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Speculating Airs.
Hierarchical differences particle theoretical surprising predictions unambiguous consensus enormous puzzling challenges strange consequences,
중력 강도 핵 전자기 상호 작용 전자 볼트 중성미 대칭 양자 질량 비례 효과 분할,
Beseitigung von Berechnungen schwere Präzision Klebeparameter Genauigkeit Modelle Schutz von Fermionen Wechselwirkungen Partnerschaftliche Photions bekannt,
Dormit l'énergie brisée spontanée résultats analogues particules standard adaptant différentes formes expérimentales quarks méthodes théoriques restreintes,
Izolowanie neutronów jądrowych rozbijających teoretyków prawdopodobieństwa rozciągały się terminy opisujące pasma różne formuły przyspieszające wzrost chromodynamików,
Scambio di configurazioni di propagazione stringhe leggi multidimensionali che soddisfano le proprietà minimizzando le stringhe di esistenza soluzioni libere di proliferazione,
量子力学の分野を実現する超電導体の磁力は、理論を主張しています。便利な統一された教授法の問題を取り除く.
Steve.D.Hammond.
Angel-09 - Angelic hierarchy, DOMINATIONES (Dominazioni)
Florence, Baptistery, mosaics
Firenze Battistero San Giovanni, mosaici
The hierarchy of angels belongs to the oldest mosaics within the cupola, as they were made in concentric cycles beginning at the top. [1240-1300 AD]
Original photo by courtesy of wikimedia
Angelic hierarchy
1 First Sphere
o 1.1 Seraphim
o 1.2 Cherubim
o 1.3 Thrones
2 Second Sphere
o 2.1 Dominions or Lordships
o 2.2 Virtues or Strongholds
o 2.3 Powers or Authorities
3 Third Sphere
o 3.1 Principalities or Rulers
o 3.2 Archangels
o 3.3 Angels
3.3.1 Personal guardian angels
Source:
Be Prepared: Companies Must Ascend the Social Business Hierarchy of Needs
In a tribute to Maslow’s work on our individual hierarchy of needs, we noticed a pattern than companies undergo a similar growth. Companies must fulfill the requirements at the bottom of the pyramid and then layer on top of success, building each layer. To date, we found only a few companies that are getting near enlightenment, which we will feature in our upcoming work. Here’s a pattern we found from the advanced companies:
1) Foundation: First, develop a business plan and put governance in place.
2) Safety: Then, get organized by anointing a team and process to deal with crisis.
3) Formation: Next, connect business units to increase coordination and reduce duplication.
4) Enablement: Grow by letting them prosper – give business units the support and flexibility to reach goals
5) Enlightenment: Finally, weave real-time market response into business processes and planning.
Read the full report here:
www.web-strategist.com/blog/2011/08/31/report-social-medi...
Have you ever worked at a job that felt like the plumbing worked like this image?
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Angelic hierarchy: Seraphim & Cherubim (angels of the highest order)
Florence, Baptistery - Mosaic above the central great mosaic with Christ in majesty
The hierarchy of angels belongs to the oldest mosaics within the cupola, as they were made in concentric cycles beginning at the top. [1240-1300 AD]
Original photo by courtesy of wikimedia, Marie-Lan Nguyen
Pseudo-Dionysius (On the Celestial Hierarchy) and Thomas Aquinas (Summa Theologica) drew on passages from the New Testament, specifically in the Galatians 3:26-28, Matthew 22:24-33 Ephesians 1:21-23 and Colossians 1:16, to develop a schema of three Hierarchies, Spheres or Triads of angels, with each Hierarchy containing three Orders or Choirs. Although both authors drew on the New Testament, the Biblical canon is relatively silent on the subject, and these hierarchies are considered less definitive than biblical material.
Angelic hierarchy
1 First Sphere
o 1.1 Seraphim
o 1.2 Cherubim
o 1.3 Thrones
2 Second Sphere
o 2.1 Dominions or Lordships
o 2.2 Virtues or Strongholds
o 2.3 Powers or Authorities
3 Third Sphere
o 3.1 Principalities or Rulers
o 3.2 Archangels
o 3.3 Angels
3.3.1 Personal guardian angels
Source:
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20200227
Willem van Diest. 1610-1663. La Haye. Marine, temps calme. Navy, calm weather. 1646. Montpellier. Musée Fabre.
Peintre, Influencé par Jan van Goyen et Jan Porcellis.
Painter, influenced by Jan van Goyen and Jan Porcellis.
UNE PETITE HISTOIRE DE LA PEINTURE EUROPEENNE
L'Art de tous les temps et à toutes les époque s'est décidé en haut des hiérarchies sociales et a été le reflet des volontés des élites politiques et idéologiques du temps.
1° La peinture européenne, du 5è siècle au 15è siècle, est totalement inspirée par les thèmes religieux dictés par le catholicisme et l'orthodoxie. Les racines de l'Europe sont donc bien, non pas chrétiennes, mais catholiques et orthodoxes. C'est un fait qui déplait à beaucoup d' Idéologues et de politiques contemporains, surtout en France. Certes ces racines disparaissent, c'est un fait aussi, et les Influents Innommables du mondialisme font tout pour que les peuples européens perdent jusqu'au souvenir de leurs racines.
2° Au 15è siècle en Europe, plus particulièrement en Italie, apparaissent des thèmes nouveaux tirés de l'Antiquité Grecque et Romaine. Autres racines, plus anciennes, en voie de disparition à notre époque. Les Influents mécènes ne sont plus seulement d'Eglise, ils viennent de l'Aristocratie guerrière, foncière et de la ploutocratie marchande. C'est l'Art Humaniste dans lequel la religion, catholique et orthodoxe et l'Antiquité (Mythologie et Histoire) coexistent en bonne intelligence. Le portrait devient un genre en lui même, indépendant.
3°Au 17è siècle dans les Pays Bas du Nord, protestants, s'est produit une petite révolution idéologique, la Réforme, qui modifie du tout au tout, à plus ou moins longue échéance, l'art de la peinture en Europe : Disparition presque totale de l'art religieux, et de l'art inspiré par les valeurs de l'Antiquité greco-romaine, au profit d'un art profane, uniquement occupé par la société du présent. On a parlé d'Art Naturaliste.
Epanouissement de la peinture de paysage, qui est traité seul, pour lui même, sans prétexte religieux ou mythologique.
Apparition de la peinture de moeurs, descriptive de la société quotidienne. Non seulement dans les milieux aristocratiques, mais aussi dans les milieux bourgeois et paysans.
Développement du portrait qui ne concerne plus seulement l'aristocratie, mais aussi les classes moyennes.
Apparition de la "Nature morte" en tant que thème totalement indépendant. Peinture des objets, des animaux, des fleurs. Une peinture qui peut prendre un ton moraliste avec les "Vanités".
Pendant tout le 17è et encore au 18è cette peinture naturaliste du présent reste principalement limitée aux Pays Bas.
Les autres pays d'Europe continuent dans la voie ouverte par l'Art Humaniste et les thèmes principaux de la peinture demeurent la religion et l'Antiquité. Rares sont en France, en Allemagne, en Italie en Espagne, en Grande Bretagne les peintres influents totalement spécialisés dans le paysage ou la peinture de moeurs. Il en existe, mais ils restent une minorité. La peinture de paysage demeure principalement liée aux grands sujet religieux, mythologiques ou historiques. La nature morte est de même bien moins développée qu'aux Pays Bas. Le Portrait reste l'apanage des classes aristocratiques ou des grands bourgeois.
4° La fin du 18è, le 19è et le début du 20è siècle voient la peinture européenne se diversifier de manière presque explosive. C'est une époque extraordinairement plurielle pour l'art européen. Une époque de liberté et de grande diversité idéologique. Non seulement les thèmes les plus divers sont traités partout en Europe, mais les techniques de la peinture se diversifient et se renouvellent. En fin de période apparaît une nouveauté intéressante : l'Art Abstrait.
5° Vers 1950 s'impose, dans les musées occidentaux, ce que l'on appelle l'Art Contemporain, témoin de la nouvelle idéologie mondialiste de la Table Rase et d'un art sans aucunes racines culturelles. A voir les oeuvres d'art exposées dans les Musées d'Art Contemporain le but des élites mondialistes est très clair : aculturer les hommes, uniformiser les peuples du monde pour mieux les dominer.
A LITTLE STORY OF EUROPEAN PAINTING
Art of all times and in all ages, has decided at the top of the social hierarchy, and was a reflection of the will of political and ideological elite of the time.
1. The European painting from the 5th century to the 15th century, is totally inspired by religious themes dictated by Catholicism and Orthodoxy. Europe's roots are threrefore welle, not Christian, but Catholics and Orthodox. It is a fact that displeases many Ideologues and political contemporaries, especially in France. Certainly these roots disappear, it is also a fact, and the Influents, Innommables (Unspeakables), of the Globalism do everything to make that the European peoples lose the memory of their roots.
2. In the 15th century in Europe, especially in Italy, appear new themes drawn from Antiquity Greek and Roman. Other roots, most ancient, as endangered in our time. The Influents patrons are not only for the Church, they come from the warrior aristocracy, land tenure, and the Merchant plutocracy. This is the Humanist Art, in which the Catholic and Orthodox religion and Antiquity (Mythology and History) coexist in harmony. The portrait became a genre in itself, independent
3. In the 17th century, in the Netherlands Northern, Protestant, occured a ideological revolution, the Reformation, which amends completely, more or less long term, the art of painting in Europe: Almost total disappearance of religious art, and art inspired by the values of the Greco-Roman Antiquity, in favour of a secular art, only occupied by the society of the present. There was talk of a Naturalist Art
Developpement of landscape painting, which is treated alone, for himself, without religious or mythological pretext.
Appearance of the painting of manners, descriptive of everyday society. Not only in aristocratic circles, but also in bourgeois and peasants circles.
Development of the portrait, which no longer concerns only the aristocracy, but also the middle classes.
Appearance of "Still Life", as a completely independent theme. Painting objects, animals, flowers. A painting can take a moralistic tone with "the Vanities."
During the 17th and again in the 18th, this naturalistic painting is mainly restricted to the Netherlands.
Other European countries continue in the path opened by the Humanist Art and the main themes of the painting remains the religion and antiquity. Few are in France, Germany, Italy, Spain, Great Britain, influential painters totally specialized in landscape or painting of manners. They exist, but they remain a minority. Landscape painting remains primarily linked to the religious, mythological or historical subject. The still life is even less developed than in the Netherlands. The Portrait is the prerogative of the aristocratic classes or the great bourgeoisie.
4. At the end of the 18th century, during the 19th and early 20th century European paintings diversifies, almost explosively. It is an extraordinarily pluralistic era for European art. An era of freedom and great ideological diversity. Not only the most diverse themes are treated everywhere Europe, but the techniques of painting are diversifying and renewing. At the end of period appears an interesting novelty: Abstract Art.
5. Around 1950 is needed in the Western museums, the so-called Contemporary Art, witness the new globalist ideology of Table Rase and an art without any cultural roots. To see the works of art exhibited in the Museum of Contemporary Art, the goal of the globalist elite is very clear: eliminate the differences in culture between men, standardizing the peoples of the world, in order to better dominate.
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Cadillac has a large number of historic and storied nameplates. Its a pity that this history is not utilised on its current range of automobiles.
Among this heritage, and sitting high in the hierarchy, but probably not at the top, is Brougham.
A brief history of Cadillac's use of the name is copied below from Wikipedia:
Early history
Originally used for a single horse drawn enclosed carriage for 2-4 people, the “Brougham” owes its name to British statesman, Henry Brougham. Cadillac first used the name in 1916 to designate an enclosed 5-7 passenger sedan body style. In the thirties, the name was given to a formal body style with open chauffeur compartment and enclosed rear quarters, metal roof and often "razor-edged" styling. When Cadillac started offering Fleetwood bodies on some of its cars in 1925, the Brougham body style was Fleetwood bodied every year with the exception of 1926. After 1937 the Brougham name was not applied to any Cadillac for the remainder of the pre-World War II period.
The Brougham name would eventually reappear on the 1955 Cadillac Eldorado Brougham show car which preceded the 4-door Eldorado Brougham hardtops of the 1957 to 1960 model years. The 1957 Cadillac Series 70 Eldorado Brougham joined the Sixty Special and the Series 75 as the only Cadillac models with Fleetwood bodies although Fleetwood script or crests did not appear anywhere on the exterior of the car, and so this would also mark the first time in 20 years that a Fleetwood bodied car was paired with the Brougham name.
After a five-year absence the Brougham name reappeared as an option package on the 1965 Cadillac Sixty Special. The following year the Brougham moved up to becoming a subseries of the Fleetwood Sixty Special. This continued through 1970. Starting in 1971 the Sixty Special was only available as the well equipped Fleetwood Sixty Special Brougham. When the Sixty Special Series was retired in 1977, the Cadillac Fleetwood Brougham took its place as Cadillac's most luxurious owner-driven large sedan model through 1986.
The Brougham finally became a separate model from 1987 through 1992.
-------------------
Come 1993, and Cadillac reintroduced the Fleetwood designation to the full-size body-on-frame, D-Body platform (similar to the B-Body Chevrolet Impala & Caprice, Buick Roadmaster and Oldsmobile Custom Cruiser). This was the largest US-built car available at the time, marrying the large traditional platform, with General Motors' corporate aerodynamic form. A full 225 in long (5,720 mm) on a 121.5 in wheelbase (3,086 mm), and wide. This was also a heavy car, at 4,600 - 4,700 lb (2,100 kg)
The Brougham name was assigned to an option package which included, among other things, a full vinyl-covered roof, along with smaller trim and equipment additions.
The car ran from 1993 to 1996, before the plant in which it was built was turned over to making SUVs.
Hans Burgkmair I 471-1531. Augsburg .
Vierge à l'enfant. Madonna and Child.
Nuremberg. Musée National Germanique.
LA FEMME DANS LA PEINTURE EUROPEENNE
Une question : Dans quelles grandes civilisations mondiales, à part l'Europe chrétienne (Catholique, Orthodoxe, puis seulement à partir du 17è siècle, Protestante) la femme a, officiellement, gouverné les hommes, et légitimement tenue sa place dans la hiérarchie politique ?
A Question: In what major world civilizations, except the Christian Europe (Catholic, Orthodox, and only from the 17th century, Protestant) woman has officially ruled the men, and legitimately held its place in the political hierarchy?
La peinture (et la sculpture) européennes sont tout à fait remarquables par la place importante qu'elles ont accordé à la femme dans l'art. Une importance que l'on ne retrouve nulle part ailleurs dans l'art des grandes civilisations. Sauf dans l'Egypte antique, la Crète minoenne, et dans l'Hindouisme.
La Grèce et Rome offrent de multiples exemples de représentations de la femme, habillée ou nue. En peinture l'héritage est mince (essentiellement les céramiques), mais la sculpture témoigne de l'importance de la femme comme thème de l'art. Une importance qui n'est pas seulement limitée à la sphère privée ou artistique, mais qui concerne la sphère sociale, publique. Les Déesses grecques et romaines, leur présence permanente dans la peinture et la sculpture, les temples qui leurs sont consacrés, sont le témoignage de ce rôle de la femme dans la civilisation européenne de l'Antiquité. Toutefois la Grèce pose une question intéressante : Celle de la différence entre le rôle tout à fait majeur, de la femme dans la mythologie, et la religion grecque, comparé à son insignifiance dans le domaine politique. Même s'il a existé une évolution vers une importance plus grande de la femme dans les sociétés grecques et romaines au cours des siècles, dans l'Antiquité, l'influence de la femme grecque et romaine reste essentiellement cantonnée à la sphère du privé et de l'art, pas du politique. Le mariage des cultures pré-indo-européennes et indo-européennes conquérantes à partir de l'âge des métaux pourrait expliquer cette dichotomie.
Les vestiges de l'art Minoen en Crète (2700-1200 environ) du musée d'Heraklion sont très clairs : les femmes jouaient un rôle social et politique très évident dans cette civilisation. Or cette civilisation minoenne est une source absolument directe de la culture grecque, et de son évolution vers une civilisation plus complexe. Le rôle de la Crète minoenne dans l'histoire grecque est décisif. Il suffit de rappeler que selon la mythologie classique Zeus a été élevée en Crète sur le Mont Ida, pour échapper à son père Chronos. Ainsi la présence des nombreuses Déesses dans la mythologie et la religion grecque s'explique sans aucun doute, en bonne partie, par l'héritage minoen. Cette importance de la femme dans les civilisations antérieures à l'âge des métaux a nécessairement eu des influences, à terme, sur les sociétés grecques, romaines, ensuite européennes. Mais les conquérants indo-européens de l'âge du bronze ont maintenu la prééminence masculine dans le domaine politique. C'est ainsi que Zeus gouverne seul les Dieux, les Déesses, et les humains, mais trompe son épouse Héra autant que faire se peut, même si cela lui vaut quelques contrariétés dans le privé. Le règne de la Grande Déesse Mère des temps néolithiques est terminé et la société Gréco-romaine est politiquement masculine, même encore dans l'antiquité tardive.
Par contre à partir de l'époque médiévale, aux temps catholiques et orthodoxes, la femme joue en Europe un rôle public et politique qui est loin d'être insignifiant . Princesses, reines, régentes, duchesses et comtesses n'ont pas que des rôles honorifiques, elles gouvernent les sociétés. Elles ont investi le domaine politique.
Il est possible d'apercevoir trois sources principales et directes à l'origine de la civilisation européenne actuelle :
1° La Grèce et Rome, dont nous avons vu que l'influence comme modèle sur le rôle politique de la femme européenne a certainement été mineure.
2° Par le biais de la religion chrétienne héritée du Bas Empire Romain : les sources sémitiques judaïques. Mais chez les sémites, juifs ou musulman, le rôle de la femme est totalement limité à la sphère du privé. La femme n'a aucun rôle politique ou public. Chez les Juifs le rôle public des femmes se limite à tuer ou faire tuer les ennemis du peuple juif (Esther, Judith, Jael...).
3° Les peuples de cultures Celtes, Germaniques, Slaves, et Scandinaves au nord qui formaient la base de la population et ensuite après les grandes invasions toute la haute aristocratie et les familles royales régnantes. Sauf dans les pays scandinaves, la noblesse européenne est essentiellement germanique d'origine. Or il semble que dans les cultures des peuples celtes, germaniques, slaves et scandinaves, la femme a anciennement tenu un rôle public secondaire mais non négligeable, en plus de son activité dans la vie privée. Mais l'art n'en témoigne pas, ou peu.
Avec l'Europe chrétienne, ou plus exactement catholique et orthodoxe, la femme ne disparaît donc nullement de la sculpture ou de la peinture. Elle s'habille. L'art de l'Europe catholique notamment fait une grande place à la femme. Vénus, Diane, les Nymphes disparaissent certes. Mais les Saintes sont innombrables, et la Vierge est omniprésente. La Vierge est, aussi et surtout, la Mère de l'Enfant. Quel art dans le monde a fait autant de place à la mère et à l'enfant ?
La quasi divinisation de la Vierge Marie dans la peinture et la sculpture européenne, qui est une caractéristique des religions catholiques et orthodoxes, est totalement rejetée par les cultures sémitiques (juifs et musulmans) et aussi par le protestantisme, dont l'héritage judaïque est très important de par l'importance accordée à l'Ancien Testament. Cette quasi divinisation de la Vierge pourrait avoir ses sources dans les traditions celtiques, germaniques, scandinaves et slaves et dans la mythologie et la religion grecque, et au delà de la Grèce et de Rome, dans la culture minoenne.
"Quasi divinisation" en effet, car si dans la tradition populaire la Vierge est adorée comme une déesse, dans la doctrine catholique et orthodoxe, dans la théologie, la Vierge n'est absolument pas une déesse. Elle est l'objet d'un culte, supérieur à celui accordé aux saints, mais elle n'est pas adorée comme Dieu. Ces différences entre la religion populaire et la doctrine se retrouvent dans le Bouddhisme : Bouddha est adoré comme un Dieu par les masses. Il n'est pas Dieu dans la doctrine. Le culte de la Vierge n'est d'ailleurs absolument pas dans les Évangiles, il a été organisé ultérieurement par L'Église pour des raisons éthiques et politiques. Cette politique de L'Église, qui est en place dès les temps paléochrétiens et barbares, a eu des conséquences sociologiques très importantes au fil des siècles sur le statut de la femme européenne. L'importance idéologique de la femme dans la religion catholique et orthodoxe a eu des conséquences dans le rôle privé et public de la femme européenne. Par exemple si on compare avec les civilisations chinoises et sémitiques, juives ou islamisées.
La femme catholique et orthodoxe peinte ou sculptée s'habille si on compare à l'Antiquité gréco-romaine, mais un espace non négligeable pour le Nu subsiste dans la peinture catholique, à l'ouest de l'Europe. Pas à l'Est, dans l'art orthodoxe. Quelques thèmes de l'Ancien Testament permettaient aux peintres de ne pas perdre la main dans la représentation du nu féminin, et de satisfaire avec discrétion la libido de leurs clients aristocrates. Adam et Eve en tout premier, ensuite à partir du 16è siècle, Bethsabée au Bain, Suzanne et les vieillards, Lot et ses filles, Samson et Dalila, Judith et Holoferne. Le nu masculin est représenté lui aussi fort souvent, avec le Christ, Adam et quelques saints, Jérôme, et surtout Saint Sébastien, dont les représentations sont toujours très orientées homophiles du moins à partir du 15è siècle. A la " Renaissance" en effet la représentation du nu féminin augmente très sensiblement, en même temps que les thèmes tirés de la Mythologie et de l'histoire gréco-romaine. Les peintres ont désormais la possibilité d'ajouter aux thèmes de l'ancien testament ceux de l'Antiquité. Dans toute l'Europe, au nord (Cranach) comme au sud, c'est une explosion de nus féminins. Et de nus masculins aussi, car le nu a été un sujet de prédilection de peintres de la fin du 15è et du 16è siècle dans leur reconquête technique du rendu réaliste des figures humaines.
Avec la Réforme la peinture religieuse disparaît presque totalement, sauf le Christ en croix. Dans la peinture profane, la représentation du nu féminin (ou masculin) disparaît aussi totalement. Le protestantisme, retour à l'Ancien Testament de culture sémitique, est infiniment plus puritain que le catholicisme. Sauf quelques exceptions dans l'art religieux de Rembrandt qui constitue ainsi une double exception dans le monde protestant (peinture religieuse et nu féminin)
La femme est très présente dans la peinture protestante, profane, des Pays Bas du Nord, mais elle est tout à fait habillée. Il n'y a plus d'Eve ou de Suzanne, ni de Filles de Lot. La femme n'est plus Vierge ou Sainte, elle n'est pas non plus Vénus ou Diane. La femme est bourgeoise, servante, marchande ou paysanne. Et mère. La mère et l'enfant ont conservé une bonne place dans la peinture néerlandaise, mais leur représentation est laïcisée. Ce n'est plus la Mère adorant l'Enfant, c'est la mère épouillant son enfant. Nuances. La femme ivre apparaît, la femme de moeurs facile est suggérée, mais toujours habillée.
A la même époque, le reste de l'Europe au sud, catholique, continue dans la même voie ouverte par la Renaissance : la représentation de la femme est abondante, soit dans le cadre religieux, soit dans celui de l'Antiquité, soit par le portrait. La femme, nue ou habillée, est omniprésente dans l'oeuvre de Rubens. Mais le 17 è siècle finissant et le 18è siècle commençant, deviennent parfois "polissons" ( Fragonard). L'érotisme est plus affiché dans la représentation du nu féminin.
Aux 19è et 20 siècles, à l'époque de l'Art Moderne, entre 1815 et 1950, la femme continue d'être un sujet de prédilection pour les peintres (et les sculpteurs) et ses représentations sont extrêmement diverses. Les thèmes religieux, historiques ou mythologiques se raréfient au profit de la femme contemporaine au quotidien. Il n'est pas toujours certain que la femme gagne en beauté quand elle finit par ressembler à une guitare, qu'elle s'aplatit jusqu'à pouvoir passer sous les portes, ou qu'au contraire ses jambes et son tronc prennent des allures de tuyau de poêle. Mais l'essentiel est qu'elle est toujours là.
La femme, habillée ou nue, a presque totalement disparue dans l'Art Contemporain Institutionnel, celui des Musées. Les exceptions sont rarissimes, quand elles existent les artistes officiels cultivent la provocation par le Laid et l'Absurde, les caractéristique de la peinture contemporaine institutionnelle. L'Art peint et sculpté, "installé", d'après les années 1950 ne fait la place qu'à la femme laide et absurde.
Il est vrai qu'il est possible de voir la femme belle et significative dans les publicités. La femme n'est plus vierge, ni mère, elle n'est plus admirée, elle est consommée. Dans notre société occidentale, éclairée par les "Lumières", serait-ce une libération des obscurantismes du passé ?
L'Art est, à toutes les époques, un excellent révélateur des valeurs qui animent une société.
WOMEN IN EUROPEAN PAINTING
The painting (and sculpture) European are quite remarkable by the importance they accorded to the woman in the art. An importance that can not be found nowhere else in the art of great civilizations. Except in ancient Egypt and in Hinduism.
Greece and Rome offer multiple examples of representations of women, dressed or naked. In painting the heritage is thin (mainly ceramics), but sculpture shows the importance of women as a theme in art. An importance that is not only limited to the private or artistic sphere, but also concerns the social, public sphere. The Greek and Roman goddesses, their importance in painting and sculpture, the temples dedicated to them, are testimony to this role of women in the European civilization of Antiquity. However, Greece asks an interesting question: That of the difference between the very major role of women in mythology and the Greek religion, compared to their insignificance in the political field. Although there has been a shift towards the greater importance of women in Greek and Roman societies over the centuries, in Antiquity the influence of Greek and Roman women remained essentially confined to the private sphere and art, not politics. The marriage of the pre-Indo-European and conquering Indo-European cultures from the Metal Age onwards could explain this dichotomy.
The vestiges of Minoan art in Crete (2700-1200 approximately) in the Heraklion Museum are very clear: women played a very important social and political role in this civilization. Yet this Minoan civilization is an absolutely direct source of Greek culture, and of its evolution towards a more complex civilization. The role of Minoan Crete in Greek history is decisive. Suffice it to recall that according to classical mythology Zeus was raised in Crete on Mount Ida, to escape his father Chronos. Thus the importance of the goddesses in Greek mythology and religion is undoubtedly explained, in large part, by the Minoan heritage. This importance of women in civilizations prior to the Metal Age necessarily had influences, eventually, on Greek, Roman, and then European societies. But the Indo-European conquerors of the Bronze Age maintained male pre-eminence in politics. Thus Zeus alone rules the Gods, Goddesses, and humans, but cheats his wife Hera as much as possible, even if it causes him some annoyance in private. The reign of the Great Mother Goddess of Neolithic times is over and the Greco-Roman society is politically masculine, even in late antiquity.
On the other hand, starting from medieval times, in Catholic and Orthodox times, women in Europe have played a public and political role that is far from insignificant. Princesses, queens, regents, duchesses and countesses not only have honorary roles, they also govern societies. They have entered the political realm.
It is possible to see three main and direct sources at the origin of today's European civilization:
1° Greece and Rome, whose influence as a model on the political role of European women has certainly been minor.
2° Through the Christian religion inherited from the Lower Roman Empire: the Semitic-Judaic sources. But among the Semites, whether Jewish or Muslim, the role of women is totally limited to the private sphere. Women have no political or public role. Among the Jews, the public role of women is limited to killing or having killed the enemies of the Jewish people (Esther, Judith, Jael...).
3° The peoples of Celtic, Germanic, Slavic, and Scandinavian cultures in the north who formed the basis of the population and then after the great invasions all the high aristocracy and the reigning royal families. With the exception of the Scandinavian countries, European nobility is essentially of Germanic origin. However, it seems that in the cultures of the Celtic, Germanic, Slavic and Scandinavian peoples, women formerly held a secondary but not negligible public role in addition to their activity in private life. But art bears little or no witness to this.
With Christian Europe, or more exactly Catholic and Orthodox Europe, the woman does not disappear from sculpture or painting. She dresses. The art of Catholic Europe, in particular, gives a great deal of space to women. Venus, Diana, the Nymphs certainly disappear. But the saints women are innumerable, and the Virgin is omnipresent. The Virgin is, also and above all, the Mother of the Child. What art in the world has made so much room for the mother and the child?
The quasi deification of the Virgin Mary in European painting and sculpture, which is a characteristic of the Catholic and Orthodox religions, is totally rejected by the Semitic cultures (Jews and Muslims) and also by Protestantism, whose Jewish heritage is very important because of the importance given to the Old Testament. This quasi-deification of the Virgin could have its sources in Celtic, Germanic, Scandinavian and Slavic traditions and in Greek mythology and religion, and beyond Greece and Rome, in Minoan culture.
"Almost deification" indeed, for if in popular tradition the Virgin is worshipped as a goddess, in Catholic and Orthodox doctrine, in theology, the Virgin is absolutely not a goddess. She is the object of a cult, superior to that accorded to the saints, but she is not worshipped as God. These differences between popular religion and doctrine are found in Buddhism: Buddha is worshipped as a God by the masses. He is not God in doctrine. The worship of the Virgin is not at all in the Gospels, moreover, it was later organized by the Church for ethical and political reasons. This policy of the Church, which has been in place since early Christian and barbaric times, has had very important sociological consequences over the centuries on the status of European women. The ideological importance of women in the Catholic and Orthodox religions has had consequences for the private and public role of European women. For example if we compare with the Chinese and Semitic, Jewish or Islamic civilisations.
The painted or sculpted Catholic and Orthodox woman dresses if compared to Greco-Roman Antiquity, but a significant space for the Nude remains in Catholic painting in Western Europe. Not in the East, in Orthodox art. Some Old Testament themes allowed painters not to lose their hand in the representation of the female nude, and to discreetly satisfy the libido of their aristocratic clients. Adam and Eve first, then from the 16th century onwards, Bathsheba in the Bath, Susanna and the Elders, Lot and his daughters, Samson and Delilah, Judith and Holofernes. The male nude is also very often represented, with Christ, Adam and a few saints, Jerome, and especially Saint Sebastian, whose representations are always very homophile oriented at least from the 15th century. During the "Renaissance", the representation of the female nude increases significantly, along with themes taken from Mythology and Greco-Roman history. Painters now had the possibility of adding to the themes of the Old Testament those of Antiquity. All over Europe, in the north (Cranach) as well as in the south, there is an explosion of female nudes. And male nudes as well, because the nude was a favourite subject of painters at the end of the 15th and 16th centuries in their technical reconquest of the realistic rendering of human figures.
With the Reformation, religious painting disappeared almost completely, except for Christ on the cross. In secular painting, the representation of the female (or male) nude also disappears completely. Protestantism, a return to the Old Testament of Semitic culture, is infinitely more puritan than Catholicism. With a few exceptions in Rembrandt's religious art, which thus constitutes a double exception in the Protestant world (religious painting and female nude).
The woman is very present in the Protestant painting, secular, from the Northern low countries, but the woman is quite dressed. This is the end for Eve or Suzanne, or the daugthers of Lot. The woman is no longer Virgin or holy, it is not either Venus or Diana. The woman is bourgeois, servant, merchant, or peasant. And mother. The mother and child have maintained a good place in Dutch painting, but their representation is secularized. It is no longer "the Mother adoring the Child" is the mother delousing her child. The drunken woman appears, the woman of easy morals is suggested, but always dressed
At the same time, the rest of Europe to the south, Catholic, continues in the same path opened by the Renaissance: The representation of women is abundant or in the religious sphere or in that of antiquity or by the portrait. The woman, nude or dressed, is omnipresent in the work of Rubens. But the 17 th century ended and the 18th century beginning, sometimes become "coquin" (Fragonard). Eroticism is displayed in the representation of the female nude.
In the 19th and 20th centuries, in the era of Modern Art, between 1815 and 1950, women continued to be a favorite subject for painters (and sculptors) and their representations were extremely diverse. Religious, historical or mythological themes are becoming scarcer to the benefit of contemporary women in their daily lives. It is not always certain whether the woman gains in beauty when she ends up looking like a guitar, flattens out until she can pass under doors, or on the contrary her legs and trunk look like a stovepipe. But the main thing is that it's still there.
The woman, dressed or naked, has almost totally disappeared in Institutional Contemporary Art, that of the Museums. Exceptions are extremely rare, when they exist official artists cultivate provocation through the Ugly and the Absurd, the characteristics of institutional contemporary painting. The Art painted and sculpted, "installed", after the 1950s, only makes room for the ugly and absurd woman.
It is true that it is possible to see the beautiful and significant woman in advertisements. The woman is no longer a virgin, nor a mother, she is no longer admired, she is consumed. In our western society, enlightened by the "Enlightenment", would this be a liberation from the obscurantism of the past?
Art is, at all times, an excellent revealer of the values that animate a society.
Maslow's hierarchy of needs is an idea in psychology proposed by Abraham Maslow in his 1943 paper "A theory of Human Motivation" in the journal Psychological Review. Maslow subsequently extended the idea to include his observations of humans' innate curiosity. His theories parallel many other theories of human developmental psychology, some of which focus on describing the stages of growth in humans. He then created a classification system which reflected the universal needs of society as its base and then proceeding to more acquired emotions. His theories, including the hierarchy, may have been influenced by teachings and philosophy of the Blackfeet tribe, where he spent several weeks prior to writing his influential paper. en.wikipedia.org/wiki/Maslow's_hierarchy_of_needs
From t'internet, see also Abraham Maslow and the pyramid that beguiled business
The concept derives from how the was modern society is reflected, constantly striving hard to be prosperous (symbolizes by the crown and the chandeliers - which is bigger in size and on top of the hierarchy) but if you look closely, you’ll see a smaller shape of scattered animals, insects and floras; which represent mother nature and as equivalent important as the crown and chandeliers.
I strongly felt that one must keep in equilibrium with work, family and nature.
The Cathedral Church of Christ, Blessed Mary the Virgin and St Cuthbert of Durham, commonly known as Durham Cathedral and home of the Shrine of St Cuthbert, is a cathedral in the city of Durham, England. It is the seat of the Bishop of Durham, the fourth-ranked bishop in the Church of England hierarchy.
The present Norman era cathedral had started to be built in 1093, replacing the city's previous 'White Church'. In 1986 the cathedral and Durham Castle were designated a UNESCO World Heritage Site. Durham Cathedral's relics include: Saint Cuthbert's, transported to Durham by Lindisfarne monks in the 800s; Saint Oswald's head and the Venerable Bede's remains.
The Durham Dean and Chapter Library contains: sets of early printed books, some of the most complete in England; the pre-Dissolution monastic accounts and three copies of Magna Carta.
From 1080 until 1836, the Bishop of Durham held the powers of an Earl Palatine. In order to protect the Anglo-Scottish border, powers of an earl included exercising military, civil, and religious leadership. The cathedral walls formed part of Durham Castle, the chief seat of the Bishop of Durham.
There are daily Church of England services at the cathedral, Durham Cathedral Choir sing daily except Mondays and holidays, receiving 727,367 visitors in 2019.
The See of Durham takes its origins from the Diocese of Lindisfarne, founded by Saint Aidan at the behest of Oswald of Northumbria in about 635, which was translated to York in 664. The see was reinstated at Lindisfarne in 678 by the Archbishop of Canterbury. Among the many saints who originated at Lindisfarne Priory, the greatest was Saint Cuthbert, Bishop of Lindisfarne from 685 until his death in 687, who is central to the development of Durham Cathedral.
After repeated Viking raids, the monks fled from Lindisfarne in 875, carrying Saint Cuthbert's relics with them. The diocese of Lindisfarne remained itinerant until 882, when the monks resettled at Chester-le-Street, 60 miles south of Lindisfarne and 6 miles north of Durham. The see remained at Chester-le-Street until 995, when further Viking incursions once again caused the monks to move with their relics. According to the local legend of the Dun Cow and the saint's hagiography, the monks followed two milk maids who were searching for a dun-coloured cow and found themselves on a peninsula formed by a loop in the River Wear. Thereupon, Cuthbert's coffin became immovable, which was taken as a sign that the new shrine should be built on that spot, which became the City of Durham. A more prosaic set of reasons for the selection of the peninsula is its highly defensible position, and that a community established there would enjoy the protection of the Earl of Northumbria, with whom the bishop at this time, Aldhun, had strong family connections. Today the street leading from The Bailey past the cathedral's eastern towers up to Palace Green is named Dun Cow Lane due to the miniature dun cows which used to graze in the pastures nearby.
Initially, a very simple temporary structure was built from local timber to house the relics of Saint Cuthbert. The shrine was then transferred to a sturdier, probably still wooden, building known as the White Church. This church was itself replaced three years later in 998 by a stone building also known as the White Church, which in 1018 was complete except for its tower. Durham soon became a site of pilgrimage, encouraged by the growing cult of Saint Cuthbert. King Canute was one of the early pilgrims, and granted many privileges and estates to the Durham monks. The defensible position, flow of money from pilgrims and power embodied in the church at Durham all encouraged the formation of a town around the cathedral, which established the core of the city.
The present cathedral was designed and built under William de St-Calais (also known as William of St. Carilef) who in 1080 was appointed as the first Prince-Bishop by King William the Conqueror. In 1083 he founded the Benedictine Priory of St. Cuthbert at Durham and having ejected the secular canons (and their wives and children) who had been in charge of the church and shrine of St Cuthbert there, replaced them with monks from the monasteries of Wearmouth and Jarrow. The extensive lands of the church he divided between his own bishopric and the new Priory. He appointed Aldwin as the first prior.
Bishop William of St. Calais demolished the old Saxon church, and on 11 August 1093, together with Prior Turgot of Durham (Aldwin's successor), he laid the foundation stone of the great new cathedral. The monks continued at their own expense to build the monastic buildings while the bishop took the responsibility for completing the building of the cathedral. Stone for the new buildings was cut from the cliffs below the walls and moved up using winches. The primary reason for the cathedral was to house the bodies of St. Cuthbert and the Venerable Bede.
Since that time many major additions and reconstructions of parts of the building have been made, but the greater part of the structure remains the original Norman structure. Construction of the cathedral began in 1093, at the eastern end. The choir was completed by 1096. At the death of Bishop William of St. Calais on 2 January 1096, the Chapter House was ready enough to be used as his burial place. In 1104 the remains of St. Cuthbert were translated with great ceremony to the new shrine in the new cathedral. The monks continued to look after the Shrine of St Cuthbert until the dissolution of the monasteries.
Work proceeded on the nave, the walls of which were finished by 1128, and the high vault by 1135. The chapter house was built between 1133 and 1140 (partially demolished in the 18th century). William of St. Carilef died in 1096 before the building was complete and passed responsibility to his successor, Ranulf Flambard, who also built Framwellgate Bridge, the earliest crossing of the River Wear from the town. Three bishops, William of St. Carilef, Ranulf Flambard and Hugh de Puiset, are all buried in the now rebuilt chapter house.
In the 1170s Hugh de Puiset, after a false start at the eastern end where subsidence and cracking prevented work from continuing, added the Galilee Chapel at the west end of the cathedral. The five-aisled building occupies the position of a porch and functioned as a Lady chapel with the great west door being blocked during the Medieval period by an altar to the Virgin Mary. The door is now blocked by the tomb of Bishop Thomas Langley. The Galilee Chapel also holds the remains of the Venerable Bede. The main entrance to the cathedral is on the northern side, facing the castle.
In 1228 Richard le Poore, Bishop of Salisbury, was translated to Durham, having just rebuilt Salisbury Cathedral in the Gothic style. At that moment the eastern end of Durham Cathedral was in urgent need of repair and the proposed eastern extension had failed. Le Poore employed the architect Richard Farnham to design an eastern terminal for the building in which many monks could say the Daily Office simultaneously. The resulting building was the Chapel of the Nine Altars. In 1250, the original roof of the cathedral was replaced by a vault which is still in place.
The towers also date from the early 13th century, but the central tower was damaged by lightning and replaced in two stages in the 15th century, the master masons being Thomas Barton and John Bell.
The Bishop of Durham was the temporal lord of the palatinate, often referred to as a Prince-bishop. The bishop competed for power with the Prior of Durham Monastery, a great landowner who held his own courts for his free tenants. An agreement dated about 1229, known as Le Convenit was entered into to regulate the relationship between the two magnates.
The Shrine of Saint Cuthbert was located in the eastern apsidal end of the cathedral. The location of the inner wall of the apse is marked on the pavement and Saint Cuthbert's tomb is covered by a simple slab. However, an unknown monk wrote in 1593:
[The shrine] was estimated to be one of the most sumptuous in all England, so great were the offerings and jewells bestowed upon it, and endless the miracles that were wrought at it, even in these last days.
During the dissolution of the monasteries Saint Cuthbert's tomb was destroyed in 1538 by order of King Henry VIII, and the monastery's wealth was handed over to the king. The body of the saint was exhumed, and, according to the Rites of Durham, was discovered to be uncorrupted. It was reburied under a plain stone slab now worn smooth by the knees of pilgrims, but the ancient paving around it remains intact. Two years later, on 31 December 1540, the Benedictine monastery at Durham was dissolved, and the last Prior of Durham, Hugh Whitehead, became the first dean of the cathedral's secular chapter.
After the Battle of Dunbar in September 1650, Durham Cathedral was used by Oliver Cromwell as a makeshift prison to hold Scottish prisoners of war. It is estimated that as many as 3,000 were imprisoned, of whom 1,700 died in the cathedral itself, where they were kept in inhumane conditions, largely without food, water, or heat. The prisoners destroyed much of the cathedral woodwork for firewood, but Prior Castell's Clock, which featured the Scottish thistle, was spared. It is reputed that the prisoners' bodies were buried in unmarked graves (see further, '21st century' below), and the survivors were shipped as slave labour to the American Colonies.
Bishop John Cosin (in office 1660–1672), previously a canon of the cathedral, set about restoring the damage and refurnishing the building with new stalls, the litany desk, and the towering canopy over the font. An oak screen to carry the organ was added at this time to replace a stone screen pulled down in the 16th century. On the remains of the old refectory, Dean John Sudbury founded a library of early printed books.
During the 18th century the Deans of Durham often held another position in the south of England and after spending the statutory time in residence, would depart southward to manage their affairs. Consequently, after Cosin's refurbishment, there was little by way of restoration or rebuilding. When work commenced again on the building, it was not always of a sympathetic nature. In 1777 the architect George Nicholson, having completed Prebends' Bridge across the Wear, persuaded the dean and chapter to let him smooth off much of the outer stonework of the cathedral, thereby considerably altering its character. His successor William Morpeth demolished most of the Chapter House.
In 1794 the architect James Wyatt drew up extensive plans which would have drastically transformed the building, including the demolition of the Galilee Chapel, but the Chapter changed its mind just in time to prevent this happening. Wyatt renewed the 15th-century tracery of the Rose Window, inserting plain glass to replace what had been blown out in a storm.
In 1847 the architect Anthony Salvin removed Cosin's wooden organ screen, opening up the view of the east end from the nave, and in 1858 he restored the cloisters.
The Victorian restoration of the cathedral's tower in 1859–60 was by the architect George Gilbert Scott, working with Edward Robert Robson (who went on to serve as Clerk of Works at the cathedral for six years). In 1874 Scott was responsible for the marble choir screen and pulpit in the Crossing. In 1892 Scott's pupil Charles Hodgson Fowler rebuilt the Chapter House as a memorial to Bishop Joseph Barber Lightfoot.
The great west window, depicting the Tree of Jesse, was the gift of Dean George Waddington in 1867. It is the work of Clayton and Bell, who were also responsible for the Te Deum window in the South Transept (1869), the Four Doctors window in the North Transept (1875), and the Rose Window of Christ in Majesty (c. 1876).
There is also a statue of William Van Mildert, the last prince-bishop (1826–1836) and driving force behind the foundation of Durham University.
In the 1930s, under the inspiration of Dean Cyril Alington, work began on restoring the Shrine of Saint Cuthbert behind the High Altar as an appropriate focus of worship and pilgrimage, and was resumed after the Second World War. The four candlesticks and overhanging tester (c. 1950) were designed by Ninian Comper. Two large batik banners representing Saints Cuthbert and Oswald, added in 2001, are the work of Thetis Blacker. Elsewhere in the building the 1930s and 1940s saw the addition of several new stained glass windows by Hugh Ray Easton. Mark Angus's Daily Bread window dates from 1984. In the Galilee Chapel a wooden statue of the Annunciation by the Polish artist Josef Pyrz was added in 1992, the same year as Leonard Evetts' Stella Maris window.
In 1986, the cathedral, together with the nearby Castle, became a World Heritage Site. The UNESCO committee classified the cathedral under criteria c, reporting, "Durham Cathedral is the largest and most perfect monument of 'Norman' style architecture in England".
In its discussion of the significance of the cathedral, Historic England provided this summary in their 1986 report:
The relics and material culture of the three saints buried at the site. The continuity of use and ownership of the site over the past 1000 years as a place of religious worship, learning and residence; The site's role as a political statement of Norman power imposed upon a subjugate nation, as one of the country's most powerful symbols of the Norman Conquest of Britain; The importance of the site's archaeological remains, which are directly related to the site's history and continuity of use over the past 1000 years; The cultural and religious traditions and historical memories associated with the relics of St Cuthbert and the Venerable Bede, and with the continuity of use and ownership of the site over the past millennium.
In 1996, the Great Western Doorway was the setting for Bill Viola's large-scale video installation The Messenger, that was commissioned by Durham Cathedral.
At the beginning of this century two of the altars in the Nine Altars Chapel at the east end of the cathedral were re-dedicated to Saint Hild of Whitby and Saint Margaret of Scotland: a striking painting of Margaret (with her son, the future king David) by Paula Rego was dedicated in 2004. Nearby a plaque, first installed in 2011 and rededicated in 2017, commemorates the Scottish soldiers who died as prisoners in the cathedral after the Battle of Dunbar in 1650. The remains of some of these prisoners have now been identified in a mass grave uncoverered during building works in 2013 just outside the cathedral precinct near Palace Green.
In 2004 two wooden sculptures by Fenwick Lawson, Pietà and Tomb of Christ, were placed in the Nine Altars Chapel, and in 2010 a new stained glass window of the Transfiguration by Tom Denny was dedicated in memory of Michael Ramsey, former Bishop of Durham and Archbishop of Canterbury.
In 2016 former monastic buildings around the cloister, including the Monks' Dormitory and Prior's Kitchen, were re-opened to the public as Open Treasure, an extensive exhibition displaying the cathedral's history and possessions.
In November 2009 the cathedral featured in the Lumiere festival whose highlight was the "Crown of Light" illumination of the North Front of the cathedral with a 15-minute presentation that told the story of Lindisfarne and the foundation of cathedral, using illustrations and text from the Lindisfarne Gospels. The Lumiere festival was repeated in 2011, 2013, 2015, and 2017.
Durham Priory held many manuscripts; in the 21st century, steps were under way to digitise the books, originating from the 6th to the 16th century. The project was being undertaken in a partnership by Durham University and Durham Cathedral.
The cathedral church and the cloister is open to visitors during certain hours each day, unless it is closed for a special event. In 2017 a new "Open Treasure" exhibition area opened featuring the 8th-century wooden coffin of Saint Cuthbert, his gold and garnet pectoral cross, a portable altar and an ivory comb. This exhibition was continuing as of October 2019. In that month, a new exhibit was added, Mapping the World, featuring books, maps and drawings and from the archives, scheduled to run until 18 January 2020.
Leica M2
Leica Summicron 35mm f/2 IV "King of Bokeh"
Kodak Tri-X 400
Kodak HC-110 Dil B (1+31)
7 min 30 sec 20°C
Scan from negative film
Black Winged Stilt at Ameenpur Lake, Hyderabad.
The Govt of Telengana State should declare this lake as a bird sanctuary.
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