - totality incarnate, a micro-macro-cosmic amalgamation of all subjects, all objects and all phenomenal relations between the "two." Like man and woman who both share many common, human traits yet at the same time they are still different and, therefore, may also be seen as complementary.

 

Worshippers prescribe various benign and horrific qualities to Devi simply out of practicality. They do this so they may have a variety of symbols to choose from, symbols which they can identify and relate with from the perspective of their own, ever-changing time, place and personal level of unfolding. Just like modern chemists or physicists use a variety of molecular and atomic models to describe what is unperceivable through rudimentary, sensory input, the scientists of ontology and epistemology must do the same. One of the underlying distinctions of Tantra, in comparison to other religions, is that it allows the devotee the liberty to choose from a vast array of complementary symbols and rhetoric which suit one's evolving needs and tastes. From an aesthetic standpoint, nothing is interdict and nothing is orthodox. In this sense, the projection of some of Devi's more gentle qualities onto Kali is not sacrilege and the development of Kali really lies in the practitioner, not the murthi.

______________________

 

HINDU GODDESS DURGA

Durga, meaning "the inaccessible" or "the invincible", is the most popular incarnation of Devi and one of the main forms of the Goddess Shakti in the Hindu pantheon. Durga is the original manifested form of Mother Parvati or Adi-Parashakti. Durga is Adi-Parashakti herself. The Devi Gita, declares her to be the greatest Goddess. Thus, she is considered the supreme goddess and primary deity in Shaktism, occupying a place similar to Lord Krishna in Vaishnavism. According to Skanda Purana, the goddess Parvati accounted the name "Durga" after she killed the demon Durgamaasura. Goddess Parvati is considered to be the complete incarnation of Adi Parashakti or Goddess Durga, with all other goddesses being her incarnations or manifestations. Adi Parashakti or Mahadevi, the supreme power, is called Durga Shakti as per Devi-Mahatmya. Adi Parashakti or Devi Durga is a Hindu concept of the Ultimate Shakti or Mahashakti, the ultimate power inherent in all Creation. This is especially prevalent in the Shakta denomination within Hinduism, which worships the Goddess Devi in all her manifestations. She is Goddess Lakshmi and Goddess Saraswati in her mild form; Goddess Kali and Goddess Chandi in her wrathful form. Durga is also called Padmanabha-Sahodari and Narayani, the sister of Lord Vishnu. According to Shaivism and Shaktism She is supreme, but to bring back lord Shiva in Sansar, she was reborn in human form (Sati and Parvati) to marry Shiva. Durga gave birth to his first child Kartikeya.

 

ORIGINS & DEVELOPMENT

Ramprasad Chanda writes the following about the development of Durga from primitive goddess to her current form:

 

"...it is possible to distinguish two different strata – one primitive and the other advanced. The primitive form of Durga is the result of syncretism of a mountain-goddess worshiped by the dwellers of the Himalaya and the Vindhyas, a goddess worshiped by the nomadic Abhira shepherd, the vegetation spirit conceived as a female, and a war-goddess. As her votaries advanced in civilization the primitive war-goddess was transformed into the personification of the all-destroying time (Kali), the vegetation spirit into the primordial energy (Adya Sakti) and the saviouress from “samsara” (cycle of rebirths) , and gradually brought into line with the Brahmanic mythology and philosophy."

 

It is not possible to date her The delusion of the supreme soul is otherwise called Shakti (power). From this power, generates all forms of knowledge of the world and it is accepted as vital cause of creation, existence and destruction. According to 'Shree Durga Shaptshati- Rahasyam', the original power is Mahalaxmi that created three pairs of Supreme Powers. They are Brahma, Vishnu and Shiva as male and Saraswati, Laxmi and Parvati as female, and they married respectively. Maha Saraswati is well known as Brahmani, Mahalaxmi as Vaishnavi and Mahakali as Maheswari. Durga Shakti is the original cause of all the present or past worldly occurrences. Durga Shakti is called as Adhyashakti, Paramatma Shakti or Ati Prakrutika Shakti. She is creating and controlling other two powers: Natural and General. Natural Power is called as Atma Shakti, Prakrutika Shakti, Pancha Mahabhuta Shakti etc. This Shakti creates and controls the General Energy. General Energies are called Jada Shakti or Tamashakti. By the blessings of Durga Shakti, the mother of the Universe, man is able to get his emancipation or salvation and indulge in enjoyments in performance of his daily activities. So Vyasadev, the eminent poet of "Devi Bhagwat", has aptly described "Rudrahinam Vishnuhinam na vadanti janastatha Shaktihinam Yathasarbe probodhanti Naradhamam". The powerless persons are despised as mean persons. So, by being devoted to the Supreme, we should be strong and powerful by her grace.

 

STORIES

Shiva Purana gives an account of the origin of Durga. At the beginning of time, Lord Shiva invoked Durga, the primordial energy from his left half to create. Together they created their eternal abode, Shivaloka, also known as Kashi. Thereafter, they created Vishnu and Brahma.

 

As per Shiva Purana and Devi Mahatmyah, Mahishasura, the son of demon Rambha, unleashed reign of terror on earth. When gods intervened, Mahishasura defeated gods and banished them from heaven. Vanquished gods went to Trideva- Brahma, Vishnu and Shiva. As they narrated their woeful tale, immense mass of light manifested from Lord Vishnu's mouth, which was joined by similar rays that emerged from the enraged faces of gods. This mass of light transformed into a woman. Then all the Gods gave their devine weapon to that supreme power. Adishakti re-manifested as Durga to slay Mahishasura. Armed with celestial weapons of all deities and decked with divine ornaments, Durga rode into the battle field and challenged demons for battle. Mahishasura's entire army, led by demons like Chikshur, Chamar, Asiloma, Vidalaksha, Durdhara, Durmukha, Mahahanu and many more attacked Durga at once. But Durga slew all of them with unparalleled cruelty. An enraged Mahishasura attacked Durga in guise of a buffalo. But Durga bound it with ropes. The buffalo morphed into a lion and lept on Durga, but she beheaded it with her sword. At this, Mahishasura began to fight in form of a swordsman. Durga pinned him down with a torrent of arrows. Mahishasura now assumed form of a giant elephant and tugged at Durga's lion. Durga lopped off its trunk with her sword and freed her lion. The elephent turned into a buffalo and charged at Durga. Sipping from her wine cup, Durga flung her trident and beheaded Mahishasura, finally killing him.

 

WIKIPEDIA

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Vitraux de la cathédrale Saint-Julien du Mans au Pays de la Loire

Henry Moore - Form and Material - Museum Beelden aan Zee - The Hague

In collaboration with the Henry Moore Foundation, Museum Beelden aan Zee has made a selection of works from the artist's substantial oeuvre. Around 70 objects and sculptures portray the artistic vision and creative process of one of the most important innovators of modern sculpture. The exhibition in Beelden aan Zee focuses on the influence of nature on his work and his growth and development as a sculptor. From promoting direct carving – carving without using preparatory sketches and studies – to experimenting with casting in lead and bronze. Henry Moore (1898-1986) is one of the most important British artists of the twentieth century. His sculptures balance on the boundary between figurative and abstract art and continue to be a source of inspiration to artists. His work has a recognisable and characteristic formal language. Important themes in his oeuvre are ‘mother and child’ and his reclining figures, which he explored extensively.

From the 1920s, Moore participated in countless British and international exhibitions, with solo as well as group exhibitions, he sold work on a regular basis, and so made a name for himself as an important modernist sculptor. However, the Second World War called a halt to these positive developments. Henry Moore left his teaching post and took up a commission as a war artist. It was in this capacity that he produced his deeply moving Shelter Drawings of Londoners crowding the city's underground stations sheltering from the Blitz. In the 1950s he created larger groups of figures. The prices for his works increased considerably and his fame as an international artist continued to grow. In later years he served as a trustee at both the Tate Gallery and the National Gallery and he was the recipient of a large number of prizes and honours.

 

Håkan Dahlström Photography

I hand formed the hoop shapes using brass wire and wire wrapped the top using fine brass wire. Using the brick stitch technique, I wove tiny seed beads around the perimeter of the hand formed shapes, using nymo thread, a strong multifilament thread favored by bead artists. The beadwork on these earrings will not flop around as I use a firm tension in my weaving, but it is slightly flexible. Store your earrings flat when not wearing them, and I would recommend not wearing these to bathe or swim since there is thread in the design.

These earrings feature tiny size 11 and size 15 seed beads in primarily red with accents of green, pink, yellow and blue - a simple, clean, modern, geometric look.

Dimensions: The earrings measure 1.5 inches across at their widest, and 2 inches long from the top of the ear wire to the bottom of the beaded hoop. (The earrings measure 3.8 cm across at their widest, and 5.08 cm tall.)

Black and White, geometric, B&W, architecture, grayscale, values, forms, exterior

Forms of animal life;.

Oxford,Clarendon press,1870..

biodiversitylibrary.org/page/10879302

Illustration by Irving Nurick

 

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www.odysseus-studio.com

 

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( no graphics editing programs for any special additional effects in use of this photo )

 

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Hierve el Agua

Oaxaca Mexico

Kodak 400 35mm Film / Canon Rebel

SMC Takumar 50mm 1.4

 

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www.lne.es/oviedo/2009/09/21/obra-piedad-formara-parte-re...

 

El escultor Santiago de Santiago, con obras en medio mundo, regresó ayer a Oviedo. Y no viene para un tema baladí, sino para presentar la estatua que ocupará el lugar de la fuente de la plaza Longoria Carbajal. Una reproducción que forma parte de una exposición que se inaugurará hoy en el Café Español y el en Ayuntamiento.

  

-Una vez más visita Oviedo.

  

-Porque la estatua de Mavi se nos va y viene «La Piedad», que formará parte de la reforma que se va a hacer en la plaza de Longoria Carbajal.

  

-Toda una incógnita...

  

-Va a ser la estatua más querida para los ovetenses, aunque su nombre representa algo que puede parecer muy doloroso, pero que es simplemente muy sentimental.

  

-¿Cómo será la estatua?

  

-Es una mujer que está en una postura muy acogedora, muy significativa, que inspira un cariño especial porque se la ve profundamente preocupada por algo. Espero que sea un éxito, porque fue elegida por un grupo reducido de gente de Oviedo, entre los que, por supuesto, estaba el Alcalde.

  

-¿Cómo va a ser esta estatua que ocupará el lugar de la fuente?

  

-Estará en posición reclinada, construida en bronce, y se colocará, más o menos, según la estructura que dejen en la plaza, en una situación físicamente paralela a la instalación de ahora. Al fondo estará lo que quede de la fuente, y de cara al público, la escultura.

  

-¿Qué quiso representar con esta obra?

  

-Un sentimiento. Está un poco arrodillada en el suelo, en una actitud como de sentimiento profundo por un tema de amor.

  

-La figura femenina es una constante en su obra.

  

-Porque no sé si es la culpable o la promotora de toda la vida, de lo bueno y de lo malo. La mujer es el regalo del hombre con los reglones torcidos... y que no falte.

  

-¿Qué representa para usted poner una estatua en Oviedo, donde hay muchas y de artistas tan importantes como Botero?

  

-Es una ciudad en la que ya tengo algunas obras, y después es un lugar de referencia para mí, donde también tengo parte de mi vida y muchos amigos. Ahora estoy aquí, porque ocurrió este curioso percance de la fuente.

  

-Tiene estatuas y monumentos repartidos por todo el mundo, de México a Japón, pasando por Rusia, Dinamarca y China, entre otros países.

  

-Un buen día cogí el mapamundi y dibujé una línea entre México, España y Japón, tres países muy distantes pero dominantes culturalmente. En este viaje estoy trabajando en países que pueden aportar mucho a la Humanidad. No obstante, para mí Oviedo siempre será una referencia.

 

«Espero que sea un éxito, porque la estatua fue elegida por un grupo reducido de gente de Oviedo»

   

"Architectural Form",original painting, oil on box canvas, 20x20 in, 2013, 1248 $

Limited edition prints on canvas 20x20 in

Limited edition 15

Signed and numbered by artist by hand

Price 190 $

Pay by paypal kjauniskis@yahoo.com

For more details, please, contact me

Le forme che troppo spesso non guardiamo ma che meritano attenzione.

Eye candy...

CKH-901 gurul az Esztramos alatt Bódvarákó-Tornabarakony járattal.

in abstract