70-200 VR2 + TC-1.4II @280mm f4

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

Civic Center, Manhattan, New York City, New York, United States

 

Summary

 

This sixteen-story office building, constructed as the home of the New York Times, is one of the last survivors of Newspaper Row, the center of newspaper publishing in New York City from the 1830s to the 1920s. Erected in 1888-89 and enlarged in 1903-05, the present building was the paper's second on the site and was so identified with the Times that it was described in King's Handbook of New York (1892) as "the Times expressed in stone." The former Times Building is the sole remaining office building in the downtown area by the pioneering skyscraper designer George B. Post. Post, the country's pre-eminent -architect-engineer, achieved a major technological feat with this commission which required him to incorporate the floor framing from the Times's five-story 1857 building so newspaper operations could continue on site while the new building was under construction. The Times Building, Post's first in the Richardsonian Romanesque idiom, was considered "a masterpiece of the Romanesque style."

 

Faced with rusticated Indiana limestone blocks above a gray Maiiie granite base, the facades are articulated in a complex composition featuring a series of impressive arcades that emphasize the verticality of the building and horizontal moldings that call attention to the underlying structure. The carefully-scaled details include compound colonnettes, roll moldings, miniature balustrades, foliate reliefs, gargoyles and a mansard with gabled dormers

 

In 1904, the Times, which had been sold to Adolph Ochs, relocated to Times Square. The former ground-floor offices of the Times were converted to retail use, the mansard was taken down, and four new stories were added to the designs of Robert Maynicke.

 

Pace University acquired the building in 1951 for part of its Manhattan campus, converting the offices to classrooms and making changes to the base. With its three highly visible facades on Park Row, Nassau Street, and Spruce Street facing Printing House Square, the former New York Times Building remains a prominent presence in New York's civic center.

 

DESCRIPTION

 

Park Row and "Printing House Square"

 

The vicinity of Park Row, Nassau Street, and Printing House Square, roughly from the Brooklyn Bridge to Ann Street, was the center of newspaper publishing in New York City from the 1830s through the 1920s, while Beekman Street became the center of the downtown printing industry. This development began as early as 1830 when several old houses on the northwest corner of Nassau and Ann Streets were replaced by the Franklin Building, a five-story commercial building housing two printing offices and the New York Mirror newspaper.

 

By 1836 Nassau Street was home to fourteen newspapers and "numerous bookstores, stationers, paper-warehouses, printers, [and] bookbinders."

 

Park Row, with its advantageous frontage across from City Hall Park, had remained a street of restaurants, hotels, theaters, and churches until the late 1840s. As the entertainment district moved northward, the old buildings were replaced by first-class business buildings.4 Initially almost all of the new buildings were leased to dry goods firms, but by the end of the decade the majority had been taken over by newspapers and publishers.

 

This trend was greatly accelerated by the redevelopment of the former Brick Presbyterian Church block on Park Row between Beekman and Spruce Streets with the New York Times Building (1857-58, Thomas R. Jackson) and the Park Building (1857-58, demolished) which housed the New York World after 1860. In the 1860s, Park Row became known as "Newspaper Row" and the plaza formed by the intersection of Nassau Street and Park Row and bordered by the Times and Tribune Buildings as "Printing House Square."

 

The Civil War created a high demand for news which brought unprecedented growth and prosperity to the newspapers and weekly pictorial journals located in the vicinity of Printing House Square. In the post-war years, a number of papers replaced their old quarters with large new office buildings which incorporated elevators and were constructed with fire-resistant (often termed "fireproof) materials.

 

The majority of the new buildings incorporated several rental floors to take advantage of the great demand for office space in the City Hall area. Among the notable examples were the new "fireproof headquarters for the Herald (1868, Kellum & Son, demolished) at Park Row at Ann Street; the handsome Second Empire style New-Yorker Staats-Zeitung Building (1870-73, Henry

 

Fernbach, demolished) at the intersection of Centre Street, Tryon Row, and Park Row; the early skyscraper, Tribune Building (1873-75, Richard M. Hunt, demolished) at Park Row and Spruce Street; and Evening Post Building (1874-75, Thomas Stent, demolished) at Broadway and Fulton Streets.

 

In the 1880s and 1890s, the newspapers continued to erect distinctive and technically innovative buildings in the Park Row area including the New York Times Building (1888-89); the World (Pulitzer) Building (1889-90, George B. Post, demolished), 53-63 Park Row; and the Mail and Express Building (1891-92, Carrere & Hastings, demolished) Broadway and Fulton Street.

 

A shift away from downtown began after the New York Herald moved to Herald Square in 1894 and the New York Times moved to Longacre Square in 1904, though the New York Evening Post constructed a new building (Robert D. Kohn) in 1906-07 at 20 Vesey St. (a designated New York City Landmark), and the majority of newspapers remained downtown through the 1920s.

 

The New York Times

 

One of the world's great newspapers, the New York Times (originally the New York Daily Times) was founded in 1851 by Henry Jarvis Raymond (1820-1869), George Jones (1811-1891), and Edward B. Wesley (1811-1906). Raymond and Jones were newspapermen who met and became friends in the early 1840s while working for Horace Greeley's fledgling New York Tribune.

 

Jones subsequently moved to Albany where he became an independent banker, trading in currencies. Wesley, an Albany businessman, speculated in commodities and real estate and also traded in currencies. In 1851 they formed a partnership to establish the Times, with Raymond as editor and Jones in charge of the business office; Wesley supplied the bulk of the capital and also was involved in the management of the paper when Jones fell ill during the 1850s.

 

(There were also a number of other small investors, mostly businessmen from the Albany region.)

 

Disliking the strident partisanship common in the press of the period, Raymond created a paper that emphasized "accurate reporting and moderation of opinion and expression."

 

This policy brought theTimes immediate success, which was enhanced by the rapid growth of the city's population. Within a year, circulation had reached more than 24,000, and the size of the paper had doubled. By 1855, the Tunes had more than twice the readership of the

 

Tribune. As the Times prospered, it "won a reputation for the fulness [sic] and variety of its news."

 

The paper was especially well regarded for its coverage of foreign events and for its policy of printing the full text of important speeches and documents. Republican in political affiliation, it provided excellent coverage of the nascent Secession movement and the Civil War. (Raymond himself reported on the Battle of Bull Run.)

 

During the war, the paper met the increased demand for news by establishing a Sunday edition and by expanding the size of each page from five to six columns, making it the largest daily newspaper in the nation.

 

When it was established in 1851 the Times leased space at 113 Nassau Street, moving after two years to larger quarters in a rented building at Nassau and Beekman Streets. By 1856, the paper had "outgrown its quarters and demanded more room for itself and better facilities for the public."

 

Wesley, and two investors, Frederick P. James and Henry Keep, took the opportunity to acquire the old Brick Church site when it went up at auction that year. In 1857, Raymond and Jones purchased James' and Keep's two-thirds interest in northern portion of block (Wesley retained ownership of his one-third interest).

 

They subsequently erected a new Times Building on the site. Designed by Thomas R. Jackson, this was one of two mirror-image five-story store and loft buildings united by their arcaded center bays and crowning pediment. (The other building was acquired by Western Union). The Times's printing presses and stereotype equipment occupied the basement of its building.

 

Its publication offices were on the ground floor. The second and third floors were leased to tenants including, at various times, the Surrogates Office, the Patent Office, and George P. Powell & Co.'s American Advertising Agency. The editorial department and reporters occupied the fourth story; the composing room was on the fifth floor.

 

In 1860 Wesley gave up his interest in the Times, selling and transferring his real estate to Jones and Raymond. Raymond died an untimely death at age 49 in 1869. Before his death, Raymond had begun to publish stories about the municipal corruption under Mayor Fernando Wood and "Boss" William Marcy Tweed.

 

After taking control of the paper, Jones continued the expose which included Thomas Nast's scathing political cartoons. In August 1871, the Times managed to secure copies of the New York City Comptroller's books which made abundantly clear "the enormity of the plunder to which the city had been subjected [and resulted in] the utter rout of the conspirators."

 

After Raymond's death, Tweed's cronies had tried to gain control of the Times by buying his interest in the paper from his widow. Jones and a minority stockholder, Edwin B. Morgan, a businessman from Aurora, New York, quickly acquired the outstanding stock, and in 1872 the Times company was reorganized.

 

In 1881, following Morgan's death, his heirs and Jones signed over their interest in the Times Building property to the stock association. (Morgan had purchased the mirror-image building adjacent to the Times Building from Western Union in 1867 and that also became part of the association's holdings).

 

The early 1880s was a prosperous period for the Times, and the paper's owners realized that the growing company needed additional room to expand. Undoubtedly encouraged by the strong market for rental office space in the City Hall area, which was bringing profits of as much as twenty percent per annum to the owners of the recently erected Morse Building (1878-80, Silliman & Farnsworth) at 140 Nassau Street, Temple Court Building (1881-83, Silliman & Farnsworth) at 7 Beekman Street, and Potter Building (1883-86, N.G. Starkweather) at 35-38 Park Row, Jones and the other Times owners decided in 1886 to erect a new "fireproof" office building which would be "the largest and handsomest newspaper office in the world."

 

Because there were few available building sites in the Printing House Square area and the paper already occupied one of the most prominent and desirable sites in Lower Manhattan, the owners decided to erect a taller building at the same location.

 

Jones was concerned that the Times would have to cease publication if it moved to temporary quarters because he thought it impractical to move and then return the paper's five heavy presses and stereotyping equipment to the Times Building's basement.

 

Thus the owners sought a solution that would allow them to keep on publishing at the same site while the new addition was being constructed. The commission for this difficult problem fell to George B. Post, America's leading architect-engineer.

 

George B. Post

 

George Browne Post (1837-1913) was born in New York and educated at New York University where he earned a B.S. degree in civil engineering in 1858. After graduation he studied in Richard Morris Hunt's atelier for about two years. In 1860 Post and Charles D. Gambrill formed a partnership and established their offices at 93 Liberty Street. The architects were associated for about six years although Post was away from the office sporadically during the Civil War, serving as a captain in the New York State National Guard. After the dissolution of the firm, Gambrill worked for six years in collaboration with Henry H. Richardson, and Post practiced alone.

 

In 1868 Post was called in as a consultant when the original design of the Equitable Life Assurance Building by Gilman & Kendall proved too expensive to build. Post used his training as an engineer to redesign the structure of the building, lightening the loads and increasing the rentable space through the substitution of iron columns and iron beams for load-bearing walls.

 

As Post's work on Equitable building was nearing completion, he received two other major commissions, the Williamsburgh Savings Bank (1870-75) and the Troy Savings Bank and Opera House Building (1871-75), which brought him considerable recognition. Post's early skyscraper, the Western Union Telegraph Building (1872-75, demolished), is generally considered to be the first design to provide an appropriate architectural expression for a tall building and was a prototype for the development of early corporate headquarters.

 

His Renaissance-inspired Long Island Historical Society Building (now the Brooklyn Historical Society), of 1878-79, was the first building in New York to make extensive use of ornamental terra cotta. In the 1880s Post was responsible for such important New York business buildings as the Mills Building (1881-83, demolished), the New York Produce Exchange (1881-85, demolished), the New York Cotton Exchange (1883-85, demolished), the New York Times Building on Park Row (1888-89), and the Pulitzer or World Building (1889-90, demolished). Post also designed the mansion of Cornelius Vanderbilt (1889 and 1895, demolished) at the northwest corner of 57th Street and Fifth Avenue and the Huntington Residence (1890-94, demolished) on the southeast corner of 57th Street and Fifth Avenue, two important commissions from very prominent clients.

 

The largest exhibition hall at the World's Columbian Exposition of 1893 in Chicago was Post's Manufacturers and Liberal Arts Building. In 1897 he won the competition for the City College of New York which occupies an imposing site in Upper Manhattan.

 

His most famous structure is the temple-fronted New York Stock Exchange (1901-04). In 1905, Post's two sons, James Obis and William Stone, became partners in his firm which was renamed George B. Post & Sons. James collaborated with his father on the design of the Wisconsin State Capitol (1906-17).

 

Among the many honors bestowed on Post during his long and distinguished career were the American Institute of Architects Gold Medal and the French Legion d'Honneur.

 

The Design of the New York Times Building

 

In January 1889, the Real Estate Record & Guide reported that the soon to be completed Times Building "has achieved a remarkable popular success, being generally esteemed the finest commercial building in New York."

 

Post's design is all the more impressive, given the complexities of the project. In addition to retaining as much of the old building as possible and carrying on construction without unduly interfering with the production of the newspaper, he was also barred from using conventional construction techniques that would interfere with the presses. Instead each old pier was successively encased in a new masonry pier of sufficient dimensions to support "its portion of the load of the new structure," and each pier "was provided with a new and proper foundation."

 

Inverted brick arches were installed between the piers just above the foundations. This work was completed between January and May 1888, when the tenants vacated their offices. At that time, a wooden bridge was constructed around the building and work began to remove the old outer walls and roof and construct the new walls. The load-bearing walls on Park Row and Nassau Street were chiefly masonry reinforced with wrought-iron Phoenix columns which supported iron girders and beams spanned by flat hollow-tile arches. Iron columns and girders were installed in the interior of the building next to the old masonry partition walls which were eventually taken down.

 

As the work progressed, the paper's compositors, editors, and reporters continued to occupy the fourth and fifth floors, sheltered by a temporary wood and tar-paper roof. The exterior of the new building was completed in January 1889, and the interior was ready for tenants by May.

 

As Landau and Condit have observed, "the proportions of the old Times Building and the technology required to achieve the new, much taller building while retaining parts of the old one influenced the organization of Post's facades." The height of the first five stories and the placement of the thick masonry piers on Nassau Street and Park Row were determined by the older structure.

 

On the upper stories, the piers could be diminished in thickness to reflect the lighter loads. In keeping with his earlier commercial work, Post articulated the facades with multi-story arcades and structurally expressive moldings. Here he departed from his previous commercial work, which had been designed in the Queen Anne or Renaissance styles, and adopted the Richardsonian Romanesque just then coming into fashion in New York for commercial buildings.

 

Over the years Post had shown a great affinity for Richardson's work in such projects as Chickering Hall (1874-75, demolished), New York Hospital (1875-77, demolished), and in an unexecuted design for a Church and Parish House (c. 1877) which was clearly modeled on Richardson's Trinity Church in Boston (1872-77).

 

Richardson in turn, seems to have been influenced by Post's rhythmic arrangement of window bays at the New York Produce Exchange (1881-84, demolished), a device which reappeared in Richardson's design for the Marshall Field Warehouse in Chicago (1885-87, demolished).

 

The extensive publication of Richardson's work following his death in 1886 seems to have set off a wave of Richardsonian designs throughout the country. New York examples included Robert W. Gibson's United States Trust Company Building (1888-89, demolished) at 45-47 Wall Street, Stephen D. Hatch and Francis Kimball's Corbin Building (1888-89) at Broadway and John Street, and Bradford Gilbert's Tower Building (1888-89, demolished) at 50 Broadway, near Bowling Green.

 

Post's choice of light Maine granite for the first two stories of the Times Building and matching Indiana limestone for the upper stories was probably inspired by Richardson's monochromatic late work.

 

The building also relates to other Richardson buildings, notably the F.L. Ames Wholesale Store (1882-83, demolished) on Bedford Street in Boston and Cincinnati Chamber of Commerce (1885-88, demolished) in its use of rusticated stone, giant arcades, and a dormered mansard roof. Certain characteristic Richardsonian details are also employed, notably "the miniature balustrades in relief that fill the bases of great openings in the third and sixth stories and the decorated roll mouldings at the intrados of their arches."

 

The design is distinctly Post's own in its use of unbroken projected piers which give the building a strong vertical emphasis. The use of superimposed giant arches arranged in a progression of 1-2-3 windows on the Park Row and Nassau Street facades relates directly to his previous work at the Produce Exchange.

 

The distinguished architectural critic, Montgomery Schuyler, described the Times Building's "large 20-foot [basement] arches and the divided arches above them" as "impressive features" and noted that "their impressiveness is greatly heightened by the character of the detail, which is nowhere exaggerated in the Richardsonian manner, but takes its place properly and is almost everywhere carefully and successfully adjusted to its place in scale as well as treatment."

 

King's Handbook of New York (1892) praised the building as "a masterpiece of the Romanesque style"24 and characterized it as:

 

Discreet, moderate, bold, vigorous, perfect in every detail of ornamentation, in moldings, in capitals, in gargoyles; so beautiful that it charms the naive and the refined, the ignorant and the most learned in art; the Times Building is the Times expressed in stone.

 

The Times Changes Hands

 

When Moses King of King's Handbook wrote about the Times Building in 1892, the fate of the building and paper were very much in doubt. George Jones, who died in 1891, had thought of the building as his monument and had spent lavishly to create a first-class structure.

 

He was also very concerned about the future of the newspaper to which he had devoted so many years and intended that the rental income from the office floors would provide a steady supplement to the paper's income. This income became increasingly important as the Times lost readership to the more sensationalistic World and Journal in the early 1890s. Jones left his stock in the Times Company to his children with the stipulation that the paper should never be sold.

 

His heirs did not want to continue publishing the paper but were reluctant to break a will that contained considerable assets in addition to the newspaper stock. An informal agreement was made with the heirs of Edwin B. Morgan that they would sue the Jones heirs to allow the paper to be sold.

 

The Morgan heirs won the suit and the paper was sold to the New York Times Publishing Company, a corporation headed by Times editor Charles R. Miller, for $950,000. The New York Times Association stockholders (the Jones and Morgan heirs) conveyed ownership of the Times Building to a holding company, the Park Company, subject to a lease to the New York Times Publishing Company.

 

The new owners of the Times took control just on the eve of the financial panic of 1893. The resulting depression severely reduced advertising revenues, especially in area of financial advertising, which had been one of the Times mainstays. As the paper cut expenditures for news gathering and staff, its readership declined rapidly. By 1896, circulation had fallen to 9,000 and the paper was losing $1,000 a day. The company was placed in receivership and recapitalized. A member of the financial-page staff who knew that the Chattanooga Times publisher Adolph Ochs was interested in acquiring a newspaper in New York telegraphed Ochs saying that the Times could be acquired for "no very large outlay of money."

 

Ochs took over as publisher in August 1896 in exchange for $75,000; his contract stipulated that after three consecutive years of profits he would receive a controlling interest in the company.

 

Soon after taking control of the Times, Ochs added the slogan "All the News that's Fit to Print" to its masthead, signaling his intention to avoid "yellow journalism" and to maintain the Times's traditional high standards. By the end of his first year, operating costs had been cut substantially, the paper's typography had been greatly improved, and several new sections had been introduced, including the book review section, a Sunday supplement of half-tone illustrations (forerunner to the present Sunday magazine), and an indexed summary of the news, then called "The News Condensed."

 

In 1898, Ochs decided to reduce the price of the paper from three cents to one cent to compete directly with the Journal and World; circulation almost immediately tripled and then continued to grow. In August 1900, Ochs acquired his majority sharehold in the Times Publishing Company.

 

By 1903, the paper was so successful that Ochs decided not to renew the lease on the paper's quarters on Park Row and to erect a new skyscraper uptown on Longacre Square in the heart of a newly emerging office and entertainment district. The Park Company then decided to retain Robert Maynicke (1848-1913) to renovate and enlarge the former Times Building, which was renamed the 41 Park Row Building.

 

The Addition of 1903-05 and Subsequent History

 

Maynicke had been one of the chief architects in George B. Post's office from 1872 to 1895 and had supervised the construction of the Times Building as well as the Mills, Equitable, Pulitzer, Union Trust, and Havemeyer Buildings, and the Produce and Cotton Exchanges.

 

A graduate of Cooper Union, he had used his training in mechanics and mathematics to become an expert on the structural properties of iron and steel and on the construction of tall buildings. His firm, which became Maynicke & Franke after he formed a partnership with his chief designer Julius Franke (1868-1936) in 1905, was extremely prolific, producing designs for over 100 large commercial buildings in New York. Maynicke achieved a reputation for his additions to large business buildings, which often involved difficult engineering problems.

 

At the 41 Park Row Building, the problems were especially complex because the girders Post had reused from the 1857 Times Building were incapable of taking the weight of additional stories.

 

Maynicke filed plans with the Department of Buildings for alterations to 41 Park Row in December 1903.31 His designs called for the mansard roof to be removed and for the wails to be taken down to the eleventh story. The twelfth story, which had been a double-height story with a mezzanine, was to be divided into two stories, and three new stories were to be constructed for a total of sixteen stories.

 

The new construction required the installation of new steel girders in the first five floors and the replacement of some relatively weak columns on the twelfth story. An additional elevator was also installed.

 

Maynicke faced the twelfth, thirteenth, and fourteenth stories with limestone, repeating the double-story arcaded design of the tenth and eleventh stories at the twelfth and thirteenth stories. He treated the trabeated fourteenth story as a transitional story topped by a heavy cornice enriched with ball flower moldings and gargoyles at the corners of the Spruce Street facade. The top two stories were faced with terra cotta and articulated with a giant arcade.

 

Above a heavy foliate cornice, the facade was crowned by a balustraded parapet punctuated by crocketed finials resting on angled projections.

 

In 1905, Maynicke's plans were amended to install four show windows on the ground floor store occupying the Times'"s old publication offices. In 1915 the foundations were strengthened for the party wall between 41 Park Row and the Potter Building.32 In 1916 several alterations were made on orders from the Bureau of Fire Prevention including the installation of Kalomein-covered frames and wire glass for the windows in the fire stairs and a wood 3,500-gallon water tank on the roof.

 

There were storefront alterations in 1919, 1928, 1938, and 1941 for the various retail stores and restaurants that occupied the ground floor. In 1951 the Park Company sold the building to Pace University which made substantial alterations to the building to the designs of Frederick P. Piatt. Architect, Edward J. Hurley made additional changes to the sub-basement, basement, and first story, including changes to the entrances, in 1956-57.

 

In 1962, a cooling tower was installed on the roof for an air-conditioning unit serving the twelfth through fifteenth floors.

 

Description

 

The former New York Times Building is located on a trapezoidal lot which extends 103 feet along

 

Park Row, sixty feet along Spruce Street, ninety-six feet along Nassau Street, and is 104 feet wide at its south party wall adjoining the Potter Building.

 

The sixteen-story building has a Romanesque Revival design featuring rusticated stone work, a series of multi-story arcades, and finely carved medieval ornament. The building's two-story base is faced with gray Maine granite, while Indiana limestone is employed for the third through fourteenth stories and terra cotta for the top two stories.

 

Tall arcades, prominent piers, and recessed windows and spandrels give the design a vertical emphasis. The facades are organized into three bays on Spruce Street and four bays on Park Row and Nassau Street. The north front on Spruce Street (Printing House Square) which originally contained the entrance to the Tunes publication offices is treated as the primary facade. The articulation of the Spruce Street facade is extended on to the narrow bays at the north end of the Nassau and Park Row facades.

 

The original stone entrance surrounds on Spruce Street and Park Row were removed and new entrances and first story windows were installed in the 1950s when Pace University acquired the building. The original cast-iron spandrel panels still survive in the window bays but non-historic aluminum windows were installed on all three facades in the 1980s. A number of air conditioners and louvers have been installed in the windows of the Park Row and Nassau Street facades.

 

Park Row Facade

 

The Park Row facade is articulated into four bays. The northern bay is approximately the same width as the single bays on the Spruce Street front and is articulated in the same manner. The other three bays are little less than twice the width of the north bay and have a slightly different decorative scheme.

 

Base: The treatment of the two-story base is very similar to that of the Spruce Street facade except that the center pier is widened to frame a central entrance, originally the main entrance to the office tower. The gabled stone surround has been removed.

 

The entrance contains non-historic paired aluminum and glass doors topped by a large fixed multi-light transom. Raised lettering above the entrance reads "PACE UNIVERSITY." It appears that the large clock with Roman numerals and Gothic hands above the entrance is original to the building, but it was removed from its surround and reinstalled at the second story when the entrance was altered in the 1950s.

 

At that time the main building entrance was moved to the southernmost bay which had contained a storefront. The bay currently has a non-historic angled aluminum and glass entrance entry at the first story and a fixed multipane aluminum and glass window at the second story.

 

The other bays have non-historic masonry bulkheads which support non-historic multipane aluminum windows at the first story. As on the Spruce Street facade, the first- and second-story windows are separated by non-historic aluminum spandrel panels, while the second story has non-historic windows which replace original one-over-one windows. (Following the original configuration, there are three windows in the narrower north bay and four windows in each of the center bays; the southern bay originally had five windows.)

 

Mid-section: In the northern single bay, the third-through-fifth stories are articulated by giant double-story arches topped by coupled single-story arches. The wider bays are treated as a giant triple-story arcade. The piers at the third and fourth story are articulated as giant pilasters with foliated capitals.

 

The arches are enriched with corner colonnettes, intrados and extrados moldings, and carved spandrels decorated with delicate rinceau motifs. Miniature balustrades are employed for both the narrow and wider arches. As in the original design, each of the large arches encompasses four window bays.

 

The cast-iron spandrel panels are original; the windows are non-historic.

 

Four-story arches extend from the sixth to ninth stories in both the narrow and wider bays. While only one arch is used for the narrow bay, the wider bays contain coupled arches resting on attenuated colonnettes with crocket capitals. The windows currently have non-historic paired one-over-one sash.

 

This configuration differs from the original two-over-two double-hung windows with narrow muntins. The iron spandrel panels are original.

 

The articulation for the double-story arches extending from the tenth to the eleventh story and from the twelfth to the thirteenth story matches the articulation on the Spruce Street facade except that there are three arches in the wide bays. The iron spandrel panels are original. Non-historic windows are employed on all four stories.

 

Similarly the articulation of the transitional fourteenth story is identical to that of the Spruce Street facade except that the wide bays are subdivided into three window bays by small piers faced with paired half-columns.

 

Top Section: The fifteenth and sixteenth stories have terra-cotta facings and are articulated following the pattern of the Spruce Street facade except that the wide bays are sub-divided into three sections. Historic spandrel panels decorated with a dentiled molding extend between the fifteenth and sixteenth -story windows. The windows are non-historic.

 

Nassau Street Facade

 

Above the ground story, the design of the four-bay-wide Nassau Street facade is identical with that of the Park Row facade. There is a bishop's crook wall bracket lamppost (a component of a New York City Landmark designation) attached to the second masonry pier (reading south to north).33 The cast-iron spandrel panels are original. The window frames above the second story in the south bay were installed in 1916; the other windows are non-historic.

 

Base: All of the bays contain non-historic infill at the first story. The southernmost bay has a tripartite aluminum and glass surround which contains a central secondary entrance for the building and a freight elevator. Above a non-historic entrance canopy, the bay is faced with metal panels which are pierced by ventilation vents. The other bays have multipane windows and masonry bulkheads. At the second story, the southern bay is divided into five window openings replicating the original design. The windows and metal panels in the openings are non-historic. The other bays have non-historic spandrel panels between the first and second-story windows. The windows are non-historic. Mid-section: Original iron spandrel panels survive in the window bays. The window frames in the

 

south bay were installed in 1916. The other windows are non-historic.

 

Top Section:

 

The fifteenth and sixteenth stories have terra-cotta facings and are articulated following the pattern of the Park Row facade. Historic spandrel panels decorated with a dentiled molding extend between the fifteenth and sixteenth-story windows. The windows are non-historic. South Elevation and Roof

 

The upper portion of the building's south wall, above the roofline of the Potter Building, is visible from City Hall Park and from the upper floors of the neighboring buildings across Broadway. This windowless wall is faced in red brick and has two projecting brick chimneys, a metal ladder, and a

 

metal flue-pipe near the Park Row facade and a projecting brick chimney near the Nassau Street facade.

 

There is a large penthouse on the roof near the rear wall for the elevators and stair tower. Mechanical equipment and a wood water tower are set on the roof of the penthouse. A large air-conditioning is located on roof near the Spruce Street facade. The air conditioning equipment is largely screened from view by the roof parapet but is visible from the Surrogate's Court Building on Chambers Street.

 

- From the 1999 NYCLPC Landmark Designation Report

Cardinal in the snow

just became a technicolor effect addicted

Photograph by: Ryan Nyenhuis

 

Sunday June 15th 2008, Fathers Day. Ryan and I woke with a plan. The plan being to sneak into the abandon R.L. Hearn Thermal Generation Power Plant which is located in the south east area of downtown Toronto. We wanted to photograph the beauty of decay.

 

We had made a trip over to the power plant a week prior to scout out the area, to see where guards were located and to find easy access inside.

 

Sneaking past the guard house located at the front of the property and making our way along the north west section of property towards the back of the plant where the barbed wire fence was weakest.

 

We then smoked three quarters of a joint together before working up the nerve to hop the fence. Ryan went first, watching him hop the fence and dart out into the yard and hiding behind scrap metal for cover then finally making it to the back of the building. Then it was my turn. What excitement that was, knowing your breaking the law to do something adventurous.

 

After getting onto the property we were standing at the back of the Hearn and looking for our way inside. To do so we had to hop up onto a metal fence post and from there had to reach up and grab a hold of plywood that covered up the tall entrance area. A good 15 foot climb up, over and in.

 

Once inside the first photo that was taken was the one of Ryan and I standing together, titled "final hours".

 

This place was like no other we had ever explored together. The shear size of it all was breathtaking and mind blowing at the same time. The beauty of destruction.

 

After the first photo was taken we started exploring the plant. Taking the necessary precautions we had come prepared with asbestos masks and flashlights.

 

We had made our way around on the ground floor, through locker rooms, showers, storage rooms. Then we started making our way up stairs to the 2nd and 3rd level offices, had the remainder of our joint together.

 

From the office levels we went back onto the factory area and started climbing the metal stairs up further still. Some photos show how high up we were in that building.

 

We then made ourselves up onto the roof. What a view from there looking out over the city core. Looking out over Lake Ontario we saw really dark storm clouds. Ryan pulled out a cigarette and had a smoke.

 

We were up on the roof for about a half hour before Ryan asked me "what do you want to do now man?". "Do you want to go home now or stay a bit longer and explore?". My camera battery had died at this point and being there any longer served no purpose for me. I was hesitant on a response because at the same time I wanted to keep exploring because the plan was to keep coming back weekend after weekend to explore and document the old structure.

 

I then agreed to keep exploring. We came in off the roof, coming down a level, walked through a doorway into a long looking dark room. All across the top level of The Hearn runs conveyor belts that run coal from one end to the other. Walking together along the metal grating flooring. Ryan was 2 feet in front of me.

 

I then ended up tripping over a small extruded piece of metal on the floor, and from that second on I pointed my flashlight directly onto the floor to see where I was walking.

 

Very shortly after this happens, in mid sentence Ryan just falls into blackness. All I see is from his waist up as he plunges into complete blackness and followed by about 4-5 seconds before hearing a sick crash far below.

 

I then look 2 feet in front of me and see there is no more floor. My imediant thought is that he is dead. Then my brain clicks "I have to get my best friend out of here".

 

I then tried my best to back track to get out of the building, taking a route that he and I had not taken to get to this point. All I knew is I had to get out of The Hearn and find someone that could help.

 

I don't even know how I got out of that place. When I did I came out on the back side of the building, ran around to the guard house screaming for help.

 

I screamed to the guard that my best friend just fell in there and is hurt really bad, he asked what we were doing in there and I told him we were just taking photos.

 

The guard then called like every paramedic, fire and police officer in the city. About 10 minutes after the call was made all I could hear were the sirens. Scared and relived at the same time I was.

 

Once they all showed up I told them Ryan was in there, that we were up high in the building and he fell. All the cops were telling me to retrace my steps, they wanted to see where we came in from. I screamed at them "we don't have time for that right now, my best friend is dying in there". I then started leading them to the front of the Hearn because I knew it was the closet way inside. We get to the front and all entrances were boarded up. One cops said to me "Ian there is no way in through this way, you have to show us where you came in from". I then demanded to the fire fighters that they bust this plywood down to get inside.

 

Once inside the cops started fucking with my mind, me being in total shock at the time they started asking me where we had explored, they wanted me to take them on what would have been a few hours of exploration, which we didn't have time for.

 

Then an officer finds his asbestos mask and glasses. My first thought is he was okay, that he somehow managed to crawl out under his own power. I was wrong. His mask and glasses had bounced off of objects on the fall and Ryan was nowhere to be found.

 

The police tried getting a hold of Rogers Communication to see if they could pin point his location with the cell phone he had on him. They ended up using thermal vision to locate him. He was trapped in a coal hopper located high up in the building.

 

I was escorted out at this point in time because I was too "hysterical" for the cops liking.

 

Two and a half hours went by, a fierce thunderstorm was passing through.

 

While they were working on getting Ryan out I was giving my statement to the police. Never gave one of those in my life. I told them everything that I am writing here right now, everything, even the joint smoking. I had Nothing to hide.

 

We went in undetected but I didn't care if the whole world was watching at this point, I was doing what any best friend would do. I was trying to save him. City Pulse News was there and I was trying to hide from them. I was scared that this is how his family would find out and how my family would find out, being Fathers days and all.

 

After two and a half hours of hell they finally got Ryan out. I watched them carry him out on a backboard and I yelled to him that I loved him.

 

Ryan was rushed to St. Micheal's Hospital, the best in all the city for trauma.

 

I followed about an hour after him, being escorted in a police car. On the drive one officer said to me "this is going to cost you and your buddy about a hundred thousand dollars for all that had to be done here today". What a jackass thing to say. I responded by saying "I don't give a fuck about money, take all I have from me I don't care, I'm loosing the most important person in my life right now".

 

We get to the hospital, I enter the trauma wing of St. Micheal's. They told me that I was going to be the one to call the home of the Nyenhuis'. I thought that was insane, and told them I could not make that call, that they would have to.

 

I then went into the waiting room, sat down. I remember the NBA finals were on the televisions in there and I ended up falling asleep somehow.

 

Waking to Stevie and Tammy's faces hours later (Stevie being Ryan's room mate and Tammy being Ryan's girlfriend).

 

Stevie told me that John and Cheryl were on their way and that we could go up stairs to the trauma ward to see Ryan.

 

The trauma centre, located on the 9th floor of St. Micheal's Hospital.

 

Hours passed by, as the night went on the news kept getting worse and worse about his condition.

 

I ended up leaving to come back to my apartment at 6am the following morning, I had to talk to my parents and try and shovel some food into my system. Still being in shock and never got treatment for shock when it happened.

 

I returned to the hospital at 3pm that day. Only to find nothing had changed with his condition.

 

Then came the worst words I ever had to hear, Ryan's father coming in the room and telling me it was time to say goodbye to Ryan.

 

We made our way into where he was being cared for. To see my best friend in the state he was in broke my heart. Blood coming out the back of his head, body black and blue bruised from head to toe, internal damage that could not be repaired, feeling his forehead and it being ice cold. He was laying there in front of us, dead. Machines were the only thing keeping him "alive".

 

I said my goodbyes to him, telling him that he can't leave me here, he can't leave the creation of Studies In Comfort behind, something that is so brilliant, that we were supposed to take over the world together and do all that was planned. I told him to haunt me.

 

I then looked at his eyes and saw tears. He may have been brain dead but I know he heard every word I said. Doctors did not give an explanation to what was coming out of his eyes.

 

If only I had said to Ryan "hey man watch your step" he might still be alive today. I have been told over and over again that I can not blame myself for what happened that day. I sometimes still do.

 

Ryan and I once had a conversation that if something ever happened to one of us that Studies In Comfort would stop, without a core creator there is no sense to continue it. Well I am going against those wishes. I can't lose what he and I created even before it took off the ground.

 

I now know my purpose in life. To carry on Studies In Comfort. I must continue on for him, finish off the 3 studio albums we had in the works and continue on with this art form.

 

Ryan died at the wheel and I have moved his lifeless body to the passengers seat and now a fucking insane madman is driving.

 

Ryan Nyenhuis, whos favourite artist was Nine Inch Nails, who lived on floor number 9, who wore a roman numeral 9 on his right arm, who died on the 9th floor at St. Micheal's Hospital, Toronto.

 

Thank you to 55 Division and all the paramedics and fire fighters who helped get Ryan out of that terrible dark place.

 

Ryan Nyenhuis is survived by his father, John, mother Cheryl, sisters, Jennifer and Leah, their beautiful children, myself and Studies In Comfort.

  

Ryan John Nyenhuis

July 28th 1981 - June 15th 2008

 

We love and miss you.

___________________________

 

All photographs were taken by Ryan Nyenhuis & Ian Levack with a Casio EX-Z1050 camera.

©bjanelevine2018

R.W.Bro. Mark Stoiko D.D.G.M. Toronto West addressing V.W.Bro. Richard T. Morell Grand Steward in the Grand Lodge of Canada in the Province of Ontario regarding his Masonic Regalia and the work which will be expected of him.

 

The Beginning:

 

In the year 1920, immediately after the first World War, there was a great influx into Masonry and a group of Masons from the Willys Overland plant (a pioneer and manufacturer of the Jeep 4 wheel drive vehicle) situated in West Toronto, feeling there was a need for a new Lodge in this area, formed themselves into a committee for that purpose.

 

This group was headed up by W. Bro. W.L. Abernathy of Stanley Lodge # 426, Toronto and ably assisted by W. Bro. W.L. Clark and Bro. J.G. Bruce, both of Victoria Lodge, Toronto.

 

Having fulfilled all the necessary requirements, the Institutional Meeting of King Hiram Lodge, U.D., G.R.C., was held in the Annette Street Temple on April 29th, 1920.

 

After the dispensation, the Most Worshipful,The Grand Master, M.W. Bro. F.W. Harcourt authorized W. Bro. W.L. Abernathy and Charter Members to meet as a Lodge to be known as “King Hiram”.

 

On the 15th day of November, 1920, the Lodge was duly instituted and consecrated. W. Bro. W.L. Abernathy was installed in the Chair of King Solomon and the Officers were invested to their several stations in King Hiram Lodge #566, on the register of Grand Lodge.

 

The name “King Hiram” was selected as being the most suitable to fulfill the hopes of the petitioners which was to build a strong Lodge appropriately named after King Hiram Abif the chief architect and overseer of the building of King Solomon’s Temple.

 

It was resolved that the Initiation Fee be set at $ 75.00, the Affiliation Fee at $15.00 and the Annual Dues at $6.00. The Tyler’s salary was set at $100.00 per year.

 

The Worshipful Master appointed a Visiting the Sick Committee, a Musical and an Entertainment Committee. A committee to set up the by-laws, a committee to arrange for a Ladie’s Night and a committee to arrange for and provide Christmas Entertainment.

 

The first candidate to be initiated was Mr. John Rutherford on June 4th, 1920.

 

The Work for the year consisted of 42 – E.A. Degrees, 32 – F.C. Degrees and 19 – M.M. Degrees.

 

The Twenties:

 

The first King Hiram Ladie’s Night was held in the form of a reception in the banquet room. An honorarium was established to pay the Secretary $150.00 per year for his services. A special emergent meeting was held on Saturday, February 8th, 1922 to conduct 15 Master Mason Degrees which beat the previous record by one Degree. The Worshipful Master and brethren attended at the laying of the foundation stone at the Weston Masonic Temple. On March 19th, 1924, W.M. B.H. Capsey had the pleasure of initiating his son, Vincent Bertram Capsey into the First Degree of Masonry. It was adopted that the Lodge present to each candidate the Volume of the Sacred Law on which his obligation was sealed. An annual picnic was held at High Park. A committee was appointed to request the Temple Board to install a pipe organ in the Lodge Room and a piano in the Banquet Hall. King Hiram visited Niagara River Lodge in Niagara Falls, New York and on a return visit the Worshipful Master of Niagara River Lodge presented our Lodge with a gavel which had been made from a piece of oak from the Old Fort Niagara.

 

The Thirties:

 

A new Lodge was instituted in the Annette Street Temple, named Memorial Lodge, in which many of the members of King Hiram were involved. W. Bro. Gordon James is installed as Worshipful Master being the first Master of King Hiram who was initiated into the Lodge, all others being Charter Members. Grand Lodge institutes an “Unemployment Bureau” under the Masonic Board of Relief due to the economic circumstances. In May 1935, we celebrated our 15th Anniversary. The creation of a Members Night was established and the ruling Master and W. Bro. Gately of Memorial Lodge conducted the Ceremony. In 1936, Ladies Night was postponed due to the death of King George V and the Grand Master requested a three month mourning period be observed. In 1938, with deep regret we recorded the death of W. Bro. W.L. Abernathy one of the founders and the first Master of King Hiram Lodge.

 

The Fourties:

 

It was resolved that the dues of all members enlisting in the Armed Forces be waived.

 

To support the war effort, Grand Lodge inaugurated a Fund for War Relief to be contributed to by members at large through the various Lodges. King Hiram purchased 3 $100.00 Victory Bonds and a further purchase in the amount of $350.00. Past Master, W. Bro. Fred Adams was honoured by the King as a Member of the British Empire (MBE) for his work in the supply of munitions. It was decided to send Christmas gifts to our members in the Forces. Bro. S.D. Shaw is installed in the Chair of King Solomon and initiates his son, Duncan Shaw and W.A. Bruce son of Bro. J.G. Bruce, the first Secretary of our Lodge. In 1945, we celebrated our 25th Anniversary. Our Grand Master requests us to hold a Thanksgiving Service for our victory in Germany. Bro. R.F. Wright is installed in the Chair of King Solomon. November 1st, becomes known as “Charlie Tottle” Night due to his reaching his 80th birthday and also for his long service to the Lodge. Bro. C.V. Tottle was elected Secretary in 1926 and served until his death in 1950. Bro. Wm. McBurnie returns to Lodge after serving 7 years overseas in the Armed Forces. W. Bro. Wm. Gow is appointed Grand Steward. Installation Night changes from January to December due to the continual bad weather conditions in January. It was approved that the Tyler’s pay be $2.50 per meeting.

 

The Fifties:

 

W. Bro. E.D. Magett appoints Bro. Joe Kemp as Chaplain and Bro. Doug Wright as Ass’t. Secretary. R.W. Bro. Floyd Albertson is honoured for his 23 years of service as Treasurer and his work in the Lodge since its inception. Bro. A.E. (Ed) Dyer is installed in the Chair of King Solomon. Two minutes silence was observed in respect to his late Majesty, King George V1.V.W. Bro. S.D. Shaw was congratulated and presented the Regalia of Grand Steward. Meetings and discussions were held regarding the division of Toronto District A. At Grand Lodge it was decided to split the district into two districts, A1 and A2, to take place in 1955. A donation was presented to River Park Lodge to help in the rebuilding of their Temple due to the damage suffered by Hurricane Hazel. In July, 1955, Grand Lodge celebrated its 100th meeting. An open air service was held at Exhibition Park with over 2,500 in attendance. Mr. R.J. Elrick is initiated into King Hiram Lodge. V.W. Bro. Bill Gow presents V.W. Bro. Archie Wright with his Regalia of Grand Steward. Bro. Joe Kemp is installed in the Chair of King Solomon, his father Bro. J.T. Kemp presents a gift on behalf of the family.

 

The Sixties:

 

Bro. Doug Wright is installed in the Chair of King Solomon by his father ,V.W. Bro. Archie Wright. This is the first time in the history of the Lodge that a father has installed his own son. The Metro Police Team confers the E.A. Degree on Mr. Robert N. Wilson. V.W. Bro. Archie Wright presents Grand Steward Regalia to V.W. Bro. Reg Wright. King Hiram members and ladies initiate visitations to William S. Farmer Lodge #1109 in Syracuse, New York. Mr. Lewis Crocker passes a Board of Trial and is accepted as a candidate for Initiation. W. Bro. Sam Wright is Installed in the Chair of King Solomon. Dues increase to $22.00. Father and Son night featured Johnny Bower of the Toronto Maple Leafs. W. Bro. A.E. (Ed) Dyer is elected D.D.G.M. of Toronto District #1. The following year Father and Son night featured Leo Cahill, coach of the Toronto Argonauts. Bro. Robert Elrick presents a D of C wand to the Lodge in memory of his father, Bro. Robert Elrick Sr.

 

The Seventies:

 

In 1970 we celebrated our 50th Anniversary. Father, Son and Daughter night featured entertainment and movies. V.W. Bro. Archie Wright passed to the Grand Lodge Above. V.W. Bro. Bill Gow, 41 years a Past Master of King Hiram is the first member to receive a 50 year service pin. Bro. Sam Hough of Danville, California visits and later affiliates with King Hiram after moving to Toronto. Bro.’s Lloyd Lemoine and Ernest Roy Imrie receive 50 year pins. Bro. Arnold Sinclair continues to deliver profound lectures when presenting the Candidates Bible. Father and Son night features Darryl Sittler of the Toronto Maple Leafs. Lodge members enjoy memorable cruises with Bro. Bill Rhyme aboard the “Lomar”. Visitations with King Hiram Lodge #37, Ingersoll are initiated. Visitations continue which result in the creation of the King Hiram Friendship Gavel. The Rt. Hon. Chief Justice James C. McRuer of King Hiram Lodge receives a 50 year pin. Dues increase to $80.00. Bro. James Rushford Sr, is presented a plaque for his service to King Hiram as Chaplain and his 57 years in Masonry. V.W. Bro. Joe Kemp is appointed Grand Steward. Bro. Ron Padgett entertains regularly on the organ with great talent, artistry and his well known humour.

The Eighties

 

Our 60th Anniversary. V.W. Bro. Doug Wright is appointed Grand Tyler and is presented with his fathers regalia, V.W. Bro. Archie Wright. Bro. Aubrey McGill is presented a plaque for his devotion as Chairman of the Benevolent and Sick Committee. V.W. Bro. Joe Kemp and V.W. Bro. Doug Wright are honoured for their many years of service as Secretary and Treasurer of the Lodge. Members Night tradition continues with Bro. Henry Strackholder being Initiated. King Hiram makes a donation to the Barbara Turnbull Fund. W. Bro. Ernie Morrison is appointed as Assistant Grand Director of Ceremonies. Annual dues increase to $65.00. W. Bro. Robert N. Wilson is honoured and presented his Grand Steward Regalia by W. Bro. George Owttrim. A year later V.W. Bro. Robert N. Wilson is presented a plaque in recognition of his service to Masonry and King Hiram Lodge. The first District Walkathon takes place and proves to be very successful. W. Bro. Alistair Clement initiates his son, Mr. Graham Clement into King Hiram. Bro. Aubrey McGill is awarded the prestigious William Mercer Wilson Award. M.W. Bro. William R. Pellow, Grand Master attends the Installation Ceremony of Bro. Edward Grinko being placed in the Chair of King Solomon. King Hiram hosts the District Education which features St. John’s Lodge #209 from London, Ontario. King Hiram hosts a special Appreciation Night for all Past D.D.G.M.’s of Toronto District #1.

The Nineties

 

Bro. Tom Thompson visits from Scotland to share the Installation Ceremony with his brother, W. Bro. Hugh Thompson. W. Bro. Sam Wright is honoured and presented with the Regalia of Assistant Grand Secretary. Bro. Rick Morell is Installed in the Chair of King Solomon. King Hiram donates $1000.00 to the Runnymede Chronic Care Hospital Fund. W. Bro. Sam Hough passes to the Grand Lodge above. R.W. Bro. A.E. (Ed) Dyer is presented a 50 year service pin. Bro. John Kikiantonis is awarded the Canada 125 Year Award Medal. W. Bro. Edward Grinko launches the district newsletter, “The Blue Print”. W. Bro. Robert Langzik and Bro. Aubrey McGill pass to the Grand Lodge above. V.W. Bro. Robert Wilson is appointed Grand Lodge Representative to the Grand Lodge of Utah. Memorial Lodge #652 affiliates with King Hiram Lodge. W. Bro. Lew Crocker is appointed Grand Steward. W. Bro. Rick Morell serves a second term as Worshipful Master. Bro. Earl Walsh is Installed in the Chair of King Solomon. In 1995 we celebrate our 75th Anniversary. A full year of celebrations and activities is planned including a Gala Anniversary Dance. Bro. John Kikiantonis is Installed in the Chair of King Solomon by V.W. Bro. Sam Wright who substituted for W. Bro. Edward Grinko due to the death of his wife. 50 year pins are presented to V.W. Bro. Doug J.B. Wright, V.W. Bro. Ed Wilkings, Bro. George Cowie and Bro. John Cholmomdeley. 25 year Past Master pins are presented to W. Bro. Proctor, R.W. Bro. Ed Dyer, V.W. Bro. Joe Kemp, V.W. Bro. Doug Wright, V.W. Bro. Ken McLean, W. Bro. Fred Twitchin, Sr., V.W. Bro. Sam Wright, V.W. Bro. Bill Hunter and W. Bro. Doug Kelman. W. Bro. Earl Walsh is Installed in the Chair of King Solomon for a second time by W. Bro. Lew Crocker. The following year Bro. Bill Wingrove is Installed in the Master’s Chair by W. Bro. Earl Walsh. V.W. Bro. Sam Wright is also Installed as Worshipful Master for his second time, 32 years later and initiated Bro.’s Scott Hoy, Ben MacDonald and Dusty Markle. We were saddened with the passing of V.W. Bro. Doug J.B. Wright to the Grand Lodge Above. W. Bro. Rick Morell is Installed in the Chair of King Solomon by W. Bro. Hugh Thompson.

A New Millennium

 

2000 – 2005:

 

Bro. Aaron Williams is Raised to the Sublime Degree of a Master Mason. A special night and reception is held for R.W. Bro. Earl Walsh who was elected D.D.G.M. of Toronto District #1. Bro. Ken Mullings is Installed in the Chair of King Solomon by his friend and mentor, W. Bro. Hugh Thompson. V.W. Bro. Hugh McKnight is made an honourary member of the Lodge. A reception is held to present W. Bro. Robert Elrick with his Grand Lodge Regalia. Mr. Stephen Brode is Initiated into King Hiram Lodge. A special meeting is held at Central Park Lodge to congratulate Bro. Imrie on his 102nd Birthday and his 80 years a Mason. W. Bro. John Kikiantonis is Installed as Master for a second time and also re-accepts the Office the following year. W. Bro. Kikiantonis enjoys the honour and pleasure of Initiating his son, Emmanuel into Masonry. Mr. Andrew Adamyk is Initiated into King Hiram Lodge. A memorial was conducted for V.W. Bro. Robert Elrick and R.W. Bro. Robert Wilson who passed to the Grand Lodge Above. V.W. Bro. Bill Hunter receives his 50 year pin. W. Bro. Hugh Thompson passes to the Grand Lodge Above. W. Bro. Edward Grinko is Installed as master for a second time and enjoys the distinct pleasure of Initiating his son, Christopher. Mr. James Berry is also Initiated into Masonry. The Secretary’s honorarium is raised to $500.00. V.W. Bro. Ed Wilkings is made a life member of King Hiram Lodge. W. Bro. Rick Morell is Installed for the fourth time as Worshipful master. King Hiram Lodge is now in its 85th year. Mr. Daniel Berube and Michael Bonner are Initiated and Bro. Antonio Texeira is Raised to the Sublime Degree of a Master Mason. A special evening was conducted for W. Bro. Ken Mullings to celebrate his retirement and his return to Jamaica.

The intervening years between 1920 and 2005 have been momentous years of change in the History of the World.

 

Consider the Twenties, an era of building following World War I. The Depression of the Thirties. The conflict and hardship encountered due to World War II. The united efforts of rebuilding throughout the Forties and Fifties. The social changes and struggles throughout the Sixties and Seventies. The boom of the Eighties, the recession of the Nineties and the dreams and expectations of a new Millennium.

 

The years have also seen many changes in King Hiram Lodge. We have witnessed and shared in the lives of many of the Men who have been instrumental in the creation of and continuation of our Lodge.

 

Throughout the years the spirit of Masonry has always been kept alive and we have at all times remembered the wishes of our Founders, to uphold the basic principles on which the Lodge was established, “to keep this a friendly Lodge and to show true Brotherhood to All”. Our strength in the past has been in the dedication, loyalty and respect, for our Lodge by the many men who have affixed their signatures to our By-Laws.

 

Lives of great men all remind us

 

We can make our lives sublime,

 

And, departing, leave behind us

 

footprints on the sands of time

 

– Henry Wadsworth Longfellow

 

* Reprinted from the King Hiram Lodge #566 “Consecration Night” Booklet, November 15, 1920.

 

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

 

Pepe Zappa of the duo ''Me&Him''

thats a whole lot of him

I love those eyes. I love the way his hand is resting across his face. I love those irresistably squeezable cheeks. I love the sunlight on his hair. I love the slight hint of a smirk on those lips and how he couldn't hold back a smile right after this was taken. I love that I know he is wearing his favorite Batman shirt (even though you can't see it) and his workboots that are "just like Daddy's". I love him.

Photograph by: Ryan Nyenhuis

 

Sunday June 15th 2008, Fathers Day. Ryan and I woke with a plan. The plan being to sneak into the abandon R.L. Hearn Thermal Generation Power Plant which is located in the south east area of downtown Toronto. We wanted to photograph the beauty of decay.

 

We had made a trip over to the power plant a week prior to scout out the area, to see where guards were located and to find easy access inside.

 

Sneaking past the guard house located at the front of the property and making our way along the north west section of property towards the back of the plant where the barbed wire fence was weakest.

 

We then smoked three quarters of a joint together before working up the nerve to hop the fence. Ryan went first, watching him hop the fence and dart out into the yard and hiding behind scrap metal for cover then finally making it to the back of the building. Then it was my turn. What excitement that was, knowing your breaking the law to do something adventurous.

 

After getting onto the property we were standing at the back of the Hearn and looking for our way inside. To do so we had to hop up onto a metal fence post and from there had to reach up and grab a hold of plywood that covered up the tall entrance area. A good 15 foot climb up, over and in.

 

Once inside the first photo that was taken was the one of Ryan and I standing together, titled "final hours".

 

This place was like no other we had ever explored together. The shear size of it all was breathtaking and mind blowing at the same time. The beauty of destruction.

 

After the first photo was taken we started exploring the plant. Taking the necessary precautions we had come prepared with asbestos masks and flashlights.

 

We had made our way around on the ground floor, through locker rooms, showers, storage rooms. Then we started making our way up stairs to the 2nd and 3rd level offices, had the remainder of our joint together.

 

From the office levels we went back onto the factory area and started climbing the metal stairs up further still. Some photos show how high up we were in that building.

 

We then made ourselves up onto the roof. What a view from there looking out over the city core. Looking out over Lake Ontario we saw really dark storm clouds. Ryan pulled out a cigarette and had a smoke.

 

We were up on the roof for about a half hour before Ryan asked me "what do you want to do now man?". "Do you want to go home now or stay a bit longer and explore?". My camera battery had died at this point and being there any longer served no purpose for me. I was hesitant on a response because at the same time I wanted to keep exploring because the plan was to keep coming back weekend after weekend to explore and document the old structure.

 

I then agreed to keep exploring. We came in off the roof, coming down a level, walked through a doorway into a long looking dark room. All across the top level of The Hearn runs conveyor belts that run coal from one end to the other. Walking together along the metal grating flooring. Ryan was 2 feet in front of me.

 

I then ended up tripping over a small extruded piece of metal on the floor, and from that second on I pointed my flashlight directly onto the floor to see where I was walking.

 

Very shortly after this happens, in mid sentence Ryan just falls into blackness. All I see is from his waist up as he plunges into complete blackness and followed by about 4-5 seconds before hearing a sick crash far below.

 

I then look 2 feet in front of me and see there is no more floor. My imediant thought is that he is dead. Then my brain clicks "I have to get my best friend out of here".

 

I then tried my best to back track to get out of the building, taking a route that he and I had not taken to get to this point. All I knew is I had to get out of The Hearn and find someone that could help.

 

I don't even know how I got out of that place. When I did I came out on the back side of the building, ran around to the guard house screaming for help.

 

I screamed to the guard that my best friend just fell in there and is hurt really bad, he asked what we were doing in there and I told him we were just taking photos.

 

The guard then called like every paramedic, fire and police officer in the city. About 10 minutes after the call was made all I could hear were the sirens. Scared and relived at the same time I was.

 

Once they all showed up I told them Ryan was in there, that we were up high in the building and he fell. All the cops were telling me to retrace my steps, they wanted to see where we came in from. I screamed at them "we don't have time for that right now, my best friend is dying in there". I then started leading them to the front of the Hearn because I knew it was the closet way inside. We get to the front and all entrances were boarded up. One cops said to me "Ian there is no way in through this way, you have to show us where you came in from". I then demanded to the fire fighters that they bust this plywood down to get inside.

 

Once inside the cops started fucking with my mind, me being in total shock at the time they started asking me where we had explored, they wanted me to take them on what would have been a few hours of exploration, which we didn't have time for.

 

Then an officer finds his asbestos mask and glasses. My first thought is he was okay, that he somehow managed to crawl out under his own power. I was wrong. His mask and glasses had bounced off of objects on the fall and Ryan was nowhere to be found.

 

The police tried getting a hold of Rogers Communication to see if they could pin point his location with the cell phone he had on him. They ended up using thermal vision to locate him. He was trapped in a coal hopper located high up in the building.

 

I was escorted out at this point in time because I was too "hysterical" for the cops liking.

 

Two and a half hours went by, a fierce thunderstorm was passing through.

 

While they were working on getting Ryan out I was giving my statement to the police. Never gave one of those in my life. I told them everything that I am writing here right now, everything, even the joint smoking. I had Nothing to hide.

 

We went in undetected but I didn't care if the whole world was watching at this point, I was doing what any best friend would do. I was trying to save him. City Pulse News was there and I was trying to hide from them. I was scared that this is how his family would find out and how my family would find out, being Fathers days and all.

 

After two and a half hours of hell they finally got Ryan out. I watched them carry him out on a backboard and I yelled to him that I loved him.

 

Ryan was rushed to St. Micheal's Hospital, the best in all the city for trauma.

 

I followed about an hour after him, being escorted in a police car. On the drive one officer said to me "this is going to cost you and your buddy about a hundred thousand dollars for all that had to be done here today". What a jackass thing to say. I responded by saying "I don't give a fuck about money, take all I have from me I don't care, I'm loosing the most important person in my life right now".

 

We get to the hospital, I enter the trauma wing of St. Micheal's. They told me that I was going to be the one to call the home of the Nyenhuis'. I thought that was insane, and told them I could not make that call, that they would have to.

 

I then went into the waiting room, sat down. I remember the NBA finals were on the televisions in there and I ended up falling asleep somehow.

 

Waking to Stevie and Tammy's faces hours later (Stevie being Ryan's room mate and Tammy being Ryan's girlfriend).

 

Stevie told me that John and Cheryl were on their way and that we could go up stairs to the trauma ward to see Ryan.

 

The trauma centre, located on the 9th floor of St. Micheal's Hospital.

 

Hours passed by, as the night went on the news kept getting worse and worse about his condition.

 

I ended up leaving to come back to my apartment at 6am the following morning, I had to talk to my parents and try and shovel some food into my system. Still being in shock and never got treatment for shock when it happened.

 

I returned to the hospital at 3pm that day. Only to find nothing had changed with his condition.

 

Then came the worst words I ever had to hear, Ryan's father coming in the room and telling me it was time to say goodbye to Ryan.

 

We made our way into where he was being cared for. To see my best friend in the state he was in broke my heart. Blood coming out the back of his head, body black and blue bruised from head to toe, internal damage that could not be repaired, feeling his forehead and it being ice cold. He was laying there in front of us, dead. Machines were the only thing keeping him "alive".

 

I said my goodbyes to him, telling him that he can't leave me here, he can't leave the creation of Studies In Comfort behind, something that is so brilliant, that we were supposed to take over the world together and do all that was planned. I told him to haunt me.

 

I then looked at his eyes and saw tears. He may have been brain dead but I know he heard every word I said. Doctors did not give an explanation to what was coming out of his eyes.

 

If only I had said to Ryan "hey man watch your step" he might still be alive today. I have been told over and over again that I can not blame myself for what happened that day. I sometimes still do.

 

Ryan and I once had a conversation that if something ever happened to one of us that Studies In Comfort would stop, without a core creator there is no sense to continue it. Well I am going against those wishes. I can't lose what he and I created even before it took off the ground.

 

I now know my purpose in life. To carry on Studies In Comfort. I must continue on for him, finish off the 3 studio albums we had in the works and continue on with this art form.

 

Ryan died at the wheel and I have moved his lifeless body to the passengers seat and now a fucking insane madman is driving.

 

Ryan Nyenhuis, whos favourite artist was Nine Inch Nails, who lived on floor number 9, who wore a roman numeral 9 on his right arm, who died on the 9th floor at St. Micheal's Hospital, Toronto.

 

Thank you to 55 Division and all the paramedics and fire fighters who helped get Ryan out of that terrible dark place.

 

Ryan Nyenhuis is survived by his father, John, mother Cheryl, sisters, Jennifer and Leah, their beautiful children, myself and Studies In Comfort.

  

Ryan John Nyenhuis

July 28th 1981 - June 15th 2008

 

We love and miss you.

___________________________

 

All photographs were taken by Ryan Nyenhuis & Ian Levack with a Casio EX-Z1050 camera.

Luzia, 2021 - Nürnberg

Portrait

I am so mad this shot came out blurry. I fixed it up the best I could. I still love it though either way.

Italian postcard by Edizioni Beatrice D'Este, no. 20 162. Photo: Steve Schapiro. Robert De Niro in Taxi Driver (Martin Scorsese, 1976).

 

Legendary American actor Robert De Niro (1943) has starred in such classic films as Taxi Driver (1976), Novecento/1900 (1978), The Deer Hunter (1978), Awakenings (1990) and GoodFellas (1990). His role in The Godfather: Part II (1974) brought him his first Academy Award, and he scored his second Oscar for his portrayal of Jake La Motta in Raging Bull (1980). De Niro worked with many acclaimed film directors, including Brian DePalma, Francis Coppola, Elia Kazan, Bernardo Bertolucci and, most importantly, Martin Scorsese. He also appeared in French, British and Italian films.

 

Robert Anthony De Niro was born in the Greenwich Village area of Manhattan, New York City in 1943. His mother, Virginia Admiral, was a cerebral and gifted painter, and his father, Robert De Niro Sr., was a painter, sculptor and poet whose work received high critical acclaim. They split ways in 1945 when young Robert was only 2 years old after his father announced that he was gay. De Niro was raised primarily by his mother, who took on work as a typesetter and printer in order to support her son. A bright and energetic child, Robert De Niro was incredibly fond of attending films with his father when they spent time together. De Niro's mother worked part-time as a typist and copyeditor for Maria Picator's Dramatic Workshop, and as part of her compensation, De Niro was allowed to take children's acting classes for free. At the age of 10, De Niro made his stage debut as the Cowardly Lion in a school production of The Wizard of Oz. De Niro proved to be uninterested in school altogether and, as a teenager, joined a rather tame street gang in Little Italy that gave him the nickname Bobby Milk, in reference to his pale complexion. While De Niro was by all accounts only a very modest troublemaker, the gang provided him with experience to skilfully portray Italian mobsters as an actor. He left school at age 16 to study acting at Stella Adler Conservatory. Adler, who had taught Marlon Brando and Rod Steiger, was a strong proponent of the Stanislavski method of acting, involving deep psychological character investigation. He studied briefly with Lee Strasberg at the Actor's Studio in New York City and then began auditioning. After a momentary cameo in the French film Trois chambres à Manhattan/Three Rooms in Manhattan (Marcel Carné, 1965), De Niro's real film debut came in Greetings (Brian De Palma, 1968). However, De Niro's first film role already came at the age of 20, when he appeared credited as Robert Denero in De Palma’s The Wedding Party (Brian De Palma, Wilford Leach, 1963), but the film was not released until 1969. He then appeared in Roger Corman's film Bloody Mama (1970), featuring Shelley Winters. His breakthrough performances came a few years later in two highly acclaimed films: the sports drama Bang the Drum Slowly (John D. Hancock, 1973), in which he played a terminally ill catcher on a baseball team, and the crime film Mean Streets (1973), his first of many collaborations with director Martin Scorsese, in which he played street thug Johnny Boy opposite Harvey Keitel.

 

Robert De Niro and Martin Scorsese worked successfully together on eight films: Mean Streets (1973), Taxi Driver (1976), New York, New York (1977), Raging Bull (1980), The King of Comedy (1983), Goodfellas (1990), Cape Fear (1991), and Casino (1995). In 1974, De Niro established himself as one of America’s finest actors with his Academy Award-winning portrayal of the young Vito Corleone in The Godfather: Part II (Francis Ford Coppola, 1974), a role for which he learned to speak Sicilian. Two years later, De Niro delivered perhaps the most chilling performance of his career, playing vengeful cabbie Travis Bickle in Taxi Driver (Martin Scorsese, 1976) alongside Jodie Foster. His iconic performance as Travis Bickle catapulted him to stardom and forever linked his name with Bickle's famous "You talkin' to me?" monologue, which De Niro largely improvised. In Italy, De Niro appeared opposite Gérard Dépardieu in the epic historical drama Novecento/1900 (Bernardo Bertolucci, 1976). The film is an exploration of life in Italy in the first half of the 20th century, seen through the eyes of two Italian childhood friends on opposite sides of society's hierarchy. He also starred in The Last Tycoon (1976), the last film directed by Elia Kazan. The Hollywood drama is based upon Harold Pinter's screenplay adaptation of F. Scott Fitzgerald's The Last Tycoon, De Niro continued to show his tremendous skill as a dramatic actor in the Vietnam war drama The Deer Hunter (Michael Cimino, 1978). The film follows a group of friends haunted by their Vietnam experiences. De Niro later portrayed middleweight boxer Jake LaMotta in the commercially unsuccessful but critically adored film Raging Bull (Martin Scorsese, 1980). The previously skinny De Niro had put on 60 pounds of muscle for his riveting turn as LaMotta and was rewarded for his dedication with the 1981 Academy Award for Best Actor.

 

In the 1980s, Robert De Niro's first roles were as a worldly ambitious Catholic priest in True Confessions (Ulu Grosbard, 1981), an aspiring stand-up comedian in Scorsese's The King of Comedy (Martin Scorsese, 1983) and as Jewish mobster in the sprawling historical epic Once Upon a Time in America (Sergio Leone, 1984). Other notable projects included the Sci-Fi art film Brazil (Terry Gilliam, 1985) and the British drama The Mission (Roland Joffé, 1986), about the experiences of a Jesuit missionary in 18th century South America, which won the Golden Palm at the Cannes Film Festival. It was followed by fare like the crime drama The Untouchables (Brian De Palma, 1987), in which De Niro portrayed gangster Al Capone opposite Kevin Costner as Eliot Ness, the mysterious thriller Angel Heart (Alan Parker, 1987) and the action comedy Midnight Run (Martin Brest, 1988). De Niro opened the 1990s with Goodfellas (Martin Scorsese, 1990), yet another acclaimed gangster film from Scorsese that saw the actor teaming up with Ray Liotta and Joe Pesci. De Niro next starred in a project that earned him another Oscar nomination, portraying a catatonic patient brought back to awareness in Awakenings (Penny Marshall, 1990), co-starring Robin Williams as a character based on physician Oliver Sacks. Dramas continued to be the genre of choice for De Niro, as he played a blacklisted director in Guilty by Suspicion (Irwin Winkler, 1991) and a fire chief in Backdraft (Ron Howard, 1991). Soon afterwards, the actor was once again front and centre and reunited with Scorsese in a terrifying way, bulking up to become a tattooed rapist who stalks a family in Cape Fear (Martin Scorsese, 1991). The film was a remake of the 1962 thriller starring Gregory Peck and Robert Mitchum. Peck and Mitchum made appearances in the remake as well. De Niro received his sixth Academy Award nomination for Fear, with the film becoming the highest-grossing collaboration between the actor and Scorsese, earning more than $182 million worldwide. After somewhat edgy, comedic outings like Night and the City (1992) and Mad Dog and Glory (1993), another drama followed in the form of This Boy's Life (Michael Caton-Jones, 1993), in which De Niro portrayed the abusive stepfather of a young Leonardo DiCaprio. That same year, De Niro made his directorial debut with A Bronx Tale (Robert De Niro, 1993), a film adaptation of a one-man play written and performed by Chazz Palminteri. In 1994, De Niro was practically unrecognizable as the monster in actor/director Kenneth Branagh's adaptation of the Mary Shelley novel Frankenstein (Kenneth Branagh, 1994). It was followed by another Scorsese telling of mob life, this time in Las Vegas. De Niro portrayed a character based on real-life figure Frank ‘Lefty’ Rosenthal in Casino (Martin Scorsese, 1995), co-starring Sharon Stone and Joe Pesci. In Heat (Michael Mann, 1995), De Niro re-teamed with fellow Godfather star Al Pacino in a well-received outing about a bank robber contemplating getting out of the business and the police detective aiming to bring him down.

 

For the rest of the 1990s and into the new millennium, Robert De Niro was featured yearly in a big-screen project as either a lead or supporting figure. His films include the legal crime drama Sleepers (Barry Levinson, 1996), the black comedy Wag the Dog (Barry Levinson, 1997), the crime drama Cop Land (James Mangold, 1997), the crime thriller Jackie Brown (Quentin Tarantino, 1997), the spy action-thriller Ronin (John Frankenheimer, 1998) and the crime comedy-drama Flawless (Joel Schumacher, 1999). At the turn of the century, De Niro struck out into decidedly different territory with Analyze This (Harold Ramis, 1999), a hilarious and highly popular spoof of the mob movies that had garnered him fame. Analyze This earned more than $100 million domestically, with De Niro playing a Mafioso who seeks help from a psychiatrist (Billy Crystal). De Niro took on another comedy, Meet the Parents (Jay Roach, 2000), as Ben Stiller's future father-in-law. The smash hit spawned two sequels: Meet the Fockers (Jay Roach, 2004) and Little Fockers (Paul Weitz, 2011), both of which were also box-office successes. De Niro continued to switch between comedic and serious roles over the next few years, reuniting with Billy Crystal for Analyze That (Harold Ramis, 2002), and starring in the spy thriller The Good Shepherd (Robert De Niro, 2006) with Matt Damon and Angelina Jolie. The following year De Niro was featured as a secretive cross-dressing pirate with a heart of gold in the fantasy flick Stardust (Matthew Vaughn, 2007), while 2009 saw a return to dramatic fare with Everybody's Fine (Kirk Jones, 2009). In Italy, De Niro starred in the romantic comedy Manuale d'amore 3/The Ages of Love (Giovanni Veronesi, 2011). De Niro earned yet another Academy Award nomination for his turn in David O. Russell's Silver Linings Playbook (2012), playing the father of a mentally troubled son (Bradley Cooper). De Niro teamed up again with Silver Linings Playbook director Russell and stars Cooper and Jennifer Lawrence for the biopic Joy (David O. Russell, 2015), based on the life of Miracle Mop inventor Joy Mangano. Later that year, De Niro starred as a widower who returns to the workforce in The Intern (Nancy Meyers, 2015), with Anne Hathaway. In 2016, he starred in another biopic, Hands of Stone (Jonathan Jakubowicz, 2016), playing Ray Arcel, the trainer of Panamanian boxer Roberto Durán. That same year De Niro received the Presidential Medal of Freedom from President Obama for his contribution to the arts. De Niro, who has long resided in New York City, has been investing in Manhattan's Tribeca neighbourhood since 1989. His capital ventures there included co-founding the film studio TriBeCa Productions in 1998 and the Tribeca Film Festival (since 2002). De Niro married actress Diahnne Abbott in 1976. The couple had one son, Raphael, before divorcing 12 years later, in 1988. De Niro then had a long relationship with model Toukie Smith who produced twin sons, Aaron Kendrick and Julian Henry, in 1995. Then in 1997, De Niro married Grace Hightower, with whom he has two children.

 

Sources: Biography.com, Wikipedia, and IMDb.

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

This statue of Frederick North, 5th Earl of Guilford, (1766–1827) founder of the University of Corfu, faces west, backing on to the short sea moat between the mainland of Corfu Town and the Old Fort.

en.wikipedia.org/wiki/Frederick_North,_5th_Earl_of_Guilford

 

Paper by Monica Partridge accepted for publication on 3 October 1996

 

Frederick North, Fifth Earl of Guilford (1766-1827), a polyglot philhellene, visited Dubrovnik on several occasions, knew F.M. Appendini and the Dubrovnik latinisti and learned Illyrian. In 1824 he became the first Chancellor of the University of Corfu.

Lord Guilford, is today virtually unknown, except in Greece. Born into the high aristocracy in 1766, Frederick North was the youngest son of a Prime Minister of George III and a friend of the Prince Regent, later George IV. He became Fifth Earl of Guilford on the death of his elder brother in 1817. A brilliant linguist, he wrote impeccable Latin and classical Greek, spoke fluent Romanic as well as English, French, German, Spanish, Italian and Russian. He also acquired a reading knowledge of Church Slavonic sufficient to enable him to study the differences between the Catholic and Orthodox Churches from the source material. As a student at Oxford, where he studied classics, he became a committed philhellene. On leaving Oxford he set out on his tour de l'Europe. Starting from Spain he travelled through Mediterranean lands visiting, among other places, the Ionian Islands and the eastern shores of the Adriatic, including Dubrovnik, on his way to Greece.

After some time in Athens he continued his travels, to include Smyrna, Cyprus, Alexandria, Jerusalem and Constantinople before returning to Athens. Later he travelled still more widely to yet other lands, including Russia. When first setting foot on the Ionian Islands, North had been appalled by the 'terrible patois spoken' by the Greeks there. He became deeply concerned as to how their speech could be 'purified' and was eventually to some extent to succeed in doing so. While first visiting Dubrovnik he became interested in the slavonic language spoken around him by the people living there. Perhaps with the debased patois of the Greeks on the Ionian Islands in mind, he took lessons in 'la langue illyrienne' from Pavel Djurai, a native of Ston (within the recently fallen Republic of Dubrovnik), while he and North were both living in Athens. This would enable him to recognise illyrian elements pervading the speech of the Ionian Greeks.

On returning home after his prolonged tour de l'Europe, following his father's death, he took the family seat in Parliament and a minor government post. He soon moved from this, having quickly been recognised by the British Government as a brilliant administrator and hence quickly appointed to increasingly important government office. These were to include, eventually, six years as Governor of Ceylon and then Secretary of State to the newly appointed British Viceroy of Corsica.

When the Ionian Islands became a British Protectorate after the Treaty of Paris in 1815 he was sent by the British Government on a special mission to the Ionian Islands to organise education throughout the Protectorate. He now earned a wide reputation and great respect in that whole region (including Dubrovnik) and even further afield, for his success in introducing a liberal system of education which included the founding

of fifty nine schools, and senior high schools (or Colleges) for the higher education of the children of the nobility whom he saw on his arrival there to be 'absolutely destitute of knowledge'.

In Dubrovnik, North, (who became 5th Earl of Guilford on his elder brother's death in 1817) was introduced to Appendini through Pavel Djurai. He must have discussed linguistic questions with Appendini. It would have been interesting to hear Guilford's views on Appendini's 'hallucination' concerning the etymology of European languages. Whatever the outcome of their conversations Appendini certainly respected Guilford's erudition and held him in high esteem. He was, wrote Appendini, 'nempe cum primo per litteras deinde ex colloquiis et lectione operis, quod de antiquissimis Europearum gentium linguarumque originibus tunc prae manibus habebam quodque ad veterem Geographiam et Historiam illustrandam peridoneum judicabat, non dubie cognovisset'.

However, in Dubrovnik Guilford probably enjoyed himself most in the company of the latinisti, who welcomed him warmly into their circle. Bernard Djamanji addressed an elegant Ode 'Per honorabili viro ac Domino Frederico Comiti Guilfordio', who impressed them all by his charm and erudition.

After inheriting the Earldom and with it a very considerable family fortune, Guilford resolved to act upon the idea he had long ago conceived with his friend Count Capodistria, a native of Corfu, to found there a higher academic institution, a University, no less, whose academic standards were to be comparable with those of Oxford and Cambridge Universities. It was to provide for the education of young men from the nobility and upper classes of those regions, including Athens, for whom no such Institution at that time existed. Apart from his wealth and considerable administrative experience at the highest level and in those regions, Frederick North, son of a former Prime Minister and friend of the former Prince Regent now George IV, was not without considerable personal influence in British Government circles.

In 1818, as the result of Guilford's persistent efforts, the British Parliament promulgated its 'Charter for the Ionian Islands' providing for the founding of a University in Corfu and naming Guilford as its first Chancellor. Guilford dedicated himself unreservedly to the task of its detailed organisation; and the University of Corfu was in 1824 officially inaugurated by the British Government. Its four Faculties had already enlisted students and staff, while several of the most promising young men from those part had been sent to some of the most prestigious universities abroad, including Oxford and Cambridge, to study under specially appointed tutors. They were destined for election in due course to Chairs at Corfu University. The University flourished until Guilford's sudden, unexpected and untimely death in 1827. Without Guilford's inspiration, persistence, personal influence and wealth, the new Corfu University gradually lost the high academic status regarded as essential by its first Chancellor who had already done much to achieve this, and though his original objective of creating a Greek speaking University was abandoned when Italian replaced Greek as the working language, it continued to exist as an Institute of higher education.

 

Frederick North's obituary in The Gentleman's Magazine. March 1827, p. 461 records that as a result of the liberal educational reforms introduced there by Guilford 'the Greek patois which has hitherto been spoken in the Ionian Islands, is gradually changing to the more elegant and copious language of continental Greece.'

 

www.webtopos.gr/eng/greece.htm

..καὶ τὸ τῶν Ἑλλήνων ὄνομα πεποίηκε μηκέτι τοῦ γένους ἀλλὰ τῆς διανοίας δοκεῖν εἶναι, καὶ μᾶλλον Ἕλληνας καλεῖσθαι τοὺς τῆς παιδεύσεως τῆς ἡμετέρας ἢ τοὺς τῆς κοινῆς φύσεως μετέχοντας (Ἰσοκράτης. Πανηγυρικός. 50.)

'...and it seems that the name of the Greeks is no longer denoting a race, but a mentality, and one should call 'Greeks' rather the ones who participate in our education, than those who share our common nature [DNA]. (Isocrates. Panegyricus. 50.)

ISOCRATES: Athenian orator 436-338 B.C.E.

'The Panegyricus (=Celebrating Speech) circulated during the summer of 380 BCE (between July and September). It is certain, that Isocrates has been working on it for more than 10 years. Most of the speech is a praise of the Athenian history and culture against everything non Athenian, whether Greek or the so-called barbaric. But with this one phrase, Isocrates demolishes his own dislike of foreigners'

''I've found some Bugle :)''

(for further informations please click on the link at the end of page!)

Palais Daun-Kinsky

If the Freyung once has been one of the most prestigious residential addresses in town, so for it was next to the Palais Harrach especially the Grand Palais Kinsky responsible. In its place in the middle ages were two parcels, each with a small building. The front part of the Freyung was since the 16th Century always in aristocratic in hands (Bernhard Menesis Freiherr von Schwarzeneck, Countess Furstenberg, Counts Lamberg). 1686 acquired Karl Ferdinand Count Waldstein the house of Count Lamberg. His son bought also the adjacent house in Rose Street (Rosengasse) and united both plots to one parcel. He had three granddaughters, who sold the site in 1709 to Wirich Philipp Laurenz Graf Daun. This came from an old Rhenish nobility. His ancestors were mostly working for the Elector of Trier as officers. In the battle of the Habsburgs against the Turks, Spanish and Frenchmen, he acquired great military merit. He brought it to the General Feldzeugmeister (quartermaster) and Viceroy of Naples. In 1713 he had the house at the Freyung demolished and by Johann Lukas von Hildebrandt built in its place until 1716 a palace, him serving as Vienna's city residence. Down may have been Antonio Beduzzi requested the creation of reconstruction plans, but was eventually Hildebrandt entrusted with the work. In 1719, the palace was largely completed. Daun lived there but rarely because he stayed a lot in Italy and in Austria preferred his country castles Ladendorf, Kirchstetten and Pellendorf. In 1746 acquired Johann Joseph Count von Khevenhüller the Palais from Leopold Joseph von Daun, the son of the owner, who happened to be in financial difficulty. The Reichsgraf (count of empire) was appointed in 1763 by the Empress Maria Theresa for his services to the Lord Steward and Lord Chamberlain, and raised to the hereditary imperial princes (princes of the Holy Roman Empire).

Door knocker

He sold the palace in 1764 to the Imperial Councilor President Ferdinand Bonaventura Harrach Count II. This worked as a diplomat, especially in Holland and Italy. At times of Maria Theresa, the building was inhabited by her Swiss Guards until they 1784 moved to their new quarters in Hofstallgebäude (court stable building). Ferdinand Bonaventura's daughter Rosa brought the palace in 1790 into her marriage to Josef Graf Kinsky. Whose family belonged to the Bohemian nobility. Its members appear at the beginning of the 13th Century documented. Wilhelm Freiherr von Kinsky was a colonel and friend of Wallenstein. He was murdered with this 1634 in Eger. His confiscated estates were divided among the assassins. Only two masteries (Chlumez and Bohemian Kamnitz ) remained through the timely change of front of his nephew, Johann Octavian with the family. The Kinsky but succeeded soon to rise again. They occupied again high positions in the administration and the military. 1798 the had modernized their Viennese palace by the architect Ernst Koch inside. Thus, the original Baroque interior was lost. As in 1809 the Frenchmen had occupied Vienna, a french Marshal and General were billeted in the palace. Prince Ferdinand Kinsky was a great patron of Beethoven, which he paid an annual salary of 4,000 florins for life along with two other nobles. In 1856, the Palace was refurbished in the interior by the architect Friedrich Stache. In the 19th Century lived the Princes Kinsky mostly on their Bohemian goods or in Prague. The building was therefore temporarily rented to some posh tenants. So lived here temporarily Field Marshal Radetzky and Archduke Albrecht. 1904 redecorated the French interior designer Armand Decour the piano nobile.

Staircase - second floor

With the end of World War II began a tough time for the Kinsky family. Almost all goods and industrial holdings, with the exception of the hunting lodge Rosenhof at Freistadt lay in Bohemia. By 1929, 50 % of the extensive Bohemian possessions were expropriated. There were still about 12,000 acres, a sugar factory and breweries. 1919 had to be a part of Vienna's Palais force-let. During World War II it was requisitioned by the German army. For fear of air raids the in the palace remaining objects of art were transferred to some Bohemian castles. The Palais Kinsky was not destroyed, its art treasures but remained in Bohemia. After the Second World War, the remaining Czech possessions were lost by nationalization for the family. In the Viennese palace were temporarily housed the embassies of China and Argentina. In 1986 it was sold by Franz Ulrich Prince Kinsky. After several short-term owners, the palace was acquired by the Karl Wlaschek private foundation in 1997. It was generously restored from 1998 to 2000 and adapted for offices and shops. The Grand Ballroom is often used because of its excellent acoustics as a concert hall. Since 1992, acclaimed art auctions are held at the Palais.

The Palais Kinsky is probably next to the Belvedere the most prominent secular work of the great Baroque architect and one of the best preserved baroque palaces in Vienna. Despite multiple changes of ownership and of numerous rearrangements inside the main components such as Baroque facade, vestibule, staircase, hall and gallery remained largely unchanged. The building extends between Freyung and Rosengasse. The property is only 30 meters wide, but three times longer. It was therefore not an easy task to build on it a representative palace with a grand staircase. Hildebrandt but has brilliantly overcome by putting up four floors at 24 m height, and yet preserving the proportions. He grouped the construction with two long side wings and a cross section around two consecutive large courtyards. The pomp and living rooms of the palace are mounted around the first courtyard, while the second contained carriage houses and stables. Here have yet been preserved the marble wall panels with the animal waterings made ​​of cast iron and enamel from the late 19th century. Hildebrandt integrated various parts of the previous building into the new building. The seven-axle face side at the Freyung is divided several times. Stability is procured by the rusticated ground floor with its inserted diamond blocks. On it sit the two residential floors. They are embraced by Corinthian Riesenpilaster (giant pilasters). The mezzanine floor above it features in comparison with the underlying main floor tiny windows.

Hercules

The large windows on the main floor are particularly detailed designed. While the outer pairs of windows possess pagoda-like over roofings, those of the three windows of the central projection are round-arched. The trophies and weapons depicted in the lintel fields refer to the military profession of the owner. Vertically is the extensive looking facade accented by the slightly protruding, tri-part central risalite, the pilasters are decorated much richer than that of the side projections. In the Fantasiekapitelle (fantasy capital) of the pilasters are diamond lattices incorporated, an important component of the coat of arms of the Counts Down. The with figures and trophies decorated attica is over the central part formed as balustrade. The sculptures are believed to originate from Joseph Kracker, representing the gods Minerva, Juno, Hercules, Neptune, Diana and Constantia. Very elegant looks the plastically protruding portal. Its composition goes back to Johann Lukas von Hildebrandt. It is considered one of the most beautiful Baroque portals of Vienna. The draft was submitted in 1713 and carried out until 1715. The richly decorated wooden gate dates from the period around 1856, when it was renewed. It is outside flanked by two, obliquely placed Doric columns that match the rusticated ground floor. Sloped to the inside carry two, on pillar stumps standing atlases (also from Kracker) the entablature with the overlying structured segment gable. On it sit the stone figures of Prudence and Justice. The middle window in between is much richer decorated than the rest of the window openings on the first floor. Instead of the usual trapezoidal over roofings here it is crowned by a cartouche held by two putti. The originally thereon located coat of arms of the owner was replaced after the change of ownership by that of the Kinsky family with three boar's teeth. Above the shield hangs an chain with the Order of the Golden Fleece. Both the gusset of the archway as well as the overlying triglyph frieze are decorated with trophies.

Banquet Hall

If someone passes the portal, so one gets into one, by strong pillars divided three-aisled gatehouse. The massive spatial impression is something mitigated by the large sculptures in the niches. They were created by Joseph Kracker. Among the somewhat restrained stucco decorations you can see the coat of arms of the owner, with its characteristic diamond motif. At this gate hall adjoins the widely embedded and more than twice as high vestibule with its domed ceiling. This transverse oval space is divided by pilasters and Doric columns. The rich stucco decoration of the ceiling provided with lunettes could come from Alberto Camesina or from his workshop. The here used motifs are again relating to the career of the client as a commander. For instance, in the lunette caps are reliefs of Roman soldiers. On the left side of the vestibule leads an anteroom to the grand staircase. It is dominated by a vault carrying Hercules, a work by Lorenzo Mattielli. As the monogram of Charles VI proves, with it the Emperor was meant to be worshiped. In two oval niches stand above the two double doors of the Treppenvorhauses (stairway hall way) busts of Caesar and Emperor Titus Flavius ​​Vespasian. The elongated stairway occupies almost the entire length of the left wing of the first courtyard. In the stairwell are eleven statues of Roman deities in stucco niches. The relatively narrow, crossed grand stairway is considered one of the most beautiful of Vienna. It overall design might go back to Antonio Beduzzi. On the second floor stand on the from winded perforated volute forms constructed stone balustrade four groups of playing or scrapping putti. They serve in part as a lantern holders, partly just as a decoration. The statue cycle in the staircase is a work of Lorenzo Mattielli, but the cherubs are believed to stem from Joseph Kracker. This type of decoration already points to the coming Rococo. A fresco by Carlo Innocenzo Carlone adorns the ceiling. The simulated architecture painted Antonio Beduzzi. The large wall mirror of the staircase were added after 1907 .

Staircase/ceiling fresco

The somewhat playful balustrade leads to the reception rooms on the second floor. The large oval ballroom above the entrance hall is oriented towards the courtyard. Its allegorical ceiling painting stems from Carlo Innocenzo Carlone. The other frescoes are of him and Marcantonio Chiarini. The walls are covered with marble. The room was several times, most recently in 1904 changed structurally. In front of the banquet hall is the former dining room. It is now called Yellow Salon. In 1879/80 was installed in it a choir stalls from the Pressburg Cathedral by Georg Raphael Donner ( 1736) and partly completed. The also acquired confessionals were converted into boxes that are in the antechamber of the second floor today. In the chapel, designed by Hildebrandt, was until 1741 as altarpiece Francesco Solimena's "Holy Family with the Infant John the Baptist". 1778 the sacred space, however, was already desecrated. The altarpiece is already since the 18th Century in Wiener Neustadt Neuklosterkirche (church in Lower Austria). In the cross-section between the first and the second courtyard lay the paneled gallery whose spatial effect in 1856 by an attached conservatory was changed something. Its vaulted ceiling is decorated with frescoes by Carlo Innocenzo Carlone. Marcantonio Chiarini created 1716/18 the quadrature paintings. At it followed a larger hall in which Francesco Solimena's oil painting "Phaeton and Apollo" was located. It can be admired today in the National Gallery in Prague. The hall was later used as a library. Part of the state rooms 1714 was equipped with ceiling paintings by Peter Strudel. In the course of a radical redesign of the building's interior Ernest Koch has cut off all stucco ceilings of the staterooms 1798-1800 and also redesigned the walls. Since 1879 Carl Gangolf Kayser tried to restore the original spatial impression by the of Rudolf von Weyr created new Neo-Baroque stucco ceilings. Only in a few areas (vestibule, staircase, ballroom), the original substance remained. In the palace there are numerous Mamorkamine (marble fireplaces) and stoves from the 18th and 19th Century. The star parquet floors and many original door fittings date from the third quarter of the 19th Century. The facades of the first courtyard are structured by Tuscan pilasters. The arcades on the ground floor have already been closed in 1753. The with a mascaron decorated wall fountain is a work of Rudolf von Weyr. The second courtyard is kept simple. Remarkable at it rear end is the cenotaph for the current owner Karl Wlaschek.

Location/Address: 1010 Vienna, Freyung 4

Activities: The courtyards are freely accessible, the staircase usually also. A look at the state rooms is only possible if these are not just rented.

www.burgen-austria.com/archive.php?id=804

I made Him look like a....him. $40

Book

Heart! We will forget him!

You and I - tonight!

You may forget the warmth he gave -

I will forget the light!

 

When you have done, pray tell me

That I may straight begin!

Haste! lest while you're lagging

I remember him!

 

(E.D., 1858)

Just one minute before calling my boyfriend from my mobile phone.

 

Jan. 14th, 2008

(136/365)

A CBP Officer checks a vehicle with a device that allows him to see the contents of a vehicle gas tank to insure that the owner is not bringing contraband material into the U.S. Photo by James Tourtellotte

A friend of mine died this weekend. I haven't seen him since his wife's funeral last year. She died from heart failure in the hospital where he was recovering from a motorcycle accident. He arrived at the funeral in a wheelchair and his leg in a cast - the same old "Weave". Kerry Weaver. Biker, funny man, husband, dad, grandfather, Christian, friend. A year later, he was in Nashville visiting his oldest son. Witnesses said he was on the side of the road trying to start his motorcycle. It didn't make sense since there was an electronic start. He collapsed. They tried CPR for an hour. But he was gone. He had already stepped into eternity.

 

Kerry called me "Kid". He called my girlfriend Lisa, "Dave". Never understood that, but then I didn't try. He was Weave. And now he is with his wife, our friend Butch who left us in 1989, and his Lord. The world is less rich, colorful, and funny without him. But I'll see him again. One day I'll again hear him say, "Hey, Kid!"

 

Godspeed, Kerry Weaver. I will miss you.

 

View On Black

Carol Morello, the Diplomatic Correspondent for The Washington Post, questioned Secretary Kerry after the traveling press “pool” – a slimmed-down but representative group of the traveling press corps – watched him while he met with State Department Chief of Staff Finer and some U.S.-delegation sanctions experts on the Palais Coburg Terrace on July 10, 2015. [State Department photo/ Public Domain]

With a huge red lei around his neck and a wide grin that could have stretched across Oahu, Larry Fitzgerald held up the gleaming, silver MVP trophy. It sparkled in the sunshine as much as his game.

 

The only problem: It wasn't the Lombardi Trophy.

 

Fitzgerald caught five passes for 81 yards and two touchdowns, 44-year-old John Carney kicked two fourth-quarter field goals, and the NFC rallied to a 30-21 victory over the AFC. The Arizona Cardinals' All-Pro receiver, coming off a record-breaking postseason and a spectacular Super Bowl in a loss to the Pittsburgh Steelers, earned MVP honors.

 

But he said the victory over the AFC, which featured three members of the Steelers' defense, didn't ease the pain from the Super Bowl.

 

"No, not one bit," he said.

 

Fitzgerald also took home keys to a new Cadillac.

 

"I'm just glad we won, that's the most important thing," he said.

 

On a sweltering day, with 60 percent humidity, Kurt Warner started for the NFC and played just one series before making way for Brees. Warner was just 1-of-2 for 8 yards.

 

"I would've liked to have won last week and not this week, if I could switch them out," he said.

 

Fitzgerald caught a 46-yard scoring pass from Drew Brees before the half and a 2-yard TD pass from Eli Manning for the go-ahead score with 4:07 to play.

 

The NFC defense took care of the rest.

 

Manning, making his Pro Bowl debut, was 8-of-14 for 111 yards. While big brother Peyton had better stats, 12-of-17 for 151 yards and a TD, Eli got the win.

 

"He didn't play the whole second half, so it's not about beating my brother, it's just about having fun," Eli Manning said.

 

The Manning brothers were the first quarterback brothers in Pro Bowl history. And Carney, who was a perfect 3-for-3, became the oldest player in the game's history. He booted a 48-yarder with 2:06 remaining to make it 27-21 and sealed the win with a 26-yarder with 32 seconds to go.

 

Sunday's all-star game ended a successful 30-year run at Aloha Stadium, with a sellout every year. The Pro Bowl will be played in Miami next year, a week before the Super Bowl. The NFL, which has been looking to increase the profile of the game, hopes to bring the game back to Hawaii.

 

The players, who spent most of the week by the beach and sipping umbrella-adorned mai tais, were pretty unanimous in wanting the game to return.

 

For Warner, the question now is whether this was his final game in the NFL or, as a free agent, will he opt to continue playing at age 38?

 

"I don't know right now," Warner said. "Again, when I have a feeling one way or the other, I'll let everyone else know. I don't have a time frame. This is the first time right now that I am done having to think about football for a while, and I'm going to enjoy that part of it, enjoy my wife, enjoy my kids and then we'll make a decision as soon as we can."

 

The AFC was looking to hula dance into halftime with a comfortable 14-3 cushion after Kerry Collins connected with Owen Daniels on a 9-yard scoring pass with 28 seconds left in the half.

 

However, that was more than enough the time for the NFC, with all its weapons.

 

The NFC took over at its 45 with 19 seconds left after a nice kickoff return by Clifton Smith. They ran two plays before Larry Fitzgerald hauled in Brees' 46-yard bomb with fellow All-Pro Cortland Finnegan on his back as time expired to pull the NFC to 14-10.

 

It made for two huge end-of-the-half plays in consecutive weeks for Fitzgerald. But this time, rather than trying -- and failing -- to chase down James Harrison on his 100-yard interception returned for a TD, Fitzgerald was the one celebrating.

 

Fitzgerald also beat Finnegan on his second score.

 

"These guys are such elite players, it doesn't take much time to get in the groove with these players," Fitzgerald said. "These guys were great."

 

The usual high-scoring affair surprisingly also featured plenty of defense. Despite rules such as no blitzing linebackers and safeties, the quarterbacks were feeling the heat, at times buried by the defensive line. None of the passes had any room for error on throws against the speedy defensive backs.

 

The AFC had a chance to take the lead late, but Julius Peppers got in the way. Down by six, the AFC started its drive on its 20 with 4:03 remaining and got to midfield. Peppers then swatted a pass by Jay Cutler with his left hand and came up with the interception that led to Carney's 48-yard field goal.

 

There were three straight drives ending with a turnover in a span of about 2 minutes in the third quarter alone, including two by Collins.

 

The second led to the NFC's first lead of the game, 17-14, late in the third quarter. Jared Allen stripped Collins from behind and scooped up the bouncing ball at the AFC 10. All-Pro Adrian Peterson, last year's Pro Bowl MVP, finished it off with a 10-yard run.

 

Pinned on its 4, the AFC came out firing behind the league MVP. Peyton Manning completed passes of 20, 18, 22, 4, and 6 yards to five players before hitting Tony Gonzalez for the score on a high-arcing, 19-yard pass.

 

Gonzalez easily outmaneuvered Seattle linebacker Julian Peterson before hauling in the pass and tiptoeing into the end zone. Gonzalez, also an All-Pro, finished with six catches for 98 yards.

 

On the ensuing series, Robert Mathis stripped Brees and gave possession back to the AFC.

 

Manning then completed a 22-yarder to Colts teammate Reggie Wayne before the NFC finally started playing some defense.

 

After the AFC reached the NFC's 31, Peppers squashed Manning -- and gave him a hand to get back up. It is, after all, the Pro Bowl.

 

With a huge red lei around his neck and a wide grin that could have stretched across Oahu, Larry Fitzgerald held up the gleaming, silver MVP trophy. It sparkled in the sunshine as much as his game.

 

The only problem: It wasn't the Lombardi Trophy.

 

Fitzgerald caught five passes for 81 yards and two touchdowns, 44-year-old John Carney kicked two fourth-quarter field goals, and the NFC rallied to a 30-21 victory over the AFC. The Arizona Cardinals' All-Pro receiver, coming off a record-breaking postseason and a spectacular Super Bowl in a loss to the Pittsburgh Steelers, earned MVP honors.

 

But he said the victory over the AFC, which featured three members of the Steelers' defense, didn't ease the pain from the Super Bowl.

 

"No, not one bit," he said.

 

Fitzgerald also took home keys to a new Cadillac.

 

"I'm just glad we won, that's the most important thing," he said.

 

On a sweltering day, with 60 percent humidity, Kurt Warner started for the NFC and played just one series before making way for Brees. Warner was just 1-of-2 for 8 yards.

 

"I would've liked to have won last week and not this week, if I could switch them out," he said.

 

Fitzgerald caught a 46-yard scoring pass from Drew Brees before the half and a 2-yard TD pass from Eli Manning for the go-ahead score with 4:07 to play.

 

The NFC defense took care of the rest.

 

Manning, making his Pro Bowl debut, was 8-of-14 for 111 yards. While big brother Peyton had better stats, 12-of-17 for 151 yards and a TD, Eli got the win.

 

"He didn't play the whole second half, so it's not about beating my brother, it's just about having fun," Eli Manning said.

 

The Manning brothers were the first quarterback brothers in Pro Bowl history. And Carney, who was a perfect 3-for-3, became the oldest player in the game's history. He booted a 48-yarder with 2:06 remaining to make it 27-21 and sealed the win with a 26-yarder with 32 seconds to go.

 

Sunday's all-star game ended a successful 30-year run at Aloha Stadium, with a sellout every year. The Pro Bowl will be played in Miami next year, a week before the Super Bowl. The NFL, which has been looking to increase the profile of the game, hopes to bring the game back to Hawaii.

 

The players, who spent most of the week by the beach and sipping umbrella-adorned mai tais, were pretty unanimous in wanting the game to return.

 

For Warner, the question now is whether this was his final game in the NFL or, as a free agent, will he opt to continue playing at age 38?

 

"I don't know right now," Warner said. "Again, when I have a feeling one way or the other, I'll let everyone else know. I don't have a time frame. This is the first time right now that I am done having to think about football for a while, and I'm going to enjoy that part of it, enjoy my wife, enjoy my kids and then we'll make a decision as soon as we can."

 

The AFC was looking to hula dance into halftime with a comfortable 14-3 cushion after Kerry Collins connected with Owen Daniels on a 9-yard scoring pass with 28 seconds left in the half.

 

However, that was more than enough the time for the NFC, with all its weapons.

 

The NFC took over at its 45 with 19 seconds left after a nice kickoff return by Clifton Smith. They ran two plays before Larry Fitzgerald hauled in Brees' 46-yard bomb with fellow All-Pro Cortland Finnegan on his back as time expired to pull the NFC to 14-10.

 

It made for two huge end-of-the-half plays in consecutive weeks for Fitzgerald. But this time, rather than trying -- and failing -- to chase down James Harrison on his 100-yard interception returned for a TD, Fitzgerald was the one celebrating.

 

Fitzgerald also beat Finnegan on his second score.

 

"These guys are such elite players, it doesn't take much time to get in the groove with these players," Fitzgerald said. "These guys were great."

 

The usual high-scoring affair surprisingly also featured plenty of defense. Despite rules such as no blitzing linebackers and safeties, the quarterbacks were feeling the heat, at times buried by the defensive line. None of the passes had any room for error on throws against the speedy defensive backs.

 

The AFC had a chance to take the lead late, but Julius Peppers got in the way. Down by six, the AFC started its drive on its 20 with 4:03 remaining and got to midfield. Peppers then swatted a pass by Jay Cutler with his left hand and came up with the interception that led to Carney's 48-yard field goal.

 

There were three straight drives ending with a turnover in a span of about 2 minutes in the third quarter alone, including two by Collins.

 

The second led to the NFC's first lead of the game, 17-14, late in the third quarter. Jared Allen stripped Collins from behind and scooped up the bouncing ball at the AFC 10. All-Pro Adrian Peterson, last year's Pro Bowl MVP, finished it off with a 10-yard run.

 

Pinned on its 4, the AFC came out firing behind the league MVP. Peyton Manning completed passes of 20, 18, 22, 4, and 6 yards to five players before hitting Tony Gonzalez for the score on a high-arcing, 19-yard pass.

 

Gonzalez easily outmaneuvered Seattle linebacker Julian Peterson before hauling in the pass and tiptoeing into the end zone. Gonzalez, also an All-Pro, finished with six catches for 98 yards.

 

On the ensuing series, Robert Mathis stripped Brees and gave possession back to the AFC.

 

Manning then completed a 22-yarder to Colts teammate Reggie Wayne before the NFC finally started playing some defense.

 

After the AFC reached the NFC's 31, Peppers squashed Manning -- and gave him a hand to get back up. It is, after all, the Pro Bowl.

Dedicated to him

 

Large size

   

Do you come together ever with him?

And is he dark enough?

Enough to see your light?

And do you brush your teeth before you kiss?

Do you miss my smell?

And is he bold enough to take you on?

Do you feel like you belong?

And does he drive you wild?

Or just mildly free?

What about me?

 

Well I know I make you cry

And I know sometimes you wanna die

But do you really feel alive without me?

If so, be free

If not, leave him for me

Before one of us ...

 

www.youtube.com/watch?v=TzTRmFpXc_w

At Victory Show 2011

Exodus 4:18-23 (ANIV)

18 Then Moses went back to Jethro his father-in-law and said to him, "Let me go back to my own people in Egypt to see if any of them are still alive." Jethro said, "Go, and I wish you well."

19 Now the Lord had said to Moses in Midian, "Go back to Egypt, for all the men who wanted to kill you are dead." 20 So Moses took his wife and sons, put them on a donkey and started back to Egypt. And he took the staff of God in his hand.

21 The Lord said to Moses, "When you return to Egypt, see that you perform before Pharaoh all the wonders I have given you the power to do. But I will harden his heart so that he will not let the people go. 22 Then say to Pharaoh, 'This is what the Lord says: Israel is my firstborn son, 23 and I told you, "Let my son go, so that he may worship me." But you refused to let him go; so I will kill your firstborn son.' "

  

DRAWING NOTES:

 

TIME OF DAY:

Early morning, just before sun rise.

 

LIGHTING NOTES:

The rising sun, which is still below the horizon, behind the figures, illuminates this scene.

Cast shadows from the sunshine coming off the clouds radiate towards the viewer.

 

CHARACTERS PRESENT:

From left to right: Zipporah (Moses’ wife) is waving to her family at the tent in the background. Gershom (Moses and Zipporah’s first son) is riding on a donkey, Moses is walking towards the viewer.

  

RESEARCH/ADDITIONAL NOTES:

I was very pleased with the landscape and sunrise cloud effects achieved in this scene. The cast shadows add drama to the beginning of Moses and his family’s early morning trek, back to Egypt.

 

I enjoyed drawing the two blue, male Sinai agama lizards, standing on a rock in the foreground, watching the small family party leaving for Egypt.

 

Exodus 4:20 tells us that Moses had “sons”, not “a son”. Although only one son (Gershom) had been mentioned in the initial account of Moses’ marriage to Zipporah (Exodus 2:21-22), clearly Moses second son Eliezer had been born during Moses’ forty-year stay in Midian. This being the case I have drawn Zipporah carrying a large bag-like piece of luggage over her shoulder. Although we can not see it, it is in fact a carry bag for her newly born son Eliezer.

 

There is no biblical account of when Zipporah and her two sons returned to her father (Jethro (aka Reuel)) from Egypt. Many Bible commentators think that Moses sent his family back for safety, although some believe the circumcision incident (see the next scene) may have caused an argument/tension between Moses and his wife Zipporah, and they suggest she may have returned to her father in Midian after she, Moses and her children eventually reached Egypt.

 

Robert Jamieson (writing in the Jamieson-Fausset-Brown Bible Commentary) writes this:

“There is no express mention of Zipporah and her sons having been sent back to remain with her father. But it is certain that she was sent back; and whether, as the Jewish rabbis say, this was done by the advice of Aaron; whether the motive for it was a tender regard for the safety of the family, to keep them away from the intensely agitating and engrossing scenes of the exodus, or, as some suppose, a domestic feud, caused by the circumcision of the younger son, had produced a sudden strife and alienation between Moses and Zipporah, there is no doubt that she returned to sojourn under her father’s roof.”

 

After Zipporah leaves Moses, we have the confrontation between Moses and Pharaoh; the miraculous signs and plagues; the escape of the Hebrew people and the parting of the Red Sea. Then the beginning of the wilderness wanderings.

 

The next mention of Zipporah and her sons is found in Exodus 18:2 where Jethro/Reuel takes Zipporah and her two sons, Gershom and Eleazer, back to Moses at the Mount of God.

 

1 Chronicles 23:14-16 mentions Moses’ sons...

“14 But the sons of Moses the man of God were named among the tribe of Levi. 15 The sons of Moses: Gershom and Eliezer.”

  

Did Moses Have a Second Wife?

The only other reference found in the Bible relating to Moses’ wife is found in Numbers 12:1...

 

12 Miriam and Aaron spoke against Moses because of the Cushite woman whom he had married, for he had married a Cushite woman.

 

It is possible that this reference is made regarding Zipporah, but it is equally possible that this relates to a second wife of Moses. we really can’t be sure either way, since the words “Cushite” and “Midian” may be synonymous.

 

Whatever the truth of the matter, the Bible does not record what became of Zipporah, and her and Moses’ sons, Gershom and Eliezer.

  

Sinai agama (Pseudotrapelus sinaitus, formerly Agama sinaita)

The Sinai agama (Pseudotrapelus sinaitus, formerly Agama sinaita) is an agamid lizard found in arid areas of southeastern Libya, eastern Egypt, Palestine, Israel, Jordan, Syria, Saudi Arabia, the United Arab Emirates, Oman, eastern Sudan, Ethiopia, Eritrea, and Djibouti.

 

The length of the lizard including its long slender tail is 18 cm (7 in), the tail accounting for up to two-thirds of its total length. The limbs and tail are long and thin and allow for good climbing and running capability.

 

Pseudotrapelus sinaitus is active during daytime and feeds on insects and other arthropods and plants. During the breeding season, males become a striking blue colour to attract females. The female has brownish-red spots on her sides.

[source: en.wikipedia.org/wiki/Sinai_agama]

 

See this & many more cartoon illustrations on my website: www.biblecartoons.co.uk

Ppppllllllllleeeeeeeeeeaaaaaaaaaaaaasssssssssssseeeeeeeeeeeeeeeee...

 

Alien design by 4estFeller. www.flickr.com/photos/65992320@N05/ 181

Continued from: www.flickr.com/photos/42093313@N00/52652408863/in/datepos...

 

My Master’s Wrath and Mercy

 

رَبَّنَاۤ إِنَّكَ مَن تُدۡخِلِ ٱلنَّارَ فَقَدۡ أَخۡزَیۡتَهُۥۖ وَمَا لِلظَّـٰلِمِینَ مِنۡ أَنصَارࣲ

Our Lord! Indeed [You] whom You admit in the Fire then surely You (have) disgraced him, and not for the wrongdoers (are) any helpers.

Surah Aal e Imran, Verse 192

 

Tafseer e Jilani

 

Rabbana innaka man tudkhil in-naar: O my Lord! Indeed You are the one who admits into the Fire, so surely…

 

Akhzaytahu: you have disgraced him and made him (stuck) in the narrowness of imkaan, possibilities, imprisoned, punished, exiled (from Your Self), because they wronged themselves with their focus upon those other than You…

 

Wa ma lid-daalimeen: and there isn’t for the transgressors, the ones who have firmly placed themselves in the shadows of imkaan, possibilities…

 

Min ansaar: any helper who can help them and make them exit from those possibilities, except for the one who received permission from You to (be a helper) and make them exit from the possibilites from amongst the Prophets and the Auliya, Your Friends, after Your granting ability to them by the sending of the Messengers.

 

On the evening of that second day of hell, I went to the shrine near my house. I did not ask the blessed person of the shrine for anything. Not for relief, not for some understanding of how I had become so entrapped in a thought that only appeared to be nonsensical. I couldn’t even discuss it with anyone. Not that there was anyone to discuss it with! I sat there like a zombie for a while and then left. I knew in my silence, I had surrendered the matter in any case.

 

When I entered my bedroom, I saw a copy of Al Fath Ar Rabbani that I didn’t use for my regular reading. Qari Sahib had gifted it to me but it was much heavier and larger than my Urdu copy. This one had a side by side Arabic to Urdu translation on each page. I prayed the prayer of the istakhara and pried the book open to a random page.

 

Al Fath Ar Rabbani:

 

It started with a verse:

 

وَمَن یَتَّقِ ٱللَّهَ یَجۡعَل لَّهُۥ مَخۡرَجࣰا

 

And whoever fears Allah, He will make for him a way out,

 

وَیَرۡزُقۡهُ مِنۡ حَیۡثُ لَا یَحۡتَسِبُۚ

 

And He will provide for him from where he doesn’t think (it is possible).

 

Surah At Talaq, Verse 2-3

 

I didn’t look up the exegesis of the verse then. Qari Sahib wasn’t there anyway and I really wanted to know what the rest of the page said.

 

“(The above verse) closed the door of depending on means. It closed the door of the wealthy and the kings and opened the door of tawakkul, reliance. The one who was mindful, the reward for him is that He, Subhanahu, will make relief for him and a way out from what is constricted for (other) people.”

 

The first two lines gave me pause. Doors had been spoken about earlier. Now Ghaus Pak (ra) was closing them. Two of the people I happened to be thinking of were in fact rich. They were wealthy. That had never played into our interaction in terms of a factor. There wasn’t a remarkable difference in our life styles. But the mention was specific for a reason. That was not lost on me.

 

I continued to read each word, carefully going back and forth from the Arabic to the Urdu.

 

“What should I do with you, say to you? You would have been heard if you called the living but he is not alive, the one you call.”

 

From the word “alive” I knew again that I had already been told, warned, alerted by all those verses about the dead and the graves, the deaf and the blind. Not once but repeatedly. Each time gently. After translating the verses I had always felt calm. Then just like that I would forget them as if they had never even appeared.

 

Then in the next line, Ghaus Pak (ra) expressed his fury at my own “prolonged” state of stubborn-ness and ignorance and he didn’t mince his words.

 

“Your heart is empty of islam, surrender and imaan, faith and iqaan, certainty. There is no Ma’rifat, Divine Recognition, for you. There is no ilm, knowledge, for you. For you are only hawas, indulging in foolish behaviour that is dangerous, therefore speaking to you is a waste.”

 

That’s when my heart first felt fear. Never ever before had Ghaus Pak (ra) said anything remotely harsh to me. Speaking to me was a waste of his time? I just stared at the words in disbelief.

 

“O hypocrites! You were contented with words about tawakkul, reliance upon Allah, with your tongues while your hearts are mushrik, worshippers of other gods in Creation. My heart is filled with anger towards you out of ardency (of love) for Allah Azzo Jal. If you are silent and you leave your rivalry (with Him), it is better, otherwise your houses will be burned.”

My heartbeat increased. I stopped reading.

 

“Your houses will be burned.” “My heart is filled with anger.” I felt scared to read the next line.

 

But then I saw that it was a prayer. For it was addressing Subhanahu and it started with the words, “Ya Haailo…”

It was a new Name of Allah for me. The word existed in Urdu as well. I knew what it mean. Haa’il, that which comes in between. I peered at the next words closely, fearfully. And it said:

 

يا حائل بين الماء المالح والعذب،

 

“Ya Haail-u! O One who protects, stops and obstructs and causes not to happen, by coming in between the water salty and fresh.”

 

The appearance of the words from the verse I had just translated was uncanny.

 

حل بيننا وبين التسخط عليك والمنازعة لك في أقدارك،

 

“Come between us and between discontentment towards You and quarreling with You about fate decreed.

 

حل بيننا وبين معاصيك ببرزخ من رحمتك

 

Come between us and between resistances to Your Authority with the barzakh, the protective partition, of Your Rahma, Mercy!

آمين

 

Ameen…”

 

Each time I moved to the Urdu the words had a pounding effect on me. To be sure of the meaning, I started looking up each Arabic word.

 

التسخط : displeasure, irritation, anger.

 

المنازعة : opposition, disagreement, conflict, dispute.

 

معاصي : resistance to authority.

 

I was left dumbfounded.

 

He continued:

 

“O listener! If you were Muttaqi, the one who is mindful and conscious of your Rabb, who raised you, Azzo Jal, Dakir, in remembrance of Him, as Muwwahidan, in union only with Him, Musheeran, pointing towards Him, before the trial, then when you are dropped into the fire of the distress that causes suffering, He will order,

 

یَـٰنَارُ كُونِی بَرۡدࣰا وَسَلَـٰمًا

 

O fire! Be coolness and safety.

 

After that it was a crazy day.

 

Ghaus Pak (ra) had exactly followed the Sunnah of the Quran. First had come the admonition, then the mercy. For an hour, I stared at the page and read it over and over. My heart sank every time I came to the words of his wrath. It was the first time in my life that my Master was angry with me.

 

I couldn’t get over it. Obedience was woven, no, kneaded into my nature. But all my efforts that had to do with changing the fabric of my nafs were superficial. Giving charity was easy. It was the expression of gratitude. As promised it brought me a serene state of peace. Why wouldn’t I do it only sincerely, in utter obedience? Why wouldn’t I increase it? I was the recipient of all its rewards which were truly indescribable in terms of rendering me a joy.

 

It was the changing of the nafs that was impossible.

 

I decided to immediately memorize the prayer. It was about to entail for me the most perfect expression of fear and sincere need for deliverance. That was something that I had never experienced before.

 

First I went back to re-read the verse of the seas salty and sweet.

 

That was the first moment I realized, I am both a Mo’min and I am a Kafir. All I could see in the state of being a Mo’min was the ill-will in my disposition. And all I could see in my state of Kufr was my carelessness and unawareness. There was no longer an “other.” In everything it was only me!

 

That was first forced the question; when am I which?

 

وَمَا یَسۡتَوِی ٱلۡبَحۡرَانِ هَـٰذَا عَذۡبࣱ فُرَاتࣱ سَاۤىِٕغࣱ شَرَابُهُۥ وَهَـٰذَا مِلۡحٌ أُجَاجࣱۖ

 

And not are alike the two seas.

This (is) fresh, sweet, pleasant its drink, and this salty (and) bitter…

Surah Fatir, Verse 12

 

Tafseer e Jilani

 

Then exemplified Subhanahu both of the groups, the Mo’min, the believer and the Kafir, the denier of truth, as two seas sweet and salty, so He said:

 

Wa ma yastawi al bahraane: And the two seas are not alike in advantage and benefit received from them both because…

 

Hada: the (state of the) Mo’min, the attester to the sea of Imaan, faith and Irfaan, Divine Recognition, the one upon whom is poured water from the Sea of the Essence of One-ness…

 

Adb-un: is like water fresh and delightful, giving pleasure to the mind, sweet in perfect sweetness…

 

Furat-un: sweet, it breaks the persistent feeling of ill will (to harm and avenge people) for those burning with thirst in the mirage of the world with the coolness of Yaqeen, certainty…

 

Saa’ighun sharaabuhu: easy is its drinking i.e. easy is its going down, for those set up on the nature of Tauheed, Allah Subhanahu’s One-ness.

 

Wa hada: And this (the other sea/group) i.e. the Kafir, the denier of truth or ungrateful, malevolent, unkind, is in the sea of ghaflat, unawareness and carelessness…

 

Milh-un: (is like water) salty, it does not reform a person who wants to reform themselves, whoever tastes from it, instead…

 

Ujaaj-un: (it is) burning, bitter, corrupting for the disposition. The one who tasted from it was destroyed, devastatingly, forever such that there is no rescue for him, instead…

 

Wa: the sea of bitterness, in it is still an advantage, but there is no benefit for the Kafir, the denier of truth, and the one who refuses to be guided at all.

 

The Kufr a Muslim most often imbues is that of ingratitude.

 

That is why the Quran says, it is a choice.

 

‏إِنَّا هَدَيْنَهُ ٱلسَّبِيلَ إِمَّا شَاكِرًۭا وَإِمَّا كَفُورًا ‎

 

Indeed, We guided him to the way, whether he be grateful and whether he be ungrateful.

 

Surah Al Insaan, Verse 3

 

Tafseer e Jilani

 

Allah Subhanahu made the way clear completely and perfectly. Now the human being has the choice:

 

Imma shakiran: Either he becomes grateful, occupied with the thankfulness of blessings and regularity upon fulfilling the rights of Divine Kindness, giving the reins of his determination and his choice to the rightful guidance and commands so that he may become of the Arbaab il Anayate wa Sadaad, the people of blessings and correct-ness and Al Mutana’imeena, the ones granted favours in the Heaven of Raza, God’s Pleasure and Tasleem, surrender.

 

Wa imam kafoor-an: Or he can be ungrateful for blessings (bestowed), being in denial of The One bestowing the blessings, following in the footsteps of the people of ghafalat, forgetfulness and enemity (towards Allah), disputing and being corrupt until he will become of the people of Hell.

 

“The people forever burning in the fire of possibilities!”

 

The intensity of the incident first exploded upon me once I started reciting the prayer. Each time I uttered the words, I broke down so severely, it was like someone beloved to my heart had died. Each time I heard the words in my ear that I was displeased, in opposition, resistant to my Lord, to His Authority, to His Being, I would cover my ears with my hands and almost wail.

 

One word entered my life like it had never done before. I had been saying a tasbeeh of it for years but my heart hadn’t felt the plea in the words even once till now.

 

Astaghfirullah! – I seek the forgiveness of my Lord!

 

I would repeat it incessantly through my tears. But the prayer had three lines and each line had in it a word that was the proof of my state of rebellion. The experience was intense and whatever I’m writing here to express it, the truth is that it is inexpressible. It cannot be related.

 

Only when the last line came,

 

ببرزخ من رحمتك

 

…with the barzakh, the protective partition, of Your Rahma, Mercy!

 

did I feel a tranquility come over me so instantly, every other feeling preceding it absolute vanished. Obviously I became hooked to the prayer.

 

I started saying it every single time an imkaan returned, those useless, worthless, mirages of possibilities bearing my ill-will towards others who were all absent and insignificant. I would say the prayer from the beginning till the end. Each time I spanned the cycle in the same way. I cried and cried, my tears trying to drown my self.

 

Then I would despise myself for being in such abominable state. How could I have the audacity to be displeased, quarreling, resistant? I would be pausing through the entire utterance with Astaghfirullah in repetition until I would reach the part of the barzakh, the partition. Then again I would be calm like nothing had happened. Instantly!

 

وَٱسۡتَغۡفِرُوا۟ ٱللَّهَۖ

إِنَّ ٱللَّهَ غَفُورࣱ رَّحِیمُۢ

 

And seek forgiveness (of) Allah. Indeed, Allah (is) Oft-Forgiving, Most Merciful.

Surah Al Muzzammil, Verse 20

 

Tafseer e Jilani

 

Wa: And what happened to you in your past which came from the leaving of istighfar, the seeking of forgiveness…

 

Astaghfirullah: (so now it is time to) keep seeking the forgiveness of Allah, Al Mufaddil, The Bestower of Bounty, Al Mukarrim, The Granter of Forgiveness for what you did and become occupied with compliance to His Commands in the rest of your life as compensation for what has elapsed.

 

Innallaha: Indeed Allah, Al Muta’lliu, The Only One informed of your regrets and your intentions in it (that seeking of forgiveness and being in obedience of His Orders)…

 

Ghafoorun: is Forgiving, He forgives your sins from the past also…

 

Raheem-un: is All Merciful, He accepts your tauba, repentance, which is followed by your errors by His Favour and His Generosity (of which you are undeserving).

The prayer took over my life for the next few days. I didn’t speak about it to anyone. I continued my classes with Qari Sahib. In my next class, the first thing I did was look up the verse my page had opened to:

 

وَمَن یَتَّقِ ٱللَّهَ یَجۡعَل لَّهُۥ مَخۡرَجࣰا

 

And whoever is in taqwa, conscious of Allah, He will make for him a way out,

 

وَیَرۡزُقۡهُ مِنۡ حَیۡثُ لَا یَحۡتَسِبُۚ

And He will provide for him from where not he thinks (it is possible).

Surah At Talaq, Verse 2-3

 

Tafseer Jilani

 

Wa: And overall…

 

Mayyattaqillah: the one who is mindful of Allah Subhanahu and safeguards his nafs, self, from His Qahr, Wrath, and Ghadab, Displeasure and keeps watch over himself from crossing the limits of His Boundaries which are drawn by Him, (the boundaries created) for the safeguarding of the rights of the people, especially the rights of spouses and practice mutual love for each other and (the one who) relies upon Him in all his states and entrusted his matters, all of them, to Him…

 

Yaj’al lahu: He, Allah Subhanahu, makes for him…

 

Makhrajan: a way out from the narrowness of possibilities which give result to different kinds of khudlan, humiliation and khusraan, losses.

 

Wa yarzaquhu: And He gives sustenance and carries towards him all of his needs that he is needful of in the subsistence of his family…

 

Min haysu la yahtasibu: i.e. from a place not expected and where he doesn’t have to wish for it to come from.

 

Narrowness of possibilities, humiliation, losses! There was a way made out, unexpected, unforeseen, “where he doesn’t have to wish it from.” With sustenance, not livelihood in currency as rizq is most often translated, but sustenance, emotional, mental, physical, spiritual, not for one individual in question but the entire family.

 

For whom? The one who was in a state of consciousness of Subhanahu and who was mindful of the rights of others. The one who was watchful that His Displeasure and His Wrath did not reach him because of crossing boundaries set by Him.

Like the displeasure and wrath of my Master had reached me.

 

There was a time I used to pride myself on a relationship with my Lord that didn’t have fear in it. But two years ago, whilst writing a piece for the Urs Mubarik of Maulana Rum (ra), I had felt intense fear. I had been translating stories from the Masnavi and one of them had been about the Day of Judgement and how each person would have to fend for themselves. I had come across one of the verses alluding to that reality recently.

 

وَلَا تَزِرُ وَازِرَةࣱ وِزۡرَ أُخۡرَىٰۚ وَإِن تَدۡعُ مُثۡقَلَةٌ إِلَىٰ حِمۡلِهَا لَا یُحۡمَلۡ مِنۡهُ شَیۡءࣱ وَلَوۡ كَانَ ذَا قُرۡبَىٰۤۗ

إِنَّمَا تُنذِرُ ٱلَّذِینَ یَخۡشَوۡنَ رَبَّهُم بِٱلۡغَیۡبِ وَأَقَامُوا۟ ٱلصَّلَوٰةَۚ وَمَن تَزَكَّىٰ فَإِنَّمَا یَتَزَكَّىٰ لِنَفۡسِهِۦۚ

وَإِلَى ٱللَّهِ ٱلۡمَصِیرُ

 

And no bearer will bear burdens (of) another.

And if a call heavily laden (soul) calls another to (carry) its load, nothing will be carried of it anything even if he be (from) near of kin.

You can only warn those who are conscious of their Lord - unseen and who establish the prayer.

And whoever purifies himself, then only he purifies for his own self.

And to Allah (is) the destination.

Surah Fatir, Verse 18

 

Tafseer e Jilani

 

Wa: And after that you recognized the Qudra, Authority, of Allah and you heard of the perfection of His Being in no need of anything, so for all of you is compulsory, the executing of His Commands and staying away from what He has forbidden because…

 

La taziru: no nafs, self, will, bear …

 

Waaziratu-n: as the bearer of burdens for being sinful, resisting authority…

 

Wizra: the burden (of) a wrong action of the nafs, self, that is indisciplined…

 

Ukhra wa in tad’u: of another and if any nafs, soul, asks…

 

Musqalatu-n: heavily laden by burdens and resisting authority…

 

Ila himliha: to share its burden i.e. someone else carry some of the burdens received by it to lessen them…

 

La yuhmal minhu shay-an: he will not carry any thing from another’s burden even if he consents to carry the burden because it is the demand of Allah’s Justice…

 

Wa lau kana: And if the person who was called to carry the burden…

 

Da qurba: is the family i.e. from the family of the asker, still all of the selves on that Day pledged (to carry) what they earned from their resistance. Each nafs will carry for its own self and no accountability will be for it except what it earned.

 

Then said Subhanahu addressing His Beloved (sending salutations and greetings upon him and his family the whole while) in the matters of His Servants:

 

Innama tundiru alladina yakhshauna Rabba-hum bil ghaib: only will you warn those who surrender to their Lord Unseen: meaning they are not beneficial, your warnings, which you recite O Akmal Ar Rusul, O Messenger who perfects Messenger-hood (salutations and greetings upon you and your family are sent by Him who made you the Nazeer) upon those wayward, with the exception of the group who are fearful of Allah and His Wrath and His Punishment, even though He is unseen for them, hearing Him, in submission to what has descended from Him, fearful of what can come from Him suddenly…

 

Wa: and along with that…

 

Aqaamus salata: they established prayer commanded, bringing closeness for them to His Essence, Al Mukhlisoona, sincere in it, Al Muttaharreena, purifying their selves from the inclination of everything except Allah Al Haqq, The Only Truth.

 

Wa man tazakka: And the one who purified himself and he cleansed his self from the leaning towards the capacity to invent a deceitful practice and whims…

 

Fa innama yatazakka li nafsihi: so indeed he only purified his nafs for his own self because the benefit of his purification returned to him, beneficial for him in his beginning and his end.

 

Wa: And after his purification from the demands of being human and the demands of animalistic desires which block from reaching of the origin of his nature…

 

Ilallahi: towards Allah, Al Munazza, The One Above all shortcomings, Al Mubarra’, The One Above all things lowly…

Al Maseer-u: (who is) The Destination i.e. Al Munqallab, the place returned to and the final abode i.e. everything returns towards Him and everyone’s purpose is Him, Subhanahu.

 

I was reminded of the exaltedness of the Chosen before Allah by the word Al Muttaharreena, the ones pure. How everyone had to purify themselves. Only one group was purified by Subhanahu Himself. That was the family of His Beloved (salutations and greetings upon him and his kin who were rendered void of any shortcoming at all).

 

The Name of Allah Subhanahu that Ghaus Pak (ra) used to begin the tafseer was an absolute favourite. I loved using it when calling out to Him in my prayers. It made no other words to follow the call even necessary. He was Al Musleh, The Reformer!

 

إِنَّمَا يُرِيدُ ٱللَّهُ لِيُذْهِبَ عَنكُمُ ٱلرِّجْسَ أَهْلَ ٱلْبَيْتِ وَيُطَهِّرَكُمْ تَطْهِيرًۭا

 

Indeed, Allah wishes to remove from you the impurity, (O) People (of) the House!

And to purify you (with thorough) purification.

Surah al Ahzab, Verse 33

 

Tafseer e Jilani

 

Innama yureedullahu: Indeed Allah Al Musleh, The Reformer of the states of His Worshipper, wishes for those who are chosen by Him, teaching them such advice and reminders which enter the heart and giving them warnings strange, unlike any other…

 

Liyudhiba ankum ar-rijsa: removing impurities from you, unattractive, loathsome by both the mind and by Jurisprudence (which can be in contradiction to one another), O…

 

Ahl e Bait: the people of the house of the Prophet (peace be upon him and his family), Al Majbooleen, who are raised upon honour and nobility..

 

Wa yutahhirakum: (and it is also His Will) to make you absolutely pure from the dirt of one’s nature and things that are hateful imperfections that exist from the beginning (from birth like the Shaitaan attached to each person), which are hurdles in the cleansing of personal nature (for e.g. menstruation or emissions)…

 

Tat-hirah: (to make you, O family of the Beloved, absolutely pure) in absolute purity. Such purity that nothing remains in you, any doubt of disfigurement and the disgrace of any shortcoming.

 

The verse of each person having to bear the consequences of their own actions had made me reflect on all the parallels I was drawing after Damascus of what I had thought was for that Day but seemed to exist and play out in our lives here. The nafs experiencing being Mutma’inna was the greatest of them all.

 

But no one could carry anyone’s burden in this world either.

Parents want to take on their child’s disease. Children want to give happiness to parents whose bitterness tells them that they will never come to possess it again. I have often wanted to give of the sight of one of my eyes to a cousin who lost it in both.

 

My nafs would ask me things like, “We won’t be able to drive again.”

 

I would consider it and say, “It’s ok. We don’t drive that much anyway.”

 

So on and so forth it goes. But it was not impossible. Each nafs had to pay the price for each decision in this world as well. Bear its consequence. Asking for forgiveness though, feeling repentant, held in it the promise of being forgiven. That existed for a relationship worldly or with Subhanahu. If it was sincere!

 

‏فَمَن تَابَ مِنۢ بَعْدِ ظُلْمِهِۦ وَأَصْلَحَ فَإِنَّ ٱللَّهَ يَتُوبُ عَلَيْهِ ۗ

إِنَّ ٱللَّهَ غَفُورٌۭ رَّحِيمٌ

 

But whoever repented from after his wrongdoing and reforms, then indeed,

Allah will turn in forgiveness to him. Indeed, Allah (is) Oft-Forgiving, Most Merciful.

Surah Al Maidah, Verse 39

 

Tafseer e Jilani:

 

Faman ta’aba: So the one who repents and returns towards Allah mukhlis-an, sincere (in heart), khai’ifan, in fear (of reckoning)…

 

Min ba’ada dulmihi: after he transgressed boundaries set by Him …

 

Wa aslaha: and reformed themselves with repentance (by returning towards Allah with sincerity) for the corruption that they have brought upon their own nafs (self) by disobeying Allah’s Orders.

 

Fa innallaha: Indeed, Allah is Al Musleh, The Reformer of all states of His Servant.

 

Yatubu alaihi: And Allah also turns towards Him and accepts his tauba, repentance, after giving him the ability for that repentance.

 

Innallaha: Without doubt, Allah is the One who is Al Muyassir, the One who gives ease in all matter for His Servants…

 

Ghafur an: He is the Forgiver of all their sins.

 

The identity of the one repenting, Ta’ib, was defined specifically:

 

Faman ta’aba: So the one who repents and returns towards Allah sincere (in heart), in fear (of reckoning)…

Fear was requisite.

   

The Necessity of Fear

 

‏وَءَاخَرُونَ ٱعْتَرَفُوا۟ بِذُنُوبِهِمْ خَلَطُوا۟ عَمَلًۭا صَلِحًۭا وَءَاخَرَ سَيِّئًا عَسَى ٱللَّهُ أَن يَتُوبَ عَلَيْهِمْ ۚ

إِنَّ ٱللَّهَ غَفُورٌۭ رَّحِيمٌ ‎

 

And others who have acknowledged their sins.

They had mixed a deed righteous (with) other (that was) evil.

Perhaps Allah will turn (in mercy) to them.

Indeed, Allah (is) Oft-Forgiving, Most Merciful.

Surah At Tauba, Verse 102

 

Tafseer e Jilani

 

Wa: And the people of Medina…

 

Aakharoona: others, not from the ones who were Al

 

Munafiqoona, persistent upon hypocrisy, Al Muttarraneena, and who practice it, but instead…

 

A’tarifu bi dhunobihim: acknowledge their sins which happened from them from mukhalifa, being against (someone) and bughz, grudges, and ta’an, being accusatory and

istikhfaaf, showing disregard and gheebat, back-biting, when sitting alone with the hypocrites and the ones who practice hypocricy.

 

And while they have the appearance of imaan, faith, and ikhlas, sincerity, but they…

 

Khalatu amalan salihan: mixed good deeds from ikhlas, sincerity and raza, seeking the pleasure of Allah and tasleem, submission…

 

Wa: and deeds…

 

Aakhara sayyan: others which were bad and those deeds were done while in the community of the hypocrites in their discourse and being accusatory. For this reason they are downgraded from the rank of the Mukhliseen, Sincere, in all their circumstances.

 

Asallaho an yatooba alayhim: And Allah will most likely accept their repentance i.e. He gives them ability upon tauba, repentance and nidama, regret and accepts from them their repentance after they become sincere in it.

 

Innallaha: Indeed, Allah Al Musleh, The One who corrects the states of His Servants…

 

Ghafooran: is Forgiving of the one who repents and regrets from the core of the qalb, the Station of Recognition of Allah in the heart…

 

Rahim: is The One who accepts their repentance when they are excessive (trangressors).

 

In writing that piece for Maulana’s Urs Mubarik I had been crying too. That crying was out of fear for a time yet to come. It was the first time I had learnt the purpose of fear in a relationship with my Lord. It was deemed essential for a believer. In that relationship fear was an element that was necessary for it to reach completion.

 

Verses attesting to that had appeared again and again.

The way out with an all encompassing rizq from the Divine was promised for whom? The one who was in a state of consciousness of Subhanahu and who was mindful of the rights of others. The one who was watchful that His Displeasure and His Wrath did not reach him because of crossing boundaries set by Him.

 

The Message could only be received by those “who are fearful of Allah and His Wrath and His Punishment, even though He is unseen for them, hearing Him, in submission to what has descended from Him, fearful of what can come from Him suddenly…”

 

Suddenly I understood why all those hours and days and weeks, months and years I spent trying to tell the ones I loved what might save them from pain were a waste of time. Theirs as well as mine. At the end of the day they never really cared if I might become angry with them or not. It never mattered. When it did, they always listened. When it didn’t that’s when they took me for granted.

 

Like I, God forbid, had been taking my Creator and His Benevelonce for granted. Astaghfirullah!

 

After the tafseer I returned to the page to re-read the next part which I had couldn’t focus on before. The incident of the fire was about the Prophet Ibrahim (as). How it was ordered to change its intrinsic nature and become cool for him by Divine Command. It was an incident only about him and for him. Not anyone else and certainly not the ordinary.

 

“…before the trial then, when you are dropped into the fire of the distress that causes suffering, He will order,

 

یَـٰنَارُ كُونِی بَرۡدࣰا وَسَلَـٰمًا

 

O fire! Be coolness and safety.

 

I had done the tafseer from before so I looked it up.

 

Tafseer e Jilani

 

Ya Naaro: O Fire, created on the nature of burning and heat…

 

Kooni bardan: become cool and leave your burning and heat…

 

Wa: and don’t harm Our Friend by your coolness as well but instead become…

 

Salaman: safety i.e. a glad reception and peaceful for him and don’t harm him.

 

How did that come to happen? If

1.I was a Muttaqi, the one who is mindful and conscious of their Rabb, who raised them, Azzo Jal,

 

2.I was sincere in my Zikr because it came from the heart. Not the mind and not the tongue.

 

3.I was Muwwahidan, in union only with Him forgetting the others,

 

4.Musheeran, pointing towards Him, feeling that nearness because I was aware that I was always being seen by Him,

 

5.then BEFORE the trial, when I was dropped into the fire of the distress that causes suffering, He would order for me,

 

یَـٰنَارُ كُونِی بَرۡدࣰا وَسَلَـٰمًا

 

O fire! Be coolness and safety.

 

It was unbelievable!

 

Shaitaan has endless tactics. Ways to enter lives and ruin then. His favourite tactic though is causing ghaflat.

 

Forgetfulness of obeying Divine Commands, forgetfulness of crossing boundaries in the rights of others, forgetfulness of Allah’s remembrance.

 

Fa ansaahum dikr Allah: so he made them forget the remembrance of Allah, Al Munqad, The Only Deliverer from deviation from the straight path, Al Murshid, The Only Guide towards guidance.

 

Hence ghaflat was the deadliest weapon. It naturally created the absence of repentance. That show of remorse was his worst nightmare because he possesses intimate knowledge of the Essence of Subhanahu. He knew what repentance could deliver when expressed with sincerity.

 

The incident from the Masnavi I had translated for that piece was about the waking of Hazrat Amir Muawia (ratu) by Iblis to say his prayers:

 

“Hazrat Amir Muawia (ratu) was asleep one day when he was awakened by someone. When he looked around he saw no one. Then he noticed a man skulking behind the door. He asked, “Who are you?” The man replied, “The world knows me. I am unfortunate Iblis.”

 

Hazrat Amir Muawia (ratu) asked him sternly, “Why have you woken me?” He responded, “The time for prayer is about to pass, O Amir.”

 

Then he quoted the Prophet of God (salutations and greetings be upon the one most distinguished in the blessings of Allah and his beloved family),

 

عجلوا ألطاعات قبل الفوت

 

Complete your worship before it (its time) expires.

 

You should run to the mosque before you miss it.”

 

Hazrat Amir Muawia (ratu) retorted, “You can never want such a thing so as to guide someone. You came in like a thief and now you tell me you are a well-wisher? Why would I believe a thief and then one who claims he wants to benefit me?”

 

Here Iblis uttered the words revealing his envy:

 

‘Once I was ranked amongst the angels and walked the path of obedience willingly. I was the knower of Divine Secrets and a companion of the ones who lived near Allah’s Throne. As travelers roam wherever they might go, the love of the homeland never leaves them. Who has ever forgotten their first love?

 

I have also drunk the waters from the rivers of The Divine’s Blessings and I have also walked in the Gardens of His Pleasure. He placed His Affection upon me as well, looked upon me with Favour. When I was a child, who fed me and guided me? He did.

 

Once I too was a lover of His Entity and Essence. If then that mighty Ocean of His Generosity rejected me, so what? When the heart is separated from what it once loved, then it learns to value the days where there was union.’

 

تا دهد جان را فراقش گوشمال

جان بداند قدر ايام وصال

 

When the separation from Him softly offers reproach,

then one is nostalgic for days passed.

 

Whether it was “kufr,” refusal or whether it was “imaan,” believing, both were made by that Power and both belong to Him.”

 

Hazrat Amir Muawaia (ratu) remained unmoved. “What you say is true but you have no part in it anymore. You misguided countless before me. You are fire, yet you expect me to believe you will not burn me? Who has not been deceived by you? Because of your cunning, the nation of Nuh (as) is still burning in regret. You caused the destruction of the nation of A’ad, drowning them in punishment and grief. The people of Lut (as) were stoned because of you.

 

You have created countless trials for Mankind. Firaoun, the philosopher, scholarly, his powers to reflect were blinded by you. Abu Lahab became ignorant because of you. Abul Hikm was rendered Abu Jahal because of you. You are the ocean of deceit, people but a drop. Answer truthfully. Why would you wake me to pray?”

 

Iblis replied, “Oh man of despair! You do not accept the truth despite a 100 arguments. My fault is only that one bad deed has made me renowned for sinfulness. The truth is that if you had missed your prayer, nothing of the world would have remained of value before your eyes. Tears of pain and loss would have been shed. This crying, this softness of the heart, this intense pain and sadness, would have become the reward of a 100 prayers. I did not want you to let out the sigh that would gain you the deep appreciation of Allah.

 

Remember the man who arrived at the Mosque late and was told by the congregation leaving it that the Messenger of God (peace be upon him and his family by their Lord who gazes upon them) had already said the last “salam.”

 

The young man sighed so deeply, the sound of it shook the listeners’ hearts.

 

One of them said, ‘Give me your sigh and take the blessing of my prayer.’

 

The man accepted his namaz and presented his sigh to me in turn. The sigh was filled with such humility and submission, the one who traded his prayer for it attained a higher rank and more.

 

A voice of the Unseen said to him in a dream, ‘In your trade, you have received the best of life, so rejoice!’

 

Your fear, O Amir, of The Divine and my envy are the reason I woke you. I woke you from the fear that your cries of repentance would burn me with jealousy. I am the envier of Mankind. I can never want anything good for them. In this envy I did what I did. I am the enemy of humans. How can I want that any benefit comes to them?”

 

Hazrat Amir Muawia (ratu) listened to his words then said to Iblis, “Now you have told the truth, O thief. In reality, you do not want that I humbly plead before my Lord with sincerity, that I weep tears of regret and repentance because the rank of that sighing and distress is more dear to Allah than anything else.”

 

ﮐﮧ ﺑﺮﺍﺑﺮ می ﮐﻨﺪ ﺷﺎﮦ ﻣﺠﯿﺪ

ﺍﺷﮏ ﺭﺍ ﺩﺭ ﻭﺯﻥ ﺑﺎ ﺧﻮﻥ ﺷﮩﯿﺪ

 

In equal regard holds The Almighty,

the tears of the sinner, the repentant, and the blood of the martyr.

 

Subhan Allah! The story was exquisitely narrated by Maulana (ra). Was it any wonder that the Masnavi was given the honour of being called the Quran in Farsi.

 

Shaitaan knows what Subhanahu’s Exalted Name Al Ghafoor encompasses. That His Mercy prevails over everything else. So he’s worried that the expression of regret, if it is sincere, might yield a person instant forgiveness. Of not one sin but all of them in one go!

 

Bishar Haafi (ra) was the most extraordinary example of that:

 

Hazrat Bishr Haafi (ra) spent most of his life drinking alcohol and roaming the streets in a state of intoxication. He belonged to a very wealthy family and lived alone. Twice, sometimes thrice a day, he changed his clothes, each garment finer than the next.

 

One day upon reaching his house he came upon a piece of paper lying on the road. It had the words Bismillah Ar-Rahman Ar-Rahim written on it. When he saw his Lord’s Name thrown on the ground like that he started weeping. Then he picked up the paper, kissed it, put some itar (perfume) on it and placed it on a high spot.

 

That night he heard the voice of Allah Al-Afuww, The Supreme Pardoner, asking him, was he not tired yet of being so distant from Him. And just like that, overnight, he became a wali (saint). He left his all of his wealth and roamed the streets barefoot. That is how he got his title, Haafi, the one who walks barefoot.

 

He was one of the few people for whom Imam Hanbal (ra) rose from his seat to greet when he entered and one of the only he walked with out to the street when he left.

When asked why he treated a faqeer, one who had given up the world and its possessions for poverty and worship, with such honour, Imam Hanbal (ra) replied, ““Jiss Rab ko mein maanta hun, Bishr Haafi uss Rab to jaante hain – the Lord that I merely believe in, Bishr Haafi knows that Lord.”

 

Subhan Allah!

 

Shaitaan takes pride in the destruction of Man, declaring it often in the Quran. He thinks he’s fulfilling his promise, keeping his word. One of those is his announcing that he will take a share of everything a Servant of God is bestowed.

Before I read the verse, I thought that was in the context of worldly possessions. Taking control of their possessions to fulfill his general mission to destroy Mankind. The usual ways of doing it via the mechanics inherent in capitalism, endless dictatorships and such. I had written about those extensively because it played out all the time. How it guaranteed his success.

 

But Ghaus Pak (ra) explained it differently.

 

لَّعَنَهُ ٱللَّهُۘ وَقَالَ لَأَتَّخِذَنَّ مِنۡ عِبَادِكَ نَصِیبࣰا مَّفۡرُوضࣰا

 

Allah cursed him and he said, "I will surely take from Your Slaves a portion appointed."

Surah An Nisa, Verse 118

 

Tafseer e Jilani

 

And how can we worship him and call him and indeed…

 

La’anaullahu: cursed Him Allah Subhanahu and expelled him from the Honour of His Presence and made him leave from (the list) of His Sincere Worshippers for the sake of deceiving the worshippers for the purpose of shirrk, associating others with Allah, and tughyan, oppression…

 

Wa: and after that he became hopeless of Allah’s Clemency and in despair of His Mercy…

 

Qala la’attakhidanna min ibadika: he said, “I will surely take from Your Servants, the ones because of whom you expelled me and because of whom you made me distant (from You)…

 

Naseeban: a portion, a share complete from what You made for him…

 

Mafroudan: appointed for them from Your Tauheed, Your One-ness, and honouring You by deluding them and deceiving them so that they commit shirrk (hoping and expecting from others except You) and associate others with You and say about You what is inappropriate for Your Majesty till they will fall by this from the binding of Your Safekeeping and Your Guardianship and become deserving of Your Displeasure and Your Anger.

 

The Displeasure and Anger would be coming one way or the other. It could be felt willingly or one would be made to feel it. Either way, it was unavoidable!

 

In each tafseer I was noticing what caused Allah Subhanahu’s Anger and Displeasure. Shaitaan had robbed me of my share for my entire life. I would have remained in that robbed state performing rote rituals even if some of them were above what was obligatory. I would have remained a Mushrik till my dying day had my Master not intervened in the manner that he did.

Ghaus Pak (ra) was the perfect manifestation of the undeniable truth that ends Surah Fatiha. Only following in the footsteps of the ones bestowed inaam, Divine Favours, was the path of least resistance. Least humiliation. Least agony.

 

For as I shockingly learnt from the Quran, even the infidels of Mecca who were proud of being Mushrikeen, it was their inherited tradition, believed in Subhanahu. After Him they worshipped those self-created idols of clay that they adorned the Ka’aba with.

 

Even they, when asked, who made these heavens and the earth, replied, “Allah.”

 

وَلَىِٕن سَأَلۡتَهُم مَّنۡ خَلَقَ ٱلسَّمَـٰوَٰتِ وَٱلۡأَرۡضَ لَیَقُولُنَّ ٱللَّهُۚ

 

And if you ask them who created the heavens and the earth? Surely, they will say, "Allah." Say, "Then do you see what you invoke from besides Allah?

Surah Az-Zumar, Verse 38

 

Tafseer e Jilani

 

Then pointed Subhanahu towards elaborating on His Tauheed, Divine One-ness, indicating to the Mushrikeen, the ones who associate others with Him, registering their state of beguile and allurement and being foolish, so He said, addressing His Beloved (upon whom and whose family He sends greetings and salutations continuously):

 

Wa la’in sa’altahum: And if you ask them, O Akmal Ar Rusul, Messenger who perfects the Messengerhood (Allah sends greetings and salutations upon you and your family since always), the disbelievers of the Quresh…

 

Man khalaqas samawaati wal ard: who created the Heavens and the Earth i.e. the highest in creation and the lowest in creation and what is between them from their mixing and who has brought them into existence and who has constructed in them and who has made to appear what is in them from the natural wonders and peculiarities…

 

Layaqoolunna: so they say, for sure…

 

Allah: Al Muttafarrid, The Only One who creates and invents, Al Muttwaahid, The One All Alone in His being worshipped and His being The Sustainer, because they have no power to turn away from this answer with their backs.

 

Ghaus Pak (ra) too was displeased and angry with me. But only out of his love for His Lord. That was the way of His Friends. They only loved because of Him. They only had enemity because of Him. I was deserving of that wrath upon me. In hindsight I was fortunate that it came.

 

In a single page he had expressed his irritation, reprimanded me, then taught me a prayer that brought me before my Lord in utmost repentance and showed me how even suffering ordained could morph into the opposite, become a blessing.

Thus I began to see how the barzakh, that partition of the Divine’s Mercy, began to take form in my life.

 

In Lahore it was part of my daily routine to visit an elderly friend who had been unwell for years. There were good days and bad but as a result of ever increasing illnesses that brought with them acute pain, more and more they would be in the worst mood possible.

 

But they too had a Spiritual Master. So every so often, he would step in and lift them out of the bitterness they were drowning in. Like a breather to remind them of who they were and not who they had become. Then they would be let go again and sink. That was how it was playing out for now.

 

The Spiritual Master is the Arif. Since Ghaus Pak (ra) says that they can see destiny ordained, they decide when to step in, for how long and when to retreat to let the disciple’s journey play out. But they are always there, keeping their eye on those who are in their charge, looking into their hearts to see how rusted they have become.

 

Each day I entered the house not knowing what mood awaited me. Mostly I was greeted with intense sarcasm, mistrust which manifested in a poisonous tongue resulting in complete humiliation. Sometimes I was alone in the room, other times people were present who ignored the incidence. I always wondered why they were silent. I was about to find out.

 

I had been reciting the prayer gifted to me by Ghaus Pak (ra). Then I was uttering it as my own repentance but like all prayers, there were branches of other Divine Mercies emanating from it. A day or two later, I entered the room expecting a thrashing. We happened to be sitting right next to each other. It was early in the day. She was being served breakfast.

 

All I had said thus far was “How did you sleep?”

 

In response came a fire of reproaches. How I could not be relied upon. I was insincere. Selfish. And so on. On every other occasion, no exceptions, I would attempt to exercise patience as I had learnt it. Silent in the tongue, begrudging in the heart, angry in the mind. Even that didn’t always work. Sometimes I would lose it and say something curt, leaving earlier than I would otherwise. Only to be extremely disappointed in my failure of restraint, beating myself up about it before I even reached my car to head home.

 

On that day, as we sat so close to each other that our thighs almost touched, I listened to the sharpness of the words that normally sliced through my heart with a calm I had never experienced before. It was so eerie that I just sat there making sure what I was feeling was in fact real. I felt like they were speaking to someone else in the room. But there was no one else.

 

I focused on my heart. Did it feel a grudge, sorry for itself for being attacked without provocation? It didn’t. I honed in on my mind. Was it angry or rolling its eyes thinking, “Here we go again.” It wasn’t. There was a partition between us. The barzakh I had pleaded for with my weeping had appeared.

It was so unexpectedly crazy it felt like magic!

 

The truth, as it turned out, was that everyone followed Iblis. The believers, the non-believers. The grateful, the ungrateful. He turns each Mo’min into a Kafir. At some point or the other, everyone was taken in by his seduction. No one’s nafs was spared.

 

Except for one group!

 

وَلَقَدۡ صَدَّقَ عَلَیۡهِمۡ إِبۡلِیسُ ظَنَّهُۥ فَٱتَّبَعُوهُ إِلَّا فَرِیقࣰا مِّنَ ٱلۡمُؤۡمِنِینَ

 

And certainly, Iblis found his assumption about them to be true, so they (all) followed him except a group of the believers.

Surah As Saba, Verse 20

 

Tafseer e Jilani

 

Then said Subhanahu taking an oath…

 

Wa: upon Himself…

 

Laqad saddaqa: indeed he, Iblis, authenticated…

 

Alayhim: upon those, Al Haalikeen, the ones who destroy themselves in the maze of khusraan, losses and kufraan, denial and ingratitude…

 

Iblis: the enemy for them, persistent, permanent in enemity with them from the beginning of their creation…

 

Dannahu: his belief, which was what he thought to be true for them when he said to their father, the Prophet Adam (as),

 

لَأَحۡتَنِكَنَّ ذُرِّیَّتَهُۥۤ إِلَّا قَلِیلࣰ

 

I will surely destroy his offspring except a few – Al Isra, 62

 

Tafseer e Jilani

 

La ahtanikanna durriyaatahu: Iblis said: I will make them wayward and trap them with vulgarity and by alluring them to do something wrong so that I can erase their names from the book of believers. So how can they become of the Arifeen, the ones who recognize Allah and the Al Mukaashifeen, for whom everything unveils, Al Mushahideen, the witnessing ones because what they are made from and their foundation, it demands different kinds of corruption and various kinds of sin and waywardness.

 

And for me there are many opportunities (through these demands) to create paranoia for them and allure them till they become misguided from the straight path of guidance and the way of correctness…

 

Illa qaleela: except a few amongst them for indeed they are Sabitoon, steadfast on what they are set up on. I have no power to persuade them towards wrongdoing because they are Muwwayadeen, assisted by You and they are Muwwafiqeen, granted ability by Your Power.

 

And he said:

 

وَلَا تَجِدُ أَكْثَرَهُمْ شَكِرِينَ ‎

 

And you will not find most of them to be grateful - Surah Al Araaf, Verse 17

 

Tafseer e Jilani

 

La tajidu: You will not find, Ya Muizzu, O You who is The Bestower of Honour to everybody else in in humiliation and The One directing the astray to the Right Path…

 

Aksarahim Shakireen: most of them to be grateful when they will return towards You, they will be not be the grateful ones, spending from what You bestowed them of blessings on what You commanded them not to do.

 

And he said:

 

وَلَأُضِلَّنَّهُمۡ وَلَأُمَنِّیَنَّهُمۡ

 

And I will surely deceive them and surely arouse desires in them – An Nisa, Verse 119

 

Tafseer e Jilani

 

Wa laudillanahum: And I will surely deceive them by different deceptions and whisperings of doubt and paranoia from the Way of Your Tauheed, One-ness…

 

Wa layumanniannahum: and I will arouse desires in them by their concerns with their livelihood in this place of deception (the world) with hirs, greed and tool al amal, never ending hopes and all types of desires of their nafs, their egos, which arise from lust and (seeking of) pleasure and much else apart from this. And after that he misguided them from the path of

 

Shukr, Gratitude and Imaan, faith…

 

Fattaba’uhu: they followed him, ungrateful and denying of the blessings and Al Munim, the Bestower of those Blessings, all of them…

 

Illa fareeqan min al Mo’mineen: except a group from the

Mo’mineen, the believers, Al Mu’qineena, possessing certainy in the Tauheed, the One-ness of Allah, Al Musaddeqeena, attesting to His Prophets, Al Muttadakkireena, taking warning that he is their enemy forever, so they turned back from him and from his persuasion by deception, thus they remained Saalimeen, secure, from his persuasion to deceive.

 

No wonder a connection to that group was deemed essential to receive guidance. They were in a count, set apart from everyone else in Creation. They were the ones who were “an’amta alayhim.”

 

The inordinate focus on the prayer from Ghaus Pak (ra) brought my attention to the verses expounding on the etiquettes of the prayer in the Quran. I looked them up:

 

ٱدۡعُوا۟ رَبَّكُمۡ تَضَرُّعࣰا وَخُفۡیَةًۚ

إِنَّهُۥ لَا یُحِبُّ ٱلۡمُعۡتَدِینَ

 

Call upon your Lord humbly and privately.

Indeed, He (does) not love the transgressors.

Surah Al Araaf, Verse 55

 

Tafseer e Jilani

 

Udu’u: Call upon Him, those who have been set up on the true nature of Tauheed, One-ness…

 

Rabbukum: your Rabb, Al Mutafarraq, The One who is Unique in your raising and in making you appear…

 

Tadarru’an: (call upon Him) humbly as the ones who beseech Him…

 

Wa khufiatan: and quietly, as the ones hiding and the ones scared, and the ones submissive from the depths of the heart, not unstable in the edges of the tongue like the transgressors.

 

Innahu la yuhibbil Mu’tadeena: Indeed, He does not like the ones who cross the boundaries of what is right, the Al Mujawizeena, the ones who exceed limits, the Al Mujahireena, the ones who ask for things loudly, Al Maalliheena, the ones who ask for wrong things in their prayer because His Knowledge of their states is enough regarding their asking.

 

It was new word for me. Mu’tadeena! I knew already Subhanahu did not like the Kafireen, the deniers of truth. He did not like the Zalimeen, the unjust, the ones who crossed limits. He did not like the Faisqeen, those defiant in their disobedience. The Mu’tadeen were also transgressors. Overtly they seemed the same as the Kafireen.

 

Except in the tafseer, everything about them seemed to be related to those of us who were on the inside of the circle of Islam. For we the ones who were praying to Subhanahu. Except we were asking for things loudly. We were asking for things wrongly. We did not deny Subhanahu. We deluded ourselves that we were aspiring to be of the Mo’mineen, the believers. We didn’t even know we had become aligned with the disbelievers. Like them we were not scared of Him.

 

The most exalted of prayers in the Quran are the ones Allah Subhanahu Himself taught His Beloved (salutations and greetings upon him and his blessed family and the utterance that came forth from them that lead the way to our salvation). It was as if He said to him, “Ask from me this and ask it like this.”

 

One of those prayers then appeared that seemed to be exactly for such a situation. For if one was being rendered a transgressor whilst in prayer, then clearly refuge was in need from Shaitaan who was prevailing in exactly that moment. A moment that one thought was intensely private and only between them and their Lord.

 

وَقُل رَّبِّ أَعُوذُ بِكَ مِنۡ هَمَزَتِ ٱلشَّیَـٰطِینِ

 

And say, "My Lord! I seek refuge in You from the suggestions (of) the evil ones,

 

وَأَعُوذُ بِكَ رَبِّ أَن یَحۡضُرُونِ

 

And I seek refuge in You, My Lord! Lest they be present with me."

Surah Al Mu’minoon, Verse 97-98

 

Tafseer e Jilani

 

Wa qul Rabbi: So say, “O Lord who raises me by Your Kunf, Safekeeping and Jawaar, Watchfulness…

 

Audo bika min hamazaati Shayateen: I seek refuge in You from the promptings of the evil ones and their waswase, whisperings and the different kinds of seductions and

misleading.

 

Wa: And especially…

 

Aoudo: I seek protection and come into refuge…

 

Bika: with You, O…

 

Rabbi Ayyahdiroon: my Lord, lest they come near me and let my focus be upon You and when my heart is soft in its inclination towards You and I invoke You, especially during my prayer and during my recitation and during the time I present my needs to You.

 

It revealed to me why the recitation of the namaz, why the recitation of the Quran, all worship was made to begin with seeking of refuge from Shaitaan and his followers.

 

فَإِذَا قَرَأۡتَ ٱلۡقُرۡءَانَ فَٱسۡتَعِذۡ بِٱللَّهِ مِنَ ٱلشَّیۡطَـٰنِ ٱلرَّجِیمِ

 

So when you recite the Quran, seek refuge in Allah from the Shaitaan, the accursed.

Surah An Nahl, Verse 98

 

Fasta’id: then seek refuge and invoke, first of all…

 

Billahi: Allah, Al Mutajalli, The One who unveils, by the attribute of speech, which makes others helpless before it, Al Hafeed, The Protector of His Sincere Servants from everything in useless sins and disobedience…

 

Min: (which occur) due to doubts and paranoia…

 

Ash Shaitaan ar rajeem: from Shaitaan the accursed one, Al Matrood, the one expelled and the one made distant from the court of the Presence of Allah Azzo Jal with the stoning of the effects of the Attributes of Allah’s Wrath and (seek refuge) from his delusions and rationalizations which are the armies of desire and forgetfulness and false imaginings and thrilling hallucinations which persuade different kinds of hopes and lust.

 

Basically possibilities!

 

Yet another revelation that came to me through the prayer Ya Haailo had to with the virtue of patience.

 

قُلۡ یَـٰعِبَادِ ٱلَّذِینَ ءَامَنُوا۟ ٱتَّقُوا۟ رَبَّكُمۡۚ لِلَّذِینَ أَحۡسَنُوا۟ فِی هَـٰذِهِ ٱلدُّنۡیَا حَسَنَةࣱۗ

إِنَّمَا یُوَفَّى ٱلصَّـٰبِرُونَ أَجۡرَهُم بِغَیۡرِ حِسَابࣲ

 

Say, "O My slaves those who believe!

Be mindful of your Lord. For those who do good in this world is good,

Only will be paid back in full the patient ones their reward without account."

Surah Az Zumar, Verse 10

 

Tafseer e Jilani

 

Qul: Say, Ya Akmal Ar Rusul (Allah sends blessings and salutations upon you since the beginning of everything), O Messenger who completes the Messenger-hood, give this message on Our Behalf, calling out to the selected sincere amongst my Servants…

 

Ya ibadi: O My Worshippers, by attaching them with His Essence making them special and honouring them…

 

Alladina aamano: those who attained to faith from amongst you in the One-ness of My Essence and My Appearance according to My Affairs and My Ever changing-ness in accordance with My Names and Attributes, the requirement of your faith is taqwa, mindfulness from the demands of your desires…

 

Ittaqu Rabbukum: be conscious of your Lord and stay away from what is forbidden by Him and what He has ordered prevented for you and characterize yourself with His Commands and know that He…

 

Lilladina ahsanu: for the ones with spiritual excellence and beautiful regard with Allah…

 

Fi hadihi duniya: in this world, which is the place of gaining lessons and choosing…

 

Hasana: there is goodness, multifold and more than a thousand times more than that in the Hereafter which is the Dar al Qarar, the abode which is forever so take heed, O people of vision, both inner and outer.

…

Innama yuwaffa as sabiroon: Only the steadfast are given in full as the Al Mutahammiloona, the ones who carry their burdens with the different kinds of difficulties and toiling with patience in the practice of Imaan, faith…

 

Ajrahum: their reward and in abundance upon them will be goodness and different kinds of recompenses and honours…

 

Bighairi hisaab: without count, for all of it and exceeding it, with no possibility of measure and enumeration and without any number, merely by His Bounty for them and His Honour upon them.

 

My way of practicing it was about to change.

 

Continued on: www.flickr.com/photos/42093313@N00/52649820039/in/datepos...

 

Instagram : saikunw

This guy was proper fast.I never raced against him cause he quit the year before I started but I used to watch him all the time, he carried real speed.

The first time I have caught him in flight. He put on quite a show hunting. This photo is quite cropped as I kept my distance, not wanting to disturb him. At one point however a chipmunk came out and ran around by the tree I was standing next to, and the owl flew over and landed right over my head. I cannot believe my good fortune this last month and am enjoying every minute.

This red-figure squat lekythos (oil bottle) depicts a scene with the queen of the gods, Hera, suckling the baby Herakles. Hera wears a stephane (tiara) ornamented with palmettes, earrings, a necklace, a long-girt sleeved chiton, and an embroidered himation (cloak) with a meander border pulled up over her head in a veil. She holds a long scepter ending in a lotus flower. The suckling Herakles is represented as a nude youth with bracelets, shoulder belt, and a stack of anklets running up his legs. On the right of the scene is winged Iris - Greek goddess of rainbows and a messenger of the gods, Hera in particular - who wears bracelets, a necklace, and a short-girt chiton with a cross-belt. She also wears endromides - a type of boot that reaches mid-tibia - with white studs, leaving the toes and heels bare, and carries a knotty staff in her left hand. On the very far right, mostly hidden in this photograph, is a seated Alcmena (Alkmene), wearing an embroidered opisthosphendone (a band of fabric used to support the hair behind the head), jewelry, long-girt chiton fastened with fibulae at the shoulders, and a bordered himation. She holds up a wreath. Standing to the left of Hera is a surprisingly non-armored Athena, wearing a long-sleeved chiton and diploidion fastened at her shoulders. Her aegis - a protective cloak with the image of a gorgon - hangs from her left arm as she holds out a flower for Hera. Aphrodite and Eros are on the far left, out of this photo.

 

Hera suckled baby Heracles (Hercules) because Zeus tricking her into it, often while she was asleep, so he could gain divine power from her milk, which also explained the creation of the Milky Way when she pushed him away in pain from his strong suckling; this act symbolically legitimized Heracles as a son of Zeus and granted him godlike abilities, despite Hera's usual hatred for the illegitimate child.

 

Greek, made in Apulia, ca 365-350 BCE. Attributed to the Suckling Painter (this is his name vessel). Found in Anzi, Potenza, Italy.

 

British Museum, London (1846,0925.13)

Of course climb up there might have killed him, lol ;))