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RAF Swinderby was a Royal Air Force station airfield opened in 1940, one of the last of the stations completed under the RAF's expansion plans started in the 1930s. This photo shows the derelict control tower in the centre of the disused airfield. This has been demolished since my visit circa 2005.
One thing I love Photograph is the small things.
Things we don’t pay attention to but are so beautiful.
Things that nature created with great precision and are crucial in the flora of life.
Something we need to preserve and nurture. Seeds in all forms.
Flow Formed V810 Gunmetal 19" | BMW F82 M4 Mineral Grey
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Today, I went to Vancouver and a group of women where raising money for www.walk.com for world poverty and they where giving people henna for a small fee! So of course I got this beauty! I love it, I think it's so beautiful! the woman did a wonderful job. I'd love to learn how to do this!
ALSO!! guess who I saw at Whole Foods in Vancouver? Mark Harmon!!! from NCIS who plays Gibbs! I never see anyone famous so I got a little overly excited.
"Contrapuntal Forms 1950-51" is carved from Irish blue limestone. It was commissioned for the Festival of Britain by the Arts Council and in 1953 was presented to the new town of Harlow where it still (normally) stands.
Iron Photographer #182
1 - a head (or at least part of one)
2 - something on the head that doesn't belong there (the unqualified deep contemplation of homeownership in a 21 century industrialized nation)
3 - heavy post-processing (a digital tribute to the cutout animation of Terry Gilliam).
Blancpain Endurance Series - SOFREV ASP - Patrice Goueslard - Julien Jousse - Jérome Policand - Ferrari 458 Italia - GT3 Pro Cup
Not the greatest of shots but I was struck by how pale this Buzzard was.
Footnote: speaking to someone at work and mentioned this. He tells me that a 'white' Buzzard had been seen regularly about 10 miles north of here last winter and was frequently and wrongly reported as an Osprey. At least I didn't make that mistake but when I was checking ID I did notice how similar the markings were to that of an Osprey
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background
The Messerschmitt Me 709 was a derivate of the unsuccessful German World War II Me 309 fighter project and its short-lived Zwilling descendant, the Me 609 which joined two fuselages of the Me 309 fighter prototype together to form a heavy fighter. The Me 609 project was initiated in response to a 1941 Reich Air Ministry requirement for a new Zerstörer (heavy fighter) to replace the Bf 110 in a minimum time and with minimum new parts.
In the Me 609 development phase, Messerschmitt had actually contemplated numerous twin-boom adaptations of its Bf 109 line including the Bf 109Z (which joined two Bf 109s) and the Me 409 (which used two Me 209-II aircraft). When it became clear that the Me 609 would not be cleared for service due to the progress in jet fighter development, the program was shelved - but quickly revived in 1943 when the high hopes in the jet engines were disappointed.
When it became clear that no jet fighter with a true dogfight capability would be in service on short notice, the RLM called for a high speed interceptor against high flying USAF bombers and their long range fighter escorts. The fast De Havilland Mosquito was another threat which was hard to counter with the existing types in service. A top speed of more than 750 km/h was requested, as well as a high rate of climb and a high agility for close combat. The fighter should also be easy to build and use many proven components in order to get it into service as quickly as possible.
Messerschmitt’s resulting Me 709 was basically a redesigned Me 309/609, since it was clear that only a twin-engined aircraft could meet the RLM requirements. Instead of two joined Me 309 fuselages with a new center wing section into which the two inboard wheels of the landing gear would retract, the Me 709 used a pull/push layout, very similar to the Fokker D-XXIII fighter. Main reason for this decision was the attempt to minimize drag and keep overall dimensions as compact as possible, offering only a small target. Easy single engine handling and high roll rate due to the weight masses centered along the longitudinal axis were another benefit of the concept. Additionally, the impressive results of the Dornier Do 335 development had additional influence. From this project, the Me 709's ejection seat (using pressurized air) and a mechanism to blow off the tail propeller fins in a case of emergency were incorporated.
The Me 709 kept the Me 309's tricycle undercarriage, even though the main wheels now retracted inwards into the center wing sections. The slender tail booms contained two separate radiator baths, the gun armament above them and fuel tanks. Additional tanks were located in the inner wing sections, before and aft the landing gear wells, as well as under the cockpit, where the Me 309 originally had its retractable radiator mounted. The tail booms were connected by a single horizontal stabilizer, taken straight from the Me 609. The second engine behind the pressurized cockpit (also taken from the Me 309) caused a considerable CG shift aft, so that the Me 309’s original wing main spar had to be moved backwards by almost 4' – but since the original radiator had been deleted, this caused no big problem and actually improved the field of view for the pilot.
Initially, two fighter versions of the Me 709 were planned, both single seaters and differing mainly in the outer wing sections. The 'A' series would be a highly agile fighter for medium to low heights, with a secondary use as fighter bomber for close air support. Armament was projected with four lightweight 30 mm MK 108 cannons, but since these highly effective guns were reserved for other projects like the Me 262, two of the guns were substituted with the heavier (but also more powerful) MK 103 cannons, or all four guns would be replaced by 20mm MG 151/20 cannons. The 'B' series would have a longer wing span (+3,6m/11 ft 9½ in) and reduced/lighter armament (only two MG 151/20), optimized for high altitude interceptions and reconnaissance.
An additional projected version, the Me 709 'C', would be outfitted as a fast bomber, with a semi-recessed 1.000kg bomb under the fuselage, provisions for additional lighter bombs under the tail booms, paired with the reduced gun armament and the longer wing span from the B version, but with additional fuel in integral tanks in the outer wing sections.
Two prototypes of the A and B version each were quickly assembled from existing Me 309 airframes, first flight tests took place in October 1944. Initially, the Me 709s were equipped with the Daimler-Benz DB 603G engine, but later use of the Jumo 213 engine with 2.000 hp and more was envisaged, pushing the top speed beyond 500mph/800km/h .
Flight tests were successful, even though the A fighter lacked directional stability and the high altitude B fighter would offer no real advantage compared to the simpler, single-engined Focke Wulf Ta 152. In January 1945, the RLM decided consequently to drop the B version, but the Me 709 A was to be developed further. Five additional pre-production airframes (A-0 series) were ordered and delivered until April 1945. These new machines featured, among other detail improvements, a recognizable dihedral to the outer wing sections, which also carried drooped wing tips. This proved to be a successful measure to improve stability, but the Me 709 A remained a rather nervous plane that constantly called for an attentive pilot. In this guise, the Me 709 A-1 was cleared and ordered for production. Delivery of the first serial machines took place in June 1945, and they were mainly used for home defense.
Several equipment packages (‘Rüstsätze’) were quickly developed and added to field machines. They would allow the carriage of various external loads, e .g. an ETC for a single max. 1.000kg bomb under the fuselage (R1), 2× 300l drop tanks on hardpoints under the tail booms (R2) or wooden racks with 2× 12 unguided R4M missiles under the outer wings (R3). After an initial batch of forty A-1 aircraft, R1 and R2 were incorporated into series production, which then became, with several other equipment changes, the A-2 main series. Almost all older models were brought to this standard within a few months, even though the gun armament differed considerably between individual aircraft.
All in all, a total of 243 Me 709 were built, all of them A series aircraft. By the time designs were being ironed out, the revolutionary Me 262 and Ar 234 turbojets and the introduction of more potent and reliable jet engines like the Heinkel-Hirth HeS 011 negated the need for further piston-engined fighter design and stopped further development of the Me 709.
Me 709 A-2, general characteristics:
Crew: 1
Length: 36 ft 1 in (11.01 m)
Wingspan: 40 ft 6½ in (12.38 m)
Height: 11 ft 11 in (3.64 m)
Wing area: 221.72 ft² (20.68 m²)
Empty weight: 10.665 lb (4.842 kg)
Loaded weight: 14.405 lb (6.540 kg)
Max. take-off weight: 18.678 lb (8.480 kg)
Maximum speed: 760 km/h (472 mph) at 6.400m (21.000 ft)
Range: 620 mi (840 km ) with internal fuel only
Service ceiling: 36,000 ft (10.970 m)
Rate of climb: 4.635 ft/min (23,6 m/s)
Wing loading: 29.8 lb/ft² (121.9 kg/m²)
Power/mass: 0.24 hp/lb (0.39 kW/kg)
Engine: 2× Daimler-Benz DB 603G inverted V-12 liquid-cooled piston engine, 1,287 kW (1,726 hp) each
Armament: Varied, but typically four cannons in the front of the tail booms. Typically, 2× 30 mm (1.18 in) MK 103 cannons with 50 RPG and 2× 30 mm (1.18 in) MK 108 cannons with 110 RPG were fitted; additionally up to 1.000 kg of external loads, including bombs, drop tanks and R4M unguided missiles.
The kit and its assembly
This what-if was inspired by a picture of a very similar model I found a while ago in the WWW, and I found the idea of a push/pull Me 109 derivate very attractive. Why not? When I thought about how to realize such a model with as little effort as possible, I came across HUMA's Me 609 kit - and this basically offered anything necessary, bare the tail booms. These were quickly gathered from the spare box: they come from a Fw 189 (Airfix) and were cut just behind the wings’ trailing edge. Still a bit thick, but the idea of using the front as radiator intakes is a neat solution which also frees the fuselage from the bulky cooler tub of the Me 309.
Originally I wanted to incorporate the original outer wings of HUMA's Me 609 (which are 100% Me 309 wings - you even have to close the landing gear bays by yourself to use them in the original kit!), but found the wing span to become much too big for my conversion – they inspired the ‘B’ version, though. Anyway, I was lucky that I found a pair of He 162 wings in the scrap box, leftover pieces from my Ki-53 whif. They fit nicely in size and design, and this way the ‘A’ version was born.
Almost anything in my Me 709 build comes from the HUMA kit, but it took some putty work to put some of the parts together. Esp. melding the additional rearward-facing engine with the shortened Me 309 fuselage was tricky. Another challenge was to moving the inner wing sections backwards – the original single part had to be cut in half, so that the original intersections did not fit anymore.
.As a side note: Fit and detail of the HUMA kit is rather poor, and the material is rather waxy. O.K., it is a small company, with limited production runs. But for the fact that this kit has been around for so long, quality standards of the late 70ies are IMHO hard to accept. Best thing about the kit is the injected clear canopy… Good that I got the kit rather cheap - if I had to build it OOB, I'd be really disappointed!
Further modifications include the closure of the original radiator bath under the fuselage, and the rear engine (cut away from the leftover second fuselage) needed some serious surgery, including the closure of the landing gear bay under the engine. The rear exhausts had to be built from scratch, since the rear engine's exhaust would face forwards (they are molded onto the fuselage) and also obstruct the attachment area to the forward fuselage.
Painting and markings
For this plane, a typical late German WWII paint scheme was intended, and I settled for a late Bf 109 G livery in RLM 81/82/76 (Braunviolett, Dunkelgrün and Lichtblau), with a wavy but clear demarcation between upper and lower sides and a few, sharp blotches along the flanks. Testors/Model Master paints were used with authentic RLM tones (Testors 2090 and 2091 for above, Humbrol 128 below). In s second step, these colors were lightened/bleached through dry-brushing with slightly lighter tones (Humbrol 155 and 116 on top sides, Testors 2086 below). Additionally, a light black ink wash was applied in order to emphasize details and panel lines, and I added some patches with RLM 76 and 02 which are to represent areas where older markings had been painted over in a hurry. All trim tabs were painted in red brown (Humbrol 100), the spinners were painted 2/3 black, 1/3 white, a typical Me 109 F/G/K design.
For squadron markings, I wanted to have something authentic. The red and blue bands around the tail booms are typical late war ID markings, they belong to the 7th Jagdstaffel (JG. 7). Furthermore, the yellow horizontal bar marks the machine as being part of the 2nd group (which organizationally comprises 2nd, 6th, 10th squadron etc.).
The simple black chevron with white outlines on the central fuselage shows that the pilot is the Group's Second-in-Command (Gruppenadjutant), I christened him Ferdinand Walgenbach, totally fictional and with no real person in mind. As an officer’s personal ride, the plane consequently carries no further tactical code, e .g. a number in the group’s color. The small "A" in the chevron (obscured by exhaust dirt) is a personal addition of the pilot - not unusual among officers' markings. The Luftwaffe had a complicated system, didn’t they?
Bands and squadron markings were puzzled together from various TL Modellbau decal sheets from Germany, very good stuff for individual conversions and of high printing quality.
Another side note: The "Planes & Pilots" book series from France is a very good reference and inspiration here, as well as for squadron markings.
In the end, the result looks less spectacular than expected?
Exam Piece (5 Hour Constraint) AS 3D design '07
(To answer the question "Distressed Forms")
Hand-Built Clay
approx: h13" w7" d8"
Shiva (/ˈʃivə/; Sanskrit: Śiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism.[2][3] He is one of the five primary forms of God in the Smarta tradition,[2] and "the Destroyer" or "the Transformer"[4] among the Trimurti, the Hindu Trinity of the primary aspects of the divine.
At the highest level, Shiva is regarded limitless, transcendent, unchanging and formless.[5][6][7][8][9] Shiva also has many benevolent and fearsome forms.[10] In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash,[4] as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.[11][12][13]
The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument. Shiva is usually worshiped in the aniconic form of Lingam
The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word is[17] means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.[18]
The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).[19][20][21]
The Sanskrit word śaiva means "relating to the god Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect.[22] It is used as an adjective to characterize certain beliefs and practices, such as Shaivism.[23]
The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.[24][25]
Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."[26] Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".[27]
Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great god"; mahā "Great" and deva "god"),[28][29] Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"),[30][31] and Parameśvara ("Supreme Lord").[32]
There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva.[33] The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition.[34] Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.[35][36]The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.[37][38]The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure.[38] How the persona of Shiva converged as a composite deity is not well documented.[39] According to Vijay Nath:
Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."[40]
Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.[41]
An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes.[42] The foremost center of worship of Khandoba in Maharashtra is in Jejuri.[43] Khandoba has been assimilated as a form of Shiva himself,[44] in which case he is worshipped in the form of a lingam.[42][45] Khandoba's varied associations also include an identification with Surya[42] and Karttikeya.[46]Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic[47][48][49] figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra.[47][50][51][52] Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.
While some academics like Gavin Flood[53][54] and John Keay have expressed doubts. John Keay writes that "He may indeed be an early manifestation of Lord Shiva as Pashu- pati", but a couple of his specialties of this figure does not match with Rudra.[55] Writing in 1997 Doris Srinivasan rejected Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man.[56] According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.[57]
Writing in 2002, Gregory L. Possehl concluded that while it would be appropriate to recognize the figure as a deity, its association with the water buffalo, and its posture as one of ritual discipline.[58]Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.[59]Shiva as we know him today shares many features with the Vedic god Rudra,[60] and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.
Hindu text Rig Veda, which is dated to between 1700 and 1100 BC based on linguistic and philological evidence.[61] A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods.[62] Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.
The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:
Rudra is called "The Archer" (Sanskrit: Śarva),[63] and the arrow is an essential attribute of Rudra.[64] This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.[65]
The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill",[66] and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness".[65] The names Dhanvin ("Bowman")[67] and Bāṇahasta ("Archer", literally "Armed with arrows in his hands")[67][68] also refer to archery.
Agni[edit]
Rudra and Agni have a close relationship.[69][70] The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva.[71] The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra."[72] The interconnections between the two deities are complex, and according to Stella Kramrisch:
The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.[73]
In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities.[74] Agni is said to be a bull,[75] and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned.[76][77] In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.[78]
Indra[edit]
According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra.[79] Doniger gives several reasons for her hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3,[80] 6.45.17,[81][82] and 8.93.3.[83]) Indra, like Shiva, is likened to a bull.[84][85] In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.[86]
The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion,[87][88] and the Indo-Iranian religion.[89] According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran.[90] It was "a syncretic mixture of old Central Asian and new Indo-European elements",[90] which borrowed "distinctive religious beliefs and practices"[89] from the Bactria–Margiana Culture.[89] At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma.[91] According to Anthony,
Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.[92]
Later Vedic literature[edit]
Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BC), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BC to 100 AD also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.[54][93]
Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.[94][95]
Puranic literature[edit]
The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.[96]
Tantric literature[edit]
The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.[97]Shaivism[edit]
Main articles: Shaivism and History of Shaivism
Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.
Panchayatana puja[edit]
Main article: Panchayatana puja
Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century AD Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.[98]
Trimurti[edit]
Main article: Trimurti
The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer.[99][100] These three deities have been called "the Hindu triad"[101] or the "Great Trinity",[102] often addressed as "Brahma-Vishnu-Maheshwara."
Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite. It is often not shown but Shiva has 6 heads, of which only five (Isana, Tatpurusha, Vamana, Aghora, Sadyojata) are visible while the 6th (Adhomukh) can only be seen by the enlightened.
Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes,[103] called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources.[104] In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes".[105] However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers".[106][107] These three mother-goddesses who are collectively called the Ambikās.[108] Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā.[109] It has been mentioned that when Shiva loses his temper, his third eye opens which can reduce most things to ashes.
Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon.[110] The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown")[111][112][113] refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva.[114] The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon.[115] The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.
Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence.[116] Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy.[117] These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism.[118] One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.[119]
Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair",[120] and Kapardin, "endowed with matted hair"[121] or "wearing his hair wound in a braid in a shell-like (kaparda) fashion".[122] A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly.[123] His hair is said to be like molten gold in color or being yellowish-white.
Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat").[124][125] Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue.[126][127] (See Maha Shivaratri.)Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva.[128][129] The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair.[130] The flow of the Ganges also represents the nectar of immortality.
Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin,[116] an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.[131]
Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.[132]
Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.
Trident: (Trishula): Shiva's particular weapon is the trident.[116] His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.
Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru).[133][134] This is one of the attributes of Shiva in his famous dancing representation[135] known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum.[136] This drum is particularly used as an emblem by members of the Kāpālika sect.[137]
Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.
Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana).[138][139] Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle"[140] and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra.[141] Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.
Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".[142]
5 heads: Shiva is known as panchavactra means 5 heads which indicates 5 elements.
Arms: Shiva has 4 arms which resembles 4 vedas
Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode.[116] In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.[143]
Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.[144]
LINGAM
Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important.[145][146][147] These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness".[148] Shiva also means "one in whom the whole creation sleeps after dissolution".[148] Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself.[148] Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol,[149][150] although this interpretation is disputed by others, including Christopher Isherwood,[151] Vivekananda,[152] Swami Sivananda,[153] and S.N. Balagangadhara.[154]
JYOTHIRLINGAM
The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga.[155][156] In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.[156]
The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.[157]Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali[158] and Chandika.[159] Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).
The five mantras[edit]
Five is a sacred number for Shiva.[160] One of his most important mantras has five syllables (namaḥ śivāya).[161]
Shiva's body is said to consist of five mantras, called the pañcabrahmans.[162] As forms of God, each of these have their own names and distinct iconography:[163]
Sadyojāta
Vāmadeva
Aghora
Tatpuruṣha
Īsāna
These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action.[164][165] Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes.[166] The overall meaning of these associations is summarized by Stella Kramrisch:
Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.[167]
According to the Pañcabrahma Upanishad:
One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)[168]
Forms and roles[edit]
According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[169] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.
NATARAJA
The depiction of Shiva as Nataraja (Sanskrit: naṭarāja, "Lord of Dance") is popular.[199][200] The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama.[201] His association with dance and also with music is prominent in the Puranic period.[202] In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular.[203] The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya.[204][205] and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati.[206][207] Lasya is regarded as the female counterpart of Tandava.[207] The Tandava-Lasya dances are associated with the destruction-creation of the world.[208][209][210]
Dakshinamurthy[edit]
Main article: Dakshinamurthy
Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति),[211] literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras.[212] This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu.[213] Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.[214]
ARDHANARISWARA:
An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman".[215] According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras.[216] Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[217] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism.[218] The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars.[219] According to the Svetasvatara Upanishad, he has four avatars.[220]
In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”.[221] Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).[222][223]
Other traditions regard the sage Durvasa,[224][225][226][227] the sage Agastya, the philosopher Adi Shankara and Ashwatthama as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati.[228] The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.[229]
Buddhism[edit]
Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna.[230] In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.[231]
Sikhism[edit]
The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi."[232] In the same chapter, it also says, "Shiva speaks, the Siddhas speak."
In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.[233]
Others[edit]
The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty,[234] and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan.[235] In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita").[235] He is clad in tiger skin while his attendants are wearing Sodgian dress.[235] In Eastern Turkestan in the Taklamakan Desert.[235] There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls.[235] Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh.[235][236] It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.[236]
Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.
In Indonesia, Shiva is also worshiped as Batara Guru. In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hinduism is "Maharaja Dewa" (Mahadeva).[237]
“No permanence is ours; we are a wave
That flows to fit whatever form it finds:
Through night or day, cathedral or the cave
We pass forever, craving form that binds.”
― Hermann Hesse, The Glass Bead Game
[Una versión más legible se encontrará en la entrada del blog, cuyo enlace se señala a continuación.]
enriqueviolanevado.blogspot.com.es/2015/06/ranking-de-las...
Se ofrece aquí el listado de preguntas e imágenes para comentario aparecidas en las pruebas de la Selectividad Andaluza ordenadas de más frecuente a menos frecuente según su número de apariciones.
Según el modelo implantado en el curso 2012-2013 para la prueba de Historia del Arte en Andalucía, el examen consta de dos opciones, «A» y «B», de las cuales el alumno desarrollará una. En cada una de ellas habrá de contestar obligatoriamente dos comentarios de imágenes y dos preguntas teóricas por opción.
-La Opción «A» se extiende desde el Arte Prehistórico hasta el Arte Gótico, ambos inclusive. Esto es Arte Prehistórico, Antiguo y Medieval.
-La Opción «B», se extiende desde el Arte del Renacimiento hasta el Siglo XX, igualmente, ambos inclusive. O sea que abarca el Arte Moderno y Arte Contemporáneo.
Existe un acuerdo tácito, refrendado en las sucesivas reuniones anuales de la ponencia, de no incorporar a las pruebas los temas del Arte Mesopotámico, el Ibérico y el Mudéjar. Realmente el veto se reduce a los dos últimos, pues el Arte Mesopotámico (de momento) no se ha incorporado el temario.
Por todo ello nuestras estadísticas se ofrecen separadas en dos bloques, de acuerdo con las dos opciones del examen.
A la hora de redactar las preguntas hemos simplificado sus títulos, con el fin de ganar en brevedad y aclarar ambigüedades.
Para interpretar correctamente estas estadísticas se debe tener en cuenta las siguientes advertencias:
a) Nuestros cálculos se han realizado a partir de las pruebas publicadas de los exámenes de Historia del Arte de Andalucía entre los cursos 2000-2001 y 2013-2014. En cada año académico se confeccionan seis pruebas, escogiéndose una para el examen de junio, otra para el examen de septiembre y quedando las otras cuatros para los exámenes de reserva. Lamentablemente la serie se encuentra incompleta, faltando tres propuestas del curso 2000-2001, otra del curso 2001-2002 y otra más del curso 2013-2014.
b) Generalmente, las preguntas e imágenes que han sido escogidas en más ocasiones son las que presentan más posibilidades de aparecer de nuevo, pero este hecho es una comprobación estadística, no una garantía.
c) El curso 2013-2014 fue el primero en no incorporar imágenes o preguntas inéditas. Suponemos que en el presente curso 2015-2016 (y en 2016-2017) no se incorporarán novedades, dado que el actual diseño de la selectividad camina hacia su final.
d) Entre el curso 2006-2007 y el 2011-2012, ambos incluidos, se empleó un modelo de examen en el que el arte musulmán, el románico, el gótico, el renacentista y el barroco podían aparecer en cualquiera de las dos opciones de la prueba. Lógicamente estos estilos van a mostrar una presencia más abultada en la estadística que el resto.
e) En su aparición en los exámenes, el enunciado de las preguntas puede sufrir (y sufre) modificaciones, de tal forma que cada cuestión acumula un sinnúmero de variantes. A veces son simplificaciones de la redacción de la pregunta, pero en muchas ocasiones son reducciones de sus contenidos. Así, uno de los apartados del arte griego «La escultura. Los grandes maestros de los siglos V y IV. Policleto y Fidias. Praxiteles y Scopas. Lisipo y su canon» se muestra en dos de sus tres manifestaciones demediado [«La escultura griega del siglos V. Policleto y Fidias» y «Escultura griega. Los grandes maestros del siglo V: Policleto y Fidias»]. Lógicamente el alumno debe atenerse al enunciado y responder únicamente a lo que se le pregunta.
f) Algunas cuestiones han aparecido siempre fraccionadas. Por ejemplo, en las preguntas del Arte Renacentista, la arquitectura, la escultura o la pintura se han mostrado siempre por separado, pese a que el enunciado del apartado correspondiente las aglutina. En nuestra estadística se hace constar esta división.
g)Excepcional, pero muy alarmante, es el caso de una pregunta que aglutina dos apartados. Se trata de una cuestión aparecida en el examen de junio de 2013 cuyo enunciado era «La escultura griega de los períodos clásico y helenístico». Hibrida dos apartado «La escultura. Los grandes maestros de los siglos V y IV. Policleto y Fidias. Praxiteles y Scopas. Lisipo y su canon» con la mayor parte de otra cuestión: «El período helenístico». No podemos asegurar que el caso no se repita, bien que fuimos el único en formular la queja en la reunión de la Ponencia de 2013. En cualquier caso, esta pregunta aparece en nuestra estadística con su apartado propio, por más que no aparezca en el temario.
OPCIÓN «A» (ARTE PREHISTÓRICO, ANTIGUO Y MEDIEVAL)
PREGUNTAS MÁS FRECUENTES EN LAS PROPUESTAS
1. La escultura y la pintura románicas.
2. Arte califal: la mezquita de Córdoba y Medina Azahra.
3. El arte nazarí: la Alhambra y el Generalife.
4. Arquitectura románica: La iglesia de peregrinación y el monasterio.
5. La escultura romana: El retrato y el relieve histórico.
6. La arquitectura egipcia. La tumba y el templo.
7. El templo griego: el Partenón.
8. Los edificios bizantinos y la cúpula: Santa Sofía de Constantinopla.
9. Los primitivos flamencos del siglo XV: los van Eyck.
10. Formas y características de la escultura y la pintura egipcias.
11. La escultura gótica: portadas y retablos.
12. La pintura italiana del Trecento: Florencia y Siena.
13. La escultura griega clásica: Policleto, Fidias, Praxiteles, Scopas y Lisipo.
14. El periodo helenístico.
15. Arquitectura y ciudad en el arte romano.
16. Características generales de la arquitectura gótica.
17. Las pinturas rupestres de las cuevas franco-cantábricas y de los abrigos levantinos.
18. La catedral y los edificios civiles en la arquitectura gótica.
19. Los órdenes del Arte Griego.
20. La escultura griega de los períodos clásico y helenístico
21. La pintura de las catacumbas y la cristianización de la basílica.
IMÁGENES MÁS FRECUENTES EN LAS PROPUESTAS
1. Triada de Micerinos; Museo Egipcio de El Cairo.
2. Exterior del Partenón de la Acrópolis de Atenas de Ictinos, Calícrates y Fidias.
3. Hermes con el niño Dionisos de Praxíteles.
4. Mezquita de Córdoba: Sala de oración.
5. Pórtico de la Gloria. Catedral de Santiago de Compostela.
6. Maiestas Mariae de Santa María de Tahull. Museo de Arte de Cataluña, Barcelona.
7. Patio de los Leones de la Alhambra de Granada.
8. El Matrimonio Arnolfini de Jan van Eyck.
9. Fachada occidental del Partenón de la Acrópolis de Atenas de Ictinos, Calícrates y Fidias.
10. Laocoonte y sus hijos de Agesandro, Atenodoro y Polidoro de Rodas.
11. Patio de los Arrayanes de la Alhambra de Granada.
12. Pórtico de San Pedro de Moissac, Francia.
13. Maiestas Domini de San Clemente de Tahull. Museo de Arte de Cataluña, Barcelona.
14. Escriba sentado del Louvre.
15. Busto de Nefertiti de Tutmose.
16. Friso de las Panateneas (Fragmento de las Ergastinas) de Fidias; Museo del Louvre, Paris.
17. El Doríforo (Réplica romana en mármol del Museo Arqueológico Nacional de Nápoles).
18. Templo de culto imperial conocido como «La Maisón Carrée», Nimes.
19. Interior de Santa Sofía de Constantinopla (Estambul) de Antemio de Tralles e Isidoro de Mileto.
20. Exterior de la Catedral de Reims Jean d’Orbais y otros arquitectos.
21. Interior de la Sainte Chapelle de París (atribuida a Pierre de Montreuil).
22. Pirámide escalonada de Zoser de Imhotep (Sakkara).
23. Detalle del frontón del Partenón (Hestia, Dione y Afrodita) de Fidias; British Museum, Londres.
24. El Diadúmeno de Policleto (Réplica helenística en mármol del Museo Arqueológico de Atenas).
25. El Apoxiomeno de Lisipo (Réplica romana en mármol); Museos Vaticanos, Roma.
26. Anfiteatro Flavio (“El Coliseo”), Roma
27. Interior del Panteón, Roma.
28. Justiniano y su Corte. Mosaico de la iglesia de San Vital de Rávena, Italia.
29. Claustro del monasterio de Santo Domingo de Silos.
30. Exterior de la Catedral de León del Maestro Enrique y de otros arquitectos.
31. Pinturas del techo de la Gran Sala de la cueva de Altamira; Santillana del Mar (Cantabria).
32. Bisonte de la Cueva de Altamira; Santillana del Mar (Cantabria).
33. Cacería de ciervos de la Cueva de los Caballos del barranco de la Valltorta; Tírig.
34. Pirámides de Keops, Kefrén y Micerinos. Guizá (Egipto).
35. Fachada del Templo de Ramsés II (gran speo); Abu-Simbel.
36. Estatua sedente de Kefrén de Museo Egipcio de El Cairo.
37. Victoria de Samotracia; Museo del Louvre, París.
38. Acueducto de los Milagros, Mérida (Badajoz).
39. Teatro romano de Mérida (Badajoz).
40. Anfiteatro de Itálica, Santiponce (Sevilla).
41. Arco de triunfo de Constantino, Roma.
42. Friso del Ara Pacis: Miembros de la familia imperial.
43. Friso del Ara Pacis: Procesión de los Senadores.
44. Escultura ecuestre de Marco Aurelio; Museos Capitolinos, Roma.
45. Maqsura de la Mezquita de Córdoba.
46. Bóveda del lucernario de la maqsura de la Mezquita de Córdoba.
47. Giralda de la Catedral de Sevilla.
48. Torre del Oro (Sevilla).
49. Planta de la Catedral de Santiago de Compostela de Roberto el Viejo y otros arquitectos.
50. Estructura de una catedral gótica clásica.
51. Exterior de la Catedral de Notre Dame de París.
52. Interior de la Catedral de Reims construida por Jean d’Orbais y otros maestros.
53. Exterior del Palazzo Pubblico o Palacio Comunal de Siena.
54. La Anunciación de Simone Martini, tabla central del tríptico de los Ufizzi, Florencia.
55. Políptico del Cordero Místico (abierto) de los hermanos van Eyck.
56. Tabla de la Adoración del Cordero Místico de los hermanos van Eyck.
OPCIÓN «B» (ARTE MODERNO Y CONTEMPORÁNEO)
PREGUNTAS MÁS FRECUENTES EN LAS PROPUESTAS
1. El Quattrocento italiano. Arquitectura, Escultura y Pintura.
2. La escultura barroca en Italia: Bernini.
3. Francisco de Goya.
4. La pintura barroca española: Ribera, Zurbarán, Velázquez y Murillo.
5. El Renacimiento español: Arquitectura, Escultura y Pintura.
6. El Cinquecento y la crisis del Manierismo en Italia: Arquitectura, Escultura y Pintura.
7. La gran imaginería barroca: Castilla, Andalucía y Murcia.
8. El Impresionismo: Pintura (Monet, Renoir y Degas) y Escultura (Rodin).
9. La arquitectura del siglo XX: Racionalismo (Le Corbusier) y Organicismo (Frank Lloyd Wright).
10. La arquitectura barroca en Italia (Bernini y Borromini) y Francia (El Palacio de Versalles).
11. La pintura barroca en Flandes y en Holanda: Rubens y Rembrandt.
12. El Postimpresionismo: Cézanne, Gauguin y van Gogh.
13. El arte neoclásico: Juan de Villanueva, Canova y David
14. La Arquitectura del siglo XIX: Historicismos, edificios de hierro y cristal y el Modernismo.
15. La pintura del siglo XX: Fauvismo, Cubismo, Expresionismo, Dadaísmo, Surrealismo y la Abstracción.
16. La pintura del Romanticismo (Delacroix) y la del Realismo (Courbet).
17. Escultura del siglo XX: innovaciones en materiales y técnicas.
18. La arquitectura barroca española.
19. Pintura barroca en Italia: El Tenebrismo (Caravaggio) y el clasicismo (los Carracci).
IMÁGENES MÁS FRECUENTES EN LAS PROPUESTAS
1. El Moisés de Miguel Ángel.
2. Baile en el Moulin de la Galette de Auguste Rodin.
3. Villa Saboye de Le Corbusier. Poissy (Francia).
4. Las señoritas de Aviñón de Pablo Piccaso.
5. Éxtasis de Santa Teresa de Gian Lorenzo Bernini.
6. La Piedad de Miguel Ángel; Basílica de San Pedro del Vaticano, Roma.
7. Apolo y Dafne de Gian Lorenzo Bernini.
8. La ronda de noche de Rembrandt.
9. La Escuela de Atenas de Rafael. Estancia de la Signatura, Ciudad del Vaticano, Rom
10. La fábula de Aracne o las Hilanderas de Diego Velázquez.
11. La Familia de Carlos IV de Francisco de Goya.
12. Los jugadores de cartas de Paul Cézanne (versión del Museo de Orsay, París).
13. La danza de Henri Matisse (versión del Museo del Hermitage, San Petersburgo).
14. Casa de la cascada o casa Kaufmann de Frank Lloyd Wright.
15. Cúpula de la Catedral de Florencia de Filippo Brunelleschi.
16. La Primavera de Sandro Botticelli.
17. El Expolio de El Greco; Sacristía de la Catedral de Toledo.
18. La vocación de San Mateo de Caravaggio. Iglesia de San Luis de los Franceses, Roma.
19. Las lanzas o la rendición de Breda de Diego Velázquez.
20. Fachada de la Casa Milá de Antonio Gaudí. Barcelona.
21. Fachada del templo expiatorio de la Sagrada Familia de Antonio Gaudí. Barcelona.
22. Henri Mattise: retrato de Madame Mattise conocido como «La raya verde».
23. Capilla de Notre-Dame du Haut de Le Corbusier. Ronchamp (Francia).
24. Templete de San Pietro in Montorio de Donato Bramante (Roma).
25. Villa Capara (la Rotonda) de Palladio; Vicenza.
26. Patio de Palacio de Carlos V de Granada de Pedro Machuca.
27. David de Miguel Ángel
28. El Sacrificio de Isaac de Alonso de Berruguete.
29. La Anunciación de Fra Angelico; Museo Nacional del Prado; Madrid.
30. El Nacimiento de Venus de Sandro Botticelli.
31. El Entierro del Señor de Orgaz del Greco. Iglesia de Santo Tomé, Toledo.
32. Lección de anatomía del Profesor Tulp de Rembrandt.
33. La fragua de Vulcano (Velázquez) de Diego Velázquez.
34. El Papa Inocencio X de Diego Velázquez.
35. Las Meninas o la Familia de Felipe IV de Diego Velázquez
36. El tres de mayo de 1808 o los Fusilamientos en la montaña del Príncipe Pío de F. de Goya.
37. Torre Eiffel; París.
38. Impresión, sol naciente de Claude Monet.
39. El dormitorio de van Gogh en Arlés (versión del Museo de Orsay, París).
40. La noche estrellada de Vincent van Gogh.
41. La persistencia de la memoria o Los relojes blandos de Salvador Dalí.
42. Fachada de San Andrés de Mantua de Leon Battista Alberti.
43. Vista aérea del Monasterio de San Lorenzo del Escorial (Madrid) de Juan de Herrera.
44. La Trinidad de Masaccio; iglesia de Santa Maria Novella, Florencia.
45. La Virgen de las Rocas de Leonardo da Vinci (versión del Museo del Louvre, París).
46. Retrato de Monna Lisa, «La Gioconda» de Leonardo da Vinci. (versión del Louvre, París.)
47. La Bacanal de los Andrios de Tiziano.
48. El Martirio de San Mauricio del Greco.
49. Baldaquino de San Pedro del Vaticano, Roma, de Gian Lorenzo Bernini.
50. Plaza de San Pedro del Vaticano, Roma, de Gian Lorenzo Bernini.
51. Exterior de San Carlo alle Quattro Fontane (Roma) de Francesco Borromini.
52. Exterior del Palacio de Versalles (Francia) de Louis le Vau y Jules Hardouin-Mansart.
53. Fachada principal de la Catedral de Murcia de Jaime Bort.
54. David de Bernini; Galleria Borghese, Roma.
55. Inmaculada de Juan Martínez Montañés de la Catedral de Sevilla.
56. El Cristo de la Clemencia de Juan Martínez Montañés (Catedral de Sevilla).
57. Inmaculada de Alonso Cano; Sacristía de la Catedral de Granada.
58. Jesús del Gran Poder de Juan de Mesa.
59. La Oración en el Huerto de Francisco Salzillo.
60. Las Tres Gracias de Pedro Pablo Rubens.
61. Martirio de San Felipe de José Ribera.
62. San Hugo en el refectorio de los Cartujos de Francisco de Zurbarán.
63. Vieja friendo huevos de Diego Velázquez.
64. El aguador de Sevilla de Diego Velázquez.
65. Niño espulgándose de Bartolomé Esteban Murillo.
66. Niños comiendo un pastel de Bartolomé Esteban Murillo.
67. Exterior del Museo del Prado de Juan de Villanueva (Madrid).
68. El Juramento de los Horacios de Jacques-Louis David.
69. La Maja desnuda de Francisco de Goya.
70. La Libertad guiando al pueblo: 28 de julio de 1830 de Eugéne Delacroix.
71. El beso de Auguste Rodin.
72. Los burgueses de Calais de Auguste Rodin.
73. El pensador de Auguste Rodin.
74. La clase de danza de Edgar Degas (versión del Metropolitan Museum of Art, Nueva York).
75. La Catedral de Ruán, el portal a pleno sol de Claude Monet (versión del Metropolitan Museum).
76. El Café Nocturno de Vincent van Gogh (Versión de la Yale University Art Gallery, New Haven).
77. La iglesia de Auvers-sur-Oise de Vincent van Gogh.
78. La montaña de Santa Victoria de Paul Cézanne (version del Philadelphia Museum of Art).
79. Exterior del Museo Guggenheim de Nueva York (Estados Unidos) de Frank Lloyd Wright.
80. Interior del Museo Guggenheimn de Nueva York (Estados Unidos) de Frank Lloyd Wright.
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La pintura que hemos escogido como emblema es «La Alegoría de las Artes» del napolitano Francesco de Mura. Su cronología oscila entre el 1747 y el 1750. Se trata de un óleo sobre lienzo cuyas medidas son 144 x 132 cm. Pertenece a la colección del Museo del Louvre (París, Isla de Francia, Francia).
Fue adquirido por este museo en 1792. Originalmente fue concebido como sobrepuerta, conservándose aún el marco original (bien que no aparezca en la reproducción que ofrecemos).
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Los datos sobre el cuadro proceden del catálogo virtual del museo:
cartelfr.louvre.fr/cartelfr/visite?srv=car_not_frame&...
La ilustración procede del álbum del flickmember Pau NG. A continuación se reproducen enlaces hacia el álbum y hacia la imagen en cuestión:
www.flickr.com/photos/104901827@N06/
www.flickr.com/photos/104901827@N06/11045924076/
© de la imagen: Pau NG.