Grand Canal, Venice. The Grand Canal forms one of the main water-traffic corridors of Venice. Public transport is provided by water buses (Italian: vaporetti), many tourists explore the canal by gondola.

 

This image is online available as a Fine Art print (US and UK) under: Venice (Venedig)

 

Das Foto kann online als Fine-Art-Print gerahmt bestellt werden: Venedig

 

Image was made with Medium Range Format Mamiya 7.

 

© www.borais.com

"Hexham Abbey is a Grade I listed place of Christian worship dedicated to St Andrew, in the town of Hexham, Northumberland, in northeast England. Originally built in AD 674, the Abbey was built up during the 12th century into its current form, with additions around the turn of the 20th century. Since the Dissolution of the Monasteries in 1537, the Abbey has been the parish church of Hexham. In 2014 the Abbey regained ownership of its former monastic buildings, which had been used as Hexham magistrates' court, and subsequently developed them into a permanent exhibition and visitor centre, telling the story of the Abbey's history.

 

here has been a church on the site for over 1300 years since Etheldreda, Queen of Northumbria made a grant of lands to St Wilfrid, Bishop of York c.674. Of Wilfrid's Benedictine abbey, which was constructed almost entirely of material salvaged from nearby Roman ruins, the Saxon crypt still remains; as does a frith stool, a 7th/8th century cathedra or throne. For a little while around that time it was the seat of a bishopric.

 

In the year 875, Halfdene (Halfdan Ragnarsson) the Dane ravaged the whole of Tyneside and Hexham Church was plundered and burnt to the ground.

 

About 1050, one Eilaf was put in charge of Hexham, although as treasurer of Durham, he probably never went there. Eilaf was instructed to rebuild Hexham Church, which then lay in utter ruin. His son Eilaf II completed the work, probably building in the Norman style.

 

In Norman times, Wilfrid's abbey was replaced by an Augustinian priory. The current church largely dates from c.1170–1250, built in the Early English style of architecture. The choir, north and south transepts and the cloisters, where canons studied and meditated, date from this period.

 

The east end was rebuilt in 1858. The Abbey was largely rebuilt during the incumbency of Canon Edwin Sidney Savage, who came to Hexham in 1898 and remained until 1919. This mammoth project involved re-building the nave, whose walls incorporate some of the earlier church, and the restoration of the choir. The nave was re-consecrated on 8 August 1908.

 

The church was recorded as Grade I listed in 1951. In 1996 an additional chapel was created at the east end of the north choir aisle; named St Wilfrid's Chapel, which offers a place for prayer or quiet reflection.

 

Hexham (/ˈhɛksəm/ HEKS-əm) is a market town and civil parish in Northumberland, England, south of the River Tyne, and was the administrative centre for the Tynedale district from 1974 to 2009. In 2011, it had a population of 11,829.

 

Smaller towns and villages around Hexham include Corbridge, Riding Mill, Stocksfield and Wylam to the east, Acomb and Bellingham to the north, Allendale to the south and Haydon Bridge, Bardon Mill and Haltwhistle to the west. Newcastle upon Tyne is about 25 miles (40 km) to the east and Carlisle is 37 miles (60 km) to the west.

 

Hexham Abbey originated as a monastery founded by Wilfrid in 674. The crypt of the original monastery survives, and incorporates many stones taken from nearby Roman ruins, probably Corbridge or Hadrian's Wall. The current Hexham Abbey dates largely from the 11th century onward, but was significantly rebuilt in the 19th century. Other notable buildings in the town include the Moot Hall, the covered market, and the Old Gaol.

 

The Anglo-Saxon Chronicle (Manuscript D: Cotton Tiberius B IV) records the murder of King Ælfwald by Sicga at Scythlecester (which may be modern Chesters) on 23 September 788:

 

This year Alfwald, king of the Northumbrians, was slain by Siga, on the ninth day before the calends of October; and a heavenly light was often seen on the spot where he was slain. He was buried at Hexham in the church.

 

The name of Hexham derives from the Old English Hagustaldes ea and later Hagustaldes ham whence the modern form (with the "-ham" element) derives. Hagustald is related to the Old High German hagustalt, denoting a younger son who takes land outside the settlement; the element ea means "stream" or "river" and ham is the Old English form of the Modern English "home" (and the Scots and Northern English "hame").

 

Like many towns in the Anglo-Scottish border area and adjacent regions, Hexham suffered from the border wars between the kingdoms of Scotland and England, including attacks from William Wallace who burnt the town in 1297. In 1312, Robert the Bruce, King of Scotland, demanded and received £2000 from the town and monastery in order for them to be spared a similar fate. In 1346 the monastery was sacked in a later invasion led by King David II of Scotland.

 

In 1464 during the Wars of the Roses, the Battle of Hexham was fought somewhere to the south of the town; the actual site is disputed. The defeated Lancastrian commander, Henry Beaufort, 3rd Duke of Somerset, was executed in Hexham marketplace. There is a legend that Queen Margaret of Anjou took refuge after the battle in what is known as The Queen's Cave, where she was accosted by a robber; the legend formed the basis for an 18th-century play by George Colman the Younger (The Battle of Hexham: A Comedy in Three Acts); but it has been established that Queen Margaret had fled to France by the time the battle took place. The Queen's Cave in question is on the south side of the West Dipton Burn, to the southwest of Hexham.

 

Until 1572, Hexham was the administrative centre of the former Liberty or Peculiar of Hexhamshire.

 

In 1715, James Radclyffe, 3rd Earl of Derwentwater, raised the standard for James Francis Edward Stuart in Hexham Market place. The rising, however, was unsuccessful, and Derwentwater was captured and beheaded after the Battle of Preston.

 

In 1761, the Hexham Riot took place in the Market Place when a crowd protesting about changes in the criteria for serving in the militia was fired upon by troops from the North Yorkshire Militia. Fifty-one protesters were killed, earning the Militia the sobriquet of The Hexham Butchers.

 

Throughout the eighteenth and nineteenth centuries, Hexham was a centre of the leather trade, particularly renowned for making gloves known as Hexham Tans—now the name of a vegetarian restaurant in the town.

 

"Hexham" was used in the Borders as a euphemism for "Hell". Hence the term "To Hexham wi’ you an’ ye’r whussel!", recorded in 1873, and the popular expression "Gang to Hexham!". "Hexham-birnie" is derived from the term and means "an indefinitely remote place"." - info from Wikipedia.

 

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

 

Now on Instagram.

 

Become a patron to my photography on Patreon.

Mandala (Sanskrit Maṇḍala, 'circle') is a spiritual and ritual symbol in Indian religions, representing the universe. The basic form of most mandalas is a square with four gates containing a circle with a center point. Each gate is in the general shape of a T. Mandalas often exhibit radial balance.

 

The term appears in the Rigveda as the name of the sections of the work, but is also used in other religions and philosophies, particularly Buddhism.

 

In various spiritual traditions, mandalas may be employed for focusing attention of practitioners and adepts, as a spiritual guidance tool, for establishing a sacred space, and as an aid to meditation and trance induction.

 

In common use, mandala has become a generic term for any diagram, chart or geometric pattern that represents the cosmos metaphysically or symbolically; a microcosm of the universe.

 

HINDUISM

RELIGIOUS MEANING

A yantra is a two- or three-dimensional geometric composition used in sadhanas, puja or meditative rituals. It is considered to represent the abode of the deity. Each yantra is unique and calls the deity into the presence of the practitioner through the elaborate symbolic geometric designs. According to one scholar, "Yantras function as revelatory symbols of cosmic truths and as instructional charts of the spiritual aspect of human experience"

 

Many situate yantras as central focus points for Hindu tantric practice. Yantras are not representations, but are lived, experiential, nondual realities. As Khanna describes:

 

Despite its cosmic meanings a yantra is a reality lived. Because of the relationship that exists in the Tantras between the outer world (the macrocosm) and man’s inner world (the microcosm), every symbol in a yantra is ambivalently resonant in inner–outer synthesis, and is associated with the subtle body and aspects of human consciousness.

 

POLITICAL MEANING

The "Rajamandala" (or "Raja-mandala"; circle of states) was formulated by the Indian author Kautilya in his work on politics, the Arthashastra (written between 4th century BC and 2nd century AD). It describes circles of friendly and enemy states surrounding the king's state.

 

In historical, social and political sense, the term "mandala" is also employed to denote traditional Southeast Asian political formations (such as federation of kingdoms or vassalized states). It was adopted by 20th century Western historians from ancient Indian political discourse as a means of avoiding the term 'state' in the conventional sense. Not only did Southeast Asian polities not conform to Chinese and European views of a territorially defined state with fixed borders and a bureaucratic apparatus, but they diverged considerably in the opposite direction: the polity was defined by its centre rather than its boundaries, and it could be composed of numerous other tributary polities without undergoing administrative integration. Empires such as Bagan, Ayutthaya, Champa, Khmer, Srivijaya and Majapahit are known as "mandala" in this sense.

 

BUDDISM

EARLY AND THERAVADA BUDDHISM

The mandala can be found in the form of the Stupa and in the Atanatiya Sutta in the Digha Nikaya, part of the Pali Canon. This text is frequently chanted.

 

TIBETAN VAJRAYANA

In the Tibetan branch of Vajrayana Buddhism, mandalas have been developed into sandpainting. They are also a key part of Anuttarayoga Tantra meditation practices.

 

VISUALISATION OF VAJRAYANA TEACHINGS

The mandala can be shown to represent in visual form the core essence of the Vajrayana teachings. The mind is "a microcosm representing various divine powers at work in the universe." The mandala represents the nature of the Pure Land, Enlightened mind.

 

While on the one hand, the mandala is regarded as a place separated and protected from the ever-changing and impure outer world of samsara, and is thus seen as a "Buddhafield" or a place of Nirvana and peace, the view of Vajrayana Buddhism sees the greatest protection from samsara being the power to see samsaric confusion as the "shadow" of purity (which then points towards it).

 

MOUNT MERU

A mandala can also represent the entire universe, which is traditionally depicted with Mount Meru as the axis mundi in the center, surrounded by the continents.

 

WISDOM AND IMPERMANENCE

In the mandala, the outer circle of fire usually symbolises wisdom. The ring of eight charnel grounds represents the Buddhist exhortation to be always mindful of death, and the impermanence with which samsara is suffused: "such locations were utilized in order to confront and to realize the transient nature of life." Described elsewhere: "within a flaming rainbow nimbus and encircled by a black ring of dorjes, the major outer ring depicts the eight great charnel grounds, to emphasize the dangerous nature of human life." Inside these rings lie the walls of the mandala palace itself, specifically a place populated by deities and Buddhas.

 

FIVE BUDDHAS

One well-known type of mandala is the mandala of the "Five Buddhas", archetypal Buddha forms embodying various aspects of enlightenment. Such Buddhas are depicted depending on the school of Buddhism, and even the specific purpose of the mandala. A common mandala of this type is that of the Five Wisdom Buddhas (a.k.a. Five Jinas), the Buddhas Vairocana, Aksobhya, Ratnasambhava, Amitabha and Amoghasiddhi. When paired with another mandala depicting the Five Wisdom Kings, this forms the Mandala of the Two Realms.

 

PRACTICE

Mandalas are commonly used by tantric Buddhists as an aid to meditation.

 

The mandala is "a support for the meditating person", something to be repeatedly contemplated to the point of saturation, such that the image of the mandala becomes fully internalised in even the minutest detail and can then be summoned and contemplated at will as a clear and vivid visualized image. With every mandala comes what Tucci calls "its associated liturgy [...] contained in texts known as tantras", instructing practitioners on how the mandala should be drawn, built and visualised, and indicating the mantras to be recited during its ritual use.

 

By visualizing "pure lands", one learns to understand experience itself as pure, and as the abode of enlightenment. The protection that we need, in this view, is from our own minds, as much as from external sources of confusion. In many tantric mandalas, this aspect of separation and protection from the outer samsaric world is depicted by "the four outer circles: the purifying fire of wisdom, the vajra circle, the circle with the eight tombs, the lotus circle." The ring of vajras forms a connected fence-like arrangement running around the perimeter of the outer mandala circle.

 

As a meditation on impermanence (a central teaching of Buddhism), after days or weeks of creating the intricate pattern of a sand mandala, the sand is brushed together into a pile and spilled into a body of running water to spread the blessings of the mandala.

 

Kværne in his extended discussion of sahaja, discusses the relationship of sadhana interiority and exteriority in relation to mandala thus:

 

...external ritual and internal sadhana form an indistinguishable whole, and this unity finds its most pregnant expression in the form of the mandala, the sacred enclosure consisting of concentric squares and circles drawn on the ground and representing that adamant plane of being on which the aspirant to Buddha hood wishes to establish himself. The unfolding of the tantric ritual depends on the mandala; and where a material mandala is not employed, the adept proceeds to construct one mentally in the course of his meditation."

 

OFFERINGS

A "mandala offering" in Tibetan Buddhism is a symbolic offering of the entire universe. Every intricate detail of these mandalas is fixed in the tradition and has specific symbolic meanings, often on more than one level.

 

Whereas the above mandala represents the pure surroundings of a Buddha, this mandala represents the universe. This type of mandala is used for the mandala-offerings, during which one symbolically offers the universe to the Buddhas or to one's teacher. Within Vajrayana practice, 100,000 of these mandala offerings (to create merit) can be part of the preliminary practices before a student even begins actual tantric practices. This mandala is generally structured according to the model of the universe as taught in a Buddhist classic text the Abhidharma-kośa, with Mount Meru at the centre, surrounded by the continents, oceans and mountains, etc.

 

SHINGON BUDDHISM

One Japanese branch of Mahayana Buddhism -- Shingon Buddhism - makes frequent use of mandalas in its rituals as well, though the actual mandalas differ. When Shingon's founder, Kukai, returned from his training in China, he brought back two mandalas that became central to Shingon ritual: the Mandala of the Womb Realm and the Mandala of the Diamond Realm.

 

These two mandalas are engaged in the abhiseka initiation rituals for new Shingon students, more commonly known as the Kechien Kanjō (結縁灌頂). A common feature of this ritual is to blindfold the new initiate and to have them throw a flower upon either mandala. Where the flower lands assists in the determination of which tutelary deity the initiate should follow.

 

Sand mandalas, as found in Tibetan Buddhism, are not practiced in Shingon Buddhism.

 

NICHIREN BUDDHISM

The Mandala in Nichiren Buddhism is called a moji-mandala (文字曼陀羅) and is a paper hanging scroll or wooden tablet whose inscription consists of Chinese characters and medieval-Sanskrit script representing elements of the Buddha's enlightenment, protective Buddhist deities, and certain Buddhist concepts. Called the Gohonzon, it was originally inscribed by Nichiren, the founder of this branch of Japanese Buddhism, during the late 13th Century. The Gohonzon is the primary object of veneration in some Nichiren schools and the only one in others, which consider it to be the supreme object of worship as the embodiment of the supreme Dharma and Nichiren's inner enlightenment. The seven characters Nam Myoho Renge Kyo, considered to be the name of the supreme Dharma, as well as the invocation that believers chant, are written down the center of all Nichiren-sect Gohonzons, whose appearance may otherwise vary depending on the particular school and other factors.

 

PURE LAND BUDDHISM

Mandalas have sometimes been used in Pure Land Buddhism to graphically represent Pure Lands, based on descriptions found in the Larger Sutra and the Contemplation Sutra. The most famous mandala in Japan is the Taima Mandala, dated to approximately 763 CE. The Taima Mandala is based upon the Contemplation Sutra, but other similar mandalas have been made subsequently. Unlike mandalas used in Vajrayana Buddhism, it is not used as an object of meditation or for esoteric ritual. Instead, it provides a visual representation of the Pure Land texts, and is used as a teaching aid.

 

Also in Jodo Shinshu Buddhism, Shinran and his descendant, Rennyo, sought a way to create easily accessible objects of reverence for the lower-classes of Japanese society. Shinran designed a mandala using a hanging scroll, and the words of the nembutsu (南無阿彌陀佛) written vertically. This style of mandala is still used by some Jodo Shinshu Buddhists in home altars, or butsudan.

 

CHRISTIANITY

Forms which are evocative of mandalas are prevalent in Christianity: the celtic cross; the rosary; the halo; the aureole; oculi; the Crown of Thorns; rose windows; the Rosy Cross; and the dromenon on the floor of Chartres Cathedral. The dromenon represents a journey from the outer world to the inner sacred centre where the Divine is found.

 

Similarly, many of the Illuminations of Hildegard von Bingen can be used as mandalas, as well as many of the images of esoteric Christianity, as in Christian Hermeticism, Christian Alchemy, and Rosicrucianism.

 

The Layer Monument at the Church of Saint John the Baptist, Maddermarket, Norwich, an early 17th century marble mural monument which includes four inter-related sculpted figurines, is a rare example of Christian iconography absorbing alchemical symbolism to form a Mandala in Western funerary art.

 

WESTERN PSCHYCHOLOGICAL INTERPRETATIONS

According to art therapist and mental health counselor Susanne F. Fincher, we owe the re-introduction of mandalas into modern Western thought to Carl Jung, the Swiss psychoanalyst. In his pioneering exploration of the unconscious through his own art making, Jung observed the motif of the circle spontaneously appearing. The circle drawings reflected his inner state at that moment. Familiarity with the philosophical writings of India prompted Jung to adopt the word "mandala" to describe these circle drawings he and his patients made. In his autobiography, Jung wrote:

 

"I sketched every morning in a notebook a small circular drawing,...which seemed to correspond to my inner situation at the time....Only gradually did I discover what the mandala really is:...the Self, the wholeness of the personality, which if all goes well is harmonious."

—Carl Jung, Memories, Dreams, Reflections, pp. 195 – 196.

 

Jung recognized that the urge to make mandalas emerges during moments of intense personal growth. Their appearance indicates a profound re-balancing process is underway in the psyche. The result of the process is a more complex and better integrated personality.

 

"The mandala serves a conservative purpose - namely, to restore a previously existing order. But it also serves the creative purpose of giving expression and form to something that does not yet exist, something new and unique…. The process is that of the ascending spiral, which grows upward while simultaneously returning again and again to the same point."

- Jungian analyst Marie-Louise von Franz, C. G. Jung: "Man and His Symbols," p. 225

 

Creating mandalas helps stabilize, integrate, and re-order inner life.

 

According to the psychologist David Fontana, its symbolic nature can help one "to access progressively deeper levels of the unconscious, ultimately assisting the meditator to experience a mystical sense of oneness with the ultimate unity from which the cosmos in all its manifold forms arises."

 

WIKIPEDIA

 

En Biodiversidad virtual y también en Instagram como @proyectoagua.

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Todo lo que Euglypha compressa se comprime para ser una escama más sobre los fondos, se extiende como un globo hacia lo ancho, y aún ensanchándose todavía más, se prolonga en sus fuertes espinas, del mismo modo que toda la delicadeza de su cuerpo, se convierte en armadura y se protege dentro de su casa inexpugnable de ventanales de cuarzo erizados con esas largas lanzas de cristal.

 

Sobre ese contraste entre lo ancho y lo estrecho, lo suave y lo áspero, la vida de Euglypha ha prendido bajo el agua en su estuche de vidrieras transparentes, y aguarda para asomar sus finos brazos, y palpar lo que desde su casa quizá ella pueda ver sin ni siquiera mirar.

 

Las amebas del género Euglypha hacen de su casa un palacio de miradores de cristal con vidrieras transparentes de las que solo asoman tímidamente por su estrecha puerta dentada sus finos brazos de hilo. Toda la cubierta de estas amebas está fabricada con escamas ovales de sílice que ordenadamente se superponen y que dibujan en las zonas en las que se solapan, celdas hexagonales que son en realidad espejismo.

 

Con frecuencia, las escamas transparentes de estas amebas de agua y musgo están armadas con finas o recias espinas de sílice, que protegen su cuerpo y disuaden a algunos de sus depredadores.

 

Euglypha compressa vive dentro de una casa grande, anchamente oviforme, cortada bruscamente en su extremo anterior y comprimida en sección transversal, por lo que de perfil tiene un contorno lenticular con márgenes agudos, lo que hace que pueda deslizarse fácilmente como si cortase con su filo su océano de agua.

 

La apertura del caparazón, situada en la parte más estrecha presenta un borde marcadamente dentado y está formada por gruesas escamas de borde triangular y finamente aserrado.

 

Las espinas en esta ameba son muy variables tanto en longitud como en su contorno que a menudo es aplanado, otras veces lanceolado y en ocasiones presentan forma de espátula y a diferencia de lo que ocurre en otras especies próximas, se disponen a lo largo de los márgenes laterales desde la posición media del cuerpo hasta el extremo más alejado de la boca.

 

Euglypha compressa tiene un gran núcleo y presenta varios nucleolos. Suele vivir sobre la superficie de musgos como Sphagnum y sobre otras plantas acuáticas y está repartida en muchas masas de agua dulce, ligeramente ácidas de todo el planeta, hoy aparece refugiada en su palacio donde la hemos fotografiado en vivo el día 17 de junio de 2020 utilizando diferentes técnicas de iluminación: contraste de interferencia, contraste de fase y campo oscuro en unas muestras recogidas en las turberas de Peñayerre el día 7 de junio de 2020.

ANGUIANO por las Fiestas Acción de Gracias 2014

 

ANGUIANO por las Fiestas Acción de Gracias 2014

 

El primer documento escrito en el que aparece mencionada la Danza de Anguiano es un Libro de acuerdos y decretos del 30 de mayo de 1603 en el que, haciendo especial hin"capié en que no se pierda esta tradición, se deciden organizar danzas, comedias y lo demás que sea necesario para la celebración de las Fiestas de La Magdalena.

Las referencias encontradas en este manuscrito demuestran que este curioso rito tiene más de cuatrocientos años de historia.Debido a la desaparición de doscientos años de documentos del archivo municipal, no es hasta 1888 cuando, de nuevo, aparecen referencias escritas y ya de manera ininterrumpida hasta nuestros días.

 

Los danzadores siempre son ocho, y tienen por jefe al Cachiberrio.

Hasta hace unos años todos eran naturales de Anguiano, pero desde el éxodo rural de los años sesenta y con el descenso de la natalidad, la mayoría son jóvenes nacidos fuera de la localidad pero descendientes de ella.

Entre los danzadores siempre ha habido unos llamados “fijos” y otros que, a modo de “reservas”, danzan de manera esporádica algunas tardes de las fiestas en el lugar que les dejan aquellos. Normalmente un danzador fijo lo es hasta que decide retirarse, cuando lo hace deja “la ropa” al siguiente quien, de alguna manera, se siente “apadrinado“ por su antecesor, En cuanto a la permanencia de un danzador en activo, podemos decir que no hay regla fija, aunque lo más habitual es estar danzando unos siete u ocho años.

Si un joven quiere ser danzador debe tener formalidad, compromiso y cumplimiento de sus deberes, guardando además, y siempre que vista las ropas de la Danza, la compostura y el respeto a la tradición de sus mayores

 

Los músicos. La mayoría de las veces han tocado tres (dos gaitas y un tambor), aunque también, en ocasiones, han sido un gaitero y un tamborilero los contratados, sobre todo por cuestiones de presupuesto.

Respecto a los instrumentos, nada sabemos del tipo de gaita que usaron los músicos anteriores a 1912, pero lo que sí sabemos, salvando algún corto periodo de tiempo, es que desde esa fecha hasta la actualidad son exactamente las mismas gaitas las que rompen el aire de Anguiano.

 

Cachiberrio. Personaje popular y pintoresco de tradicional importancia en muchas danzas de España.

 

El Cachiberrio de Anguiano es un personaje simpático, poeta local que compone y recita versos de sencilla rima para la Santa. Si dedica troqueaos a las autoridades, no pierde ocasión de pedir tal o cual mejora en el pueblo. Si sus versos se dirigen a personas de dinero, aprovecha y les pide unos cuartos para merendar. Tiene, por tanto, licencia para el “descaro” y necesita, por ello, osadía y arranque en sus actuaciones; cualquiera no sirve para ser cachiberrio. Nunca el cachiberrio ha cobrado cantidad alguna como tal. En ocasiones era el encargado de recoger el dinero que la gente les daba por los troqueaos dedicados, pero siempre eran para el grupo

Y los indispensables, como el el atador. ¿Y cuando bajan la Cuesta o se tiran las Escaleras…?, ¿podría acaso haber Danza sin sus brazos protectores, sin su exacta colocación?

Texto extraído de www.ayuntamientodeanguiano.org/La-Danza-de-Anguiano.7316....

 

VÍDEO youtu.be/5a1f1X9Z8WA

 

Autor: José-María Moreno García. Fotógrafo humanista y documentalista. Cronista Oficial de la Villa de Madridejos.

Una de las mejores formas de conocer la historia de un pueblo es a través de sus imágenes; en ellas se conserva no sólo su realidad tangible, calles, plazas, monumentos, sino también sus costumbres, fiestas, tradiciones, lenguaje, indumentaria, gestos y miradas, que nos dicen sin palabras como se vivía, cuales eran sus esperanzas y temores, qué había en su pasado, qué esperaban del futuro. Uno de los objetivos más ambiciosos es recuperar y catalogar todo el material gráfico existente en nuestra familia desde 1.915, para después ponerlo a disposición de vosotros, que la historia volviera a sus protagonistas, y los que aún siguen con nosotros pudieran disfrutar con ello. VISITA La colección "CIEN AÑOS DE FOTOGRAFÍA FAMILIA MORENO (1915-2015)" en www.josemariamorenogarcia.es y www.madridejos.net

 

SI ALGUIEN NO DESEA APARECER EN EL ÁLBUM POR FAVOR COMUNÍCALO A josemariamorenogarcia@gmail.com

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Venerdì 7 febbraio alle 20.30 nella Cattedrale di Santa Maria Assunta, il Duomo di Reggio Emilia, due delle orchestre giovanili e alcuni solisti dell’istituto superiore di studi musicali Peri-Merulo hanno offerto alla città un concerto dedicato al direttore d’orchestra Claudio Abbado, recentemente scomparso, legato a Reggio da una lunga amicizia e attività artistica.

L’evento, reso possibile anche dalla disponibilità della diocesi di Reggio e Guastalla, è carico di valore simbolico per l’attenzione che Abbado ha avuto nel corso della sua carriera ai temi della formazione artistica e dei giovani musicisti, nonché per i legami che ha storicamente intrattenuto con Reggio.

 

Il Conservatorio reggiano vanta una tradizione nel campo della pedagogia musicale riconosciuta a livello internazionale ed è oggi una delle realtà di punta della formazione musicale italiana. Diversi tra i giovani che si esibiranno sono gli stessi che si sono fatti apprezzare nel recente concerto al teatro Ariosto in occasione delle celebrazioni del Primo Tricolore e nel palazzo del Senato, a Roma, dove hanno suonato davanti ad alcune tra le più alte cariche dello Stato.

 

Nel concerto del 7 febbraio saranno impegnate le formazioni A e B, composte da più di 100 strumentisti delle fasce di età delle scuole medie inferiori, superiori e dei corsi accademici e sono inserite nel Sistema nazionale delle orchestre e cori giovanili. Diretti da Gabrielangela Spaggiari, i giovani orchestrali si alterneranno con le esecuzioni di altri brani interpretati da alcuni solisti della scuola: Monica Piccinini (soprano), Renato Negri (organo), Davide Gaspari (violino) e Luca Franzetti (violoncello).

 

Il programma spazierà dal repertorio barocco a quello romantico con brani di Bach, Wagner, Musorgskij, Händel, Charpentier, Rameau e Buxtehude.

 

IL PROGRAMMA

Johann Sebastian Bach

Sarabanda, dalla Partita in re minore BWV 1004

Davide Gaspari, violino

Preludio in mi minore BWV 548

Renato Negri, organo

Komm, süßer Tod, (Vieni, dolce morte) BWV 478

Monica Piccinini, soprano - Renato Negri organo

Nun komm, der Heiden Heiland, (Vieni, Redentore dei pagani) BWV 659

Renato Negri, organo

 

Richard Wagner

Coro dei Pellegrini (da Tannhäuser; arr. di M. J. Isaac)

 

Modest Petrovič Musorgskij

da Quadri di un’esposizione; arr. di D. Stone, A. Carter)

 

Georg Friedrich Händel

Sarabanda (arr. G. Spaggiari)

 

Marc-Antoine Charpentier

Te Deum

 

Jean-Philippe Rameau

Suite (arr. di P. Gordon)

 

Dietrich Buxtehude

Sarabanda (arr. di P. Gordon)

Orchestre Giovanili dell’Istituto “Achille Peri – Claudio Merulo”

Gabrielangela Spaggiari Direttore

 

Johann Sebastian Bach

Preludio dalla Suite in Do Maggiore BWV 1009

Sarabanda, con scordatura originale, dalla Suite in do minore BWV 1011

Luca Franzetti, violoncello

 

I COMPONENTI DELLE ORCHESTRE

 

Flauti - Gozzi Alessandro, Genta Giulia, Spezzani Chiara, Martina Cordeddu, Ghirri Alessio, Zini Corradini Chiara, D’onofrio Laura, Bizzocchi Francesca, Russo Margherita

 

Oboi - Pancaldi Marta, Morini Lucia, Manfredi Orfeo, Tarquini Alessandro, Ferretti Elia, Storchi Costanza

 

Clarinetti - Montruccoli Martina, De Zuani Francesco, Cavalli Sara, Ranellucci Martina, Pignedoli Giovanni, Russo Tommaso

 

Fagotti - Tubertini Martino, Davoli Francesca, De Rosa Chiara, Chiessi Alice

 

Corni - Rodomonti Caterina, De Rosa Sabrina, Fantozzi Federico, Righi Marco, Righi Tommaso, Napolitano Daniele

 

Trombe - Scolari Simone, Ben Hamed Omar, Magnani Marco, Gianolio Gerardo, Corradini Dimitri

 

Tromboni - Carletti Gianmarco, Bigi Niccolò, Galimberti Samuele, Bisi Raoul

 

Violini Primi - Bertolini Sofia, Burza Laura, Ferrante Giorgia, Bulgarelli Eleonora, Cavalli Chiara, Del Sante Maria Vittoria, Bertola Laura, Pellegrini Annalia, Bazzani Enrico, Sevardi Alessandro, Zotti Giovanni, Sabet Giulia, Catellani Sara, Perezzani Caterina, Turcano Mihaela, Lamantea Mattia

 

Violini Secondi - Bertolini Simone, Bort Ida, Ghirri Rebecca, Casanova Sonia, Reverberi Vittoria, Curti Carlotta, Giaroli Anna, Arisi Emilia, Catellani Camilla, Filippini Fabio, Kononenko Daria, Costi Ludovica, Zambelli Luigi, Davoli Lorenzo, Masini Samuele, Bertolini Matilde, Iotti Allegra, Codeluppi Luca

 

Viole - Corradini Zini Francesco, Fanti Filippo, Casarini Susanna, Catellani Francesca, Ferretti Emma, Poli Francesca, Corradini Sveva

 

Violoncelli - Masini Gabriele, Zini Valentina, Letizia Calza, Giuseppe Raciti, Elena Maria Vitale, Re Beniamino, Caterina Vignali, Zappettini Maria Bianca, Vecchi Ines, Campanini Caterina

 

Contrabbassi - Boiardi Lucia, Braglia Valeria, Fabbiano Gaia, Chiesi Stefano

 

Percussioni - Genta Gabriele, Tomasello Nicolò, Edoardo Reverberi, Ferrari Martina, Camorani Sofia, Fabbi Diego

 

Fisarmoniche - Giacomo Melli, Ganassi Riccardo.

 

Friday 7 February at 20.30 in the Cathedral of Saint Mary of the assumption, the Cathedral of Reggio Emilia, two youth orchestras and soloists of the istituto superiore di studi musicali Peri-Merulo offered the city a concert dedicated to the conductor Claudio Abbado, recently deceased, tied in Reggio by a long friendship and artistic activity.

The event, made possible by the availability of the Diocese of Reggio and Guastalla, is laden with symbolism for the attention that Abbado had throughout his career to issues of artistic training and young musicians, as well as to the ties that have historically had with Reggio.

 

The Conservatory has a tradition in cheese field of musical pedagogy recognized internationally and is today one of the leading Italian music training. Several of the young people who will perform are the same that have come to appreciate in recent concert at teatro Ariosto on the occasion of the celebrations of the first Tricolor and in palazzo del Senato in Rome, where they played in front of some of the highest offices of the State.

 

In the concert of February 7 will be committed and (B) formations, consisting of more than 100 musicians of the age groups of middle schools, and academic courses and are included in the national system of youth orchestras and choirs. Directed by Gabrielangela Spaggiari, youngsters will alternate with orchestral performances of other songs played by soloists of the school: Monica Piccinini (soprano), Renato Negri (organ), Davide Gaspari (violin) and Luca Franzetti (cellos).

 

The program will range from the baroque to the romantic repertoire with works by Bach, Wagner, Handel, Mussorgsky, Charpentier, Rameau and Buxtehude.

 

THE PROGRAM

Johann Sebastian Bach

Sarabande from Partita in d minor BWV 1004

Paul Gaspari, violin

Prelude in e minor, BWV 548

Renato Negri, organ

Komm, süßer Tod (Come, sweet death) BWV 478

Monica Piccinini, soprano-Renato Negri body

Nun komm, der Heiden Heiland (come, Redeemer of the pagans) BWV 659

Renato Negri, organ

 

Richard Wagner

Pilgrim Choir (Tannhäuser; arr. by m. j. Isaac)

 

Modest Mussorgsky

from pictures at an exhibition; arr. by d. Stone, a. Carter)

 

Georg Friedrich Händel

Sarabande (arr. G. Spaggiari)

 

Marc-Antoine Charpentier

Te Deum

 

Jean-Philippe Rameau

Suite (arr. by p. Gordon)

 

Dietrich Buxtehude

Sarabande (arr. by p. Gordon)

Youth orchestras of the Institute "Achille Peri – Claudio Merulo"

Spaggiari Gabrielangela Director

 

Johann Sebastian Bach

Prelude from Suite in c major, BWV 1009

Sarabande, with original, breakage from Suite in c minor, BWV 1011

Luca Franzetti, cello

 

THE COMPONENTS OF THE ORCHESTRAS

 

Flutes-Gozzi Alessandro, Ferdinand Spezzani, Chiara, Martina Elroy Charles, Ghirri Alessio, Zini Charles Clare, D'Onofrio Laura, Francesca Russo Margherita Bizzocchi

 

Oboi-Pancaldi Marta, Morini Lucia, Manfredi Orpheus, Alessandro Tarquini, Ferretti Elijah Storchi Constance

 

Clarinets-Man Martina, De Francesco, Sara Horses Zuani, Martina, Pignedoli John Ranellucci, Russian Thomas

 

Bassoons-Tubertini Champions We Suggest Martino, Francesca Davoli, De Rosa Chiara, Chiessi Alice

 

Horns-Catherine De Rosa Rodomonti Sabrina, Fantozzi Frederick, Righi, Tommaso Righi, Marco Napolitano Daniele

 

Trumpets-Scolari Simone, Ben Hamed Omar, Marco Magnani, Gianolio Gerardo, Corradini Dimitri

 

Trombones-Carletti Gianmarco, Bigi Niccolò, Galimberti Bisi Samuele, Raoul

 

First Violins-Sofia Bertolini, Burza Laura Ferrante, Giorgia, Bulgarelli Eleonora, Horses, Of Sante Maria Vittoria, Laura Baird, Ashok Pilgrims, Bazzani Henry, Alexander Sahu, Zamil John, Sabet Giulia, Catellani Sara, Catherine Turcano Perezzani Mihaela, Lagan Maharaj

 

Violins Seconds-Bertolini Simone, Bort Ida, Ghirri Rebecca Sonia,, Casanova, Curti Victory Charlotta Reverbs, Giaroli Anna, Abid, Catellani Camilla, Filipinos Fabio, Kononenko Daria, Ludovica, Zafar Ahmed, Davoli Lorenzo Masini Samuel, Bertolini Matilda, Iotti Allegra, Codeluppi Luca

 

Violas-Corradini Zini Francis, Fahmi Philip Casarini Susanna, Catellani Francesca Ferretti, Emma, Francesca Corradini Sveva

 

Cellos-Masini, Gabriele, Zini Valentina, Letizia Sock, Giuseppe Raciti, Elena Maria Vitale, King Benjamin, Catherine Vignali, Zappettini Nirmal, Old Ines, Campanini Catherine

 

Double Basses-Boyars, Valeria, Lucia Baranowski Fabbiano Gaia, I Asked Stefano

 

Percussion-Genta Gabriele, Tomasello Nicolò, Edoardo Ferrari Reverberi, Martina, Camorani Sofia, Diego Fabbi

 

Accordions-Giacomo Ganassi Melli, Richard.

 

Krishna is considered the supreme deity, worshipped across many traditions of Hinduism in a variety of different perspectives. Krishna is recognized as the eighth incarnation (avatar) of Lord Vishnu, and one and the same as Lord Vishnu one of the trimurti and as the supreme god in his own right. Krishna is the principal protagonist with Arjuna in the Bhagavad Gita also known as the Song of God, which depicts the conversation between the Royal Prince Arjuna and Krishna during the great battle of Kureksetra 5000 years ago where Arjuna discovers that Krishna is God and then comprehends his nature and will for him and for mankind. In present age Krishna is one of the most widely revered and most popular of all Indian divinities.

 

Krishna is often described and portrayed as an infant eating butter, a young boy playing a flute as in the Bhagavata Purana, or as an elder giving direction and guidance as in the Bhagavad Gita. The stories of Krishna appear across a broad spectrum of Hindu philosophical and theological traditions. They portray him in various perspectives: a god-child, a prankster, a model lover, a divine hero, and the Supreme Being. The principal scriptures discussing Krishna's story are the Mahabharata, the Harivamsa, the Bhagavata Purana, and the Vishnu Purana.

 

Krishna's disappearance marks the end of Dvapara Yuga and the start of Kali Yuga (present age), which is dated to February 17/18, 3102 BCE. Worship of the deity Krishna, either in the form of deity Krishna or in the form of Vasudeva, Bala Krishna or Gopala can be traced to as early as 4th century BC. Worship of Krishna as Svayam Bhagavan, or the supreme being, known as Krishnaism, arose in the Middle Ages in the context of the Bhakti movement. From the 10th century AD, Krishna became a favourite subject in performing arts and regional traditions of devotion developed for forms of Krishna such as Jagannatha in Odisha, Vithoba in Maharashtra and Shrinathji in Rajasthan. Since the 1960s the worship of Krishna has also spread in the Western world, largely due to the International Society for Krishna Consciousness.

 

NAMES AND EPITHETS

The name originates from the Sanskrit word Kṛṣṇa, which is primarily an adjective meaning "black", "dark" or "dark blue". The waning moon is called Krishna Paksha in the Vedic tradition, relating to the adjective meaning "darkening". Sometimes it is also translated as "all-attractive", according to members of the Hare Krishna movement.

 

As a name of Vishnu, Krishna listed as the 57th name in the Vishnu Sahasranama. Based on his name, Krishna is often depicted in murtis as black or blue-skinned. Krishna is also known by various other names, epithets and titles, which reflect his many associations and attributes. Among the most common names are Mohan "enchanter", Govinda, "Finder of the cows" or Gopala, "Protector of the cows", which refer to Krishna's childhood in Braj (in present day Uttar Pradesh). Some of the distinct names may be regionally important; for instance, Jagannatha, a popular incarnation of Puri, Odisha in eastern India.

 

ICONOGRAPHY

Krishna is easily recognized by his representations. Though his skin color may be depicted as black or dark in some representations, particularly in murtis, in other images such as modern pictorial representations, Krishna is usually shown with a blue skin. He is often shown wearing a silk dhoti and a peacock feather crown. Common depictions show him as a little boy, or as a young man in a characteristically relaxed pose, playing the flute. In this form, he usually stands with one leg bent in front of the other with a flute raised to his lips, in the Tribhanga posture, accompanied by cows, emphasizing his position as the divine herdsman, Govinda, or with the gopis (milkmaids) i.e. Gopikrishna, stealing butter from neighbouring houses i.e. Navneet Chora or Gokulakrishna, defeating the vicious serpent i.e. Kaliya Damana Krishna, lifting the hill i.e. Giridhara Krishna ..so on and so forth from his childhood / youth events.

 

A steatite (soapstone) tablet unearthed from Mohenjo-daro, Larkana district, Sindh depicting a young boy uprooting two trees from which are emerging two human figures is an interesting archaeological find for fixing dates associated with Krishna. This image recalls the Yamalarjuna episode of Bhagavata and Harivamsa Purana. In this image, the young boy is Krishna, and the two human beings emerging from the trees are the two cursed gandharvas, identified as Nalakubara and Manigriva. Dr. E.J.H. Mackay, who did the excavation at Mohanjodaro, compares this image with the Yamalarjuna episode. Prof. V.S. Agrawal has also accepted this identification. Thus, it seems that the Indus valley people knew stories related to Krishna. This lone find may not establish Krishna as contemporary with Pre-Indus or Indus times, but, likewise, it cannot be ignored.

 

The scene on the battlefield of the epic Mahabharata, notably where he addresses Pandava prince Arjuna in the Bhagavad Gita, is another common subject for representation. In these depictions, he is shown as a man, often with supreme God characteristics of Hindu religious art, such as multiple arms or heads, denoting power, and with attributes of Vishnu, such as the chakra or in his two-armed form as a charioteer. Cave paintings dated to 800 BCE in Mirzapur, Mirzapur district, Uttar Pradesh, show raiding horse-charioteers, one of whom is about to hurl a wheel, and who could potentially be identified as Krishna.

 

Representations in temples often show Krishna as a man standing in an upright, formal pose. He may be alone, or with associated figures: his brother Balarama and sister Subhadra, or his main queens Rukmini and Satyabhama.

 

Often, Krishna is pictured with his gopi-consort Radha. Manipuri Vaishnavas do not worship Krishna alone, but as Radha Krishna, a combined image of Krishna and Radha. This is also a characteristic of the schools Rudra and Nimbarka sampradaya, as well as that of Swaminarayan sect. The traditions celebrate Radha Ramana murti, who is viewed by Gaudiyas as a form of Radha Krishna.

 

Krishna is also depicted and worshipped as a small child (Bala Krishna, Bāla Kṛṣṇa the child Krishna), crawling on his hands and knees or dancing, often with butter or Laddu in his hand being Laddu Gopal. Regional variations in the iconography of Krishna are seen in his different forms, such as Jaganatha of Odisha, Vithoba of Maharashtra, Venkateswara (also Srinivasa or Balaji) in Andhra Pradesh, and Shrinathji in Rajasthan.

 

LITERARY SOURCES

The earliest text to explicitly provide detailed descriptions of Krishna as a personality is the epic Mahabharata which depicts Krishna as an incarnation of Vishnu. Krishna is central to many of the main stories of the epic. The eighteen chapters of the sixth book (Bhishma Parva) of the epic that constitute the Bhagavad Gita contain the advice of Krishna to the warrior-hero Arjuna, on the battlefield. Krishna is already an adult in the epic, although there are allusions to his earlier exploits. The Harivamsa, a later appendix to this epic, contains the earliest detailed version of Krishna's childhood and youth.

 

The Rig Veda 1.22.164 sukta 31 mentions a herdsman "who never stumbles". Some Vaishnavite scholars, such as Bhaktivinoda Thakura, claim that this herdsman refers to Krishna. Ramakrishna Gopal Bhandarkar also attempted to show that "the very same Krishna" made an appearance, e.g. as the drapsa ... krishna "black drop" of RV 8.96.13. Some authors have also likened prehistoric depictions of deities to Krishna.

 

Chandogya Upanishad (3.17.6) composed around 900 BCE mentions Vasudeva Krishna as the son of Devaki and the disciple of Ghora Angirasa, the seer who preached his disciple the philosophy of ‘Chhandogya.’ Having been influenced by the philosophy of ‘Chhandogya’ Krishna in the Bhagavadgita while delivering the discourse to Arjuna on the battlefield of Kurukshetra discussed about sacrifice, which can be compared to purusha or the individual.

 

Yāska's Nirukta, an etymological dictionary around 6th century BC, contains a reference to the Shyamantaka jewel in the possession of Akrura, a motif from well known Puranic story about Krishna. Shatapatha Brahmana and Aitareya-Aranyaka, associate Krishna with his Vrishni origins.

 

Pāṇini, the ancient grammarian and author of Asthadhyayi (probably belonged to 5th century or 6th century BC) mentions a character called Vāsudeva, son of Vasudeva, and also mentions Kaurava and Arjuna which testifies to Vasudeva Krishna, Arjuna and Kauravas being contemporaries.

 

Megasthenes (350 – 290 BC) a Greek ethnographer and an ambassador of Seleucus I to the court of Chandragupta Maurya made reference to Herakles in his famous work Indica. Many scholars have suggested that the deity identified as Herakles was Krishna. According to Arrian, Diodorus, and Strabo, Megasthenes described an Indian tribe called Sourasenoi, who especially worshipped Herakles in their land, and this land had two cities, Methora and Kleisobora, and a navigable river, the Jobares. As was common in the ancient period, the Greeks sometimes described foreign gods in terms of their own divinities, and there is a little doubt that the Sourasenoi refers to the Shurasenas, a branch of the Yadu dynasty to which Krishna belonged; Herakles to Krishna, or Hari-Krishna: Methora to Mathura, where Krishna was born; Kleisobora to Krishnapura, meaning "the city of Krishna"; and the Jobares to the Yamuna, the famous river in the Krishna story. Quintus Curtius also mentions that when Alexander the Great confronted Porus, Porus's soldiers were carrying an image of Herakles in their vanguard.

 

The name Krishna occurs in Buddhist writings in the form Kānha, phonetically equivalent to Krishna.

 

The Ghata-Jâtaka (No. 454) gives an account of Krishna's childhood and subsequent exploits which in many points corresponds with the Brahmanic legends of his life and contains several familiar incidents and names, such as Vâsudeva, Baladeva, Kaṃsa. Yet it presents many peculiarities and is either an independent version or a misrepresentation of a popular story that had wandered far from its home. Jain tradition also shows that these tales were popular and were worked up into different forms, for the Jains have an elaborate system of ancient patriarchs which includes Vâsudevas and Baladevas. Krishna is the ninth of the Black Vâsudevas and is connected with Dvâravatî or Dvârakâ. He will become the twelfth tîrthankara of the next world-period and a similar position will be attained by Devakî, Rohinî, Baladeva and Javakumâra, all members of his family. This is a striking proof of the popularity of the Krishna legend outside the Brahmanic religion.

 

According to Arthasastra of Kautilya (4th century BCE) Vāsudeva was worshiped as supreme Deity in a strongly monotheistic format.

 

Around 150 BC, Patanjali in his Mahabhashya quotes a verse: "May the might of Krishna accompanied by Samkarshana increase!" Other verses are mentioned. One verse speaks of "Janardhana with himself as fourth" (Krishna with three companions, the three possibly being Samkarshana, Pradyumna, and Aniruddha). Another verse mentions musical instruments being played at meetings in the temples of Rama (Balarama) and Kesava (Krishna). Patanjali also describes dramatic and mimetic performances (Krishna-Kamsopacharam) representing the killing of Kamsa by Vasudeva.

 

In the 1st century BC, there seems to be evidence for a worship of five Vrishni heroes (Balarama, Krishna, Pradyumna, Aniruddha and Samba) for an inscription has been found at Mora near Mathura, which apparently mentions a son of the great satrap Rajuvula, probably the satrap Sodasa, and an image of Vrishni, "probably Vasudeva, and of the "Five Warriors". Brahmi inscription on the Mora stone slab, now in the Mathura Museum.

 

Many Puranas tell Krishna's life-story or some highlights from it. Two Puranas, the Bhagavata Purana and the Vishnu Purana, that contain the most elaborate telling of Krishna’s story and teachings are the most theologically venerated by the Vaishnava schools. Roughly one quarter of the Bhagavata Purana is spent extolling his life and philosophy.

 

LIFE

This summary is based on details from the Mahābhārata, the Harivamsa, the Bhagavata Purana and the Vishnu Purana. The scenes from the narrative are set in north India mostly in the present states of Uttar Pradesh, Bihar, Haryana, Delhi and Gujarat.

 

BIRTH

Based on scriptural details and astrological calculations, the date of Krishna's birth, known as Janmashtami, is 18 July 3228 BCE. He was born to Devaki and her husband, Vasudeva, When Mother Earth became upset by the sin being committed on Earth, she thought of seeking help from Lord Vishnu. She went in the form of a cow to visit Lord Vishnu and ask for help. Lord Vishnu agreed to help her and promised her that he would be born on Earth. On Earth in the Yadava clan, he was yadav according to his birth, a prince named Kamsa sent his father Ugrasena (King of Mathura) to prison and became the King himself. One day a loud voice from the sky (Akash Vani in Hindi) prophesied that the 8th son of Kamsa's sister (Devaki) would kill Kamsa. Out of affection for Devaki, Kamsa did not kill her outright. He did, however, send his sister and her husband (Vasudeva) to prison. Lord Vishnu himself later appeared to Devaki and Vasudeva and told them that he himself would be their eighth son and kill Kamsa and destroy sin in the world. In the story of Krishna the deity is the agent of conception and also the offspring. Because of his sympathy for the earth, the divine Vishnu himself descended into the womb of Devaki and was born as her son, Vaasudeva (i.e., Krishna).[citation needed] This is occasionally cited as evidence that "virgin birth" tales are fairly common in non-Christian religions around the world. However, there is nothing in Hindu scriptures to suggest that it was a "virgin" birth. By the time of conception and birth of Krishna, Devaki was married to Vasudeva and had already borne 7 children. Virgin birth in this case should be more accurately understood as divine conception. Kunti the mother of the Pandavas referenced contemporaneously with the story of Krishna in the Mahabharata also has divine conception and virgin birth of Prince Karna.

 

The Hindu Vishnu Purana relates: "Devaki bore in her womb the lotus-eyed deity...before the birth of Krishna, no one could bear to gaze upon Devaki, from the light that invested her, and those who contemplated her radiance felt their minds disturbed.” This reference to light is reminiscent of the Vedic hymn "To an Unknown Divine," which refers to a Golden Child. According to F. M. Müller, this term means "the golden gem of child" and is an attempt at naming the sun. According to the Vishnu Purana, Krishna is the total incarnation of Lord Vishnu. It clearly describes in the Vishnu Purana that Krishna was born on earth to destroy sin, especially Kamsa.

 

Krishna belonged to the Vrishni clan of Yadavas from Mathura, and was the eighth son born to the princess Devaki, and her husband Vasudeva.

 

Mathura (in present day Mathura district, Uttar Pradesh) was the capital of the Yadavas, to which Krishna's parents Vasudeva and Devaki belonged. King Kamsa, Devaki's brother, had ascended the throne by imprisoning his father, King Ugrasena. Afraid of a prophecy from a divine voice from the heavens that predicted his death at the hands of Devaki's eighth "garbha", Kamsa had the couple locked in a prison cell. After Kamsa killed the first six children, Devaki apparently had a miscarriage of the seventh. However, in reality, the womb was actually transferred to Rohini secretly. This was how Balarama, Krishna's elder brother, was born. Once again Devaki became pregnant. Now due to the miscarriage, Kamsa was in a puzzle regarding 'The Eighth One', but his ministers advised that the divine voice from the heavens emphasised "the eight garbha" and so this is the one. That night Krishna was born in the Rohini nakshatra and simultaneously the goddess Durga was born as Yogamaya in Gokulam to Nanda and Yashoda.

 

Since Vasudeva knew Krishna's life was in danger, Krishna was secretly taken out of the prison cell to be raised by his foster parents, Yasoda and Nanda, in Gokula (in present day Mathura district). Two of his other siblings also survived, Balarama (Devaki's seventh child, transferred to the womb of Rohini, Vasudeva's first wife) and Subhadra (daughter of Vasudeva and Rohini, born much later than Balarama and Krishna).

 

CHILDHOOD AND YOUTH

Nanda was the head of a community of cow-herders, and he settled in Vrindavana. The stories of Krishna's childhood and youth tell how he became a cow herder, his mischievous pranks as Makhan Chor (butter thief) his foiling of attempts to take his life, and his role as a protector of the people of Vrindavana.

 

Krishna killed the demoness Putana, disguised as a wet nurse, and the tornado demon Trinavarta both sent by Kamsa for Krishna's life. He tamed the serpent Kāliyā, who previously poisoned the waters of Yamuna river, thus leading to the death of the cowherds. In Hindu art, Krishna is often depicted dancing on the multi-hooded Kāliyā.

 

Krishna lifted the Govardhana hill and taught Indra, the king of the devas, a lesson to protect native people of Brindavana from persecution by Indra and prevent the devastation of the pasture land of Govardhan. Indra had too much pride and was angry when Krishna advised the people of Brindavana to take care of their animals and their environment that provide them with all their necessities, instead of worshipping Indra annually by spending their resources. In the view of some, the spiritual movement started by Krishna had something in it which went against the orthodox forms of worship of the Vedic gods such as Indra. In Bhagavat Purana, Krishna says that the rain came from the nearby hill Govardhana, and advised that the people worshiped the hill instead of Indra. This made Indra furious, so he punished them by sending out a great storm. Krishna then lifted Govardhan and held it over the people like an umbrella.

 

The stories of his play with the gopis (milkmaids) of Brindavana, especially Radha (daughter of Vrishbhanu, one of the original residents of Brindavan) became known as the Rasa lila and were romanticised in the poetry of Jayadeva, author of the Gita Govinda. These became important as part of the development of the Krishna bhakti traditions worshiping Radha Krishna.

 

Krishna’s childhood reinforces the Hindu concept of lila, playing for fun and enjoyment and not for sport or gain. His interaction with the gopis at the rasa dance or Rasa-lila is a great example of this. Krishna played his flute and the gopis came immediately from whatever they were doing, to the banks of the Yamuna River, and joined him in singing and dancing. Even those who could not physically be there joined him through meditation. The story of Krishna’s battle with Kāliyā also supports this idea in the sense of him dancing on Kāliyā’s many hoods. Even though he is doing battle with the serpent, he is in no real danger and treats it like a game. He is a protector, but he only appears to be a young boy having fun. This idea of having a playful god is very important in Hinduism. The playfulness of Krishna has inspired many celebrations like the Rasa-lila and the Janmashtami : where they make human pyramids to break open handis (clay pots) hung high in the air that spill buttermilk all over the group after being broken by the person at the top. This is meant to be a fun celebration and it gives the participants a sense of unity. Many believe that lila being connected with Krishna gives Hindus a deeper connection to him and thus a deeper connection to Vishnu also; seeing as Krishna is an incarnation of Vishnu. Theologists, like Kristin Johnston Largen, believe that Krishna’s childhood can even inspire other religions to look for lila in deities so that they have a chance to experience a part of their faith that they may not have previously seen.

 

THE PRINCE

On his return to Mathura as a young man, Krishna overthrew and killed his maternal uncle, Kamsa, after quelling several assassination attempts from Kamsa's followers. He reinstated Kamsa's father, Ugrasena, as the king of the Yadavas and became a leading prince at the court. During this period, he became a friend of Arjuna and the other Pandava princes of the Kuru kingdom, who were his cousins. Later, he took his Yadava subjects to the city of Dwaraka (in modern Gujarat) and established his own kingdom there.

 

Krishna married Rukmini, the Vidarbha princess, by abducting her, at her request, from her proposed wedding with Shishupala. He married eight queens - collectively called the Ashtabharya - including Rukmini, Satyabhama, Jambavati, Kalindi, Mitravinda, Nagnajiti, Bhadra and Lakshmana. Krishna subsequently married 16,000 or 16,100 maidens who were held captive by the demon Narakasura, to save their honour. Krishna killed the demon and released them all. According to social custom of the time, all of the captive women were degraded, and would be unable to marry, as they had been under the Narakasura's control. However Krishna married them to reinstate their status in the society. This symbolic wedding with 16,100 abandoned daughters was more of a mass rehabilitation. In Vaishnava traditions, Krishna's wives are forms of the goddess Lakshmi - consort of Vishnu, or special souls who attained this qualification after many lifetimes of austerity, while his two queens, Rukmani and Satyabhama, are expansions of Lakshmi.

 

When Yudhisthira was assuming the title of emperor, he had invited all the great kings to the ceremony and while paying his respects to them, he started with Krishna because he considered Krishna to be the greatest of them all. While it was a unanimous feeling amongst most present at the ceremony that Krishna should get the first honours, his cousin Shishupala felt otherwise and started berating Krishna. Due to a vow given to Shishupal's mother, Krishna forgave a hundred verbal abuses by Shishupal, and upon the one hundred and first, he assumed his Virat (universal) form and killed Shishupal with his Chakra. The blind king Dhritarashtra also obtained divine vision to be able to see this form of Krishna during the time when Duryodana tried to capture Krishna when he came as a peace bearer before the great Mahabharat War. Essentially, Shishupala and Dantavakra were both re-incarnations of Vishnu's gate-keepers Jaya and Vijaya, who were cursed to be born on Earth, to be delivered by the Vishnu back to Vaikuntha.

 

KURUKSHETRA WAR AND BHAGAVAD GITA

Once battle seemed inevitable, Krishna offered both sides the opportunity to choose between having either his army called narayani sena or himself alone, but on the condition that he personally would not raise any weapon. Arjuna, on behalf of the Pandavas, chose to have Krishna on their side, and Duryodhana, Kaurava prince, chose Krishna's army. At the time of the great battle, Krishna acted as Arjuna's charioteer, since this position did not require the wielding of weapons.

 

Upon arrival at the battlefield, and seeing that the enemies are his family, his grandfather, his cousins and loved ones, Arjuna is moved and says his heart does not allow him to fight and he would rather prefer to renounce the kingdom and put down his Gandiv (Arjuna's bow). Krishna then advises him about the battle, with the conversation soon extending into a discourse which was later compiled as the Bhagavad Gita.

 

Krishna asked Arjuna, "Have you within no time, forgotten the Kauravas' evil deeds such as not accepting the eldest brother Yudhishtira as King, usurping the entire Kingdom without yielding any portion to the Pandavas, meting out insults and difficulties to Pandavas, attempt to murder the Pandavas in the Barnava lac guest house, publicly attempting to disrobe and disgracing Draupadi. Krishna further exhorted in his famous Bhagavad Gita, "Arjuna, do not engage in philosophical analyses at this point of time like a Pundit. You are aware that Duryodhana and Karna particularly have long harboured jealousy and hatred for you Pandavas and badly want to prove their hegemony. You are aware that Bhishmacharya and your Teachers are tied down to their dharma of protecting the unitarian power of the Kuru throne. Moreover, you Arjuna, are only a mortal appointee to carry out my divine will, since the Kauravas are destined to die either way, due to their heap of sins. Open your eyes O Bhaarata and know that I encompass the Karta, Karma and Kriya, all in myself. There is no scope for contemplation now or remorse later, it is indeed time for war and the world will remember your might and immense powers for time to come. So rise O Arjuna!, tighten up your Gandiva and let all directions shiver till their farthest horizons, by the reverberation of its string."

 

Krishna had a profound effect on the Mahabharata war and its consequences. He had considered the Kurukshetra war to be a last resort after voluntarily acting as a messenger in order to establish peace between the Pandavas and Kauravas. But, once these peace negotiations failed and was embarked into the war, then he became a clever strategist. During the war, upon becoming angry with Arjuna for not fighting in true spirit against his ancestors, Krishna once picked up a carriage wheel in order to use it as a weapon to challenge Bhishma. Upon seeing this, Bhishma dropped his weapons and asked Krishna to kill him. However, Arjuna apologized to Krishna, promising that he would fight with full dedication here/after, and the battle continued. Krishna had directed Yudhisthira and Arjuna to return to Bhishma the boon of "victory" which he had given to Yudhisthira before the war commenced, since he himself was standing in their way to victory. Bhishma understood the message and told them the means through which he would drop his weapons - which was if a woman entered the battlefield. Next day, upon Krishna's directions, Shikhandi (Amba reborn) accompanied Arjuna to the battlefield and thus, Bhishma laid down his arms. This was a decisive moment in the war because Bhishma was the chief commander of the Kaurava army and the most formidable warrior on the battlefield. Krishna aided Arjuna in killing Jayadratha, who had held the other four Pandava brothers at bay while Arjuna's son Abhimanyu entered Drona's Chakravyuha formation - an effort in which he was killed by the simultaneous attack of eight Kaurava warriors. Krishna also caused the downfall of Drona, when he signalled Bhima to kill an elephant called Ashwatthama, the namesake of Drona's son. Pandavas started shouting that Ashwatthama was dead but Drona refused to believe them saying he would believe it only if he heard it from Yudhisthira. Krishna knew that Yudhisthira would never tell a lie, so he devised a clever ploy so that Yudhisthira wouldn't lie and at the same time Drona would be convinced of his son's death. On asked by Drona, Yudhisthira proclaimed

 

Ashwathama Hatahath, naro va Kunjaro va

 

i.e. Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant. But as soon as Yudhisthira had uttered the first line, Pandava army on Krishna's direction broke into celebration with drums and conchs, in the din of which Drona could not hear the second part of the Yudhisthira's declaration and assumed that his son indeed was dead. Overcome with grief he laid down his arms, and on Krishna's instruction Dhrishtadyumna beheaded Drona.

 

When Arjuna was fighting Karna, the latter's chariot's wheels sank into the ground. While Karna was trying to take out the chariot from the grip of the Earth, Krishna reminded Arjuna how Karna and the other Kauravas had broken all rules of battle while simultaneously attacking and killing Abhimanyu, and he convinced Arjuna to do the same in revenge in order to kill Karna. During the final stage of the war, when Duryodhana was going to meet his mother Gandhari for taking her blessings which would convert all parts of his body on which her sight falls to diamond, Krishna tricks him to wearing banana leaves to hide his groin. When Duryodhana meets Gandhari, her vision and blessings fall on his entire body except his groin and thighs, and she becomes unhappy about it because she was not able to convert his entire body to diamond. When Duryodhana was in a mace-fight with Bhima, Bhima's blows had no effect on Duryodhana. Upon this, Krishna reminded Bhima of his vow to kill Duryodhana by hitting him on the thigh, and Bhima did the same to win the war despite it being against the rules of mace-fight (since Duryodhana had himself broken Dharma in all his past acts). Thus, Krishna's unparalleled strategy helped the Pandavas win the Mahabharata war by bringing the downfall of all the chief Kaurava warriors, without lifting any weapon. He also brought back to life Arjuna's grandson Parikshit, who had been attacked by a Brahmastra weapon from Ashwatthama while he was in his mother's womb. Parikshit became the Pandavas' successor.

 

FAMILY

Krishna had eight princely wives, also known as Ashtabharya: Rukmini, Satyabhama, Jambavati, Nagnajiti, Kalindi, Mitravinda, Bhadra, Lakshmana) and the other 16,100 or 16,000 (number varies in scriptures), who were rescued from Narakasura. They had been forcibly kept in his palace and after Krishna had killed Narakasura, he rescued these women and freed them. Krishna married them all to save them from destruction and infamity. He gave them shelter in his new palace and a respectful place in society. The chief amongst them is Rohini.

 

The Bhagavata Purana, Vishnu Purana, Harivamsa list the children of Krishna from the Ashtabharya with some variation; while Rohini's sons are interpreted to represent the unnumbered children of his junior wives. Most well-known among his sons are Pradyumna, the eldest son of Krishna (and Rukmini) and Samba, the son of Jambavati, whose actions led to the destruction of Krishna's clan.

 

LATER LIFE

According to Mahabharata, the Kurukshetra war resulted in the death of all the hundred sons of Gandhari. On the night before Duryodhana's death, Lord Krishna visited Gandhari to offer his condolences. Gandhari felt that Krishna knowingly did not put an end to the war, and in a fit of rage and sorrow, Gandhari cursed that Krishna, along with everyone else from the Yadu dynasty, would perish after 36 years. Krishna himself knew and wanted this to happen as he felt that the Yadavas had become very haughty and arrogant (adharmi), so he ended Gandhari's speech by saying "tathastu" (so be it).

 

After 36 years passed, a fight broke out between the Yadavas, at a festival, who killed each other. His elder brother, Balarama, then gave up his body using Yoga. Krishna retired into the forest and started meditating under a tree. The Mahabharata also narrates the story of a hunter who becomes an instrument for Krishna's departure from the world. The hunter Jara, mistook Krishna's partly visible left foot for that of a deer, and shot an arrow, wounding him mortally. After he realised the mistake, While still bleeding, Krishna told Jara, "O Jara, you were Bali in your previous birth, killed by myself as Rama in Tretayuga. Here you had a chance to even it and since all acts in this world are done as desired by me, you need not worry for this". Then Krishna, with his physical body ascended back to his eternal abode, Goloka vrindavan and this event marks departure of Krishna from the earth. The news was conveyed to Hastinapur and Dwaraka by eyewitnesses to this event. The place of this incident is believed to be Bhalka, near Somnath temple.

 

According to Puranic sources, Krishna's disappearance marks the end of Dvapara Yuga and the start of Kali Yuga, which is dated to February 17/18, 3102 BCE. Vaishnava teachers such as Ramanujacharya and Gaudiya Vaishnavas held the view that the body of Krishna is completely spiritual and never decays (Achyuta) as this appears to be the perspective of the Bhagavata Purana. Lord Sri Chaitanya Mahaprabhu (an incarnation of Lord Sri Krishna according to the Bhavishya Purana) exhorted, "Krishna Naama Sankirtan" i.e. the constant chanting of the Krishna's name is the supreme healer in Kali Yuga. It destroys sins and purifies the hearts through Bhakti ensures universal peace.

 

Krishna never appears to grow old or age at all in the historical depictions of the Puranas despite passing of several decades, but there are grounds for a debate whether this indicates that he has no material body, since battles and other descriptions of the Mahabhārata epic show clear indications that he seems to be subject to the limitations of nature. While battles apparently seem to indicate limitations, Mahabharata also shows in many places where Krishna is not subject to any limitations as through episodes Duryodhana trying to arrest Krishna where his body burst into fire showing all creation within him. Krishna is also explicitly described as without deterioration elsewhere.

 

WORSHIP

VAISHNAVISM

The worship of Krishna is part of Vaishnavism, which regards Vishnu as the Supreme God and venerates His associated avatars, their consorts, and related saints and teachers. Krishna is especially looked upon as a full manifestation of Vishnu, and as one with Vishnu himself. However the exact relationship between Krishna and Vishnu is complex and diverse, where Krishna is sometimes considered an independent deity, supreme in his own right. Out of many deities, Krishna is particularly important, and traditions of Vaishnava lines are generally centered either on Vishnu or on Krishna, as supreme. The term Krishnaism has been used to describe the sects of Krishna, reserving the term "Vaishnavism" for sects focusing on Vishnu in which Krishna is an avatar, rather than as a transcendent Supreme Being.

 

All Vaishnava traditions recognise Krishna as an avatar of Vishnu; others identify Krishna with Vishnu; while traditions, such as Gaudiya Vaishnavism, Vallabha Sampradaya and the Nimbarka Sampradaya, regard Krishna as the Svayam Bhagavan, original form of God. Swaminarayan, the founder of the Swaminarayan Sampraday also worshipped Krishna as God himself. "Greater Krishnaism" corresponds to the second and dominant phase of Vaishnavism, revolving around the cults of the Vasudeva, Krishna, and Gopala of late Vedic period. Today the faith has a significant following outside of India as well.

 

EARLY TRADITIONS

The deity Krishna-Vasudeva (kṛṣṇa vāsudeva "Krishna, the son of Vasudeva") is historically one of the earliest forms of worship in Krishnaism and Vaishnavism. It is believed to be a significant tradition of the early history of the worship of Krishna in antiquity. This tradition is considered as earliest to other traditions that led to amalgamation at a later stage of the historical development. Other traditions are Bhagavatism and the cult of Gopala, that along with the cult of Bala Krishna form the basis of current tradition of monotheistic religion of Krishna. Some early scholars would equate it with Bhagavatism, and the founder of this religious tradition is believed to be Krishna, who is the son of Vasudeva, thus his name is Vāsudeva; he is said to be historically part of the Satvata tribe, and according to them his followers called themselves Bhagavatas and this religion had formed by the 2nd century BC (the time of Patanjali), or as early as the 4th century BC according to evidence in Megasthenes and in the Arthasastra of Kautilya, when Vāsudeva was worshiped as supreme deity in a strongly monotheistic format, where the supreme being was perfect, eternal and full of grace. In many sources outside of the cult, the devotee or bhakta is defined as Vāsudevaka. The Harivamsa describes intricate relationships between Krishna Vasudeva, Sankarsana, Pradyumna and Aniruddha that would later form a Vaishnava concept of primary quadrupled expansion, or avatar.

  

BHAKTI TRADITION

Bhakti, meaning devotion, is not confined to any one deity. However Krishna is an important and popular focus of the devotional and ecstatic aspects of Hindu religion, particularly among the Vaishnava sects. Devotees of Krishna subscribe to the concept of lila, meaning 'divine play', as the central principle of the Universe. The lilas of Krishna, with their expressions of personal love that transcend the boundaries of formal reverence, serve as a counterpoint to the actions of another avatar of Vishnu: Rama, "He of the straight and narrow path of maryada, or rules and regulations."

 

The bhakti movements devoted to Krishna became prominent in southern India in the 7th to 9th centuries AD. The earliest works included those of the Alvar saints of the Tamil country. A major collection of their works is the Divya Prabandham. The Alvar Andal's popular collection of songs Tiruppavai, in which she conceives of herself as a gopi, is the most famous of the oldest works in this genre. Kulasekaraazhvaar's Mukundamala was another notable work of this early stage.

 

SPREAD OF THE KRISHNA-BHAKTI MOVEMENT

The movement, which started in the 6th-7th century A.D. in the Tamil-speaking region of South India, with twelve Alvar (one immersed in God) saint-poets, who wrote devotional songs. The religion of Alvar poets, which included a woman poet, Andal, was devotion to God through love (bhakti), and in the ecstasy of such devotions they sang hundreds of songs which embodied both depth of feeling and felicity of expressions. The movement originated in South India during the seventh-century CE, spreading northwards from Tamil Nadu through Karnataka and Maharashtra; by the fifteenth century, it was established in Bengal and northern India.

 

While the learned sections of the society well versed in Sanskrit could enjoy works like Gita Govinda or Bilvamangala's Krishna-Karnamritam, the masses sang the songs of the devotee-poets, who composed in the regional languages of India. These songs expressing intense personal devotion were written by devotees from all walks of life. The songs of Meera and Surdas became epitomes of Krishna-devotion in north India.

 

These devotee-poets, like the Alvars before them, were aligned to specific theological schools only loosely, if at all. But by the 11th century AD, Vaishnava Bhakti schools with elaborate theological frameworks around the worship of Krishna were established in north India. Nimbarka (11th century AD), Vallabhacharya (15th century AD) and (Lord Sri Chaitanya Mahaprabhu an incarnation of Lord Sri Krishna according to the Bhavishya Purana) (16th century AD) all inspired by the teachings of Madhvacharya (11th century AD) were the founders of the most influential schools. These schools, namely Nimbarka Sampradaya, Vallabha Sampradaya and Gaudiya Vaishnavism respectively, see Krishna as the supreme God, rather than an avatar, as generally seen.

 

In the Deccan, particularly in Maharashtra, saint poets of the Varkari sect such as Dnyaneshwar, Namdev, Janabai, Eknath and Tukaram promoted the worship of Vithoba, a local form of Krishna, from the beginning of the 13th century until the late 18th century. In southern India, Purandara Dasa and Kanakadasa of Karnataka composed songs devoted to the Krishna image of Udupi. Rupa Goswami of Gaudiya Vaishnavism, has compiled a comprehensive summary of bhakti named Bhakti-rasamrita-sindhu.

 

IN THE WEST

In 1965, the Krishna-bhakti movement had spread outside India when its founder, Bhaktivedanta Swami Prabhupada, (who was instructed by his guru, Bhaktisiddhanta Sarasvati Thakura) traveled from his homeland in West Bengal to New York City. A year later in 1966, after gaining many followers, he was able to form the International Society for Krishna Consciousness (ISKCON), popularly known as the Hare Krishna movement. The purpose of this movement was to write about Krishna in English and to share the Gaudiya Vaishnava philosophy with people in the Western world by spreading the teachings of the saint Chaitanya Mahaprabhu. In an effort to gain attention, followers chanted the names of God in public locations. This chanting was known as hari-nama sankirtana and helped spread the teaching. Additionally, the practice of distributing prasad or “sanctified food” worked as a catalyst in the dissemination of his works. In the Hare Krishna movement, Prasad was a vegetarian dish that would be first offered to Krishna. The food’s proximity to Krishna added a “spiritual effect,” and was seen to “counteract material contamination affecting the soul.” Sharing this sanctified food with the public, in turn, enabled the movement to gain new recruits and further spread these teachings.

 

WIKIPEDIA

Outtakes from another shoot that were repurposed.

HULL, or Kingston upon Hull, a town in Hullshire. Hull, with the parishes of Hessle, Kirk Ella and North Ferriby forms the distinct county called Hullshire (or the town and county of Kingston upon Hull). The town of Hull contains two parishes:

Holy Trinity and

St. Mary's.

The town itself is: 8 miles from Hedon, 9 from Beverley, 12 from South-Cave, 16 from Hornsea, 18 from Patrington, 25 from Howden, 39 from York; from London, by Lincoln, 174; by York. 236. --Markets, Tuesday and Friday. --Fair, Oct. 10, for horned cattle, horses, woollen-cloths, toys, &c. --Bankers, Old-Bank, Messrs. Pease and Liddell, draw on Messrs. Sir Peter Pole, Thornton, and Co. 1, Bartholomew Lane; Messrs. Pease, Harrison, and Co. draw on Messrs. Marryatt, Kay, and Co. 1, Mansion-House-Street; Messrs. R. Raikes, and Co. draw on Messrs. Curries, Raikes, and Co. 29, Cornhill; Messrs. Smiths and Thompson draw on Messrs. Smith, Payne, and Smiths, Mansion-House Place. --Pop. 28,624.

The town is of no great antiquity, for King Edward I. was founder of it; he having observed the advantageous situation of the place, (then called Wik) obtained it by way of exchange of the Abbot of Meaux, and built the town called from him Kingston, i.e. the King's town. Here he made a good harbour, and the inhabitants Free-Burgesses, and granted them many privileges. They were at first governed by a Warden, and then by Bailiffs; and after that by a Mayor and Bailiffs, and at last obtained of King Henry VI. to be governed by a Mayor and a Sheriff, and that the town should be a county corporate of itself. Sir Michael de la Pole prevailed on King Richard II. to enlarge their charter, and grant them other privileges. It is now inferior to few places in England for trade, being well furnished with shipping. It is governed by a Mayor, a Recorder, 12 Aldermen, &c. --Camden. --Magna Brit.

 

Charles I. was received here with great pomp and ceremony. During the rupture between the King and parliament, Sir John Hotham was made governor of the place, and previous to the King entering the town, he sent a message to Sir John, to inform him, that he intended to do himself the pleasure to dine with him; but his majesty was immediately informed by the governor, that he could not open the gates to him, without betraying the trust that was reposed in him by Parliament. Charles, irritated by the refusal, determined to besiege the town; but after repeated repulses, and finding all his attempts ineffectual, raised the siege, and proceeded to York. It seems, however, that though Hotham at first refused to open the gates to the King, yet he afterwards, in 1643, sent his son privately to treat with him. These designs being made known to Parliament, both the father and son were executed.

 

Another attempt to besiege the town was made soon afterwards by the Marquis of Newcastle, but attended with no better success.

 

The Armory in the citadel, which has lately undergone considerable repairs, is capable of containing arms and accoutrements for 15,000 Cavalry, and 20,000 Infantry.

 

The Trinity-house, a spacious building, begun at first by subscription, for the relief of distressed seamen and their wives; but afterwards a patent was obtained from the Crown, with many privileges, by the advantage of which they maintain many distressed seamen with their widows, both at Hull and other places.

 

Michael de la Pole, founded here, in 1378, a Monastery for a Prior, and 12 Carthusian Monks. This house was founded in honour of God, the Virgin Mary, and St. Michael the Archangel. --Dugdale. The "White Freres College," says Leland, "stode by Beverlegate. The Percys were taken for founders of it. The Augustine Freres stode at the est ende of Trinite Chirch."

 

The Maison-Dieu, for the relief of the poor, was built by Michael de la Pole, in 1384, for 13 poor men and as many women, to which he gave 20 acres of land and 20L. per ann. out of his land, in this place and Myton. Over the door, cut in stone, is this inscription:--

 

Deo et Pauperibus posuit D. Michael de la Pole, A.D. 1384.

Magna. Brit.

There are, besides, several hospitals in this place, erected by private benefactors. That benevolent institution, the Female Penitentiary was opened here in 1811. The great object of it is to employ, and ultimately to restore to society, such women as have, by evil courses, rendered themselves obnoxious to society. Every applicant is considered as on probation, and not fully admitted till she has conducted herself for two months in a satisfactory manner.

This town gave birth to Thos. Johnson, M.D. the first botanist of his time in England. He died in 1644. Doctor Fuller, who knew him well, wrote the following epitaph to his memory :--

 

Hic, Johnsone, jaces, se si Mors cederet Herbis,

Arte fugata tua cederet illa tuis.

Captain Edward Thompson was a native of this place, born in about 1738. He was the author of a variety of pieces; but the merits by which Capt. Thompson will be best known, are his sea songs, especially those beautiful compositions beginning " Loose every sail to the breeze," "The topsails shiver in the wind," and "Behold upon the gallant wave." He was appointed commander of the Grampus, and sent to the coast of Africa, where he died in 1786.

In the market-place stands a fine equestrian statue of King William III. On the pedestal is this inscription:- "This statue was erected in 1734, to the memory of King William, our great deliverer."

 

The whale fishery constitutes a principal branch in the commercial concerns of Hull, which sends out to Greenland and Davis Straits, a greater number of ships than any port in Britain.

 

Hull sends two members to Parliament. -It first returned 33rd Edward I. but ceased sending till 12th Edward II. The right of election is in the Burgesses, of which there are about 1,400. The Sheriff is the returning Officer. --Oldfield on Boroughs.

 

Former Friendly's 2069 Plank Rd Fredericksburg, VA. 12/24/16. This location closed in March 2017 and is currently Metro Diner.

.

 

52 défis photographiques. Voir les formes.

I am not sure if my form is good or bad.

 

Until recently I rarely used the front or lower part of the forward facing U of road racing bicycles.

 

Instead I had "aero bars" installed so that I could recline forwards resting on top of the handlebars.

 

In the above photograph I am shown using the forward facing part of the U of my road racing bike.

 

I am not sure whether my form is good bad or indifferent but until I purchase the saddle in the adjacent photograph I rarely used the front or bottom part of the forward-facing-U of my handlebars.

  

Philadephus lewisii 'Goose Creek' (double-flowered form). An unusual sport of the typically four-petaled species. The form holds true when propagated from cuttings. Compare with the four-petaled flowers in this Flckr photo: flic.kr/p/tNBocS . Photographed at Regional Parks Botanic Garden located in Tilden Regional Park near Berkeley, CA

Wedding dress form cake for a bridal shower. Navy blue accent color.

 

Dark Chocolate Cake with Salted Caramel Swiss Meringue Buttercream (my favorite!)

 

Everything is edible!

Formed in 2000, Ferrovie Emilia Romagna was formed by the merging of several private operators in the area. Seen here is a 4-car set powered by ALn663.1017 and ALn663.1019 waiting to depart on train R7560, 15:31 Codigoro to Ferrara on 10 November 2003.

 

Following a merge with ACT Bologna City Transport, the company became Trasporto Passeggeri Emilia Romagna.

A quiet moment at Blue Anchor during the WSR Spring gala.

Shows a Braun audio prototype

genuinely thrilled to be asked to cover a street art project 'New Forms' based at Clarence Docks in Leeds.

Note to self - buy a vapour mask...2 hours of paint fumes and my head was spinning.

 

For more info see - www.facebook.com/events/546902445418920/?ref_dashboard_fi...

Oil on canvas

A couple of magnificent thunderclouds popped up this evening beyond the lake in Rusk County. They caught the last rays of the sun and lit up the sky. This chronicles the development of one of these storms.

Pupils have their own space in the Dixon Centre.

Quinceañera (pronounced: [kinseaˈɲeɾa]/[k̟ĩn̺s̺e̞äˈɲe̞ɾä]; feminine form of "fifteen-year-old"), also called fiesta de quince años, fiesta de quinceañera, quince años or simply quince, is a celebration of a girl's fifteenth birthday in parts of Latin America and elsewhere in communities of people from Latin America. This birthday is celebrated differently from any other as it marks the transition from childhood to young womanhood.[1] Latin myths and tradition tell about how girls were prepared to be married by the age of fifteen or become nuns. In the years prior to their fifteenth birthdays, girls were taught to cook, weave, and about child rearing by the elder women in their communities in preparation for their lives as married women.[2] The celebrations today vary significantly across countries; celebrations in some countries, for example, have taken on more religious overtones than in others.

 

In Brazil, a Portuguese-speaking country, the same celebration is called festa de debutantes, baile de debutantes or festa de quinze anos. In the French Caribbean and French Guiana, it is called fête des quinze ans. It is comparable to the debutante formerly common amongst the upper-class in the United Kingdom and the United States.

for more:

en.wikipedia.org/wiki/Quincea%C3%B1era

  

Contents

[hide] 1 In specific countries 1.1 Argentina, Peru, Paraguay, Bolivia and Uruguay 1.1.1 Ceremony of the 15 Candles

 

1.2 Brazil

1.3 Cuba

1.4 Dominican Republic

1.5 Ecuador, Venezuela and Colombia

1.6 French Guiana and French Caribbean

1.7 Mexico

1.8 Traditions from other hispanic countries

 

2 Quinceañera's new tradition

3 See also

4 References

5 External links

  

In specific countries[edit]

 

Argentina, Peru, Paraguay, Bolivia and Uruguay[edit]

 

In Argentina, Peru, Paraguay, and Uruguay[citation needed] the celebration (which is never referred to as a quinceañera but as a fiesta de quince) begins with the arrival of the teenager accompanied by her father, the girl wearing an elaborate, elegant dress she has chosen according to her preferences in colors and style, but still maintaining with the traditional dress. The location, if indoors, commonly has its entrance specially adorned for the occasion. The father and daughter make their entry through this front-door entrance, while music plays and friends and relatives customarily give flowers (usually roses) to the father. After this, the ceremony of the waltz begins, in which the girl first dances with her father—or the father figure—who then passes her on to her friends and relatives. Normally, the ball is divided into segments between which various food dishes are served in order to allow the guests—who are usually close family members and friends—to mingle and enjoy the celebration. The following order of events represents a typical program:

1.Entrance, which is usually accompanied by slow songs

2.Waltz

3.Entree

4.First period of dancing

5.Main meal course

6.Second period of dancing

7.Dessert and video playback of the recorded birthday with her friends

8.15-candle ceremony (optional)

9.Third period of dancing

10.Toast, cake cutting, and a ritual where each female friend/relative pulls a ribbon out of a bunch. The ribbons all have charms on the ends except for one which has a ring.

11.Last period of dancing

 

Ceremony of the 15 Candles[edit]

 

In this ceremony, the birthday girl hands a candle to each of fifteen people she considers were most influential in her life during her fifteen years. It is often accompanied by a speech, usually dedicated to each of the people that are given candles. This ceremony is also known as the Tree of Life. The 15 candles symbolize the 15 years the girl has "left behind". Each of the candles represents a special memory, a moment shared with any person who is invited to join the ritual. This is to give gratitude to these 15 people she will tell how they helped her.

 

Brazil[edit]

 

In Brazil the celebration is called festa de debutantes, baile de debutantes or festa de quinze anos. The following order of events represents a typical program:

1.Entrance

2.Mass (optional)

3.First period of dancing (usually to international music)

4.Ceremony with videos about the girl's life with friends' greeting

5.A dance with men from her family and one boy (either her boyfriend or her best friend)

6.Second period of dancing (usually to national music)

7.Cake cutting

8.Third period of dancing

 

Cuba[edit]

 

In Cuba, the party may include a choreographed group dance, in which 14 couples waltz around the quinceañera, who is accompanied by one of the main dancers, a boy of her choice, her boyfriend or friends of rights.[vague] The choreography often includes four or six dancers or escorts called experts, who are allowed to dance around the quinceañera. They are usually inexperienced dancers whose function is to highlight the central couple. The male dancers are also allowed to wear tuxedos in different colors.

 

Fifteenth birthday celebrations were very popular in Cuba until the late 1970s. This practice partly entered Cuba via Spain, but the greatest influence was the French.[citation needed] The wealthy families who could afford to rent expensive dining rooms in private clubs or hotels of four and five stars were the real precursors of quinceañeras, which they called quinces. These celebrations usually took place in the house of the girl or the more spacious house of a relative.

 

Dominican Republic[edit]

 

This celebration is very traditional and common. It begins with a Mass in the Catholic Church to receive the blessing of God and give thanks for another year of life. At the birthday party, the birthday girl makes her entrance to the place of the party accompanied by 14 additional pairs of guests, which together with the teenager's own are 15 pairs of people total. Usually, the quinceañera wears a bright color dress. Ladies wear long dresses and gentlemen wear suits and ties, which are often brightly colored, but never to overshadow the birthday girl's dress, which is the focal point of the celebration. Almost immediately the quinceañera birthday girl dances the waltz with her partner who usually waltzes in the middle and passes her to the hands of her father to finish the waltz.

 

It is customary for the quinceañera girl and her escorts to perform several choreographed dances, which may include rhythms like merengue, pop, or salsa. A buffet and drinks are usually served. As the party favors or memories are given to the guests, an album is signed by invited guests to record their presence at the party. One of the main attractions in the Dominican Republic is the traditional cake of fifteen years, which is usually of immense size and beauty, decorated with colorful designs. The cake is cut shortly after the dancing. Traditionally an artist or band participates in the celebration to bring it to life and give a musical touch.

     

A Nicaraguan girl celebrating her quince años. In Nicaragua, only the girl, and never the celebration itself, is referred to as quinceañera.

Ecuador, Venezuela and Colombia[edit]

 

In Ecuador, the quince starts with the arrival of the teenager, accompanied by her father, who is then received by her mother and other relatives and friends. Then father and daughter dance a waltz and other tunes.[3] The quinceañera birthday girl will dance with her brothers (if any) and their uncles and godparents. Then she performs the paso doble and the waltz with all members of the procession (then optional dances to other music, such as merengue or pop). For this occasion the teenager wears an evening dress in light colors or pastels, is dressed and made up slightly, and usually places a tiara in her hair and jewels on her neck and hands. All the guests dress in formal attire, including the teenager's peers.

 

After the original dance, the choreography begins with a setup by the teenager and her friends. After that, the festival begins with music from live bands, some famous artists, DJs, food, drink, and at one late point of the night a "crazy hour" is carried out, in which the attendants wear masks or funny wigs and make noise with whistles and rattles while fast-tempo music is played. It is optional to make some surprise dance performed by the quinceañera birthday girl (alone or accompanied), and also a dance that will give away her friends, cousins, and others. [4]

 

French Guiana and French Caribbean[edit]

 

In French Guiana and the French Caribbean the celebration is known as fête des quinze ans.

 

Mexico[edit]

  

File:Mexican Quinceanera.theora.ogvPlay media

   

A Mexican quinceañera celebration

    

Quinceañera with "chambelanes"

In Mexico the quinceañera is adorned with elegant jewelry and makeup. Traditionally, this would be the first time she would wear makeup, but this is no longer the case. The quinceañera is also expected to wear a formal evening dress, traditionally a long, elegant ball gown chosen by the girl and most often, her mother, according to her color and style of favor.[5]

 

In the Mexican tradition, when the teenager is Catholic, the quinceañera celebration begins with a thanksgiving mass.[5] She arrives at the celebration accompanied by her parents, godparents and court of honor. The court of honor is a group of her chosen peers consisting of paired-off girls and boys, respectively known as damas (dames) and chambelanes (chamberlains). Typically, the court consists of pairs ranging from seven to fifthteen damas and chambelanes. At this religious mass, a rosary, or sometimes a necklace with a locket or pendant depicting Mexico's patron saint, the Virgin of Guadalupe, is presented to the teenager by her godparents, the necklace having been previously blessed by the church clergy. She is also awarded a tiara, which serves as a reminder that to her loved ones, especially her immediate family, the quinceañera will always be a princess. Some also see it as denoting that she is a "princess" before God and the world. After this, the girl may leave her bouquet of flowers on the altar for the Virgin Mary.[5]

 

After the thanksgiving mass, guests gather for a reception where the remaining celebratory events meant to honor the quinceañera will take place, including the rendering of gifts. This reception may be held at the quinceañera's home, at venues (such as dining halls, banquet halls, or casinos), or in some cases, in more public places, similar to a block party. During the reception, the birthday girl usually dances a traditional waltz with her father to a song chosen by both that speaks about the occasion and their relationship. Then her father passes her over to the "chambelán de honor", who is her chosen escort, and afterwards continues the dance with the rest of her court of honor.[5] Often this section of the celebration is previously practiced and/or choreographed, often weeks in advance, sometimes even with months of anticipation.[5] The basic reception consists of six major parts[6] with dances taking place while a traditional Mexican meal is served:

1.The formal entry - A grand entrance made by the Quinceañera once most guests have been seated.

2.The formal toast - An optional but usually featured part of the reception, generally initiated by the parents or godparents of the birthday girl.

3.The first dance - Usually a waltz where the girl dances, starting with her father.

4.The family dance - Usually a waltz involving just the immediate relatives, the "chambelanes", godparents and the closest friends of the girl.

5.The preferred song - Any modern song particularly enjoyed by the Quinceañera is played and danced.

6.The general dance - Also usually a waltz, where everyone dances to a musical waltz tune.

 

Traditionally, Mexican girls could not dance in public until they turned fifteen, except at school dances or at family events. So the waltz with her "chambelanes" is choreographed and elaborate to celebrate what was meant to be the quinceañera's first public dance.

 

Some families may choose to add a ceremonial components to the celebration, depending on local customs. Among them are the ceremony of the Change of Shoes, in which a family member presents the quinceañera with her first pair of high heel shoes; the Crowning ceremony, in which a close relative vests her with a crown on her head; and ceremonia de la ultima muñeca (literally "ceremony of the last doll"), during which her father presents her with a doll usually wearing a dress similar to the quinceañera herself. The ceremony of the last doll is based on a Maya tradition and is related to the birthday girl's receipt and renouncement of the doll as she grows into womanhood. Likewise, the ceremony of the change of shoes symbolizes the girl's maturity.[5]

 

Once all symbolic gestures have taken place, the dinner is commenced. At this point, the celebration reaches its peak; contracted musical groups begin playing music, keeping the guests entertained. The music is played while the guests dine, chat, mingle, and dance. The next morning the family and closest friends may also attend a special breakfast, especially if they are staying with the family. Sometimes what is known as a recalentado (re-warming) takes place in which any food not consumed during the event of the night before is warmed again for a brunch type event.[7]

 

Traditions from other hispanic countries[edit]

 

Another tradition[where?] is to have 14 ladies (sometimes 7), and 14 escorts (sometimes 7) as a court.[citation needed] The escorts hold flowers (usually roses) and the ladies carry candles. As the quinceañera dances the waltz with her father she blows out one candle, then picks up one rose. This continues until all candles have been blown out and all roses have been picked up. The 14 candles blown out represent her 14 years of age. When the time comes to cut the cake the quinceañera will blow out her last candle thus completing her 15 wishes. The flowers are given to her mother. An English quinceañera waltz song especially made for the father and daughter dance is "Sure As The Wind" - www.youtube.com/watch?v=Yw520MtDw28 .

 

Quinceañera's new tradition[edit]

 

Nowadays, many young girls create their own Quinceañera celebrations. Whereas traditional dresses were formal and usually white or pink only, dress designs are now more detailed.[8] Also, instead of having the traditional seven damas and seven chambelanes, the Quinceañera now also has the choice to pick all damas or all chambelanes. Traditionally, girls were not allowed to dance in public until turning fifteen, but this taboo has also receded significantly. The ceremony of the Changing of the Shoes has also been modified. Instead of wearing slippers before ceremonially exchanging them for high heels, a girl may decide to wear shoes compatible with the color and style of her dress instead of donning the traditional slippers.

 

mold, merge.... vanish into thin air ...... materialize over and over

A study of masculine form shaped by light, shadow, and quiet architectural geometry.

 

A man in black briefs poses in a bright, minimalist room, his body interacting with sharp geometric shadows on white walls, emphasizing sculptural lines, muscle definition, and the interplay of light and architecture.

Al Tawila. Mesquitas, forma e localização.

 

Fotógrafo: Fernando Varanda (1941-)

Fotografia: 1973 - 1990.

 

[CFT167.360]

The eBay Express checkout form uses a thin rule to separate meaningful content sections. Just the minimum amount is needed to make a clear distinction.

Wroblewski, Luke. 2008. Web Form Design: Filling In the Blanks. New York: Rosenfeld Media.

www.rosenfeldmedia.com/books/webforms/

Geometrical Forms

En Biodiversidad virtual y también en Instagram como @proyectoagua.

  

Sin que nadie amase su cuerpo de barro extraño, Urceolus se hace a sí mismo de su costilla, odre, cántaro, tinaja, ánfora, siempre cambiante, dando forma en cada momento a su cuerpo en el álfar mágico de las gotas de agua. Vasija con alma que la vida moldea segundo a segundo y que ningún aguador lleva, solo su propia vida que navega por el tiempo en esa atmósfera líquida de la que Urceolus bebe sorbos a cada paso.

 

Urceolus es alga sin verde y animal incierto en ese terreno de la frontera en el que la vida es un continuo. Se trata de un flagelado heterótrofo que se alimenta de bacterias y de la materia orgánica que se acumula sobre los fondos en zonas donde se produce sedimentación. Su cuerpo de aspecto de orza de barro, parece haberse torneado con arcilla fresca, y esta plasticidad se pone de manifiesto cuando Urceolus se desplaza lentamente por los fondos, tirado por su grueso flagelo, mientras cambia su perfil redondo por el alargado de cualquier ánfora sumergida .

 

A pesar de su cuerpo cambiante marcado de estrías por esa camisa elástica que lo contiene, siempre está presente en él un cuello ancho que se despliega y abre como una gola, modelado como el resto de su cuerpo en olla de alfarero por el que asoma su flagelo, que serpentea y trepa ondulado por el agua.

 

Aunque incluido en ocasiones con las algas, porque es un euglénido pariente muy cercano a los verdes Phacus y las plásticas Euglenas, no realiza la fotosíntesis.

 

Estos protistas heterótrofos de agua dulce o marinos como Urceolus, son depredadores de bacterias y pequeño fitoplancton, pero también presa fácil de de un zooplancton más grande. Facilitan la remineralización y el reciclado de elementos esenciales para el fitoplancton y el crecimiento microbiano y son esenciales en los ecosistemas acuáticos.

 

De los veinte taxones descritos y reconocidos como especies o subespecies en este género, algunos, pocos más de media docena son marinos y sobrepasan ampliamente las veinte micras de longitud.

 

El que mostramos hoy aquí, es de mediano tamaño, de cerca de veinte micras y de largo flagelo y recuerda mucho a Urceolus cyclostomus, pero la taxonomía de este grupo todavía es imprecisa y requiere de estudios más detallados tanto morfológicos como genéticos.

 

Hoy Urceolus ha sido fotografiado y grabado a 400 y 1000 aumentos empleando la técnica de contraste de interferencia, y procede de una muestra de agua recogida el 11 de marzo de 2020 bajo esfagnos encharcados entre el valle de Soba y el de Asón, al pie del puerto de la Sía en Cantabria.

 

Fabulous vintage earing in the center !

1976 - Walter J. Diethelm

The mind has the power to let you see yourself in a different light.

I have researched and started to illustrate a new book cover for Kafka's Metamorphosis.

It is a mixed media collage that plays with light. I want to experiment with shadow and maybe by using his own shadow and the shadow of the bug suggest his mental illness/split personality.

 

Vince Noir is modelling the character...for now anyway!

As you can see in the Illustration the character is attached a little distance away from the background which allows me to play with light and shadow creating a human shadow on top of the shadow of the vermin. This way I find myself able to create a double meaning the human that is still in human form but perceives himself as a bug.

 

Vince Noir is modeling the character...for now anyway

 

www.sandradieckmann.com

Routing 30,000 randomly-chosen trips through the paths suggested by 10,000 randomly-chosen geotags. These are perhaps the most interesting routes between the endpoints of the trips, even if not necessarily the most likely.

 

Data from the Twitter streaming API, August, 2011. Base map from OpenStreetMap, CC-BY-SA.

Balade sur le GR34 à Plouhinec entre Plozévet et Audierne en Bretagne