View allAll Photos Tagged him
People were bustling about all around him, but this man seemed to have found a quiet peacful space...
Him:
[LaVian&Co.] Homme-Night Fever Outfit
CS Design-Claf Ankle Boots-Black
Her:
Larry Jeans- Dollarbie Pack Low Ultra Rise Ripped-Grey
::GB::(Gabriel)- Fur High Neck Sweater-Brown
GeMyles-Adele Tartan High Heel SLinks
Taken @ Duet
Phototool: Places-District 8
Information given by ebay seller:
"This young Civil War Soldier 1/6th plate tintype is identified as Great Uncle Newton Ornbaun. We tried to research him, at first with no luck. Fortunately research on Ancestry.com not only confirmed his identity, we were also able to find a photograph of his brother (Andrew Marion Ornbaun) that is identical to the one we are listing in a separate auction. His real name is Henry Newton Ornbaun, not Henry Osborn. When I read the letter from an officer documenting his wounds and bravery, the officer had spelled it wrong. Also when I looked at the draft papers, the name Osborn is intermingled with Ornbaun and Ornbaum. Henry Newton Ornbaun was with the 79th Indiana Infantry. He was injured in November 1863 during the Chattanooga Campaign, and died from his wounds on Dec 1st,1863. We are adding an excerpt from the letter from headquarters, documenting his injury.
HDQRS. SEVENTY-NINTH REGT. INDIANA VOLS.,
Chattanooga, Tennessee, November 27, 1863.
CAPT.: I have the honor to submit the following report of the part taken by the Seventy-ninth Regt. Indiana Volunteers and Eighty-sixth Regt. Indiana Volunteers, consolidated, and placed under my command by order of Gen. Beatty, in the battle before Chattanooga:
On the 23d instant, at noon, orders were received to march, and leaving our camps we formed at supporting distance, in double column, in rear of the left of Brig.-Gen. Willich's command.
The advance being made, we followed in the above order for about a mile, halted, deployed the column, and were ordered to form on the left of Gen. Willich's line. Not a shot was fired by my command during all this time. At night orders were received to fortify our position with rifle-pits and abatis. During the night we succeeded in accomplishing and carrying out the order as directed, and had at the break of day a line
of field-works of much strength. Nothing occurred Tuesday, the 24th, or Wednesday, the 25th, until about 3 o'clock in the afternoon, at which time I was ordered by Gen. Beatty to advance with my command beyond our works and form on the left of the front line of Gen. Willich, to advance and take the rifle-pits of the rebels in our front. The rebels upon our approach abandoned their rifle-pits, which were occupied by our forces. Not having received any order to remain in the rebel works, I ordered my command to advance upon the
mountain side in our front. Crossing the open space beyond the works we met a terrible fire, enfilading my command in all directions. The fire of the rebels becoming very severe, and their infantry in front, who were retreating before us, halting occasionally and firing upon us, I perceived that the safety of my command required it to get the protection of the mountain side to be enabled to take shelter among the trees and rocks. I urged a rapid advance, and with the hearty co-operation of the officers of both regiments the whole line was carried forward in the best order possible, on almost inaccessible ground. Here, protected by the steepness of the mountain, the men were enabled to make good their foothold, and reply to the rebel musketry, which was very galling and almost surrounding us. We advanced steadily step by step. When near the top my attention was called by Capt. Howe to the fact that our advance upon the mountain isolated us from the rest of the line with which we advanced upon the enemy's rifle-pits; there was no support on the right or left, and on looking back perceived our forces occupying the rebel works below; to retrace our steps would have been inevitable
destruction to the entire command. The resolve to advance and hold every inch of ground until supported was our only safety. The line advanced firmly, taking advantage of every obstacle, under a most furious fire of artillery and small-arms, the enemy rolling lighted shells among my men and throwing rocks upon our heads: but the ground was held and contested with the utmost determination. The rebels did not
succeed in forcing us back one step. We remained in our position, our flags and the enemy's almost touching, keeping up a heavy fire, until support came on the right and left, advancing up the mountain. At last orders were given to fix bayonets, and to charge them; once the effort failed, but advancing again, succeeded, and gained the enemy's works,
which were covered with dead and wounded, and full of rebels, who made haste to fling away their guns and to get to our rear. As my men swarmed upon the crest the rebels made another stand, commanded, as ascertained, by the rebel Gen. Hardee, but their resistance was very feeble; they were quickly broken, and fled in the greatest confusion. Here a battle-flag was captured; I regret to say it was torn to shreds by the men in their eagerness to secure mementoes. After pursuing the rebels, and the capture of many pieces of artillery and numerous prisoners, the command bivouacked upon the crest of Missionary Ridge.
It is with much pleasure that I can report the loss of both regiments as surprisingly little, when taken into consideration with the magnitude of the effort, and its results. A list of casualties is hereto appended.*
I beg leave to call the attention of the general to the following officers whose conduct deserves special mention: Capt.'s Hanna, Jordan, and Howe, Adjutant Ritter, Lieut.'s Mounts and Burns, of the Seventy-ninth Indiana Volunteers; Capt.'s Sims, Gregory, and Carnahan, Lieut.'s McInerny and Laymon, of the Eighty-sixth Indiana Volunteers. They with all other officers did their whole duty.
Among the enlisted men, where all displayed such daring, it is hard to make a distinction. First Sergt. William M. Johnston, Company D; Color Sergt. Henry C. Lawrence, First Sergt. Simeon J. Thompson, of Company B; First Sergt. Henry N. Osborn, of K; and John W. Hartpence, a drummer, of Company C, who went into the ranks and fought well--the last three of whom are seriously wounded--as well as all
non-commissioned officers, have acted with intrepidity and great bravery, assisting their officers in every manner.
I cannot close this without making my acknowledgments and
thanking Col. George F. Dick, of the Eighty-sixth Indiana
Volunteers, for the valuable assistance rendered me in commanding the two regiments while consolidated during the battle and from the time we left our camps.
I have the honor to be, captain, very respectfully, your obedient servant,
FRED. KNEFLER,
Col. Seventy-ninth Indiana Volunteers."
I'm now selling prints, framed or otherwise, in a range of sizes. If anyone wishes to buy any of my images please get in touch via Flickr or facebook. Thank you.
This was a quick shot I managed to grab on my birthday last week. It's not my best image but this is pretty close to what I was looking at and a great sunset for the start of my 32nd year! I did have to abandon the car in the middle of some traffic at a dangerous enough crossroads but eh...
www.youtube.com/watch?v=XgSPVhwqjX0
It’s in the way she often calls me out
It’s in the curve of your pretty gown
Your come on legs and your pantyhose
You look so precious with your bloody nose
We gonna come together, We gonna celebrate
We gonna gather round, like it’s your birthday
I don’t wanna know, just what I’m gonna do
I don’t care where you’re going, I’m coming along with you
Walking her home with the grassy field
Falling and laughing at the drinks we spilled
Just one of those nights that I have to share
She’s in a daze, without a care
Kings of Leon is an American rock band that originated in Albion, Oklahoma but formed in Nashville, Tennessee in 1999. The band is composed of brothers Anthony Caleb Followill (b. January 14, 1982, lead vocals, rhythm guitar), Ivan Nathan Followill (b. June 26, 1979, drums, percussion, backing vocals) and Michael Jared Followill (b. November 20, 1986, bass guitar, backing vocals), with their cousin Cameron Matthew Followill (b. September 10, 1984, lead guitar, backing vocals). The group is named for their grandfather Leon from Talihina, Oklahoma.
The band's early music was an upbeat blend of Southern rock and blues influences, but it has gradually expanded over the years to include a variety of genres and a more alternative, arena rock sound. Kings of Leon achieved initial success in the United Kingdom with a total of nine Top 40 singles, two BRIT Awards in 2008, and all three of the band's albums at the time peaking in the top five of the UK Albums Chart. Their third album, Because of the Times, also reached the No. 1 spot. After the release of Only by the Night in September 2008 the band achieved chart success in the United States. The singles "Sex on Fire", "Use Somebody", and "Notion" all peaked at No. 1 on the Hot Modern Rock Tracks chart. The album itself was their first ever Platinum-selling album in the United States, and was also the best-selling album of 2008 in Australia, being certified Platinum nine times. The band's fifth album, Come Around Sundown, was released on October 18, 2010.
Aileen stood her ground as she crossed his arms and yell at him while he was leaving her behind "Hell no! You give me headaches. Honestly with that temper would be hard to feel anything but pity... and yet for some reason you remind me of someone..." she scratches her head feeling literally like it someone was pounding inside her skull from forcing her memory "Argh! I just wish, i know who" she shouted and grunted while she turns her back to go to an equipment, choosing to lift some weight, maybe stronger arms would be handful. She keeps exercising, trying to get rid of the anger that the stranger could made her feel, something about him was familiar but she couldn’t recall what and the more she tried to think about it, the harder she would pulled the weights. She did it harder over and over again, trying to make her arm ache in hope to be able to focus on something else, the sweat going down on her face and chest. Her eyes being harder to keep open as the weight on her head returned stronger. The headache still aching and making her feel ill, the room spun and the weight bar slipped from her hands, making a loud noise. With a heavy breathe, she tried to control herself, she closed her eyes for a moment holding herself as her vision was starting to dim on the edges, feeling the pain worsen and her body numb like it was a distant place, while the flashes of memory appeared on her mind. One hand holding her head by the temple, like it could somehow make her head stop aching. She leans on to something she couldn’t focus on until everything simple went black.
Prompted by the upcoming release of IQ84 by Haruki Murakami, and the possibility of him winning the nobel prize for literature, I decided to talk a little bit about my favorite author (and other authors).
Here is a grainy impression of what my "real books" shelf has on it. This is the zone of the book shelf that I read from most often (if I'm not getting and/or reading something new, that is). This shelf is out in the living room which has crappity light for photos at night time, so I will try and replace this with a larger and more well lit photo tomorrow.
What you see here are basically some of my favorite books of all time, some of them have been for up to 15 years… for example "Lizard" and "Kitchen" have been favorites since my mid-teens, whereas "The Wind-Up Bird Chronicle" has been a favorite for about 12 years now (the Japanese version, as well… though I have to admit to only having read the missing chapters… there are chapters missing in the English adaptation, which is what prompted me to originally get the Japanese set back about 11 years ago).
There are also differences between the soft and hardcover versions of the Japanese, though I'll also admit I'm not skilled enough yet to be able to just SIT and ENJOY the books in Japanese yet (as one would with a book in their native language)… they are still mostly study aides, taken a few pages at a time when the mood strikes.
I have more books than this, obviously, but a lot of them are "guilty pleasure" books… no, not romance novels, I just mean books I read once but that didn't leave a very lasting impression on me. Also, all of my manga and most of my study books are in my office, and I have already done some talking about them on flickr a few times before. :) These here are gathered together because they are the most important to me, personally. I've read most of them more than once, and about half of them closer to 5 times. Wind-Up Bird I've read probably upwards of 7 full times over the last 12 years.
Starting with the books on top there, on the left first...
- "What I Talk About When I Talk About Running" - Haruki Murakami
this is the only book in the picture that I haven't read yet. I started it but it is not like his usual, and I'm finding it a little hard to get rolling and interested. I kind of wish that "Underground" was in this picture instead (but it's currently next to my bed). "Underground" I first finished reading while on my honeymoon in Japan… which is quite possibly the best place to read it, as I was able to strongly visualize EXACTLY where many of the events (real events of the Sarin Gas Attack) took place on the Tokyo subway lines.
- "Idoru" - William Gibson
I actually wish "Robot Visions" by Isaac Asimov was here instead… but "Idoru" still an interesting book. It might bother people who really know their Japanese pop culture in depth, but as a quick bite to eat, I rather enjoy it from time to time.
- 異邦人 - アルベール・カミュ
"The Stranger" - Albert Camus… in Japanese, paperback.
- B級BANANA- 吉本ばなな
- パイナツプリン - 吉本ばなな
Two books (essays) by Banana Yoshimoto that I do not think have been translated to English. I used these for reading practice from time to time.
- ねじまき鳥クロニクル 〜泥棒かささぎ編
- ねじまき鳥クロニクル 〜予言する鳥編
- ねじまき鳥クロニクル 〜鳥刺し男編
- 村上春樹
The three books in the series "The Wind-Up Bird Chronicle" by Haruki Murakami by favorite book(s) of all time), in Japanese, paperback. I also have the first two volumes in hardcover which I finally was able to find while in Japan. Additionally I picked up the French language paperback while I was in France a few years ago. I also have this book twice in English (one of which I bought for my husband before we lived together). I've also bought this book (in English) for several other people in my life as the years have gone by. It is the one book that I recommend to people that I am willing to put forward the money to assure they get a copy, lol.
Next to those is a stack of…
- Atlas Shrugged - Ayn Rand
- Lizard
- Kitchen
- NP
- Asleep
- Goodbye Tsugumi
all by Banana Yoshimoto
Now the bottom, starting from the left…
- After Dark
- Blind Willow, Sleeping Woman
- The Elephant Vanishes
- Kafka on the Shore
- Sputnik Sweetheart
- Norwegian Wood
- South of the Border, West of the Sun
- Hard Boiled Wonderland and the End of the World
- A Wild Sheep Chase
- The Wind-Up Bird Chronicle
all by Haruki Murakami… hey, I told you he was my favorite. lol
- The Diamond Age - Neal Stephenson
Excellent, excellent book… I highly recommend this to basically everyone. lol
- 象の消滅 （短篇選集 1980-1991）- 村上春樹
"The Elephant Vanishes" short story anthology, by Haruki Murakami in Japanese, paperback
Apart from Wind-Up Bird... I would highly recommend "The Elephant Vanishes" to those who want to get a quick taste of Murakami's style before delving into one of his novels. Wind-Up bird is upward of 600 pages long, which is daunting for some folks... so if that bothers you, start with this book first, and see how it goes. :)
- ねじまき鳥クロニクル ～泥棒かささぎ編
- ねじまき鳥クロニクル ～予言する鳥編
- 村上春樹
again… the first two volumes of the hardcover of "Wind-Up Bird" in Japanese by Haruki Murakami
- The Fountainhead - Ayn Rand
This was my first introduction to the work of Ayn Rand. The person who told me to read this book intended for me to see how "evil" and "bad" she was. I am always a skeptic, so went into reading it without thinking about what the person had told me about her. After this, and some additional research about her, I ended up discovering someone (her) who understood and could verbalize things I always felt but was not articulate enough myself to put into words. Oh... and by the way, she is not bad nor evil... she is exactly the opposite.
- "The God Delusion" - Richard Dawkins
I have several books by him, one of them I have misplaced, and the other two are by my bedside waiting to be re-read in one case, and read for the first time in another case. I highly recommend this book, also, to almost everyone.
Finally, one that is slightly cut off here…
"Cats Are Not Peas - a Calico History of Genetics" - Laura Gould
This book is one of the things that first got me deeply interested in genetics, and which I would also recommend to anyone who is interested in discovering basic genetics and / or loves cats, hehehe.
There are also several books that I wish could also be in this photo. Two of those, for example, being "The Dragons of Eden" and "Cosmos" by Carl Sagan... I highly, highly recommend both... again, to everyone.
Vintage postcard, no. 9317.
Athletic and sexy Spanish singer Enrique Iglesias (1975) is widely regarded as the King of Latin Pop. Iglesias started his career in the mid-1990s and has since then sold over 159 million records worldwide, making him one of the best-selling Spanish artists ever. He also starred in the Western Once Upon a Time in Mexico (2003).
Enrique Miguel Iglesias Preysler was born in Madrid, Spain, in 1975. He is the third and youngest child of Spanish singer Julio Iglesias and Filipina socialite and magazine journalist Isabel Preysler. He was raised with two older siblings: Chabeli and Julio Jr.. One of his mother Preysler's aunts is actress Neile Adams, the first wife of American actor Steve McQueen. His parents divorced in 1979. At first, Iglesias and his two siblings stayed with their mother, but in 1986, Iglesias' grandfather, Dr. Julio Iglesias Puga, was kidnapped by the armed Basque terrorist group ETA. For their safety, Enrique and his brother Julio were sent to live with their father in Miami. There, they were brought up mostly by the nanny, Elvira Olivares, to whom he later dedicated his first album. He also lived in Belgrade, Yugoslavia, for one year with his mother. At the age of 15, he secretly began writing music. He studied business administration at the University of Miami for a year before he dropped out to pursue a musical career. Iglesias did not want his father to know about his plans for a musical career and did not want his famous surname to help advance his career. He borrowed money from his nanny and he recorded a demo cassette tape which consisted of a Spanish song and two English songs. Approaching his father's former publicist, Fernán Martínez, the two promoted the songs under the stage name 'Enrique Martínez' with the backstory of being an unknown singer from Guatemala. The 18-years-old Ilglesias was signed on to Fonovisa Records. After dropping out of college, he traveled to Toronto to record his first album. In 1995, Iglesias released Enrique Iglesias, a collection of light rock ballads, including hits such as Si Tú Te Vas and Experiencia Religiosa. This album sold half a million copies in its first week, and sold over a million copies in the next three months. The album went on to win Iglesias a Grammy Award for Best Latin Pop Performance. In 1995 he also appeared I a bit part in Robert Rodriguez film Desperado (1995) with Antonio Banderas and Salma Hayek. In 1997, Iglesias' stardom continued to rise with the release of Vivir (To Live), which put him up with other English language music superstars in sales for that year. The album also included a cover version of the Yazoo song Only You, translated into Spanish as Solo en Tí. Three singles released from Vivir (Enamorado Por Primera Vez, Sólo en Ti and Miente) topped the charts in several Spanish-speaking countries. Along with his father and Luis Miguel, Iglesias was nominated for an American Music Award in the first-ever awarded category of Favorite Latin Artist. His first concert tour, that summer, Iglesias, backed by sidemen for Elton John, Bruce Springsteen and Billy Joel, played to sold-out audiences in sixteen countries. In 1998, Iglesias released his third album, Cosas del Amor (Things of Love). Taking a more mature musical direction, the album, aided by the popular singles Esperanza and Nunca Te Olvidaré, both of which topped the Latin singles chart, helped cement his status in the Latin music scene. He won an American Music Award in the category of Favorite Latin Artist against Ricky Martin and Chayanne.
By 1999, Enrique Iglesias had begun a successful crossover career into the English language music market. Will Smith asked Iglesias to contribute to the soundtrack of his steampunk Western Wild Wild West (Barry Sonnenfeld, 1999). His contribution Bailamos was released as a single and became a number one hit in the US. Her signed a multi-album deal after weeks of negotiations with Interscope, Iglesias recorded and released his first full CD in English, Enrique. It contained the song Rhythm Divine, a duet with Whitney Houston entitled Could I Have This Kiss Forever, and a cover of the Bruce Springsteen song Sad Eyes. In 2000, Iglesias performed at the Super Bowl XXXIV halftime show alongside Christina Aguilera, Phil Collins, and Toni Braxton. His single Be With You became Iglesias's second number one single on Billboard's Hot 100. In 2000, Iglesias co-produced an off Broadway musical called Four Guys Named Jose and Una Mujer Named Maria. In the musical, four Americans of Latin heritage possess a common interest in music and meet and decide to put on a show. The show contained many references and allusions to many classic and contemporary Latin and pop songs by the likes of Carmen Miranda, Selena, Ritchie Valens, Chayanne, Ricky Martin and Iglesias himself. In 2001 Iglesias released his second English language album Escape. Where most of the Latin crossover acts of the previous year experienced some difficulty matching the record sales of their first English language albums, Iglesias actually went on to sell even more. The album's first single, Hero, became a number one hit in the United Kingdom, and in many other countries. The entire album was co-written by Iglesias. Iglesias capitalized on the album's success with his One-Night Stand World Tour consisting of fifty sold-out shows in sixteen countries. In late 2001, Ilgleasias started dating tennis player Anna Kournikova. They reportedly split in October 2013 but have since reconciled. In 2002 Iglesias released a fourth Spanish-language album titled Quizás (Perhaps). A more polished musical production than his previous Spanish albums and containing more introspective songs, the album's title track is a song about the strained relationship Iglesias has with his famous father. The album debuted at number twelve on the Billboard 200 albums chart, the highest placement of a Spanish language album on the chart at the time. Quizás sold a million copies in a week, making it the fastest-selling album in Spanish in five years. The three singles released from the album all ended up topping the Latin chart, giving Iglesias a total of sixteen number ones on the chart. He currently holds the record for the most number one singles on Billboard's Latin Chart. His last single from the album, Para Qué La Vida, reached a million spins on U.S. radio. By 2003 Iglesias released his seventh album, which he called 7, the second to be co-written by Iglesias. Among its more 1980s-inspired material, it features the song Roamer, which he wrote with his friend and longtime guitarist, Tony Bruno. With this album, Iglesias went on his biggest world tour to date.
In 2003, Enrique Ilglesias made his Hollywood debut. He starred alongside Antonio Banderas, Salma Hayek and Johnny Depp in the Robert Rodriguez film Once Upon a Time in Mexico (2003), in which he played the well-spoken gun-wielding Lorenzo. Later, he also had guest acting roles in the TV series Two and a Half Men (2007), and How I Met Your Mother (2007). After a two-year hiatus, Iglesias released the album Insomniac in 2007. The album was so named due to it being recorded mainly at night. The album contained a more contemporary pop style than that of previous albums. The first single, Do You Know?, was Iglesias's highest charting song on the Billboard Hot 100 since Escape. The song was also a hit throughout Europe, peaking in the top 10 in many countries. He did the official song for UEFA Europa League 2008, Can You Hear Me, which he sang at the soccer league's finale. In 2010, Enrique Iglesias released his ninth studio album, Euphoria, for Universal Republic. The single Tonight (I'm F**kin' You) broke into the top ten on the Billboard Hot 100, also reaching No. 4. In 2014, he released his tenth studio album, Sex and Love. His latest hit is Bailando ft. Sean Paul, Descemer Bueno, and Gente De Zona. Bailando got him 3 Latin Grammys ten years after his album, Euphoria received a nomination. In total Enrique Ilgleasias has won more than 200 awards from various ceremonies including 23 Billboard Music Awards and 36 Billboard Latin Music Awards, as well as 8 American Music Awards, 1 Grammy and 5 Latin Grammy. Stephen Thomas Erlewine at AllMusic: “There was no bigger star in Latin music in the first part of the 21st century than Enrique Iglesias.”
Sources: Stephen Thomas Erlewine (AllMusic), Wikipedia and IMDb.
My love in Cancun, May 2009.
________________
Everything has been going well. I recently got married, and I'm graduating college in a year and continuing school for a graduate or professional degree.
My husband and I are working on creating an extraordinary life :D
Zooey Deschanel sings with She & Him on March 15, 2008, at the Garden Party at the French Legation Museum in Austin, Texas, an unofficial party at SXSW 2008. More photos: www.undergroundbee.com/2008/03/15sheandhim/index.htm
The Parable of the Rich Fool
Someone in the crowd said to him, “Teacher, tell my brother to divide the inheritance with me.”
Jesus replied, “Man, who appointed me a judge or an arbiter between you?” Then he said to them, “Watch out! Be on your guard against all kinds of greed; life does not consist in an abundance of possessions.”
And he told them this parable: “The ground of a certain rich man yielded an abundant harvest. He thought to himself, ‘What shall I do? I have no place to store my crops.’
“Then he said, ‘This is what I’ll do. I will tear down my barns and build bigger ones, and there I will store my surplus grain. And I’ll say to myself, “You have plenty of grain laid up for many years. Take life easy; eat, drink and be merry.”’
“But God said to him, ‘You fool! This very night your life will be demanded from you. Then who will get what you have prepared for yourself?’
“This is how it will be with whoever stores up things for themselves but is not rich toward God.”
[Luke 12:13-21 NIV]
5 THINGS YOU SHOULD KNOW:
1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)
2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)
3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)
4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)
5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)
Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!
Randle Mainwaring 1456 & wife Margery Venables == in the south chapel they built.
He wears a complete suit of plate armour, his feet resting on a lion and his head on the family crest of an asses head (An ancester having his horse killed under him insisted on carrying out the family motto, "Forward, if I can," and mounted a donkey to keep going).
Margery wears a long robe and an ornate "mitre" head-dress
He entered court service as "et sagittarius de coronâ" [royal archer) to Richard ll in 1398 and later "armiger regis", (the kingʼs servant) to Henry IV,
He had also (with others) the custody of the manor of kerincham in Cheshire and, as a result of an attachment to the court of the Earl of Chester, was in 1405 granted for life the office of "equitator forestæ de Marâ et Mondrum" which then included much of the Hundred of Nantwich and all of Edisbury. Afterwards when that Earl succeeded as Henry V Randle was granted two parts of the serjeanty of Macclesfield during the minority of his kinsman John Davenport +++ , whose family held the hereditary serjeanty
Randle (sometimes called Honkyn) was the 2nd son of William Mainwaring 1365 and 2nd wife Elizabeth 1416 daughter of Lord Nicholas Leycester of Nether Tabley, Bucklow, and Mary daughter of William de Mobberley & Maude Downes
He was the grandson of Sir William Mainwaring & Mary daughter of Henry Davenport of Marton and Agnes de Macclesfield
He was heir to his brother John Mainwaring 1410 www.flickr.com/gp/52219527@N00/057f27 who had in turn been heir to their older half brother William 1399 flic.kr/p/cUuguJ at Acton, who was the issue of their father's 1st marriage to Joan daughter of William de Praers of Baddiley
He m Margery daughter of Hugh Venables Baron of Kinderton by Margery daughter of Hugh Cotton of Rudheth & Isabel Heaton; and afterwards petitioned the king for the enjoyment of her dower having married her without the kingʼs licence.
Margery was the widow of Richard Buckley 1391 of Cheadle , son of William Bukeley / Bulkeley & Alice Vern. with a young son & daughter: Richard 1391 - 1454 who m Alice Bostock: & Margery wife of Sir Lawrence Warren of Poynton
Children of Randle & Margery:
1. John 1482 m1 Margaret daughter of Sir John Delves & Philippa Harcourt; m2 Joan Warren (1 x great grandparents of Sir John Mainwaring 1515 of Over Peover www.flickr.com/gp/52219527@N00/AREw73 )
2. William 1497 flic.kr/p/ebUaAC (from whom the Manwarings of Ightfield Shropshire descend) m Margaret daughter of John Warren of Ightfield & Matilda Cheney
3. Randle / Ralph 1456 from whom the Mainwarings of Carincham descend, m Margaret daughter of Sir John Savage 1463 of Clifton by Eleanor 1452 daughter of Sir William de Brereton and Anyll de Venables
1. Elizabeth m Raufe / Ralph 1452 of Wynehill Staffs son of William de Egerton and Ellin / Helen Hawkestone
2. Cicely 1401 - 1483 m Thomas Fowleshurst of Crewe son of Thomas Fulleshurst and Joan Venables (sister of Margery ==)
3 Joan 1402 - 1487 m 1411 John 1474 +++ son and heir of Raufe / Ralph Davenport by Joan Legh / grandson of Sir Ralph Davenport of Marton flic.kr/p/8HC5wq & great grandson of Sir John Davenport flic.kr/p/8HBRoY of Marton (?)
4. Ellen 1480 m Thomas 1449 of Gawsworth son of Sir Lawrence Fitton and Agnes Hesketh (Thomas was the brother of Laurence Fyton at Sonning Berks flic.kr/p/gLp3uf )
5. Agnes 1406 - 1426 was to marry William Bromley, *** but died before, he then married her sister:
6. Margaret 1432 m William Bromley 1436 *** of Badington son of Sir John Bromely; m2 Judge Sir John Nedham 1480 of Crannach, son of Sir Robert de Needham and Dorothy Savage
6. Phillippa 1433 m Robert son of Richard Chamberlaine and Catherine Cotes
7. Isabel
8. Clemence 1414 m William Beeston
Randle also had 2 illegitimate sons:
1. Hugh Mainwaring, whose mother was Emme Farrington. He m Margaret, sister and eventual heir of Ralph Croxton of Croxton, (ancestors of the Mainwarings of Croxton near Middlewich)
2,. Thomas Mainwaring of North-Rode
- Church of St Laurence, Over Peover / Peover Superior, Cheshire
seearoundbritain.com/venues/over-peover-church-knutsford/...
With a non-standard 'Raspberry-Ripple' paint scheme and a nose mounted trials-based experimental 'optical' system, 'Sikorsky' built Westland Sea King HAS.1 XV371 making an approach to Shoreham back in July 1981.
Four original 'SH-3D' Sea King airframes were built by Sikorsky as the basis of Westland's licence built Sea King production for the Royal Navy and Royal Air Force.
All four were then shipped to the UK, XV370 being delivered already fitted with the standard General Electric T58 Engines and on arrival was flown from the docks at Avonmouth to Westland's factory at Yeovil.
The remaining three arrived at Yeovil engine-less and were roaded there being subsequently fitted with Rolls-Royce Gnome Engines, all to become the trials airframes.
Westlands were tasked by the Navy to design and upgrade the airframes, as although externally similar to the US built Sea King, the UK versions were inwardly a very different machine to the standard Sikorsky built SH-3 variants that the US Navy operated.
Of the four airframes acquired, after their initial use at Westlands, the first XV370, spent most of it's subsequent life with the ETPS at Boscombe Down ending up with the AES at HMS Sultan as an Instructional Airframe. XV371 spent it's life with the RAE at Bedford, XV372 was written-off in an accident in January 1969 and XV373 found it's way to the gunnery ranges at Foulness.
The Westland version of the Sea King was widely exported to, amongst others: Australia Belgium, Egypt, Germany, India, Norway, Pakistan and Qatar.
Scanned 35mm Transparency
Bartholemew Hector Artemus - Monaco 2008
Blue Merle Playboy Chihuahua Stud Dog
Ferrari seems to suit him very well
She & Him live at Shepherds Bush Empire. Their second show in London, I felt this one was a lot more intense than the Koko show, M Ward seemed far more engaging with the audience and the band really got the show going. Lots of people left near the end not knowing Zooey and Matt would come back to play "I put a spell on you" which really shows off her awesome voice. The setlist was fairly similar to the Koko show just with the encore gaps slightly altered. Good times.
(23/100 Strangers)
When I approached him, someone was already taking his picture and talking to him. He had a friend who got him into this gig, which he's been doing for three years. He told me his name, but I completely forgot to write it down. When he's not doing this he deals in Christmas Trees. "Large ones."
He was repairing the steam engine Christmas decoration in front of the Time Life Building, where I used to work. He was a really friendly guy, and lives in New York.
I regret not getting a bit more of his story, and remembering his name, but it was pretty easy to talk to him. This project is getting easier, even when I might not always be in the right mindset to talk to strangers.
If you're reading this, please send me your name!
--
This picture is #23 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.
ETYMOLOGY AND OTHER NAMES
Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.
The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).
Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).
A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".
In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.
In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.
ICONOGRAPHY
Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.
Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.
The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.
COMMON ATTRIBUTES
Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.
Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.
VAHANAS
The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.
Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.
The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.
ASSOCIATIONS
OBSTACLES
Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.
BUDDHI (KNOWLEDGE)
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".
AUM
Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:
(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).
Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.
FIRST CHAKRA
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".
FAMILY AND CONSORTS
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.
The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.
WOSHIP AND FESTIVALS
Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.
Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).
Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.
Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."
GANESH CHATURTI
An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.
TEMPLES
In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.
There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.
T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.
RISE TO PROMINENCE
FIRST APEARANCE
Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:
What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.
POSSIBLE INFLUENCES
Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:
In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.
Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."
One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.
A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.
First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).
VEDIC AND EPIC LITERATURE
The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".
Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.
PURANIC PERIOD
Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:
Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.
Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.
SCRIPTURES
Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.
The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.
BEYOND INDIA AND HINDUISM
Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.
Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.
Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.
Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.
Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.
The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.
WIKIPEDIA
© Ruby Huang, All Rights Reserved
He had this thingy in his right hand... it was not a pipe cause it did not look like it... or maybe it was... I tried to following him for a bit hoping I could catching him smoking it... failed!
I love the street lights here in the hipster town!
Thank you for the inspiration!
Instagram: @_rubysee
I was lucky!! Lewis had to do a project for school that had him paint stones and write a little message on them and then hide them ~ the message asked the person who finds them to further hide the stones and on and on!!!
The stones sitting on his Minion garden chair were those that he practiced his painting on and might just be a little still-life!!
Our Daily Challenge ~ Accidental Still-Life ....
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all.
Neurheder Oldtimerkollegen und Umgebung e.V 8 & 9-09-2018
Normally a caravan is not the highlight of an event. This is a Constructam ST 320 X. (according to the nameplate) I did not know him at all, there is nothing on the internet about it, not even an image. And the Constructam club does not name him in history either.
Short info about the other Construrctams:
Constructam built very characteristic caravans, which are still very popular with enthusiasts. The company, which was based in Temse in Belgium, started its production in 1958.
The large windows at the round front were striking. In 1960 the owners came up with a revolutionary development: a series of caravans partly made of polyester and partly made of aluminum. They were very special in streamlining, and had perfect driving characteristics.
The substructure was more than twice as heavy as the superstructure, so that the center of gravity was low in the caravan.
Constructam finds it increasingly difficult in the seventies of the 20th century, because the production method of the caravans is very labor-intensive. Moreover, the soil sometimes suffers from rotting phenomena, because condensation forms between the walls of the caravan.
Production is stopped in 1982. A restart is made under the name Mirage Caravans and in 1985 the name Constructam Caravans is sold to Chateau Caravans in Budel (the Netherlands).
The Constructams were made in Temse, Belgium, on the Scheldt. In the beginning the caravans were made in a workshop of approximately 4000 m2 on a terrain of 4100 m2. Later the site was enlarged to approximately 26000 m2. New, modern workshops were built on this, the new assembly hall, for example, took up 5000 m2, while the new office area and showroom covered 1100 m2. The latter space was prepared and put into use shortly before the 1967 production, so that a total area of 10,000 m2 of buildings and 30,000 m2 of land were then available for the work. Constructam was not only a assembly company, but also included a steel department for the repair of structures, undercarriage and all parts, a furniture workshop where all furniture was produced and a plastic department for making the polyester upper parts. Constructam was located at Krijgsbaan 247 in Temse.
The Telegraph
Opinion
Why all the fuss about homoerotic Jesus? Artists have always made him sexy.
Ben Lawrence
Wed, January 31, 2024
This week, the more conservative echelons of Spanish society have been restive. For Easter Week in Seville, artist Salustiano García has produced a portrait of Jesus Christ that critics have described as “effeminate” – a word I hadn’t heard for about 25 years. García’s portrait is fairly horrid: a Calvin Klein model of a Messiah pouting against a crimson background, with a ruched cloth covering his modesty. Yet the outcry is – well, you might say “anachronistic”, were it not for the fact that the protests would have felt anachronistic in 1450.
For artistic depictions of Jesus Christ have, since the Renaissance, erred towards the risqué. At first, influenced by neo-classical ideas, and thus appreciative of ancient Greek art in all its glorious nudity, artists sought to make Jesus a glowing figure of taut muscle and sinew – someone to adore, but also someone to objectify. The list of examples could be endless. Take Michelangelo’s Cristo della Minerva (1521), which shows a hunky Jesus holding the cross like a modern-day Gladiator with a pugil stick.
Or Caravaggio, one of the most famously gay artists in history, whose Incredulità di San Tommaso (c1601-2) shows the doubting apostle poking his finger into Christ’s flesh. The painting exists in two versions: in the one now known as “secular”, you can see Jesus’s exposed thigh, though even the “ecclesiastical” rendering has light falling upon him in such a way that his physicality dominates the work. (And the understanding of Christ’s wounds as genital symbols is one of the oldest in art history.)
Nor is it only Jesus who’s subject to homoerotic interpretation. Leonardo’s John the Baptist (1513) is certainly suggestive, armed with a coy smile and a finger pointing upwards. When you know that the sitter was Gian Giacomo Caprotti, Leonardo’s lover, the intimacy between artist and subject becomes clear, and the modern viewer might wonder which Heaven, exactly, John is pointing at. Then there’s St Sebastian, portrayed by Guido Reni as a curly-haired moppet, and still a poster boy for gay desire for everyone from TS Eliot to the Pet Shop Boys.
I realise that a lot of what I’m describing is in the eye of the beholder; that in more devout times, many viewers would have looked at Michelangelo’s depiction of Jesus’s thighs and not salivated. Yet the link between spiritual and physical worship must have been tacitly considered.
And given the controversy that García’s depiction has caused among Spanish Catholics, it’s worth mentioning that the Catholics are partly to blame, or thank, for Jesus’s objectification. If we look at the Catholic Counter-Reformation, it’s clear that the Church’s push for artistic representations of Christ, intended to inspire devotion in the face of Protestantism, led to a fetishisation that only served to cement Renaissance ideals of the male body. Think of Velázquez, whose Christ Contemplated through the Christian Soul (c1628-9) depicts a tortured, exhausted figure seemingly pondering his faith. Yes, he’s in torment, but he also looks sensually charged, the intensity of his stare beguiling the susceptible viewer.
In fact, even Christ post-crucifixion has often been suffused with erotic power. Charles LeBrun’s Dead Christ on the Knees of the Virgin Pieta (1645) sees his lifeless body splayed, that all-important muscle tone still intact. Of course, there’s an explicit link between sex and death: Freud told us as much, that our drive towards death, though the polar opposite of the procreational activity of sex, is bound up in the same compulsive tendencies. In a more officially repressed age such as the Baroque, it’s tempting to see such paintings as outlets for forbidden desire.
It took the repression of Victorian England to allow Jesus to be something else – to bundle his clothes back on and desexualize him. The pre-Raphaelites did this with everyone, but their depictions of Jesus are particularly striking when you consider what had gone before. William Holman Hunt’s The Light of the World (c1851-3), perhaps the greatest painting of the age, has Jesus bathed in a light around his head that’s meant to represent salvation – a very Victorian preoccupation bound up with doing good. Yet I’ve always found Hunt’s Jesus to be forbidding, a gatekeeper fixing his eyes intently on you and considering his judgment of your actions.
Today, in a secular age, Jesus can be anything to artists, sexual or otherwise, though predictably, it’s always the sexualisation that causes a stir. Piss Christ (1987), the controversial photograph by Andres Serrano, showing a crucified Jesus submerged in a tank of the artist’s own urine, takes fetishisation to the extreme with the idea that Jesus is at the mercy of someone’s bodily fluids (despite the artist’s statement that it’s about showing the extreme suffering of Christ).
Hence, since the Second World War, we’ve had BDSM Jesus, cross-dressing Jesus and gay-biker Jesus. In our age of mass consumerism, he’s a reusable cultural icon, fit for any occasion. In fact, there’s now speculation over his historical sexuality. Whereas Jesus’s celibacy was once accepted, even celebrated, fringe theories have since entered the mainstream. In a world where we’re all armchair psychologists, debate can be found raging as to whether Jesus was actually gay.
Because of all this, the current debate in Seville seems a little quaint. While I wouldn’t want to insult anyone’s faith – in fact, I admire the sincerity of the conservative outrage – I think that we can learn a lot from works such as García’s, despite our personal beliefs. Through the centuries, the perpetuation of Jesus’s image, often coupled with the subversive expression of feelings that contemporary mores may not have encouraged, is precisely what has allowed that image to endure – and our own interpretations, homoerotic or not, will always be crucial to that.