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Host Bruno Giussani at TEDGlobal Geneva - December 8, 2015, Bâtiment des Forces Motrices, Geneva, Switzerland. Photo: James Duncan Davidson/TED
Breakfast hosted by the United Arab Emirates, 6 December 2011. ILO 15th Asia and the Pacific Regional Meeting, Kyoto, Japan, 4-7 December 2011.
by Emi Bell
March '15
Downtown Los Angeles, CA
Kodak Disposable
Matt Jaffe & The Distractions Music Video Shoot for "Stoned On Easter"
Soumbou and her family are living with a host family that took them in. Sebi, the village Soumbou is from, was taken over by violence, and so she and her family left all they had behind and fled.
“In my hometown, we were constantly threatened by attacks, torture, killings and all kinds of violence,” says Soumbou.
“To survive, I make traditional mats. Whatever I earn, I spend it all on food, housing, and for the children.”
Soumbou and her family receive cash transfers to help cover basic needs. “The assistance I receive, I also share it with my host. I also pay with it medicine for the children and buy washing soap, so this help is very useful to me.”
© Solidarités International, 2020. All rights reserved. Licensed to the European Union under conditions.
2020 True Wrestler Napa Valley Girls Classic, hosted by Vintage HS, Napa, California, USA. Photos by John Sachs www.tech-fall.com
Descubre nuestra gran ola en la habitación Pipe Room del Hostal Rooms Deluxe en Valencia. ¡¡Ven a surfear!!
Reserva: www.roomsdeluxe.com/
*Habitaciones sujetas a disponibilidad. El hostal no garantiza la elección de la habitación.
Pūjā is a prayer ritual performed by Hindus to host, honour and worship one or more deities, or to spiritually celebrate an event. Sometimes spelled phonetically as Pooja or Poojah, it may honour or celebrate the presence of special guest(s), or their memories after they pass away. The word Pūjā (Devanagari: पूजा) comes from Sanskrit, and means reverence, honour, homage, adoration, and worship. Puja rituals are also held by Buddhists, Jains and Sikhs.
In Hinduism, puja is done on a variety of occasions, frequency and settings. It may include daily puja done in the home, to occasional temple ceremonies and annual festivals, to few lifetime events such as birth of a baby or a wedding, or to begin a new venture. The two main areas where puja is performed are in the home and at temples to mark certain stages of life, events or some festivals such as Durga Puja and Lakshmi Puja. Puja is not mandatory; it may be a routine daily affair for some Hindus, periodic ritual for some, and infrequent for other Hindus. In some temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.
Puja varies according to the school of Hinduism. Within a given school, puja may vary by region, occasion, deity honored, and steps followed. In formal Nigama ceremonies, a fire may be lit in honour of deity Agni, without an idol or image present. In contrast, in Agama ceremonies, an idol or image of deity is present. In both ceremonies, a diya or incense stick may be lit while a prayer is chanted or hymn is sung. Puja is typically performed by a Hindu worshipper alone, though sometimes in presence of a priest who is well versed in procedure and hymns. In temples and priest-assisted event puja, food, fruits and sweets may be included as offerings to the deity, which, after the prayers, becomes prasad - blessed food shared by all present at the puja.
Both Nigama and Agama puja are practiced in Hinduism in India. In Hinduism of Bali Indonesia, Agama puja is most prevalent both inside homes and in temples. Puja is sometimes called Sembahyang in Indonesia.
ETYMOLOGY
Puja (Sanskrit: पूजा) is an ancient word, with unclear origins. Joshi claims the word puja was first used in vedic times when Sūtra were composed, to describe prayers and worship before yajna or homa - fire deity, Agni. Charpentier suggests the origin of the word Puja may lie in the Dravidian languages. Two possible Tamil roots have been suggested: Poosai "to smear with something" and Poochei "to do with flowers".
ORIGNS
According to scholars, one of the earliest mentions of Pūjā is in the Grihya Sutras, which provide rules for domestic rites. These Sutras, dated to be about 500 BC, use the term puja to describe the hospitality to honor priests who were invited to one’s home to lead rituals for departed ancestors. As Hindu philosophy expanded and diversified, with developments such as the bhakti movement, the vedic puja ritual were modified and applied to the deities. As with vedic times, the general concept of puja remained the same, but expanded to welcoming the deity along with the deity's spiritual essence as one's honored guest. The Puranic corpus of literature, dating from about 6th century CE, contain extensive outline on how to perform deity puja (deva pūjā). Deity puja thus melds Vedic rites with devotion to deity in its ritual form. As with many others aspects of Hinduism, both Vedic puja and devotional deity puja continued, the choice left to the Hindu.
As a historical practice, Pūjā in Hinduism, has been modeled around the idea of hosting a deity, or important person, as an honored and dearest guest in the best way one can, given one's resources, and receiving their happiness and blessing in return. Paul Thieme suggests from passages in the Rāmāyaṇa that the word pūjā referred to the hospitable reception of guests and that the things offered to guests could be offered to the gods and their dwellings. The rituals in question were the "five great sacrifices" or pañcamahāyajña recorded in the Gṛhyasūtra texts (for this literature, see Kalpa). The development of pūjā thus emerged from Vedic domestic traditions and was carried into the temple environment by analogy: just as important guests had long been welcomed in well-to-do homes and offered things that pleased them, so too were the gods welcomed in temple-homes and offered things that pleased them. Copper-plate charters recording grants of lands to temples show that this religious practice was actively encouraged from the mid-4th century.
SIGNIFICANCE OF PUJA
In the earliest texts describing Vedic puja, the significance of puja was to host the priest so that he could make direct requests to the gods. An example petition prayer made during a Vedic puja, according to Wade Wheelock, is:
Indra-Agni, slayers of Vrtra with the beautiful thunderbolt, prosper us with new gifts;
O Indra, bring treaures with your right hand;
O Agni grant the enjoyments of a good household;
Give (us) vigor, wealth in cattle, and possession of good horses.
- ÄsvSü
In contrast to Vedic pujas, the significance of deity pujas shifted from petitions and external goals to the experience of oneness with the deities and their spiritual essence. It became a form of yoga whose final result aimed to be the consciousness of god through homage to god. Nevertheless, even with this evolved theoretical spiritual significance, for many people, puja continued to be a vehicle to petition desires and appeals, such as for good health of one's child, speedy recovery from illness, success in venture envisioned or such. In the structure and practice of puja, the mantras and rituals focus on spirituality, and any petitions and appeals are tacked only to the end of the puja.
Zimmer relates puja to yantras, with the rituals helping the devotee focus on the spiritual concepts. Puja in Hinduism, claims Zimmer, is a path and process of transformation of consciousness, where the devotee and the spiritual significance of the deity are brought together. This ritual puja process, in different parts of India, is considered to be liberating, releasing, purifying and a form of yoga of spirit and emotions.
Puja in Hinduism sometimes involves themes beyond idols or images. Even persons, places, rivers, concrete objects or anything is seen as manifestations of divine reality by some Hindus. The access to the divine is not limited to renunciatory meditation as in yoga school of Hinduism or idols in bhakti school. For some the divine is everywhere, without limit to its form, and a puja to these manifestations signifies the same spiritual meaning to those who choose to offer a prayer to persons, places, rivers, concrete objects or anything else.
TEMPLE PUJA
Temple (Mandir) pūjā is more elaborate than the domestic versions and typically done several times a day. They are also performed by a temple priest, or pujari. In addition, the temple deity (patron god or goddess) is considered a resident rather than a guest, so the puja is modified to reflect that; for example the deity is "awakened" rather than "invoked" in the morning. Temple pujas vary widely from region to region and for different sects, with devotional hymns sung at Vaishnava temples for example. At a temple puja, there is often less active participation, with the priest acting on behalf of others.
ELABORATE PUJA
A full home or temple puja can include several traditional upacaras or "attendances". The following is an example puja; these steps may vary according to region, tradition, setting, or time particularly in ways the deity is hosted. In this example, the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, hymns and food are offered to the deity, after an expression of love and respect the host takes leave and with affection expresses good bye to the deity. Indologist Jan Gonda has identified 16 steps (shodasha upachara) that are common in all varieties of puja:
1. Avahana (“invocation”). The deity is invited to the ceremony from the heart.
2. Asana. The deity is offered a seat.
3. Padya. The deity’s feet are symbolically washed.
4. Water is offered for washing the head and body
5. Arghya. Water is offered so the deity may wash its mouth.
6. Snana or abhisekha. Water is offered for symbolic bathing.
7. Vastra (“clothing”). Here a cloth may be wrapped around the image and ornaments affixed to it.
8. Upaveeda or Mangalsutra. Putting on the sacred thread.
9. Anulepana or gandha. Perfumes and ointments are applied to the image. Sandalwood paste or kumkum is applied.
10. Pushpa. Flowers are offered before the image, or garlands draped around its neck.
11. Dhupa. Incense is burned before the image.
12. Dipa or Aarti. A burning lamp is waved in front of the image.
13. Naivedya. Foods such as cooked rice, fruit, clarified butter, sugar, and betel leaf are offered.
14. Namaskara or pranama. The worshipper and family bow or prostrate themselves before the image to offer homage.
15. Parikrama or Pradakshina. Circumambulation around the deity.
16. Taking leave.
Sometimes additional steps are included:
1. Dhyana (“Meditation”). The deity is invoked in the heart of the devotee.
2. Acamanıya. Water is offered for sipping.
3. Aabaran. The deity is decorated with ornaments.
4. Chatram. Offering of umbrella.
5. Chamaram Offering of fan or fly-whisk (Chamara).
6. Visarjana or Udvasana. The deity is moved from the place.
There are variations in this puja method such as:
1. Pancha upachara pooja (puja with 5 steps).
2. Chatushasti upachara puja (puja with 64 steps).
The structure of elaborate puja also varies significantly between temples, regions and occasions.
QUICK PUJA
A quick puja has the same structure as acts ordinary people would perform for a quick reception, hospitality and affectionate interaction with a beloved guest. First the deity is greeted, acknowledged by name and welcomed, sometimes with a diya or lighted incense stick. The devotee proceeds to connect with the spiritual manifestation by meditating (a form of darshan), or chanting hymns and mantras, then personal prayers follow. After prayer is finished, the spiritual visitor as guest is affectionately thanked and greeted good bye. A quick meditative puja is sometimes offered by some Hindus without an idol or image. According to Fuller, Hindu texts allow flexibility and abbreviated puja according to occasion, needs and personal preferences.
PUJA IN BALINESE HINDUISM
In Hinduism of Bali Indonesia, puja is sometimes called Sembahyang. The word originates from two words in old Javanese: sembah and hyang. Sembah means to respect and bow down; Hyang means divine, God/Shang Hyang Widhi, holy man, and ancestors. So to pray means to respect, bow down, surrender to the divine and ancestors.
Sembahyang (Puja) is an obligation for Balinese Hindus, the prayers and hymns are derived from the Vedas. A family typically offers prayers everyday, with Kewangen and other offerings. Kewangen means aromatic, and it is made from leaves and flowers in form of auspicious Vedic symbols. Balinese use kewangen to worship the divine, both in form of Purusha (soul) and Pradana (body). As with India, Balinese make offerings, including symbolic inclusion of fire, incense and mantras.
GURU PUJA
In the case of great spiritual masters, there is also a custom to perform puja for a living person. Gurus are sometimes chosen as objects of puja and honored as living gods or seen the embodiment of specific deities. Gurus are sometimes adorned with symbolic clothes, garlands and other ornaments, and celebrated with incense, washing and anointing their feet, giving them fruits, food and drinks and meditating at their feet, asking for their blessing.
PUJA AS A SOCIAL, HUMAN RIGHTS EVENT
As with Church services in Christianity, Pūjā in Hinduism has served as a means for Hindu communities outside India to gather, socialize, discover new friends and sometimes discuss ways to address social discrimination of Hindus. For example, Marion O'Callaghan reports that the Hindu diaspora brought as indentured laborers to Trinidad by the British colonial government, suffered discriminatory laws that did not recognize traditional Hindu marriages or inheritance rights of children from a traditional Hindu marriage, nor did the non-Hindu majority government allow pyre cremation or construction of crematorium. These Hindu rituals were considered pagan and uncivilized. Pujas offered a way for Hindus to meet, socially organize and petition their human rights. Over time, pujas became as much as social and community recreational event, as a religious event.
CRITIQUE OF PUJA IN THE PURVA MIMAMSAKA SCHOOL
Although pūjā is accepted as a valid religious activity by Hindus at large, it has long been criticised by Mīmāṃsā thinkers. The foundational work of this school is the Karmamīmāṃsāsūtra or "Aphorisms for Enquiry into the Act," composed by Jaimini. The earliest surviving commentary is by Śabara who lived around the end of the fourth century. Śabara's commentary, known as Śabarabhāṣya holds pride of place in Mīmāṃsā in that Sabara's understanding is taken as definitive by all later writers. In his chapter entitled Devatādikaraṇa (9 : 1: 5: 6-9), Śabara examines the popular understanding of the gods and attempts to refute the belief that they have material bodies, are able to eat the offerings made to them, and are capable of being pleased and so able to reward worshippers. Basing himself on the Vedas (he refused to accept the Mahābhārata, Purāṇa texts or even the Smṛti literatures as valid sources of authority), Śabara concludes that the gods are neither corporeal nor sentient and thus unable to enjoy offerings or own property. For this he appeals to empirical observation, noting that offerings do not decrease in size when given to the gods; any decrease is simply due to exposure to the air. Likewise he argues that substances are offered to gods not according to the wishes of the gods, but that "what is vouched for by direct perception is that the things are used according to the wishes of the temple servants (pratyakṣāt pramāṇāt devatāparicārakāṇām abhiprāyaḥ). In the course of his discussion, Śabara's asserts that "there is no relation between the case of guests and the sacrificial act." This incidental remark provides sound historical proof that pūjā was built on analogy with atithi, the ancient Vedic tradition of welcoming guests. What Śabara is maintaining is that this analogy is not valid. While the Mīmāṃsakas continued to maintain this interpretation for centuries, their defeat in debate at the hands of Śaṅkarācārya led to theirs being a minority view. It is a remarkable testament to the plurality and tolerance of Indian civilization that Mīmāṃsakas flourished even into the 17th century, as evidenced by the commentaries of Nīlakaṇṭha.
REGIONAL NAMES
Puja, sometimes spelled pooja, is called பூஜை in Tamil, and bucha (บูชา) in Thai.
WIKIPEDIA
The Cocoa Butter Club Gay Pride Review Hosted by Sadie Sinner the Song Bird at Kurt Geiger luxury British footwear and accessories retailer Shop Westfield's London
Mingle Media TV and our Red Carpet Report hosts Corinne Henneberry and Keetin Marchi were on the red carpet talking to the talent and creators at this summer's NBCUniversal Press Tour over two days at the Beverly Hilton Hotel to learn more about for their upcoming Fall and Winter programs.
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2016 NBCUniversal’s Summer Press Tour
We saw and spoke with the following actors from these NBCUniversal Networks and cable shows. For more info, please visit www.NBC.com
William Shatner - NBC’s “Better Late Than Never”
Jeff Dye - NBC’s “Better Late Than Never”
Jesse Lee Soffer - NBC’s “Chicago P.D.”
Jesse Spencer - NBC’s “Chicago Fire”
Harry Connick Jr. - TVD’s “Harry”
D’Arcy Carden & William Jackson Harper - NBC’s “The Good Place”
Brian Tee - NBC’s “Chicago Med”
JR Lemon & Robert Bailey Jr - NBC’s “The Night Shift”
Susan Kelechi Watson - NBC’s “This Is Us"
Mandy Moore - NBC’s “This is Us”
Milo Ventigmilia - NBC’s “This Is Us”
Gerina Piller - US Olympic Women's Golf Team
Lauren Ash & Mark McKinney - NBC’s “Superstore”
Matt Iseman, Kristine Leahy & Akbar Gbajabiamila - NBC’s “American Ninja Warrior”
Malcolm Barrett - NBC’s “Timeless”
Justin Hartley - NBC’s “This is Us”
Ron Cephas Jones - NBC’s “This Is Us"
Colton Dunn, Nico Santos & Nichole Bloom - NBC’s “Superstore”
Bonin Bough - CNBC's "Cleveland Hustles"
Melanie Collins - The Golf Channel's "Driver Vs Driver” -
Margaret Cho, Brad Goreski & Melissa Rivers - E!'s "Fashion Police”
Gale Anne Hurd - Executive Producer, USA Network's "Falling Water"
Will Yun Lee, Lizzie Brouchere & David Ajala - USA Network's "Falling Water” -
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
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Cabaret Show by The Cocoa Butter Club Hosted by Sadie Sinner the Song Bird at 1 Lombard Street Restaurant City of London - Brilliant Creativity Highly Recommended
Hosted a local Meet-Up for the State of Maine Photography Facebook Group; This was one of the shots. Great to meet new people, some coming from 2 and 4 hours away!
Mingle Media TV and Red Carpet Report host, Linda Antwi, were invited to cover the opening night red carpet at the 11th Annual Indian Film Festival of Los Angeles (IFFLA) at the Arclight Hollywood Theater where Gangs of Wasseypur was screening. The six-day festival is the premiere platform for the latest in cutting edge global Indian cinema and bridges the gap between the two largest entertainment industries in the world – Hollywood and India.
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ABOUT IFFLA:
Now in its 11th year, the Indian Film Festival of Los Angeles (IFFLA) is a nonprofit organization devoted to a greater appreciation of Indian cinema and culture by showcasing films, honoring entertainment industry business executives, and promoting the diverse perspectives of the Indian diaspora. For more information:
www.indianfilmfestival.org. Facebook: www.facebook.com/indianfilmfestival Twitter: twitter.com/iffla
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American Vice-President Lyndon B. Johnson and Mrs. Johnson at Rashtrapati Bhavan (Presidential Mansion) soon after their arrival in New Delhi May 18, 1961. Photo shows (from left) Prime Minister Nehru, Mrs. Stephen Smith (President Kennedy’s Sister), Vice President Johnson, Mrs. Johnson, and India’s Vice – President Radhakrishnan.
HP主持人- 邵庭 Nikki [ 2007 台北電腦應用展 Taipei Computer Applications Show ]
Canon EOS 30D + Tamron SP AF 17-50mm f/2.8 XR Di II + Canon Speedlite 430EX
August 03, 2007
Photo by Yueh-Hua © All rights reserved
The COVID-19 response outreach collaboration in partnership with DHS-funded Multidisciplinary Teams, LAHSA’s Homeless Engagement Team, Department of Mental Health HOME Team, LA Sheriff Department HOST, and Department of Public Health conduct outreach in Lancaster, April 28, 2020. The outreach teams have an increased focus on getting the most vulnerable people experiencing homelessness off the street, distribution of supplies to help with prevention, and provide COVID education. (Photo Credit: Los Angeles County)
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Every year, Lymington Yacht Haven and the town High Street hosts a fleet of stunning Ferraris, a beautiful Italian market, live music and much more! The free event is the perfect family fun day and took place on Sunday 2nd July 2017 with an estimated fleet of over 40 Ferrari cars in attendance. The last one I attended was the 1st July 2018 one. It was very hot and sunny and this time I went to the Yacht Haven to get some better pictures and Videos. There are too many in the High street of Lymington on this special free day event. During this time the bus stops in the high street are closed due to the vast amount of people visiting at this time.
Lymington Italia Festival is organised by the Lymington & Pennington Town Council and supported by Lymington Yacht Haven, the UK Ferrari Owners Club and other Lymington Businesses. Lymington is a port on the west bank of the Lymington River on the Solent, in the New Forest district of Hampshire, England. It is to the east of the South East Dorset conurbation, and faces Yarmouth on the Isle of Wight which is connected to it by a car ferry, operated by Wightlink. The town of Lymington lies within Southampton and S.W. Hampshire and contains the villages of Beaulieu, Boldre, Hordle, Milford-on-Sea, Pennington and Sway. Under the Local Government Act 1972 the borough of Lymington was abolished on April 1, 1974, becoming an unparished area in the district of New Forest, with Charter Trustees. The area was subsequently parished as the four parishes of New Milton, Lymington and Pennington, Milford-on-Sea and Hordle. Lymington New Forest Hospital opened in 2007, replacing the earlier Lymington Hospital. This is a community hospital and has a Minor Injuries Unit but no Accident and Emergency.
The town has a large tourist industry, and is situated near the beautiful New Forest. It is a major yachting centre with three marina’s. A beautiful, Georgian market town, Lymington ( population 14,330 ) is situated on the southern edge of the New Forest, between Southampton and Bournemouth and at the western end of the Solent. The town is world renown as a sailing resort; there are two large marinas Berthon and Haven and two sailing clubs RLYC and Lymington Town. Lymington has several interesting independent shops including some designer boutiques. On Saturday a market is held in the High Street, the origins of which probably date back to the 13th century. At the top of the High Street is the Parish Church, St Thomas Church ( built around 1250 ), from the bottom of the High Street a cobblestone road leads down to the Old Town Quay, still used as a base by commercial fishing boats.
The original HMS Pickle was built in 1799. She survived the Battle of Trafalgar and was the first ship to bring the news of Nelson's victory back to Britain, along with the sad announcement of Nelson's death. The replica HMS Pickle was built in St Petersburg in 1996. Originally launched as the schooner Alevtina Tuy, she was later converted into a replica of HMS Pickle for the Trafalgar Bi-centennial celebrations.
The Lymington Open Air Sea Water Baths a life guarded open air lido in Lymington, Hampshire. Built in 1833 it is the oldest lido in the UK, and at 110 metres long by 50 metres wide it is also one of the largest in size and in volume with 1.7 million gallons of water. The baths reopened in 2010 following a campaign by local people who also completed the baths' refurbishment. The current sea water baths date back to 1833 when the Lymington Bath and Improvement Company was set up. The bath house was built shortly afterwards and is now the club house for the Lymington Town Sailing Club. As time went on the baths struggled to compete with others in the area, particularly at Bournemouth. In 1855 they were sold to George Inman who owned a boat building company further up the river. In 1886 the Lymington Sea Baths Company leased the baths from Inman. The baths continued under several different owners until 1929 when they were taken over the by the Lymington Corporation.The 1930s were something of a golden period for outdoors baths and lidos with people flocking to bathe on bank holidays in the summer. Today the baths are owned by Lymington and Pennington Town Council.
You can walk along the beautiful Solent Way coastline from Lymington, the Solent Way follows the sea wall west around marshes and nature reserves until it reaches the picturesque waterside hamlet of Keyhaven and Hurst Castle can be easily viewed by taking the small ferry from Keyhaven. Harbour -. This walk I did in 2016 and in places it is a bit boring. However the views of the Isle of Wight along with the ferry arriving and leaving Lymington Harbour provide you with an interesting opportunity for taking many photos or videos. The wildlife along this part or the Solent Way is of interest to many walkers also.
Description: Night view of the Illinois Host Building at the Century of Progress International Exposition, 1933-1934.
Creator: Kaufmann & Fabry Co.
Contributors: Century of Progress International Exposition
Date: ca. 1933-1934
Identifier: COP_17_0002_00027_001
Format: 9.25"x7.25”
Type: Photograph
Source: Century of Progress records
Collection: Century of Progress World’s Fair, 1933-1934 (University of Illinois at Chicago)
Repository: Special Collections and University Archives, University of Illinois at Chicago Library
Rights: This image may be used freely, with attribution, for research, study and educational purposes. For permission to publish, distribute, or use this image for any other purpose, please contact Special Collections and University Archives, University of Illinois at Chicago Library, 801 South Morgan St., Chicago, IL 60607. Phone: (312) 996-2742; email: lib-permissions@uic.edu
Attribution: [Identifier], Century of Progress Records, University of Illinois at Chicago Library.
Request a reproduction: library.uic.edu/help/article/1922/obtain-high-quality-ima...
Sponsorship: Funded by a Library Services and Technology Act (LSTA) grant awarded by the Illinois State Library under Jesse White; Secretary of State.
Reference URL: collections.carli.illinois.edu/u?/uic_cop,510
Hosted by: Cork Triathlon Club
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083016: The Commercial Targeting & Analysis Center (CTAC) hosted an annual event known as the Ops Expo, an annual operations planning meeting between all CTAC Partner Government Agencies (PGA).
Photographer: Donna Burton
Hosted by Santa Ana College, CA Community College Wrestling - photos by John Sachs, www.tech-fall.com