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Final Project:
You will be required to work on a project that includes photographing (a minimum of) five different individuals in the style of your choice. Once you have selected the style, keep it consistent throughout the series.
You will also need:
1. an establishing shot (an image that tells us something about your idea. For example if you were to do a series of chefs the establishing shot could be a close-up of a measuring spoons.)
2. a self-portrait, with a brief artist statement
Side Note: A lot of thing didn't come through like I had wanted. Had flakey models, then scored on a really expressive friend of a friend, and I got these new to me models that showed up and kicked ass, then I got severely sick and ended up in urgent care Monday, etc. But hopefully I was able to get domestic abuse portrayed like I wanted to. I decided not to try for sexual abuse because no matter how I tried it, it could be construed as porn, and that isn't something I wish to ever touch upon.
Artist's Statement:
Emmy's work is influenced by elements in the world that most people consider to be imperfect, broken, or weak. She builds upon imperfection because it is the only true indicator of character and beauty. She captures imperfection as the summit of her art. She is inspired by things that surround her every day, and uses them as a creative base. As the proud divorced, single mother of five closely spaced children she has no shortage of material from which to draw.
With her work, it is difficult to ignore the obvious experience and background Emmy has in graphic design. In addition to photography and graphic design, she is an entrepreneur, business ideas person, CEO of a small assessment corporation, movie scriptwriter, mother, and friend to all, even those pesky telemarketers if they happen to catch her on the telephone at home.
The most important thing to Emmy is the opportunity to create art. To be an artist, even an unknown one, is more important to her than going forth and finding notoriety. She feels the only way for her to create is to continue growing as an artist whether by introducing new techniques, new mediums, or a combination of both. Her primary focus is on creating art that reaches across boundaries. She creates art that speaks figuratively and demands its own place within its world. She tries to create art that will link people to her, and with her.
Fast Facts on Domestic Violence
Battering on women is the most under reported crime in America.
Domestic violence is the leading cause of injury to women between the ages of 15 and 44 in the United States; more than car accidents, muggings, and rapes combined. "Violence Against Women, A Majority Staff Report," Committee on the Judiciary, United States Senate, 102nd Congress, October 1992, p.3.
Three to four million women in the United States are beaten in their homes each year by their husbands, ex-husbands, or male lovers. "Women and Violence," Hearings before the U.S. Senate Judiciary Committee, August 29 and December 11, 1990, Senate Hearing 101-939, pt. 1, p. 12.
One woman is beaten by her husband or partner every 15 seconds in the United States. Uniform Crime Reports, Federal Bureau of Investigation, 1991.
About 1 out of 4 women are likely to be abused by a partner in her lifetime. Sara Glazer, "Violence, Against Women" CO Researcher, Congressional Quarterly, Inc., Volume 3, Number 8, February, 1993, p. 171.
Approximately 95% of the victims of domestic violence are women. Statistics, National Clearinghouse for the Defense of Battered Women, Ruth Peachey, M.D. 1988.
Police report that between 40% and 60% of the calls they receive, especially on the night shift, are domestic violence disputes. Carrillo, Roxann "Violence Against Women: An Obstacle to Development," Human Development Report, 1990.
Battering occurs among people of all races, ages, socio-economic classes, religious affiliations, occupations, and educational backgrounds.
Fifty percent of all homeless women and children in this country are fleeing domestic violence. Senator Joseph Biden, U.S. Senate Committee on the Judiciary, Violence Against Women: Victims of the System, 1991.
A battering incident is rarely an isolated event.
Battering tends to increase and become more violent over time.
Many batterers learned violent behavior growing up in an abusive family.
25% - 45% of all women who are battered are battered during pregnancy.
Domestic violence does not end immediately with separation. Over 70% of the women injured in domestic violence cases are injured after separation.
Domestic violence is not only physical and sexual violence but also psychological. Psychological violence means intense and repetitive degradation, creating isolation, and controlling the actions or behaviors of the spouse through intimidation or manipulation to the detriment of the individual. "Five Year State Master Plan for the Prevention of and Service for Domestic Violence." Utah State Department of Human Services, January 1994.
City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.
The palace complex lies in the heart of Jaipur city, to the northeast of the very centre. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.
Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.
Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.
Hot and Sunny for the Lions Donkey Derby and Vintage Transport Rally at Buckingham Park Shoreham. This old gent is justly proud of his classic Opel Manta
The Apuane Alps is a rich source of marble - I spotted this abandoned quarry. Interesting how they manage to cut the marble so cleanly and precisely from the mountainside
Includes eateries such as Nando's, Ramsey's Bread Street Kitchen and Oliver's rival offering of Barbecoa. Suspect Company Credit Cards need only apply to the last two.
Outgoing notes include:
Oliver Hermanus' MOFFIE
Safy Nebbou's WHO YOU THINK I AM
Method of Loci
Lukasa Memory Boards
Lockdown Exercise Schedule
Allostatic Load
Oulipo; Cryptomnesia; Doomscrolling
Charles Portis; C. Robert Cargill; Djuna Barnes; Epictetus; Warren Ellis; W.B. Yeats; George Eliot; Laurie Anderson; Isaac Babel; Lao Tzu; Jack London; Palle Schmidt
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Includes:
- Custom Stock
- Custom Grip
- Custom Trigger Guard
- Custom Front Iron Sight
Also.....
- It was only a quick 10 minute project (Just to let you guys know).
Pastie: pastie.org/1740834
**Please Comment On My First Kit**
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Includes:
1 x Battery with LCD Display
1 x Stainless Steel Tank
1 x XL Stainless Steel Tank
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1 x LED Super Tank with Pen Top Cover
4 x Mouthpieces
1 x Vaped Fill Tool
1 x Micro USB Charger
1 x Wall Charger
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1 x Lanyard
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The work of architect Robert Burn (d. 1815) includes Nelson's Monument on Calton Hill. This imposing family vault says nothing of his works. He was a respected architect by most, but not by his near-namesake Robert Burns, who commissioned Burn to erect a monument over the grave of his hero and inspiration, the poet Robert Fergusson who died in the poorhouse and is buried in Canongate Churchyard, visible from the southern reaches of Old Calton. Such commissions were normal, as many architects specialised in funerary monuments. On this occasion Burns was less than happy, as he indicated in a letter: "Five pounds ten shillings per account, I owe Mr R Burn, architect, for erecting the stone over the grave of poor Fergusson. He was two years in erecting it after I had commissioned him for it, and I have been two years in paying him after he sent me his account, so he and I are quits!" Both William and John Burn, his sons, were also eminent architects, and are also buried here, but with no specific memorial
My take on today's enjoyable stroll around Brighton's North Laines with the Camera Club. Thanks for Chris and Yvonne for the organisation
Hindu deities are the gods and goddesses in Hinduism. The terms and epithets found in Indian culture, that are translated as deity, varies with the text and diverse traditions within Hinduism, and include Deva, Devi, Ishvara, Bhagavan and Bhagavathi.[1][2][note 1]
The deities of Hinduism have evolved from Vedic era (2nd millennium BCE) through medieval era (1st millennium CE), regionally within India and in southeast Asia, and across Hinduism's diverse traditions.[3][4] The Hindu deity concept varies from a personal god as in Yoga school of Hindu philosophy,[5][6] to 33 Vedic deities,[7] to hundreds of Puranic deities, to millions of deities in Tantra traditions of Hinduism.[8] Illustrations of major deities include Vishnu, Sri (Lakshmi), Shiva, Parvati (Durga), Brahma and Saraswati. These deities have distinct and complex personalities, yet often viewed as aspects of the same Ultimate Reality called Brahman.[9][note 2] From ancient times, the idea of equivalence has been cherished in Hinduism, in its texts and in early 1st millennium sculpture with concepts such as Harihara (half Shiva, half Vishnu),[10] Ardhanarishvara (half Shiva, half Parvati) or Vaikuntha Kamalaja (half Vishnu, half Lakshmi),[11] with mythologies and temples that feature them together, declaring they are the same.[12][13][14] Major deities have inspired their own Hindu traditions, such as Vaishnavism, Shaivism and Shaktism, but with shared mythology, ritual grammar, theosophy, axiology and polycentrism.[15][16][17] Some Hindu traditions such as Smartism from mid 1st millennium CE, have included multiple major deities as henotheistic manifestations of Saguna Brahman, and as a means to realizing Nirguna Brahman.[18][19][20]
Hindu deities are represented with various icons and anicons, in paintings and sculptures, called Murtis and Pratimas.[21][22][23] Some Hindu traditions, such as ancient Charvakas rejected all deities and concept of god or goddess,[24][25][26] while 19th-century British colonial era movements such as the Arya Samaj and Brahmo Samaj rejected deities and adopted monotheistic concepts similar to Abrahamic religions.[27][28] Hindu deities have been adopted in other religions such as Jainism,[29] and in regions outside India such as predominantly Buddhist Thailand and Japan where they continue to be revered in regional temples or arts.[30][31][32]
In ancient and medieval era texts of Hinduism, the human body is described as a temple,[33][34] and deities are described to be parts residing within it,[35][36] while the Brahman (Absolute Reality, God)[18][37] is described to be the same, or of similar nature, as the Atman (self, soul), which Hindus believe is eternal and within every living being.[38][39][40] Deities in Hinduism are as diverse as its traditions, and a Hindu can choose to be polytheistic, pantheistic, monotheistic, monistic, agnostic, atheistic or humanist.[41][42][43]
Deities in Hinduism are referred to as Deva (masculine) and Devi (feminine).[44][45][46] The root of these terms mean "heavenly, divine, anything of excellence".[47] According to Douglas Harper, the etymological roots of Deva mean "a shining one," from *div- "to shine," and it is a cognate with Greek dios "divine" and Zeus, and Latin deus (Old Latin deivos).[48]
In the earliest Vedic literature, all supernatural beings are called Asuras.[49][50] By the late Vedic period (~500 BCE), benevolent supernatural beings are referred to as Deva-Asuras. In post-Vedic texts, such as the Puranas and the Itihasas of Hinduism, the Devas represent the good, and the Asuras the bad.[3][4] In some medieval Indian literature, Devas are also referred to as Suras and contrasted with their equally powerful, but malevolent half-brothers referred to as the Asuras.[51]
Hindu deities are part of Indian mythology, both Devas and Devis feature in one of many cosmological theories in Hinduism.[52][53]
Characteristics of Vedic era deities[edit]
In Vedic literature, Devas and Devis represent the forces of nature and some represent moral values (such as the Adityas, Varuna, and Mitra), each symbolizing the epitome of a specialized knowledge, creative energy, exalted and magical powers (Siddhis).[54][55]
The most referred to Devas in the Rig Veda are Indra, Agni (fire) and Soma, with "fire deity" called the friend of all humanity, it and Soma being the two celebrated in a yajna fire ritual that marks major Hindu ceremonies. Savitr, Vishnu, Rudra (later given the exclusive epithet of Shiva), and Prajapati (later Brahma) are gods and hence Devas.[30]
The Vedas describes a number of significant Devis such as Ushas (dawn), Prithvi (earth), Aditi (cosmic moral order), Saraswati (river, knowledge), Vāc (sound), Nirṛti (destruction), Ratri (night), Aranyani (forest), and bounty goddesses such as Dinsana, Raka, Puramdhi, Parendi, Bharati, Mahi among others are mentioned in the Rigveda.[58] Sri, also called Lakshmi, appears in late Vedic texts dated to be pre-Buddhist, but verses dedicated to her do not suggest that her characteristics were fully developed in the Vedic era.[59] All gods and goddesses are distinguished in the Vedic times, but in the post-Vedic texts (~500 BCE to 200 CE), and particularly in the early medieval era literature, they are ultimately seen as aspects or manifestations of one Brahman, the Supreme power.[59][60]
Ananda Coomaraswamy states that Devas and Asuras in the Vedic lore are similar to Angels-Theoi-Gods and Titans of Greek mythology, both are powerful but have different orientations and inclinations, the Devas representing the powers of Light and the Asuras representing the powers of Darkness in Hindu mythology.[61][62] According to Coomaraswamy's interpretation of Devas and Asuras, both these natures exist in each human being, the tyrant and the angel is within each being, the best and the worst within each person struggles before choices and one's own nature, and the Hindu formulation of Devas and Asuras is an eternal dance between these within each person.[63][64]
The Devas and Asuras, Angels and Titans, powers of Light and powers of Darkness in Rigveda, although distinct and opposite in operation, are in essence consubstantial, their distinction being a matter not of essence but of orientation, revolution or transformation. In this case, the Titan is potentially an Angel, the Angel still by nature a Titan; the Darkness in actu is Light, the Light in potentia Darkness; whence the designations Asura and Deva may be applied to one and the same Person according to the mode of operation, as in Rigveda 1.163.3, "Trita art thou (Agni) by interior operation".
— Ananda Coomaraswamy, Journal of the American Oriental Society[65]
Characteristics of medieval era deities[edit]
In the Puranas and the Itihasas with the embedded Bhagavad Gita, the Devas represent the good, and the Asuras the bad.[3][4] According to the Bhagavad Gita (16.6-16.7), all beings in the universe have both the divine qualities (daivi sampad) and the demonic qualities (asuri sampad) within each.[4][66] The sixteenth chapter of the Bhagavad Gita states that pure god-like saints are rare and pure demon-like evil are rare among human beings, and the bulk of humanity is multi-charactered with a few or many faults.[4] According to Jeaneane Fowler, the Gita states that desires, aversions, greed, needs, emotions in various forms "are facets of ordinary lives", and it is only when they turn to lust, hate, cravings, arrogance, conceit, anger, harshness, hypocrisy, violence, cruelty and such negativity- and destruction-inclined that natural human inclinations metamorphose into something demonic (Asura).[4][66]
The Epics and medieval era texts, particularly the Puranas, developed extensive and richly varying mythologies associated with Hindu deities, including their genealogies.[67][68][69] Several of the Purana texts are named after major Hindu deities such as Vishnu, Shiva and Devi.[67] Other texts and commentators such as Adi Shankara explain that Hindu deities live or rule over the cosmic body as well in the temple of human body.[33][70] They remark that the Sun deity is the giver of vision, the Vayu deity the nose, the Prajapati the sexual organs, the Lokapalas (directions) are the ears, moon deity the mind, Mitra deity is the inward breath, Varuna deity is the outward breath, Indra deity the arms, Brhaspati the speech, Vishnu whose stride is great is the feet, and Maya is the smile.[70]
Symbolism[edit]
Edelmann states that gods and anti-gods of Hinduism are symbolism for spiritual concepts. For example, god Indra (a Deva) and the antigod Virocana (an Asura) question a sage for insights into the knowledge of the self.[71] Virocana leaves with the first given answer, believing now he can use the knowledge as a weapon. In contrast, Indra keeps pressing the sage, churning the ideas, and learning about means to inner happiness and power. Edelmann suggests that the Deva-Asura dichotomies in Hindu mythology may be seen as "narrative depictions of tendencies within our selves".[71] Hindu deities in Vedic era, states Mahoney, are those artists with "powerfully inward transformative, effective and creative mental powers".[72]
In Hindu mythology, everyone starts as an Asura, born of the same father. "Asuras who remain Asura" share the character of powerful beings craving for more power, more wealth, ego, anger, unprincipled nature, force and violence.[73][74] The "Asuras who become Devas" in contrast are driven by an inner voice, seek understanding and meaning, prefer moderation, principled behavior, aligned with Ṛta and Dharma, knowledge and harmony.[73][74][75]
The god (Deva) and antigod (Asura), states Edelmann, are also symbolically the contradictory forces that motivate each individual and people, and thus Deva-Asura dichotomy is a spiritual concept rather than mere genealogical category or species of being.[76] In the Bhāgavata Purana, saints and gods are born in families of Asuras, such as Mahabali and Prahlada, conveying the symbolism that motivations, beliefs and actions rather than one's birth and family circumstances define whether one is Deva-like or Asura-like.[76]
Another Hindu term that is sometimes translated as deity is Ishvara, or alternatively various deities are described, state Sorajjakool et al., as "the personifications of various aspects of one and the same Ishvara".[77] The term Ishvara has a wide range of meanings that depend on the era and the school of Hinduism.[78][79][80] In ancient texts of Indian philosophy, Ishvara means supreme soul, Brahman (Highest Reality), ruler, king or husband depending on the context.[78] In medieval era texts, Ishvara means God, Supreme Being, personal god, or special Self depending on the school of Hinduism.[2][80][81]
Among the six systems of Hindu philosophy, Samkhya and Mimamsa do not consider the concept of Ishvara, i.e., a supreme being, relevant. Yoga, Vaisheshika, Vedanta and Nyaya schools of Hinduism discuss Ishvara, but assign different meanings.
Early Nyaya school scholars considered the hypothesis of a deity as a creator God with the power to grant blessings, boons and fruits; but these early Nyaya scholars then rejected this hypothesis, and were non-theistic or atheists.[25][82] Later scholars of Nyaya school reconsidered this question and offered counter arguments for what is Ishvara and various arguments to prove the existence of omniscient, omnipresent, omnipotent deity (God).[83]
Vaisheshika school of Hinduism, as founded by Kanada in 1st millennium BC, neither required nor relied on creator deity.[84][85] Later Vaisheshika school adopted the concept of Ishvara, states Klaus Klostermaier, but as an eternal God who co-exists in the universe with eternal substances and atoms, but He "winds up the clock, and lets it run its course".[84]
Ancient Mimamsa scholars of Hinduism questioned what is Ishvara (deity, God)?[86] They considered deity concept unnecessary for a consistent philosophy and moksha (soteriology).[86][87]
In Samkhya school of Hindu philosophy, Isvara is neither a creator-God, nor a savior-God.[88] This is called one of the several major atheistic schools of Hinduism by some scholars.[89][90][91] Others, such as Jacobsen, state that Samkhya is more accurately described as non-theistic.[92] Deity is considered an irrelevant concept, neither defined nor denied, in Samkhya school of Hindu philosophy.[93]
In Yoga school of Hinduism, it is any "personal deity" (Ishta Deva or Ishta Devata)[94] or "spiritual inspiration", but not a creator God.[81][89] Whicher explains that while Patanjali's terse verses in the Yogasutras can be interpreted both as theistic or non-theistic, Patanjali's concept of Isvara in Yoga philosophy functions as a "transformative catalyst or guide for aiding the yogin on the path to spiritual emancipation".[95]
The Advaita Vedanta school of Hinduism asserted that there is no dualistic existence of deity (or deities).[96][97] There is no otherness nor distinction between Jiva and Ishvara.[98][99] God (Ishvara, Brahman) is identical with the Atman (soul) within each human being in Advaita Vedanta school,[100] and there is a monistic Universal Absolute Oneness that connects everyone and everything, states this school of Hinduism.[39][99][101] This school, states Anantanand Rambachan, has "perhaps exerted the most widespread influence".[102]
The Dvaita sub-school of Vedanta Hinduism, founded in medieval era, Ishvara is defined as a creator God that is distinct from Jiva (individual souls in living beings).[40] In this school, God creates individual souls, but the individual soul never was and never will become one with God; the best it can do is to experience bliss by getting infinitely close to God.[20]
Number of deities[edit]
Yāska, the earliest known language scholar of India (~ 500 BCE), notes Wilkins, mentions that there are three deities (Devas) according to the Vedas, "Agni (fire), whose place is on the earth; Vayu (wind), whose place is the air; and Surya (sun), whose place is in the sky".[107] This principle of three worlds (or zones), and its multiples is found thereafter in many ancient texts. The Samhitas, which are the oldest layer of text in Vedas enumerate 33 devas,[note 3] either 11 each for the three worlds, or as 12 Adityas, 11 Rudras, 8 Vasus and 2 Ashvins in the Brahmanas layer of Vedic texts.[7][47]
The Rigveda states in hymn 1.139.11,
ये देवासो दिव्येकादश स्थ पृथिव्यामध्येकादश स्थ ।
अप्सुक्षितो महिनैकादश स्थ ते देवासो यज्ञमिमं जुषध्वम् ॥११॥[111]
O ye eleven gods whose home is heaven, O ye eleven who make earth your dwelling,
Ye who with might, eleven, live in waters, accept this sacrifice, O gods, with pleasure.
– Translated by Ralph T. H. Griffith[112]
Gods who are eleven in heaven; who are eleven on earth;
and who are eleven dwelling with glory in mid-air; may ye be pleased with this our sacrifice.
– Translated by HH Wilson[113]
— Rigveda 1.139.11
Millions, one or one-ness?[edit]
Thirty-three divinities are mentioned in other ancient texts, such as the Yajurveda,[114] however, there is no fixed "number of deities" in Hinduism any more than a standard representation of "deity".[115] There is, however, a popular perception stating that there are 330 million (or "33 crore") deities in Hinduism.[116] Most, by far, are goddesses, state Foulston and Abbott, suggesting "how important and popular goddesses are" in Hindu culture.[115] No one has a list of the 330 million goddesses and gods, but all deities, state scholars, are typically viewed in Hinduism as "emanations or manifestation of genderless principle called Brahman, representing the many facets of Ultimate Reality".[115][116][117]
This concept of Brahman is not the same as the monotheistic separate God found in Abrahamic religions, where God is considered, states Brodd, as "creator of the world, above and independent of human existence", while in Hinduism "God, the universe, human beings and all else is essentially one thing" and everything is connected oneness, the same god is in every human being as Atman, the eternal Self.[117][118]
Hinduism has an ancient and extensive iconography tradition, particularly in the form of Murti (Sanskrit: मूर्ति, IAST: Mūrti), or Vigraha or Pratima.[22] A Murti is itself not the god in Hinduism, but it is an image of god and represents emotional and religious value.[124] A literal translation of Murti as idol is incorrect, states Jeaneane Fowler, when idol is understood as superstitious end in itself.[124] Just like the photograph of a person is not the real person, a Murti is an image in Hinduism but not the real thing, but in both cases the image reminds of something of emotional and real value to the viewer.[124] When a person worships a Murti, it is assumed to be a manifestation of the essence or spirit of the deity, the worshipper's spiritual ideas and needs are meditated through it, yet the idea of ultimate reality or Brahman is not confined in it.[124]
A Murti of a Hindu deity is typically made by carving stone, wood working, metal casting or through pottery. Medieval era texts describing their proper proportions, positions and gestures include the Puranas, Agamas and Samhitas particularly the Shilpa Shastras.[21] The expressions in a Murti vary in diverse Hindu traditions, ranging from Ugra symbolism to express destruction, fear and violence (Durga, Kali), as well as Saumya symbolism to express joy, knowledge and harmony (Saraswati, Lakshmi). Saumya images are most common in Hindu temples.[125] Other Murti forms found in Hinduism include the Linga.[126]
A Murti is an embodiment of the divine, the Ultimate Reality or Brahman to some Hindus.[21] In religious context, they are found in Hindu temples or homes, where they may be treated as a beloved guest and serve as a participant of Puja rituals in Hinduism.[127] A murti is installed by priests, in Hindu temples, through the Prana Pratishtha ceremony,[128] whereby state Harold Coward and David Goa, the "divine vital energy of the cosmos is infused into the sculpture" and then the divine is welcomed as one would welcome a friend.[129] In other occasions, it serves as the center of attention in annual festive processions and these are called Utsava Murti.[130]
In Hinduism, deities and their icons may be hosted in a Hindu temple, within a home or as an amulet. The worship performed by Hindus is known by a number of regional names, such as Puja.[134] This practice in front of a murti may be elaborate in large temples, or be a simple song or mantra muttered in home, or offering made to sunrise or river or symbolic anicon of a deity.[135][136][137] Archaeological evidence of deity worship in Hindu temples trace Puja rituals to Gupta Empire era (~4th century CE).[138][139] In Hindu temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.[140][141]
The Puja practice is structured as an act of welcoming, hosting, honoring the deity of one's choice as one's honored guest,[142] and remembering the spiritual and emotional significance the deity represents the devotee.[124][134] Jan Gonda, as well as Diana L. Eck, states that a typical Puja involves one or more of 16 steps (Shodasha Upachara) traceable to ancient times: the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, praise (hymns) with Dhupa or Aarti along with food (Naivedhya) is offered to the deity, after an expression of love and respect the host takes leave, and with affection expresses good bye to the deity.[143][144] The worship practice may also involve reflecting on spiritual questions, with image serving as support for such meditation.[145]
Deity worship (Bhakti), visiting temples and Puja rituals are not mandatory and is optional in Hinduism; it is the choice of a Hindu, it may be a routine daily affair for some Hindus, periodic ritual or infrequent for some.[146][147] Worship practices in Hinduism are as diverse as its traditions, and a Hindu can choose to be polytheistic, pantheistic, monotheistic, monistic, agnostic, atheistic or humanist.[41]
Examples[edit]
Main articles: List of Hindu deities and Rigvedic deities
Major deities have inspired a vast genre of literature such as the Puranas and Agama texts as well their own Hindu traditions, but with shared mythology, ritual grammar, theosophy, axiology and polycentrism.[16][17] Vishnu and his avatars are at the foundation of Vaishnavism, Shiva for Shaivism, Devi for Shaktism, and some Hindu traditions such as Smarta traditions who revere multiple major deities (five) as henotheistic manifestations of Brahman (absolute metaphysical Reality).[116][148][149]
While there are diverse deities in Hinduism, states Lawrence, "Exclusivism – which maintains that only one's own deity is real" is rare in Hinduism.[116] Julius Lipner, and other scholars, state that pluralism and "polycentrism" – where other deities are recognized and revered by members of different "denominations", has been the Hindu ethos and way of life.[16][150]
Trimurti and Tridevi[edit]
The concept of Triad (or Trimurti, Trinity) makes a relatively late appearance in Hindu literature, or in the second half of 1st millennium BCE.[151] The idea of triad, playing three roles in the cosmic affairs, is typically associated with Brahma, Vishnu and Shiva (also called Mahesh); however, this is not the only triad in Hindu literature.[152] Other triads include Tridevi, of three goddesses – Lakshmi, Saraswati and Durga in the text Devi Mahatmya, in the Shakta tradition, who further assert that Devi is the Brahman (Ultimate Reality) and it is her energy that empowers Brahma, Vishnu and Shiva.[151] The other triads, formulated as deities in ancient Indian literature, include Sun (creator), Air (sustainer) and Fire (destroyer); Prana (creator), Food (sustainer) and Time (destroyer).[151] These triads, states Jan Gonda, are in some mythologies grouped together without forming a Trinity, and in other times represented as equal, a unity and manifestations of one Brahman.[151] In the Puranas, for example, this idea of threefold "hypostatization" is expressed as follows,
They [Brahma, Vishnu, Shiva] exist through each other, and uphold each other; they are parts of one another; they subsist through one another; they are not for a moment separated; they never abandon one another.
— Vayu Purana, 5.17, Translated by Jan Gonda[151]
The triad appears in Maitrayaniya Upanishad, for the first time in recognized roles known ever since, where they are deployed to present the concept of three Guṇa – the innate nature, tendencies and inner forces found within every being and everything, whose balance transform and keeps changing the individual and the world.[152][153] It is in the medieval Puranic texts, Trimurti concepts appears in various context, from rituals to spiritual concepts.[151] The Bhagavad Gita, in verses 9.18, 10.21-23 and 11.15, asserts that the triad or trinity is manifestation of one Brahman, which Krishna affirms himself to be.[154] However, suggests Bailey, the mythology of triad is "not the influence nor the most important one" in Hindu traditions, rather the ideologies and spiritual concepts develop on their own foundations.[152]
Avatars of Hindu deities[edit]
Hindu mythology has nurtured the concept of Avatar, which represents the descent of a deity on earth.[155][156] This concept is commonly translated as "incarnation",[155] and is an "appearance" or "manifestation".[157][158]
The concept of Avatar is most developed in Vaishnavism tradition, and associated with Vishnu, particularly with Rama and Krishna.[159][160] Vishnu takes numerous avatars in Hindu mythology. He becomes female, during the Samudra manthan, in the form of Mohini, to resolve a conflict between the Devas and Asuras. His male avatars include Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Krishna, Buddha, and Kalki.[160] Various texts, particularly the Bhagavad Gita, discuss the idea of Avatar of Vishnu appearing to restore the cosmic balance whenever the power of evil becomes excessive and causes persistent oppression in the world.[156]
In Shaktism traditions, the concept appears in its legends as the various manifestations of Devi, the Divine Mother principal in Hinduism.[161] The avatars of Devi or Parvati include Durga and Kali, who are particularly revered in eastern states of India, as well as Tantra traditions.[162][163][164] Twenty one avatars of Shiva are also described in Shaivism texts, but unlike Vaishnava traditions, Shaiva traditions have focussed directly on Shiva rather than the Avatar concept.[155]
Trachybasalt in the Pleistocene of California, USA.
Famous localities for seeing excellent columnar jointing include Giants Causeway (Ireland), Devils Tower (Wyoming, USA), and Devils Postpile (California, USA). Columnar jointing forms as a lava flow cools and contracts, resulting in the development of shrinkage cracks. As shrinkage cracks grow, they branch at ~120º angles (as seen in plan view). Crack networks merge with other networks to form columns having a polygonal cross-section shape. Most columns are hexagonal or pentagonal in shape. A few are 3-sided, 4-sided, or 7-sided.
Devils Postpile is a trachybasalt (or basaltic trachyandesite) lava flow with well-developed columnar jointing. Erosion has toppled many of the columns into a large pile at the base of the flow. The flow represents part of the activity of the Long Valley Volcano, which is now a large caldera in the eastern Sierra Nevada Mountains of California. The Devils Postpile lava flow erupted outside the southwestern margin of the Long Valley Caldera.
Stratigraphy: Postpile Flow, Upper Pleistocene, 82 ka
Locality: Devils Postpile National Monument, west of town of Mammoth Lakes, eastern California, USA
---------------
Info. synthesized from:
Huber et al. (2001) - The Story of Devils Postpile, a Land of Volcanic Fire, Glacial Ice and an Ancient River, Updated from the Original Edition.
Bailey (2004) - United States Geological Survey Professional Paper 1692.
Mahood et al. (2010) - Geological Society of America Bulletin 122: 396-407.
Includes prints by Karen Kunc.
Hansen, Ron, Karen Kunc, and Bonnie P. O'Connell Nebraska: Short Fiction. [Omaha]: Abattoir Editions, University of Nebraska-Omaha, 1991.'
See MCAD Library's catalog record for this book.
Photographic distractions during a Christmas shopping trip to Brighton. Resurfacing the ice rink between sessions.
Action from the Condor Class at the International Worthing Birdman event. The wind on Saturday was a bit too strong but from a good direction - with entrants flying around 70 metres
Thanks to Megan Hancock, John C. Magee, and Rory McGregor on Facebook Plant Identification forum for the ID help!
Common names include Arrow-wood, Southern Arrow-wood, and Arrow-wood Viburnum.
Arrow-wood is a deciduous shrub (potentially a small tree) with slender trunk(s) and arching branches. This is a small, rounded Viburnum that usually gets no more 6-10 ft (1.8-3 m) tall with a similar spread. Arrow-wood usually has multiple trunks and expands its domain by sending up new shoots from underground runners. The lustrous dark green leaves are opposite, a little sandpapery to the touch, and coarsely toothed along the margins. A prominent lateral vein terminates at the tip of each marginal tooth. The leaves are oval and usually 2-3 in (5-7.7 cm) long. Arrow-wood blooms in mid-spring with showy flat topped clusters of little creamy white flowers. The flowers are about an eighth-inch across and the clusters are 3-4 in (7.7-10 cm) across. The bluish black fruits (1-seeded drupes) are ovoid in shape, a little less than a half-inch long, and the clusters can be quite showy. They are bitter to the taste. The leaves ignite with warm shades of yellow and red in autumn. Arrow-wood is a variable species throughout its natural range.
Arrow-wood is native to eastern North America from New Brunswick to Minnesota and south to eastern Texas and northern Florida. It occurs in mesic woods, usually growing in the understory of mixed hardwood forests of oaks, magnolias, maples, hickories, American beech and the like. Arrow-wood grows on both poorly drained and well drained soils.
Southern Arrow-Wood is very similar in appearance to Smooth Arrow-Wood (Viburnum recognitum), except its leaf undersides are more hairy and they are never whitened. Another species, Viburnum molle (Soft-Leaved Arrow-Wood), differs from Southern Arrow-Wood by having leaves that are more cordate in shape and berries that are more narrowly ovoid in shape. The leaves of Soft-Leaved Arrow-Wood also tend to have more pairs of teeth along their margins (often exceeding 20 pairs per leaf). Another similar species, Viburnum rafinesquianum (Downy Arrow-Wood), is a smaller shrub (up to 6' tall) with smaller leaves (up to 3" in length) with shorter petioles. The leaves of Downy Arrow-Wood also tend to have fewer pairs of teeth along their margins (less than 10 pairs per leaf) than those of Southern Arrow-Wood. Within the Viburnum genus, species in the Arrow-Wood group have leaves with coarse dentate teeth and their flowers are malodorous. In contrast, species in the Viburnum group have leaves with fine teeth and their flowers are sweetly scented.
www.illinoiswildflowers.info/trees/plants/south_arrow.html
www.floridata.com/ref/v/vibu_den.cfm
From today's Rugby match at Buckingham Park, Shoreham. Shoreham 1st XV against Hove Volunteers. Shoreham, in yellow and green came back strongly to win in a thrilling and contentious finish. Let's just say that the Hove contingent weren't too impressed with some key refereeing decisions towards the end of the match.
Title: A bathroom includes toilet stall and other fixtures
Date: 1910 Estimated
Photographer: Unknown
Photo ID: 5783PB1F1C
Collection: New York Call Photographs, ca. 1908-1923
Repository: The Kheel Center for Labor-Management Documentation and Archives in the ILR School at Cornell University is the Catherwood Library unit that collects, preserves, and makes accessible special collections documenting the history of the workplace and labor relations. www.ilr.cornell.edu/library/kheel
Notes: No additional information available.
Copyright: There are no known U.S. copyright restrictions on this image. The digital file is owned by the Kheel Center which is making it freely available with the request that, when possible, the center be credited as its source.
Tags: Kheel Center for Labor-Management Documentation and Archives,Cornell University Library,Garment Workers Photographs, (ca. 1900-1915), Living Conditions
NOLA 2018 - Easter Sunday Parades
The story goes that the daughter of Count Arnaud started the Historic French Quarter Parade close to 100 years ago. Today the parade starts at 9:45 a.m. at Antoine's Restaurant (715 Rue St. Louis). It includes a stop for the 11 a.m. mass at the St. Louis Cathedral and resume parading at noon after a promenade in Jackson Square.
The parade features stylish ladies in lovely hats handing out goodies via both carriages and convertibles and disbands in front of Antoine's where the ladies promenade through the main dining room handing out stuffed bunnies and Easter trinkets to the patrons.
Easter Sunday's lineup of parades starts early that morning with The Historic French Quarter Easter Parade from Antoine's Restaurant at 9:45 a.m. to St. Louis Cathedral for 11:00 a.m. Mass. The parade, consisting largely of mule-drawn carriages and old convertibles, makes its leisurely, roundabout way through the French Quarter, handing out stuffed Easter bunnies to the kids, along with other trinkets.
Following Mass, participants in the parade promenade to Jackson Square opposite the Cathedral to show off their Easter bonnets and other finery before returning to Antoine's. Awards are given out for the best Easter bonnets, Easter baskets and overall Easter attire.
Later, around 1:00 p.m. is the Chris Owens French Quarter Easter Parade. This tradition, which began back in the early 1980s, features renowned French Quarter singer, dancer and all-around entertainer Chris Owens as the Grand Duchess. She stands proudly on her gaily decorated float, assisted by elegantly attired attendants while decked out in one of her stunning, tight-fitting outfits.
The parade starts at the corner of Canal and Bourbon streets and makes its way through the French Quarter, past the Chris Owens Club at 500 Bourbon, with colorful floats and vintage convertibles and accompanied by one or more of the city's famous brass bands. Plus dance groups and other entertainers. And, of course, since this is a New Orleans parade, there will be plenty of throws - Easter-themed - to catch from the floats and the open-top cars. This parade is a sight you'll never forget!
Then, later in the afternoon, is yet another parade, the Gay Easter Parade, put on by the city's GLBT community. Being nowhere near as wild or extravagant as a Mardi Gras parade, but rather family-friendly, the Gay Easter Parade takes a leisurely route through the French Quarter, passing every gay bar and many gay-owned restaurants and retail shops. The paraders ride horse-drawn carriages or floats while wearing showy versions of their Easter Sunday finest. Don't be surprised if you see a gaggle of motorcycle dudes in leather and Easter bonnets might roar by. Spectators can expect to see (and catch!) plenty of beads and other throws.
( Deux semaines a Nola pour la ville et pour WWE Wrestlemania XXXIV
Two weeks Nola for the city and for WWE Wrestlemania XXXIV )
Holy Week celebrations include Good Friday services, where Jesus death is recalled and the significance of his crucifixion is remembered. Parishioners participate in the last three days of Jesus' life on earth, and the important events and circumstances of his death.
St. Thomas the Apostle Catholic Church. Ann Arbor, Michigan.
April 15, 2022.
IMG_7173
This vast museum includes a large collection of railway exhibits, appropriately housed inside a former railway Works. The 33 tracks are accessed by the two massive turntables outdoors that are shown on my photo. The carriage visible is a bit too long for the tracks inside! Exhibits include electric, diesel and steam engines, and passenger rolling stock. Some of the steam engines are in "as withdrawn" condition, demonstrating the reality of the steam era: My photo of one of those work-stained engines can be seen here:
www.flickr.com/photos/93936890@N02/33757181515/in/album-7...
Rail enthusiasts should set aside a day to look around this, or much more to do justice to aircraft, ships, cars and the other sections of this huge, wonderful museum.
Bolton Abbey, Wharfedale, North Yorkshire, England, takes its name from the ruins of the 12th-century Augustinian monastery now known as Bolton Priory. The priory, closed in the 1539 Dissolution of the Monasteries ordered by King Henry VIII, is in the Yorkshire Dales, next to the village of Bolton Abbey. The estate is open to visitors, and includes many miles of all-weather walking routes. The Embsay & Bolton Abbey Steam Railway terminates at Bolton Abbey station one and a half miles/2.5 km from Bolton Priory.
The monastery was founded at Embsay in 1120. Led by a prior, Bolton Abbey was technically a priory, despite its name. It was founded in 1154 by the Augustinian order, on the banks of the River Wharfe. The land at Bolton, as well as other resources, were given to the order by Lady Alice de Romille of Skipton Castle in 1154. In the early 14th century Scottish raiders caused the temporary abandonment of the site and serious structural damage to the priory. The seal of the priory featured the Blessed Virgin Mary and the Child and the phrase sigillum sancte Marie de Bolton.The nave of the abbey church was in use as a parish church from about 1170 onwards, and survived the Dissolution of the Monasteries. Building work was still going on at the abbey when the Dissolution of the Monasteries resulted in the termination of the priory in January 1540. The east end remains in ruins. A tower, begun in 1520, was left half-standing, and its base was later given a bell-turret and converted into an entrance porch. Most of the remaining church is in the Gothic style of architecture, but more work was done in the Victorian era, including windows by August Pugin. It is still a working priory today, holding services on Sundays and religious holidays. Bolton Abbey churchyard contains the war grave of a Royal Flying Corps officer of the First World War.
The Craven Heifer
The Domesday Book lists Bolton Abbey as the caput manor of a multiple estate including 77 carucates of ploughland (around 9240 acres/3850 ha) belonging to Edwin, Earl of Mercia. The estate then comprised Bolton Abbey, Halton East, Embsay, Draughton; Skibeden, Skipton, Low Snaygill, Thorlby; Addingham, Beamsley, Holme, Gargrave; Stainton, Otterburn, Scosthrop, Malham, Anley; Coniston Cold, Hellifield and Hanlith. They were all laid waste in the Harrying of the North after the defeat of the rebellion of Edwin, Earl of Mercia and classified as the Clamores (disputed land) of Yorkshire until around 1090, when they were transferred to Robert de Romille, who moved its administrative centre to Skipton Castle. The Romille line died out around 1310, and Edward II granted the estates to Robert Clifford. In 1748 Baroness Clifford married William Cavendish and Bolton Abbey Estate thereafter belonged to the Dukes of Devonshire, until a trust was set up by the 11th Duke of Devonshire turning it over to the Chatsworth Settlement Trustees to steward.
Today, the 33,000 acre (134 km2) estate contains six areas designated as Sites of Special Scientific Interest, including Strid Wood, an ancient woodland (mainly oak), which contains the length of the River Wharfe known as The Strid, and a marine fossil quarry. The estate encompasses 8 miles (13 km) of river, 84 farms, 84 buildings of architectural interest, and four Grade I listed buildings; and is currently home to 27 businesses from tearooms to bookshops. The iconic stepping stones cross the River Wharfe near the Abbey ruins. The estate includes extensive grouse moors, including Barden Moor on the west side of Wharfedale and Barden Fell on the east side of the dale. There is also a pheasant shoot. Apart from people employed within these businesses, the estate employs about 120 staff to work on the upkeep of the estate. Much of the estate is open to the public. A charge is made for car parking. The Dales Way passes through the estate on a permissive path. Barden Moor and Barden Fell, which includes the prominent crag of Simon's Seat, are on access land, and permissive paths lead up to the moors. Access to the moors may be closed to the public during the shooting season.
Bolton Abbey Hall, originally the gatehouse of the priory, was converted into a house by the Cavendish family. The hall is a Grade II* listed building.As well as Bolton Abbey, the Cavendish family also own the Chatsworth (Derbyshire, England) and Lismore Castle (Waterford, in the Republic of Ireland) estates. In the early nineteenth century, a cow known as the Craven Heifer was bred on the Bolton Abbey estate. Weighing 312 stone (1.98 tonnes), and measuring 11 ft 4ins in length and over 7 ft in height, she to this day remains Britain's largest ever cow.
Morocco tours with private driver. Authentic tours of Morocco include Morocco Sahara trips and camel treks in Erg Chebbi or camel trekking in Erg Chigaga; Morocco desert tours from Marrakech, Marrakech to Fes, Fes, Fes to Marrakech and Casablanca; Trips in Morocco to include Tizi-n-Tichka, Telouet, Ait Benhaddou, Ouarzazate, Dades Gorge, Todra Gorge, Draa Valley, Route of one thousand kabahs, Rose Valley, Erg Chebbi dunes at Merzouga or Erg Chigaga dunes at Mhamid; Morocco day trips and excursions; Morocco desert tours from Marrakech, Marrakech to Fes, Fes, Fes to Marrakech and Casablanca; Trips in Morocco, two week and three week suggested best Morocco tour itineraries.
Website : www.Ouassoutransport4x4.com
E-Mail : Ouassou4x4@gmail.com
Tel : 00212.667.575.563
Includes PowerBook G4 15" (1.25 GHz, 80 GB HD, 1.25 GB RAM), iBook G4 12" (1.2 GHz, 30 GB HD, 1 GB RAM), and ViewSonic 17" CRT monitor (@1600x1200). Screensaver is called PlasmaTunnel. Pictures taken at different shutter speeds/apertures. www.GeoffMyers.net
Balanced Budget 2014 includes forecast surpluses in all three years of the fiscal plan and modest investments in priority areas. While the fiscal plan shows continued spending discipline, modest surpluses allow government to make choices and ensure new spending is put into priority areas. Within the balanced budget, government is providing additional funding of $415 million to benefit BC families, help make life more affordable, and help stimulate economic growth and job creation.
Learn more: www.bcbudget.gov.bc.ca/2014/default.htm
Members: Ron Whiteside sent the Reunion notice of the Doolittle Raiders which took place. It’s too long to include in the Nov Newsletter, but I thought I’d send it as a separate mailing in case you were interested in reading it. I did put part of it in the Newsletter.
The Final Toast
It's the cup of brandy that no one wants to drink.
On April 17, 2013 in Fort Walton Beach , Florida , the surviving
Doolittle Raiders gathered publicly for the last time.
They once were among the most universally admired and revered men
in the United States . There were 80 of the Raiders in April 1942,
when they carried out one of the most courageous and
heart-stirring military operations in this nation's history. The
mere mention of their unit's name, in those years, would bring
tears to the eyes of grateful Americans.
Now only four survive.
After Japan 's sneak attack on Pearl Harbor , with the United
States reeling and wounded, something dramatic was needed to turn
the war effort around.
Even though there were no friendly airfields close enough to Japan
for the United States to launch a retaliation, a daring plan was
devised. Sixteen B-25s were modified so that they could take off
from the deck of an aircraft carrier. This had never before been
tried -- sending such big, heavy bombers from a carrier.
The 16 five-man crews, under the command of Lt. Col. James
Doolittle, who himself flew the lead plane off the USS Hornet,
knew that they would not be able to return to the carrier. They
would have to hit Japan and then hope to make it to China for a
safe landing.
But on the day of the raid, the Japanese military caught wind of
the plan. The Raiders were told that they would have to take off
from much farther out in the Pacific Ocean than they had counted
on. They were told that because of this they would not have
enough fuel to make it to safety.
And those men went anyway.
They bombed Tokyo , and then flew as far as they could. Four
planes crash-landed; 11 more crews bailed out, and three of the
Raiders died. Eight more were captured; three were executed.
Another died of starvation in a Japanese prison camp. One crew
made it to Russia .
The Doolittle Raid sent a message from the United States to its
enemies, and to the rest of the world: We will fight. And, no
matter what it takes, we will win.
Of the 80 Raiders, 62 survived the war. They were celebrated as
national heroes, models of bravery. Metro-Goldwyn-Mayer produced
a motion picture based on the raid; "Thirty Seconds Over Tokyo,"
starring Spencer Tracy and Van Johnson, was a patriotic and
emotional box-office hit, and the phrase became part of the
national lexicon. In the movie-theater previews for the film, MGM
proclaimed that it was presenting the story "with supreme pride."
Beginning in 1946, the surviving Raiders have held a reunion each
April, to commemorate the mission. The reunion is in a different
city each year. In 1959, the city of Tucson , Arizona , as a
gesture of respect and gratitude, presented the Doolittle Raiders
with a set of 80 silver goblets. Each goblet was engraved with
the name of a Raider.
Every year, a wooden display case bearing all 80 goblets is
transported to the reunion city. Each time a Raider passes away,
his goblet is turned upside down in the case at the next reunion,
as his old friends bear solemn witness.
Also in the wooden case is a bottle of 1896 Hennessy Very Special
cognac. The year is not happenstance: 1896 was when Jimmy
Doolittle was born.
There has always been a plan: When there are only two surviving
Raiders, they would open the bottle, at last drink from it, and
toast their comrades who preceded them in death.
As 2013 began, there were five living Raiders; then, in February,
Tom Griffin passed away at age 96.
What a man he was. After bailing out of his plane over a
mountainous Chinese forest after the Tokyo raid, he became ill
with malaria, and almost died. When he recovered, he was sent to
Europe to fly more combat missions. He was shot down, captured,
and spent 22 months in a German prisoner of war camp.
The selflessness of these men, the sheer guts ... there was a
passage in the Cincinnati Enquirer obituary for Mr. Griffin that,
on the surface, had nothing to do with the war, but that
emblematizes the depth of his sense of duty and devotion:
"When his wife became ill and needed to go into a nursing home,
he visited her every day. He walked from his house to the nursing
home, fed his wife and at the end of the day brought home her
clothes. At night, he washed and ironed her clothes. Then he
walked them up to her room the next morning. He did that for
three years until her death in 2005."
So now, out of the original 80, only four Raiders remain: Dick
Cole (Doolittle's co-pilot on the Tokyo raid), Robert Hite,
Edward Saylor and David Thatcher. All are in their 90s. They have
decided that there are too few of them for the public reunions to
continue.
The events in Fort Walton Beach marked the end. It
has come full circle; Florida 's nearby Eglin Field was where the
Raiders trained in secrecy for the Tokyo mission. The town
planned to do all it can to honor the men: a six-day celebration
of their valor, including luncheons, a dinner and a parade.
Do the men ever wonder if those of us for whom they helped save
the country have tended to it in a way that is worthy of their
sacrifice? They don't talk about that, at least not around other
people. But if you find yourself near Fort Walton Beach this
week, and if you should encounter any of the Raiders, you might
want to offer them a word of thanks. I can tell you from
firsthand observation that they appreciate hearing that they are
remembered.
The men have decided that after this final public reunion they
will wait until a later date -- some time this year -- to get
together once more, informally and in absolute privacy. That is
when they will open the bottle of brandy. The years are flowing
by too swiftly now; they are not going to wait until there are
only two of them.
They will fill the four remaining upturned goblets.
And raise them in a toast to those who are gone.
Their 70th Anniversary Photo
PLEASE SEND THIS ON TO EVERYONE IN YOUR ADDRESS BOOK, ESPECIALLY
TO THOSE WHO WERE TOO YOUNG TO KNOW ABOUT THESE GUYS. THIS SHOULD
BE READ BY EVERY KID IN GRADE AND HIGH SCHOOL SO THEY KNOW WHAT
HAPPENED.
More from this morning's Winter wonderland hoar frost conditions by the River Adur, which persisted all morning. The terraced houses of Dacre Gardens and the chimney from the abandoned Cement Works
Swans, genus Cygnus, are birds of the family Anatidae, which also includes geese and ducks. Swans are grouped with the closely related geese in the subfamily Anserinae where they form the tribe Cygnini. Sometimes, they are considered a distinct subfamily, Cygninae. There are six to seven species of swan in the genus Cygnus; in addition there is another species known as a swan, the Coscoroba Swan, although this species is no longer considered related to the true swans. Swans usually mate for life, though 'divorce' does sometimes occur, particularly following nesting failure. The number of eggs in each clutch ranges from three to eight.
The word "swan" is derived from Old English swan, akin to the German Schwan and Dutch zwaan, in turn derived from Indo-European root *swen (to sound, to sing), whence Latin derives sonus (sound).[1] Young swans are known as cygnets, from the Latin word for swan, cygnus. An adult male is a cob, from Middle English cobbe (leader of a group); an adult female is a pen.
The swans are the largest members of the duck family Anatidae, and are amongst the largest flying birds. The largest species, including the mute swan, trumpeter swan, and whooper swan, can reach length of over 60 inches and weigh up to 50 pounds. Their wingspans can be almost 10 ft (3 m). Compared to the closely related geese they are much larger in size and have proportionally larger feet and necks.[2] They also have a patch of unfeathered skin between the eyes and bill in adults. The sexes are alike in plumage, but males are generally bigger and heavier than females.
The Northern Hemisphere species of swan have pure white plumage but the Southern Hemisphere species are mixed black and white. The Australian Black Swan (Cygnus atratus) is completely black except for the white flight feathers on its wings; the chicks of black swans are light grey in colour, and the South American Black-necked Swan has a black neck.
The legs of swans are normally a dark blackish grey colour, except for the two South American species, which have pink legs. Bill colour varies: the four subarctic species have black bills with varying amounts of yellow, and all the others are patterned red and black. The Mute Swan and Black-necked Swan have a lump at the base of the bill on the upper mandible.
Whooper Swans migrate from Iceland, Scandinavia and northern Russia to Europe, Central Asia, China and JapanThe swans are generally found in temperate environments, rarely occurring in the tropics. Four (or five) species occur in the Northern Hemisphere, one species is found in Australia and New Zealand and a final species is distributed in southern South America. They are absent from tropical Asia, Central America, northern South America and the entirety of Africa. One species, the Mute Swan, has been introduced to North America, Australia and New Zealand.
Several species are migratory, either wholly or partly so. The Mute Swan is a partial migrant, being resident over areas of Western Europe but wholly migratory in Eastern Europe and Asia. The Whooper Swan and Tundra Swan are wholly migratory, and the Trumpeter Swans are almost entirely migratory.[2] There is some evidence that the Black-necked Swan is migratory over part of its range, but detailed studies have not established whether these movements are long or short range migration.
Swans feed in the water and on land. They are almost entirely herbivorous, although small numbers of aquatic animals may be eaten. In the water food is obtained by up-ending or dabbling, and their diet is composed of the roots, tubers, stems and leaves of aquatic and submerged plants.
Mute Swan's nest with two unhatched eggsSwans form monogamous pair bonds that last for many years. In many cases these pair bonds can last for life, but 'divorces' between pairs do occur.[4] Modern genetic techniques are starting to reveal that these divorces are more common than previously thought.[5] These bonds are maintained year round, even in gregarious and migratory species like the Tundra Swan, which congregate in large flocks in the wintering grounds.[6] The nest is on the ground near water and about a metre across. Unlike many other ducks and geese the male helps with the nest construction. Average egg size (for the mute swan) is 113 x 74 mm, weighing 340 g, in a clutch size of 4 to 7, and an incubation period of 34–45 days.[7] With the exception of the whistling-ducks they are the only anatids where the males aid in incubating the eggs.
Mute swans have been observed to display homosexual or transgender behavior.
All evidence suggests that the genus Cygnus evolved in Europe or western Eurasia during the Miocene, spreading all over the Northern Hemisphere until the Pliocene. When the southern species branched off is not known. The Mute Swan apparently is closest to the Southern Hemisphere Cygnus (del Hoyo et al., eds, Handbook of the Birds of the World); its habits of carrying the neck curved (not straight) and the wings fluffed (not flush) as well as its bill color and knob indicate that its closest living relative is actually the Black Swan. Given the biogeography and appearance of the subgenus Olor it seems likely that these are of a more recent origin, as evidence shows by their modern ranges (which were mostly uninhabitable during the last ice age) and great similarity between the taxa.
Cigno è il nome comune di alcuni grandi, bianchi uccelli acquatici dal lungo collo flessuoso, facenti parte del genere Cygnus della famiglia degli Anatidi.
Presente con varie specie e sottospecie in tutto il mondo. Le rive dello specchio d'acqua devono essere in lieve pendio per consentire ai cigni d'entrare ed uscire agevolmente dall'acqua. Inoltre il terreno dev'essere dotato d'un prato verde dove i cigni possano "pascolare" allegramente.
Grigi alla nascita, diventano bianchi solo da adulti. Il cigno reale (Cygnus olor) si può osservare in Italia, con la sua notevole apertura alare di 200-240 cm. Il cigno selvatico (Cygnus cygnus) è presente nel Nord-Europa e sverna anche sulle coste orientali dell'Adriatico. Le dimensioni sono praticamente uguali a quelle del cigno reale. La Finlandia lo ha scelto come effigie sulle nuove monete da un Euro. Il cigno minore (Cygnus colombianus, con la sottospecie bewickii) è presente solo in Nord-Europa. Come suggerisce il nome, è più piccolo delle due specie precedenti (ca. 20% più piccolo).
Non sporca, non arreca alcun fastidio, non emette suoni se non un lieve sibilo che s'ode appena (tanto che in passato si riteneva che fosse muto). Se nel laghetto vi sono pesci, non li molesta. Difficile è invece, la sua convivenza con i consimili (come le anatre) perché ha un carattere litigioso e dispotico.
I cigni formano coppie che restano unite tutta la vita: nidificano tra i canneti, dove la femmina cova per circa un mese da 4 a 8 uova azzurrognole, mentre il maschio fa la guardia al nido. Alla nascita e fino al raggiungimento dell'età adulta i giovani cigni mantengono un piumaggio assai poco attraente (in genere d'un colore grigiastro simile a quello d'un uccello bianco passato attraverso un camino sporco di fuliggine) ma assai più mimetico - ed utile quindi alla sopravvivenza - di quello, bello ma vistoso, degli adulti.
I cigni sono uccelli essenzialmente erbivori, infatti, si nutrono in prevalenza di piante acquatiche e palustri che strappano dal fondo con il becco. Mentre la maggior parte degli uccelli acquatici deve tuffarsi sott'acqua alla ricerca del cibo, il cigno può tranquillamente esplorare la vegetazione sottostante fino ad un metro di profondità, grazie al suo lunghissimo collo. A volte "pascolano" sulla terraferma e lungo le rive cibandosi di erbe, radici e semi. In realtà la loro dieta non è strettamente vegetariana: infatti, insieme alle erbe ingurgitano anche un buon numero di piccoli animaletti acquatici ad esse associati (crostacei, larve d'insetti e lumachine). Sono poi dei grandi opportunisti, ghiotti di pane (soprattutto se inzuppato nel latte, pastoni per le anatre o destinati ad altri animali, farina d'orzo, riso cotto, biscotti, mais, patate cotte, frutti, crusca, verdure (soprattutto crude), ortaggi vari e perfino carne in minuscoli bocconi mescolati al pastone. In cattività spesso il cibo viene servito in un capiente contenitore di legno e plastica che può essere posato in terra oppure messo a galleggiare sull'acqua.
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