View allAll Photos Tagged influence
Biography & Artist Statement:
My passion for photography started when I got my first digital point-and-shoot camera when I was 14; but, my fascination grew when I got my first DSLR at the age of 17.
I took Digital Arts and Design at Malayan Colleges Laguna and graduated in 2010. I then moved to San Francisco and continued my education. Since then, I have been honing skills more and more by taking photography classes, and doing some experiments involving light.
I also often make my own equipment when the tools I'm looking for aren't commercially available.
I am now seeking growth in the world of portraiture, black and white darkroom photography, and 3-Dimensional photography.
CCSF Photography and You:
I have always been fascinated by images because they spark my imagination. These images make me question what happened/is happening/will happen next, and where is it. Ever since I got my first DSLR in 2008 I've been exploring the things I could do with it: landscapes, 360-panoramas, light painting, freeze motion, and more recently, 3D.
Taking classes in the photography department meant challenging myself to do what I have not done before. It makes me think of new ways to be creative. When I take pictures in my "mini studio" in my own little room, it often involves setting up the light, tying objects with strings, and making strange contraptions just to make the image I imagined possible.
Now I am thinking of ways I could combine these things that I learned to make something new out of them. This makes the process twice as difficult and hopefully the results will also be twice as better.
Photographer: Kári Sverriss. Hár/Makeup: Margrét Sæmundsdóttir Model: Anna Thora Alfredsdottir Assistant: Hjalti Rafn Guðmundsson.
I see historical artefacts as art: dereliction, archaic buildings, machinery. I first engaged with this love with the Detroit photographs of Romain Meffre and Yves Marchand. Their photos are particularly evocative because they represent the lives the workers lived and their legacy. The factories clashed perfectly with the opulent hotels and theatres, showing that physical legacy will be the same as that of industrial machinery.
I love steam engines, objects that are elegant, powerful and functional. My 'Junction' project shows this; in my mono-prints of steam engines I have tried to portray the rough raw power that I see in them as well as recording stations as the bubble of stillness amidst the power and speed of the engines.
The Bauhaus movement and William Morris, who believed in the beauty and utility of art, influence me. The exhibition 'Art Turning Left' at the Tate inspired me, from French propaganda posters to artists’ collectives. The aesthetic of my 'Ideal World' project is influenced by the Guerilla Girls and Banksy with the bold compositions found in political posters.
I have been consistently drawn to portraiture as a means of representing my ideas. Faces are the single most recognisable symbols for human beings. The portraits by Maggi Hambling have influenced my painting style. I also love Mark Rothko’s colours, Paul Klee’s compositions and Gerhard Richter’s style. I love working with oil paint and palette knives, and instead of canvasses I prefer to use cardboard or wood, so as to retain a rough aesthetic.
The former St. Peter's Church of Ireland (1891), in the forgotten, 19th centry mill village of Laragh, Co. Monaghan.
This church is unusual in that it is made from corrugated iron. The story goes that it was brought back to Laragh by the mill owner and his wife from their honeymoon in Switzerland, where she saw and fell in love with it. Designed in a swiss-gothic hybrid style, it is located in a small, narrow wooded valley alongside the river which powered the village's mill. The landscaping around the church is designed to evoke a small mountain glade with rocky outcrops around the church.
It was deconsecrated in 1962. It's not that obvious from this shot, but the exterior has become quite run down.
El sábado pasado concluía la última sesión del seminario “Líderes Influencers”, en esta ocasión el título fue: "LO IMPORTANTE ES LEVANTARSE: FORTALEZA". Comenzaban a las 16.30h tomando un café, a continuación tuvieron varias dinámicas de grupo con Pascual Hernández, socio director de Explora, aplicando la importancia de la fortaleza que radica no en caerse, sino levantarse siempre, llegar a los objetivos sorteando los obstáculos y descubriendo las debilidades que impiden alcanzar las metas, la importancia del trabajo en equipo, soluciones más efectivas etc. Más tarde Diana y Mar Quesada, influencers decoradoras de interiores de Tres Studio (@tres_studio), les contaron su experiencia profesional, cómo comenzaron con las redes sociales, primero con un blog y Facebook, más tarde con Instagram, cómo las distintas situaciones de su vida afectaron este ámbito, hablaron de responsabilidad social, de transmitir valores y nos quedamos con la frase “..nosotras llevamos las redes, las redes no nos llevan a nosotras…” más tarde intervino Juan Martínez Otero, autor del libro "Tsunami digital, hijos surferos" les habló cómo internet ha modificado los hábitos de la sociedad, pero en todos lo casos y situaciones que expuso daba enfoques muy positivos y consejos para enfrentarlas, y para que las redes e Internet no dominen su vida. Tras un descanso y después de la Misa vespertina, tuvieron tertulia con Mario Gil, influencer cómico (@mariuslekker), les contó cómo su hermano le animaba, ya que a él le gustaba crear humor, pero no quería desvelar su vida privada, luego se dio cuenta que era una forma de transmitir valores y hacer humor sano y crear contenidos que fuesen dignos de seguir y sin comprometer su información personal. Tuvieron tiempo de hacerles a todos muchas preguntas e intercambiar experiencias.
Damos las gracias a la coordinadora y artífice de este seminario, Zoimer Quintero que se ha dejado la piel con y por los jóvenes, y a muchas personas que han contribuido a las satisfacción de todos los asistentes como María, Ana…etc.
Sobre todo estamos muy agradecidos con otros influencers que desde muy lejos durante los meses que ha durado el seminario, han estado enviando videos, especialmente nuestra gratitud a mons. Munilla, Obispo de San Sebastián que desde el primer momento nos apoyó en esta iniciativa.
R-Kilt in hemp from Ontario Canada beside a statue of one of the North American First Peoples, in the Waverley Bar, Dumfries.
Until a few years ago, a handful of people had total influence over the way most women in the eastern Afghan hub of Jalalabad should live.
One of the many things women were deprived of was radio. Many were not allowed to listen to radio, let alone watching television, according to local women.
Now things have changed for the good, thanks to the sway Nargis radio has among the local women.
“Women are getting to know their rights gradually. In the past, many extremist people didn’t allow women to even listen to radio. Now, they have no restrictions,” said Faza Noorzai, a newscaster and journalist with Radio Nargis 88.6 MHz, her head fully covered with a white scarf. “It’s a big change.”
Established on 11 September 2007, the radio station, set up by the Shaiq Media Network, has 18 hours of programmes all dedicated to women.
Nargis radio can be heard in three eastern provinces – Nangarhar and parts of Laghman and Kunar.
Nargis – referring to the daffodil-like yellow narcissus flower – is the third radio station – run by women for women to be established in post-Taliban Afghanistan. Nargis has 20 staff – 16 news and four technical staff.
Harsh social conditions and radically conservative attitudes towards women make the Nargis unique from the two others – Voice of Women (Kabul) and Radio Zohra (Kunduz).
The latter two were established on 4 March 2004, coinciding with International Women’s Day, with support from the Internews, an NGO that supports media organizations worldwide.
One thing that is so unique about the Nargis is that none of its staff – news-related or technical – received prior training in their respective fields.
Overall manager of the Shaiq Network, Shafiqullah Shaiq, said the women receive training after they are hired. “This helps in their personal growth too,” said Mr Shaiq, who aspires to become the top media moghul in eastern Afghanistan.
Mr Shaiq, 40, whose father was killed by the Russians during the occupation, runs a second radio station called “Sharq” and a television station with the same name – both based in Jalalabad.
His media network also publishes a four-page newspaper and runs a journalism training centre. He claimed that his documentary on terrorism, education and narcotics called “Black Poison” has sold 20,000 copies since 2005.
“I was living here during the dark days of the Taliban,” he said. “We are very optimistic and my centre will be like the CNN one day. When they [CNN] started, they were also as we are today.”
The problem, he says, is the lack of funds and resources. Yet, the unrelenting Shaiq is ambitious. “I will establish media centres in Mazar-e-Sharif, Kunar and Laghman.”
A news staffer with Nargis, Gulalai Naseri, claimed that there has been a decrease in the number of women committing suicide “by self-immolation” in Jalalabad due to this media boom.
“Between 9:00 and 10:00 am, we air a programme called ‘Life of Women’, which is dedicated to addressing women’s problems,” said Ms Naseri. “The topics we cover are suicide, forced marriage, education and security, among others.”
Other programmes include news, entertainment, jokes shows and drama.
Shahla Shaiq, who is the wife of Mr Shafiqullah, has been given the overall responsibility of managing Nargis.
“We invited more than ten female provincial council candidates in for roundtables discussions during the election campaign period,” said Ms Shaiq. “We are now planning special programmes ahead of the Peace Day (21 September).”
The latest in the Shaiq family to enter the media empire is their 12-year-old daughter, Hina, who is already a newscaster with the Nargis.
The radio has already started broadcasting a 30-second radio spot with peace message prepared by the United Nations Assistance Mission in Afghanistan (UNAMA).
Nargis was started after conducting a survey among women, who pitched for a radio for women to support their cause.
“Now, they have their voice,” said Ms Noorzai. “We are getting a very positive response.”
Ms Naseri said she got a night letter threatening her life when she visited her home in Laghman about eight months ago.
“I didn’t panic about it and entered the area and spoke to the people who know me very well,” she added. “Some people are jealous about me. Out of jealousness, they did that. There is full cooperation from my family and they encourage me to continue the job.”
Adds another newscaster, Khcola Sadat: “Our purpose is to enlighten the minds of the women. Many people are very happy and praise our role.”
Photo: Shafiqullah Waak (UNAMA).
Influencers church (Paradise) fireworks 19/12/2014
Carols and Fireworks.
Canon EOS 5D, 24-70L, ND2-400 Variable filter, 1 sec exposure and longer
2015
_MG_8941
A wildfire is the result of a complex interaction of biological, meteorological, physical, and social factors that influence its likelihood, behaviour, duration, extent, and outcome (i.e., severity or impact). Changes in many of these factors are increasing the risk of wildfire globally (e.g., climate change is increasing the frequency and severity of weather conducive to wildfire outbreaks, changed demographics in high-risk regions are increasing the potential impacts of wildfires). Management options at junctures, such as fuel management (managing fuels prior to a wildfire occurrence), fire management (undertaking fighting of the fire once it has started), or relocating those threatened during a wildfire event (e.g., evacuation) can mitigate some of the economic, environmental, or societal impacts of wildfire but it is impossible to mitigate all risks for all fires. As a result, communities often have to learn to live with the residual risk of wildfire.
This photo has been graciously provided to be used in the GRID-Arendal resources library by: Andrew Sullivan/CSIRO, 2021.
LONDON, ENGLAND - MARCH 23: Left to right: Emma Grede, Lucy Lendrem, Jim Chapman, Louise Pentland and Nina Tsang during How To Win Brands And Influence People, part of Advertising Week Europe, Piccadilly, on March 23, 2015 in London, England. (Photo by Stuart Wilson/Getty Images for Advertising Week)
Influencers church (Paradise) fireworks 19/12/2014
Carols and Fireworks.
Canon EOS 5D, 24-70L, ND2-400 Variable filter, 1 sec exposure and longer
2015
_MG_8933
"The Influence of New US and UN Leadership on International Relations, Economic Development, Innovation, New Markets, & Global Human Rights"
(New York City & Washington DC; January 10th - 14th, 2017)
Photos of my work as photographer at the Institute for Cultural Diplomacy (ICD). Berlin, Germany.
CASTELLANO
Fotos pertenecientes a mi trabajo como fotógrafo en el Institute for Cultural Diplomacy (ICD). Berlin, Alemania.
Kartikeya, also known as Skanda, Murugan and Subramaniyan, is the Hindu god of war. He is the commander-in-chief of the army of the devas (gods) and the son of Shiva and Parvati.
Murugan is often referred to as "Tamil Kadavul" (meaning "God of Tamils") and is worshiped primarily in areas with Tamil influences, especially South India, Sri Lanka, Mauritius, Malaysia, Singapore and Reunion Island. His six most important shrines in India are the Arupadaiveedu temples, located in Tamil Nadu. In Sri Lanka, Hindus as well as Buddhists revere the sacred historical Nallur Kandaswamy temple in Jaffna and Katirkāmam Temple situated deep south.[1] Hindus in Malaysia also pray to Lord Murugan at the Batu Caves and various temples where Thaipusam is celebrated with grandeur.
In Karnataka and Andhra Pradesh, Kartikeya is known as Subrahmanya with a temple at Kukke Subramanya known for Sarpa shanti rites dedicated to Him and another famous temple at Ghati Subramanya also in Karnataka. In Bengal and Odisha, he is popularly known as Kartikeya (meaning 'son of Krittika').[2]
Other names[edit]
Like most Hindu deities, Subrahmanya is known by many other names, including Senthil, Vēlaṇ, Kumāran (meaning 'prince or child or young one'), Swaminatha (meaning 'smart' or 'clever'), Saravaṇa, Arumugam or Shanmuga (meaning 'one with six faces'), Dhandapani (meaning God with a Club), Guhan or Guruguha (meaning 'cave-dweller'), Subrahmanya, Kartikeya and Skanda (meaning 'that which is spilled or oozed).[3][4] He was also known as Mahasena and the Kadamba Dynasty kings worshiped him by this name.[5]
Vedas[edit]
The Atharva Veda describes Kumaran as 'Agnibhuh' because he is form of 'Agni' (Fire God) & Agni hold in his hand when kumaran born. The Satapatha Brahmana refers to him as the son of Rudra and the six faces of Rudra. The Taittiriya Aranyaka contains the Gayatri mantra for Shanmukha. The Chandogya Upanishad refers to Skanda as the "way that leads to wisdom". The Baudhayana Dharmasutra mentions Skanda as 'Mahasena' and 'Subrahmanya.' The Aranya Parva canto of the Mahabharata relates the legend of Kartikeya Skanda in considerable detail. The Skanda Purana is devoted to the narrative of Kartikeya.[6] The Upanishads also constantly make a reference to a Supreme Being called Guha, the indweller.
The first elaborate account of Kartikeya's origin occurs in the Mahabharata. In a complicated story, he is said to have been born from Agni and Svaha, after the latter impersonated the six of the seven wives of the Saptarishi (Seven Sages). The actual wives then become the Pleiades. Kartikeya is said to have been born to destroy the Asura Mahisha.[7] (In later mythology, Mahisha became the adversary of Durga.) Indra attacks Kartikeya as he sees the latter as a threat, until Shiva intervenes and makes Kartikeya the commander-in-chief of the army of the Devas. He is also married to Devasena, Indra's daughter. The origin of this marriage lies probably in the punning of 'Deva-sena-pati'. It can mean either lord of Devasena or Lord of the army (sena) of Devas. But according to Shrii Shrii Anandamurti, in his master work on Shiva[8] and other works, Kartikeya was married to Devasenā and that is on the ground of his name as Devasena's husband, Devasenāpati, misinterpreted as Deva-senāpati (Deva's general) that he was granted the title general and made the Deva's army general.[9]
The Ramayana version is closer to the stories told in the Puranas discussed below.
Tolkappiyam, possibly the most ancient of the extant Sangam works, dated between the 3rd century BCE and 5th century CE glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent," as "the favoured god of the Tamils."[10] The Sangam poetry divided space and Tamil land into five allegorical areas (tinai) and according to the Tirumurugarruppatai ( c. 400–450 AD) attributed to the great Sangam poet Nakkiirar, Murugan was the presiding deity the Kurinci region (hilly area). (Tirumurugaruppatai is a deeply devotional poem included in the ten idylls (Pattupattu) of the age of the third Sangam). The other Sangam era works in Tamil that refer to Murugan in detail include the Paripaatal, the Akananuru and the Purananuru. One poem in the Paripaatal describes the veneration of Murugan thus:
"We implore thee not for boons of enjoyment or wealth,
But for thy grace beatific, love and virtuous deeds."
According to the Tamil devotional work, Thiruppugazh, "Murugan never hesitates to come to the aid of a devotee when called upon in piety or distress". In another work, Thirumurukkarrupatai, he is described as a god of eternal youth;
His face shines a myriad rays light and removes the darkness from this world.[11]
The references to Murugan can be traced back to the first millennium BCE. There are references to Murugan in Kautilya's Arthashastra, in the works of Patanjali, in Kalidasa's epic poem the Kumarasambhavam. The Kushanas, who governed from what is today Peshawar, and the Yaudheyas, a republican clan in the Punjab, struck coins bearing the image of Skanda. The deity was venerated also by the Ikshvakus, an Andhra dynasty, and the Guptas.[6] The worship of Kumāra was one of the six principal sects of Hinduism at the time of Adi Shankara. The Shanmata system propagated by him included this sect. In many Shiva and Devi temples of Tamil Nadu, Murugan is installed on the left of the main deity. The story of His birth goes as follows:
Sati immolated herself in a pyre as her father King Daksha had insulted Shiva, her Lord. She was reborn as Parvathi or Uma, daughter of the King of Himalayas, Himavan. She then married her Lord Shiva. The Devas were under onslaught from the Asuras whose leader was Soorapadman. He had been granted boons that only Lord Shiva or his seed could kill him. Fearless he vanquished the Devas and made them his slaves. The Devas ran to Vishnu for help who told them that it was merely their fault for attending Daksha's yagna, without the presence of Lord Shiva. After this, they ran to Shiva for help. Shiva decided to take action against Soorapadman's increasing conceit. He frowned and his third eye- the eye of knowledge- started releasing sparks. These were six sparks in total. Agni had the responsibility to take them to Saravana Lake. As he was carrying them, the sparks were growing hotter and hotter that even the Lord of Fire could not withstand the heat. Soon after Murugan was born on a lotus in the Saravana Lake with six faces, giving him the name Arumukhan. Lord Shiva and Parvati visited and tears of joy started flowing as they witnessed the most handsome child. Shiva and Parvathi gave the responsibility of taking care of Muruga to the six Krittika sisters. Muruga grew up to be a handsome, intelligent, powerful, clever youth. All the Devas applauded at their saviour, who had finally come to release them from their woes. Murugan became the supreme general of the demi-gods, then escorted the devas and led the army of the devas to victory against the asuras.
Legends[edit]
Given that legends related to Murugan are recounted separately in several Hindu epics, some differences between the various versions are observed. Some Sanskrit epics and puranas indicate that he was the elder son of Shiva. This is suggested by the legend connected to his birth; the wedding of Shiva and Parvati being necessary for the birth of a child who would vanquish the asura named Taraka. Also, Kartikeya is seen helping Shiva fight the newborn Ganesha, Shiva's other son, in the Shiva Purana. In the Ganapati Khandam of the Brahma Vaivarta Purana, he is seen as the elder son of Shiva and Ganesha as the younger. In South India, it is believed that he is the younger of the two. A Puranic story has Ganesha obtain a divine fruit of knowledge from Narada winning a contest with Murugan. While Murugan speeds around the world thrice to win the contest for the fruit, Ganesha circumambulates Shiva and Parvati thrice as an equivalent and is given the fruit. After winning it, he offers to give the fruit to his upset brother. After this event, Ganesha was considered the elder brother owing as a tribute to his wisdom. Many of the major events in Murugan's life take place during his youth, and legends surrounding his birth are popular. This has encouraged the worship of Murugan as a child-God, very similar to the worship of the child Krishna in north India. He is married to two wives, Valli and Devasena. This lead to a very interesting name : Devasenapati viz. Pati (husband) of Devsena and/or Senapati (commander in chief) of Dev (gods)
Kartikeya symbols are based on the weapons – Vel, the Divine Spear or Lance that he carries and his mount the peacock. He is sometimes depicted with many weapons including: a sword, a javelin, a mace, a discus and a bow although more usually he is depicted wielding a sakti or spear. This symbolizes his purification of human ills. His javelin is used to symbolize his far reaching protection, his discus symbolizes his knowledge of the truth, his mace represents his strength and his bow shows his ability to defeat all ills. His peacock mount symbolizes his destruction of the ego.
His six heads represent the six siddhis bestowed upon yogis over the course of their spiritual development. This corresponds to his role as the bestower of siddhis.
In Tamil Nadu, Murugan has continued to be popular with all classes of society right since the Sangam age. This has led to more elaborate accounts of his mythology in the Tamil language, culminating in the Tamil version of Skanda Purana, called Kandha Purānam, written by Kacchiappa Sivachariyar (1350–1420 AD.) of Kumara Kottam in the city of Kanchipuram. (He was a scholar in Tamil literature, and a votary of the Shaiva Siddhanta philosophy.)
He is married to two deities, Valli, a daughter of a tribal chief and Deivayanai (also called Devasena), the daughter of Indhra. During His bachelorhood, Lord Murugan is also regarded as Kumaraswami (or Bachelor God), Kumara meaning a bachelor and Swami meaning God. Muruga rides a peacock and wields a bow in battle. The lance called Vel in Tamil is a weapon closely associated with him. The Vel was given to him by his mother, Parvati, and embodies her energy and power. His army's standard depicts a rooster. In the war, Surapadman was split into two, and each half was granted a boon by Murugan. The halves, thus turned into the peacock (his mount) and the rooster his flag, which also "refers to the sun".[12]
As Muruga is worshipped predominantly in Tamil Nadu, many of his names are of Tamil origin. These include Senthil, the red or formidable one; Arumugam, the six-faced one; Guhan and Maal-Marugan, the son-in-law of Vishnu. Murugan is venerated throughout the Tamil year. There is a six-day period of fast and prayer in the Tamil month of Aippasi known as the Skanda Shasti. He is worshipped at Thaipusam, celebrated by Tamil communities worldwide near the full moon of the Tamil month Thai. This commemorates the day he was given a Vel or lance by his mother in order to vanquish the asuras. Thirukarthigai or the full moon of the Tamil month of Karthigai signifies his birth. Each Tuesday of the Tamil month of Adi is also dedicated to the worship of Murugan. Tuesday in the Hindu tradition connotes Mangala, the god of planet Mars and war.
Other parts of India[edit]
Historically, God Kartikeya was immensely popular in the Indian subcontinent. One of the major Puranas, the Skanda Purana is dedicated to him. In the Bhagavad-Gita (Ch.10, Verse 24), Krishna, while explaining his omnipresence, names the most perfect being, mortal or divine, in each of several categories. While doing so, he says: "Among generals, I am Skanda, the lord of war."
Kartikeya's presence in the religious and cultural sphere can be seen at least from the Gupta age. Two of the Gupta kings, Kumaragupta and Skandagupta, were named after him. He is seen in the Gupta sculptures and in the temples of Ellora and Elephanta. As the commander of the divine armies, he became the patron of the ruling classes. His youth, beauty and bravery was much celebrated in Sanskrit works like the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic, the Kumaarasambhavam. In ancient India, Kartikeya was also regarded as the patron deity of thieves, as may be inferred from the Mrichchakatikam, a Sanskrit play by Shudraka, and in the Vetala-panchvimshati, a medieval collection of tales. This association is linked to the fact that Kartikeya had dug through the Krauncha mountain to kill Taraka and his brothers (in the Mrichchakatikam, Sarivilaka prays to him before tunnelling into the hero's house).
However, Kartikeya's popularity in North India receded from the Middle Ages onwards, and his worship is today virtually unknown except in parts of Haryana. There is a very famous temple dedicated to Him in the town of Pehowa in Haryana and this temple is very well known in the adjoining areas, especially because women are not allowed anywhere close to it. Women stay away from this temple in Pehowa town of Haryana because this shrine celebrates the Brahmachari form of Kartikeya. Reminders of former devotions to him include a temple at Achaleshwar, near Batala in Punjab, and another temple of Skanda atop the Parvati hill in Pune, Maharashtra. Another vestige of his former popularity can be seen in Bengal and Odisha, where he is worshipped during the Durga Puja festivities alongside Durga. Lord Subramanya is the major deity among the Hindus of northern Kerala. Lord Subramanya is worshipped with utmost devotion in districts of Dakshina Kannada and Udupi in the state of Karnataka. Rituals like nagaradhane are unique to this region.
Kartikeya also known as Kartik or Kartika is also worshipped in West Bengal, and Bangladesh on the last day of the Hindu month of 'Kartik'. However, the popularity of Kartik Puja (worshipping Kartik) is decreasing now, and Lord Kartik is primarily worshipped among those who intend to have a son. In Bengal, traditionally, many people drop images of Kartik inside the boundaries of different households, who all are either newly married, or else, intend to get a son to carry on with their ancestry. Lord Kartik is also associated to the Babu Culture prevailed in historic Kolkata, and hence, many traditional old Bengali paintings still show Kartik dressed in traditional Bengali style. Also, in some parts of West Bengal, Kartik is traditionally worshipped by the ancestors of the past royal families too, as in the district of Malda. Kartik Puja is also popular among the prostitutes. This can probably be linked to the fact that, the prostitutes mostly got clients from the upper class babu-s in old Kolkata, who all, in turn, had been associated to the image of Kartik (as discussed above). In Bansberia (Hooghly district) Kartik Puja festival is celebrated like Durga puja of Kolkata, Jagadhatri puja in Chandannagar for consecutive four days. The festival starts on 17 November every year and on 16 November in case of Leap year.[13] Some of the must see Puja committees are Bansberia Kundugoli Nataraj, Khamarapara Milan Samity RadhaKrishna, Kishor Bahini, Mitali Sangha, Yuva Sangha, Bansberia Pratap Sangha and many more.
In Durga Puja in Bengal, Kartikeya is considered to be a son of Parvati or Durga and Shiva along with his brother Ganesha and sisters Lakshmi and Saraswati.[14]
Kartikeya is worshiped during Durga Puja in Odisha as well as in various Shiva temples throughout the year. Kartik puja is celebrated in Cuttack along with various other parts of the state during the last phases of Hindu month of Kartik. Kartik purnima is celebrated with much joy and in a grand fashion in Cuttack and other parts in the state.
Murugan is adored by both Tamil Hindus and Sinhalese Buddhists in Sri Lanka. Numerous temples exist throughout the island. He is a favorite deity of the common folk everywhere and it is said he never hesitates to come to the aid of a devotee when called upon. In the deeply Sinhalese south of Sri Lanka, Murugan is worshipped at the temple in Katirkāmam, where he is known as Kathiravel or Katragama Deviyo (Lord of Katragama) . This temple is next to an old Buddhist place of worship. Local legend holds that Lord Murugan alighted in Kataragama and was smitten by Valli, one of the local aboriginal lasses. After a courtship, they were married. This event is taken to signify that Lord Murugan is accessible to all who worship and love him, regardless of their birth or heritage. The Nallur Kandaswamy temple, the Maviddapuram Kandaswamy Temple and the Sella Channithy Temple near Valvettiturai are the three foremost Murugan temples in Jaffna. The Chitravelayutha temple in Verukal on the border between Trincomalee and Batticaloa is also noteworthy as is the Mandur Kandaswamy temple in Batticaloa. The late medieval-era temple of the tooth in Kandy, dedicated to the tooth relic of the Buddha, has a Kataragama deiyo shrine adjacent to it dedicated to the veneration of Skanda in the Sinhalese tradition. Almost all buddhist temples house a shrine room for Kataragama deviyo(Murugan)reflecting the significance of Murugan in Sinhala Buddhism,
Based on archeological evidence found, it is believed that the Kiri Vehera was either renovated to build during the 1st century BCE. There are number of others inscriptions and ruins.[15]
By the 16th century the Kathiravel shrine at Katirkāmam had become synonymous with Skanda-Kumara who was a guardian deity of Sinhala Buddhism.[16] The town was popular as a place of pilgrimage for Hindus from India and Sri Lanka by the 15 the century. The popularity of the deity at the Kataragama temple was also recorded by the Pali chronicles of Thailand such as Jinkalmali in the 16th century. There are number of legends both Buddhist and Hindu that attribute supernatural events to the very locality.[16] Scholars such as Paul Younger and Heinz Bechert speculate that rituals practiced by the native priests of Kataragama temple betray Vedda ideals of propitiation. Hence they believe the area was of Vedda veneration that was taken over by the Buddhist and Hindus in the medieval period.[17]
Lord Murugan is one of the most important deities worshipped by Tamil people in Malaysia and other South-East Asian countries such as Singapore and Indonesia. Thai Poosam is one of the important festivals celebrated. Sri Subramanyar Temple at Batu Caves temple complex in Malaysia is dedicated to Lord Murugan.
The main temples of Murugan are located in Tamil Nadu and other parts of south India. They include the Aru Padaiveedu (six abodes) — Thiruchendur, Swamimalai, Pazhamudircholai, Thirupparangunram, Palani (Pazhani), Thiruthani and other important shrines like Mayilam, Sikkal, Marudamalai, Kundrathur, Vadapalani, Kandakottam, Thiruporur, Vallakottai, Vayalur, Thirumalaikoil, Pachaimalai and Pavalamalai near Gobichettipalayam. Malai Mandir, a prominent and popular temple complex in Delhi, is one of the few dedicated to Murugan in all of North India apart from the Pehowa temple in Haryana.
There are many temples dedicated to Lord Subramanya in Kerala. Amongst them are Atiyambur Sri Subramanya Temple in Kanhangad Kasaragod, Payyannur Subramanya Swamy temple in Payyanur, Panmana Subramanya Swamy temple in Panmana and the Subramanya temple in Haripad. There is a temple in Skandagiri, Secunderabad and one in Bikkavolu, East Godavari district in the state of Andhra Pradesh. In Karnataka there is the Kukke Subramanya Temple where Lord Murugan is worshiped as the Lord of the serpents. Aaslesha Bali, Sarpa Samskara with nagapathista samarpa are major prayers here. There is a temple called Malai Mandir in South Delhi. Malai means hill in Tamil. Mandir means temple in Hindi.
The key temples in Sri Lanka include the sylvan shrine in Kataragama / (Kadirgamam) or Kathirkamam in the deep south, the temple in Tirukovil in the east, the shrine in Embekke in the Kandyan region and the famed Nallur Kandaswamy temple in Jaffna. There are several temples dedicated to Lord Murugan in Malaysia, the most famous being the Batu Caves near Kuala Lumpur. There is a 42.7-m-high statue of Lord Murugan at the entrance to the Batu Caves, which is the largest Lord Murugan statue in the world. Sri Thandayuthapani Temple in Tank Road, Singapore is a major Hindu temple where each year the Thaipusam festival takes place with devotees of Lord Muruga carrying Kavadis seeking penance and blessings of the Lord.
In the United Kingdom, Highgate Hill Murugan temple is one of the oldest and most famous. In London, Sri Murugan Temple in Manor park is a well-known temple. In Midlands, Leicester Shri Siva Murugan Temple is gaining popularity recently. Skanda Vale in West Wales was founded by Guruji, a Tamil devotee of Subramaniam, and its primary deity is Lord Murugan. In Australia, Sydney Murugan temple in Parramatta (Mays Hill), Perth Bala Muruguan temple in Mandogalup and Kundrathu Kumaran temple in Rockbank, Melbourne are major Hindu temples for all Australian Hindus and Murugan devotees. In New Zealand, there is a Thirumurugan Temple in Auckland and a Kurinji Kumaran Temple in Wellington, both dedicated to Lord Murugan. In the USA, Shiva Murugan Temple in Concord, Northern California and Murugan Temple of North America[18] in Maryland, Washington DC region are popular. In Toronto, Canada, Canada Kanthasamy Temple is known amongst many Hindus in Canada. In Dollard-des-Ormeaux, a suburb of the city of Montreal in Canada, there is a monumental temple of Murugan. The Sri Sivasubramaniar Temple, located in the Sihl Valley in Adliswil, is the most famous and largest Hindu temple in Switzerland.[19]
Shapes of Influence 2016 is the second in a biennial series of ceramics exhibitions. The intent of this juried exhibition is to showcase the best in contemporary ceramics. This years exhibition was juried by Erin Furimsky.
Exhibiting Artists:
Lisa Marie Barber, Lindsey Beasley, Gary Beaumont, Casey Beck, Jill Birschbach, Sally Brogden, Robert Bruch, Jim Budden, Brian Christensen, Shenny Cruces, Audry Deal-McEver, Paula Diaz-Sylvester, Christine Dokolasa, Yewen Dong, Ben Grazzini, Mary Harden, Hugh Henderson, Jason Hess, Lauren Kearns, Lucien Koonce, Emily Loehle, Robert Lorenz, John Masello, Hannah Meredith, Matthew Mitros, April Noble, Helen Otterson, Rosalinda Post-Lucas, Mike Rand, Don Reynolds, Gina Robbins, Kazuma Sambe, Lauren Sabndler, JoAnn Schnabel, Suzanne Sidebottom, Karen Swyler, Joan Ulrich, Mark Walnock, Mieke Zuiderweg
May 17-30, 2018
Opening Reception: Thursday May 17 from 6-8:00 pm
The clock’s influence is inseparable from contemporary life – not only does it synchronize individual circadian rhythms but it also produces the stable temporal foundation for both scientific tradition and capitalism to flourish. However, there is a significant gap between what is measured by clocks and what is perceived by the individual. The perceived acceleration of time in contemporary life leaves us with a feeling of being continually deprived of this precious resource. While many technologies promise to help us get-time-back, they only entangle us further in their construction. Scientific time, duration measured by clocks, is regarded as immutable, indefatigable, and infallible – the opposite of the humans it ostensibly serves. Slower Than Time Itself uses the syncopated rhythms and unquantifiable output of mechanical clocks to suggest a slowing and plurality to the current monoculture of time, more sympathetic to the human condition and timescapes outside of human perception. Trueman’s sculptural and video works explore the idea of slowness as a gateway to multiplicity and ponders whether it is possible to use a clock to escape time itself.
Artist Biography
After studying mechanical engineering at Fanshawe, Trueman completed his undergraduate degree in fine arts at Western University where he is currently a Master of Fine Art candidate. He will be completing a clock installation at I-Park Residency (East Haddam, Connecticut) this summer, and will be exhibiting at PLUS Art Fair 2018 (Toronto). His first publication So Long South Street, a photographic series showing the demolition of famed South Street Hospital, was launched earlier in 2018. His work has been shown at Museum London, McMaster Museum of Art (Hamilton), Thames Art Gallery (Chatham), and DNA Art Space (London).
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2018; Department of Visual Arts; Western University
Photo of some of the top 100 SMB Influencers and key sponsors recognized at the SMB Influencer Awards Gala. This picture was taken at the end of the event so lots of folks had left already. For additional photos from the event see: SMB Influencer - New York Expo Show Flickr photoset.
Photo (cc). If using photo, please credit: Photo courtesy Grant Wickes.
In picture: Shashi Bellamkonda (@shashib), Bryan Lee (Senior Dir US Sales - RIM), ?. Laurie McCabe (@lauriemccabe), Gwen Moran (@GwenMoran - hiding behind Laurie), Dina Dwyer-Owens (@DinaDwyerOwens), Grant Wickes (@gwickes), Anita Campbell (@smallbiztrends), Mike Blumenthal (@mblumenthal), Ingrid Vanderveldt (@ontheroadwithiv of Dell), Carol Roth (@caroljroth), ?, Alibaba exec, Michael Simmons, Hilary Cable (Deluxe), Ramon Ray (@ramonray), Karen-Michelle Mirko (@KMMirko), ?, Melinda French (@smallbizlady), Eitan Saban (@eitansaban), Scott Gerber
Photo taken with Canon S100
Picture by Grant Wickes principal of Wickpoint Management Services and VP Businss Development Wasp Barcode Technologies.
#smbinfluencer #nyxpo
Influencers church (Paradise) fireworks 19/12/2014
Carols and Fireworks.
Canon EOS 5D, 24-70L, ND2-400 Variable filter, 1 sec exposure and longer
2015
_MG_9066
image influenced by foreign films with subtitles;
this image is reposted from a previous posting;
one of my fav English films by Peter Greenaway, another one by him is The Pillow Book—both hard to find on dvd
The influence of the Nickel Plate is visible in the placement of the signal heads on this home signal in Spencer, Ohio. The NKP acquired the original Wheeling & Lake Erie in the late 1940s.
LITTLE ONE and EYE SPY
Tuesday 9 and Wed 17 July, 7.30pm, £10, Lock 91, 9 Century Street, Manchester M3 4QL; and
Friday 12 and Saturday 13 July, 7.30pm, £10, Eagle Inn, 18-19 Collier Street, Salford, M3 7DW.
Two one hour twisted yet comic explorations looking at the darker side of human nature with a short interval between. We all recognise love, we all understand hate and yet we dance between them day-by-day. How far do those emotions take us and can they push us across lines we should never have crossed? The first, Little One by Hannah Moscovitch is the haunting story of adopted siblings Aaron and Claire - one the definition of normal, the other deeply disturbed and unpredictable - and the strange lives of their neighbours, a man and his mail order bride. The second is Eye Spy, a company devised piece: A cycle of six short plays that take a peek at the not so distant future. Eye Spy is set in a Tech-obsessed society and looks at the stories of people living under the 'BOOK' regime. Sarah, a modern influencer needs more followers, how far will she go to get them? Jack has started wearing his yellow hat with pride, why? Will we ever find the Hacker? Whatever you do DON'T type a FORBIDDEN WORD!
Trailer... youtu.be/iY0t4YkqdEg
The Protestant (Lutheran) Church on Jiangsu Lu in downtown Qingdao, China harkens back to when the Germans controlled Qingdao for a short time. Jiangsu Lu has quite a bit of German architecture (as does the neighborhood in general), and the church is probably the highlight.
The church was designed by Curt Rothkegel and built in 1908. The interior is sparse – to say the least – but you can wander up the belfry for a close-up view of the church bells and the mechanism that operates them. The views from the bell tower and the grounds out over Qingdao Bay would be rather nice on a clear day.
I’ve lived in China for almost three years now; about two years in Shanghai and one year in Tianjin. Shandong province is the province that’s on the sea between the two cities. (From Shanghai to Tianjin by train is around 5 hours; by plane, 2 hours.) Qingdao, probably the most well-known city in Shandong, is a charming city, to say the least. In my opinion, it’s exceptionally photogenic – with very nice beaches, great architecture, good geography/topography, and terrific food.
Qingdao also happens to be known for the most famous of Chinese beers (Tsingtao), which is actually a company started by the Germans. (For what it’s worth, Chinese beers are quite watery and Tsingtao is somewhat like the Budweiser of Chinese beers. That being said, I’m happy to drink an ice cold Tsingtao on a hot summer day whereas I wouldn’t say the same thing about a Budweiser.
So what to make of Qingdao then? Before colonial powers swept in and started chopping up China piecemeal, Qingdao was basically a sleepy fishing village. During the Ming dynasty, a battery was built here. In 1898, the Germans seized control of Qingdao when two missionaries were killed. (Personally, it seems alarming to me that a country could lose a city because two foreigners happened to be killed – and China sure lost a lot that way during the 19th century. I guess that’s the downside to outmoded military technology; the Europeans and Americans basically plundered China…) At any rate, Qingdao was ceded to the Germans for 99 years, but that didn’t last long, thanks to World War I.
During the 15-20 years that the Germans did have control of the town, they managed to build a handful of churches (still standing) and missionaries, in addition to the aforementioned Qingdao brewery. Because of that, a lot of the European architecture has a heavy German influence and there are still a few random signs of German heritage around town.
From the Germans, Qingdao didn’t land directly with the Chinese. It spent 8 years under Japanese control (1914-1922) before being returned to the Kuomintang (aka General Chiang Kai-Shek’s clan). The Japanese took control once again in 1938 (as they swept through northeast China and across half the country) before losing it for the last time in 1945 at the end of World War II. Since then, it’s been in Chinese hands. (Brief history courtesy of Lonely Planet.)
Contemporary Qingdao certainly makes its way as a tourist destination – and it’s a fine one at that. The population (per my LP from 2011) lists it at 1.73 million. The city has a few areas that are quite appealing to tourists: the Old Town (the heart of the city) off the beach and just east of the railway station downtown, Badaguan (which means “eight passes”) is a hilly area with a lot of nice residential architecture to the east of the Old Town. Other than that, there are a lot of parks, a beer street, churches, and a 40 km. scenic walk (which, obviously, most people do not cover from end to end) along the shore which goes by all of the beaches in the area.
All in all, Qingdao is the type of town that, if you get the chance to visit, I think you would find yourself thinking it would be great to return again and again.
Influenced by ancient Roman chair designs while Johnson was in Italy; he hired local craftsmen in Italy to fabricate them in a variety of materials. This one has a bronze frame with an artificially induced patina that makes it look ancient.
Medium: graphite on paper.
Original: 30"x50". Available.
Email: info@ritaelsner.com
Web: www.ritaelsner.com
Kartikeya, also known as Skanda, Murugan and Subramaniyan, is the Hindu god of war. He is the commander-in-chief of the army of the devas (gods) and the son of Shiva and Parvati.
Murugan is often referred to as "Tamil Kadavul" (meaning "God of Tamils") and is worshiped primarily in areas with Tamil influences, especially South India, Sri Lanka, Mauritius, Malaysia, Singapore and Reunion Island. His six most important shrines in India are the Arupadaiveedu temples, located in Tamil Nadu. In Sri Lanka, Hindus as well as Buddhists revere the sacred historical Nallur Kandaswamy temple in Jaffna and Katirkāmam Temple situated deep south.[1] Hindus in Malaysia also pray to Lord Murugan at the Batu Caves and various temples where Thaipusam is celebrated with grandeur.
In Karnataka and Andhra Pradesh, Kartikeya is known as Subrahmanya with a temple at Kukke Subramanya known for Sarpa shanti rites dedicated to Him and another famous temple at Ghati Subramanya also in Karnataka. In Bengal and Odisha, he is popularly known as Kartikeya (meaning 'son of Krittika').[2]
Other names[edit]
Like most Hindu deities, Subrahmanya is known by many other names, including Senthil, Vēlaṇ, Kumāran (meaning 'prince or child or young one'), Swaminatha (meaning 'smart' or 'clever'), Saravaṇa, Arumugam or Shanmuga (meaning 'one with six faces'), Dhandapani (meaning God with a Club), Guhan or Guruguha (meaning 'cave-dweller'), Subrahmanya, Kartikeya and Skanda (meaning 'that which is spilled or oozed).[3][4] He was also known as Mahasena and the Kadamba Dynasty kings worshiped him by this name.[5]
Vedas[edit]
The Atharva Veda describes Kumaran as 'Agnibhuh' because he is form of 'Agni' (Fire God) & Agni hold in his hand when kumaran born. The Satapatha Brahmana refers to him as the son of Rudra and the six faces of Rudra. The Taittiriya Aranyaka contains the Gayatri mantra for Shanmukha. The Chandogya Upanishad refers to Skanda as the "way that leads to wisdom". The Baudhayana Dharmasutra mentions Skanda as 'Mahasena' and 'Subrahmanya.' The Aranya Parva canto of the Mahabharata relates the legend of Kartikeya Skanda in considerable detail. The Skanda Purana is devoted to the narrative of Kartikeya.[6] The Upanishads also constantly make a reference to a Supreme Being called Guha, the indweller.
The first elaborate account of Kartikeya's origin occurs in the Mahabharata. In a complicated story, he is said to have been born from Agni and Svaha, after the latter impersonated the six of the seven wives of the Saptarishi (Seven Sages). The actual wives then become the Pleiades. Kartikeya is said to have been born to destroy the Asura Mahisha.[7] (In later mythology, Mahisha became the adversary of Durga.) Indra attacks Kartikeya as he sees the latter as a threat, until Shiva intervenes and makes Kartikeya the commander-in-chief of the army of the Devas. He is also married to Devasena, Indra's daughter. The origin of this marriage lies probably in the punning of 'Deva-sena-pati'. It can mean either lord of Devasena or Lord of the army (sena) of Devas. But according to Shrii Shrii Anandamurti, in his master work on Shiva[8] and other works, Kartikeya was married to Devasenā and that is on the ground of his name as Devasena's husband, Devasenāpati, misinterpreted as Deva-senāpati (Deva's general) that he was granted the title general and made the Deva's army general.[9]
The Ramayana version is closer to the stories told in the Puranas discussed below.
Tolkappiyam, possibly the most ancient of the extant Sangam works, dated between the 3rd century BCE and 5th century CE glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent," as "the favoured god of the Tamils."[10] The Sangam poetry divided space and Tamil land into five allegorical areas (tinai) and according to the Tirumurugarruppatai ( c. 400–450 AD) attributed to the great Sangam poet Nakkiirar, Murugan was the presiding deity the Kurinci region (hilly area). (Tirumurugaruppatai is a deeply devotional poem included in the ten idylls (Pattupattu) of the age of the third Sangam). The other Sangam era works in Tamil that refer to Murugan in detail include the Paripaatal, the Akananuru and the Purananuru. One poem in the Paripaatal describes the veneration of Murugan thus:
"We implore thee not for boons of enjoyment or wealth,
But for thy grace beatific, love and virtuous deeds."
According to the Tamil devotional work, Thiruppugazh, "Murugan never hesitates to come to the aid of a devotee when called upon in piety or distress". In another work, Thirumurukkarrupatai, he is described as a god of eternal youth;
His face shines a myriad rays light and removes the darkness from this world.[11]
The references to Murugan can be traced back to the first millennium BCE. There are references to Murugan in Kautilya's Arthashastra, in the works of Patanjali, in Kalidasa's epic poem the Kumarasambhavam. The Kushanas, who governed from what is today Peshawar, and the Yaudheyas, a republican clan in the Punjab, struck coins bearing the image of Skanda. The deity was venerated also by the Ikshvakus, an Andhra dynasty, and the Guptas.[6] The worship of Kumāra was one of the six principal sects of Hinduism at the time of Adi Shankara. The Shanmata system propagated by him included this sect. In many Shiva and Devi temples of Tamil Nadu, Murugan is installed on the left of the main deity. The story of His birth goes as follows:
Sati immolated herself in a pyre as her father King Daksha had insulted Shiva, her Lord. She was reborn as Parvathi or Uma, daughter of the King of Himalayas, Himavan. She then married her Lord Shiva. The Devas were under onslaught from the Asuras whose leader was Soorapadman. He had been granted boons that only Lord Shiva or his seed could kill him. Fearless he vanquished the Devas and made them his slaves. The Devas ran to Vishnu for help who told them that it was merely their fault for attending Daksha's yagna, without the presence of Lord Shiva. After this, they ran to Shiva for help. Shiva decided to take action against Soorapadman's increasing conceit. He frowned and his third eye- the eye of knowledge- started releasing sparks. These were six sparks in total. Agni had the responsibility to take them to Saravana Lake. As he was carrying them, the sparks were growing hotter and hotter that even the Lord of Fire could not withstand the heat. Soon after Murugan was born on a lotus in the Saravana Lake with six faces, giving him the name Arumukhan. Lord Shiva and Parvati visited and tears of joy started flowing as they witnessed the most handsome child. Shiva and Parvathi gave the responsibility of taking care of Muruga to the six Krittika sisters. Muruga grew up to be a handsome, intelligent, powerful, clever youth. All the Devas applauded at their saviour, who had finally come to release them from their woes. Murugan became the supreme general of the demi-gods, then escorted the devas and led the army of the devas to victory against the asuras.
Legends[edit]
Given that legends related to Murugan are recounted separately in several Hindu epics, some differences between the various versions are observed. Some Sanskrit epics and puranas indicate that he was the elder son of Shiva. This is suggested by the legend connected to his birth; the wedding of Shiva and Parvati being necessary for the birth of a child who would vanquish the asura named Taraka. Also, Kartikeya is seen helping Shiva fight the newborn Ganesha, Shiva's other son, in the Shiva Purana. In the Ganapati Khandam of the Brahma Vaivarta Purana, he is seen as the elder son of Shiva and Ganesha as the younger. In South India, it is believed that he is the younger of the two. A Puranic story has Ganesha obtain a divine fruit of knowledge from Narada winning a contest with Murugan. While Murugan speeds around the world thrice to win the contest for the fruit, Ganesha circumambulates Shiva and Parvati thrice as an equivalent and is given the fruit. After winning it, he offers to give the fruit to his upset brother. After this event, Ganesha was considered the elder brother owing as a tribute to his wisdom. Many of the major events in Murugan's life take place during his youth, and legends surrounding his birth are popular. This has encouraged the worship of Murugan as a child-God, very similar to the worship of the child Krishna in north India. He is married to two wives, Valli and Devasena. This lead to a very interesting name : Devasenapati viz. Pati (husband) of Devsena and/or Senapati (commander in chief) of Dev (gods)
Kartikeya symbols are based on the weapons – Vel, the Divine Spear or Lance that he carries and his mount the peacock. He is sometimes depicted with many weapons including: a sword, a javelin, a mace, a discus and a bow although more usually he is depicted wielding a sakti or spear. This symbolizes his purification of human ills. His javelin is used to symbolize his far reaching protection, his discus symbolizes his knowledge of the truth, his mace represents his strength and his bow shows his ability to defeat all ills. His peacock mount symbolizes his destruction of the ego.
His six heads represent the six siddhis bestowed upon yogis over the course of their spiritual development. This corresponds to his role as the bestower of siddhis.
In Tamil Nadu, Murugan has continued to be popular with all classes of society right since the Sangam age. This has led to more elaborate accounts of his mythology in the Tamil language, culminating in the Tamil version of Skanda Purana, called Kandha Purānam, written by Kacchiappa Sivachariyar (1350–1420 AD.) of Kumara Kottam in the city of Kanchipuram. (He was a scholar in Tamil literature, and a votary of the Shaiva Siddhanta philosophy.)
He is married to two deities, Valli, a daughter of a tribal chief and Deivayanai (also called Devasena), the daughter of Indhra. During His bachelorhood, Lord Murugan is also regarded as Kumaraswami (or Bachelor God), Kumara meaning a bachelor and Swami meaning God. Muruga rides a peacock and wields a bow in battle. The lance called Vel in Tamil is a weapon closely associated with him. The Vel was given to him by his mother, Parvati, and embodies her energy and power. His army's standard depicts a rooster. In the war, Surapadman was split into two, and each half was granted a boon by Murugan. The halves, thus turned into the peacock (his mount) and the rooster his flag, which also "refers to the sun".[12]
As Muruga is worshipped predominantly in Tamil Nadu, many of his names are of Tamil origin. These include Senthil, the red or formidable one; Arumugam, the six-faced one; Guhan and Maal-Marugan, the son-in-law of Vishnu. Murugan is venerated throughout the Tamil year. There is a six-day period of fast and prayer in the Tamil month of Aippasi known as the Skanda Shasti. He is worshipped at Thaipusam, celebrated by Tamil communities worldwide near the full moon of the Tamil month Thai. This commemorates the day he was given a Vel or lance by his mother in order to vanquish the asuras. Thirukarthigai or the full moon of the Tamil month of Karthigai signifies his birth. Each Tuesday of the Tamil month of Adi is also dedicated to the worship of Murugan. Tuesday in the Hindu tradition connotes Mangala, the god of planet Mars and war.
Other parts of India[edit]
Historically, God Kartikeya was immensely popular in the Indian subcontinent. One of the major Puranas, the Skanda Purana is dedicated to him. In the Bhagavad-Gita (Ch.10, Verse 24), Krishna, while explaining his omnipresence, names the most perfect being, mortal or divine, in each of several categories. While doing so, he says: "Among generals, I am Skanda, the lord of war."
Kartikeya's presence in the religious and cultural sphere can be seen at least from the Gupta age. Two of the Gupta kings, Kumaragupta and Skandagupta, were named after him. He is seen in the Gupta sculptures and in the temples of Ellora and Elephanta. As the commander of the divine armies, he became the patron of the ruling classes. His youth, beauty and bravery was much celebrated in Sanskrit works like the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic, the Kumaarasambhavam. In ancient India, Kartikeya was also regarded as the patron deity of thieves, as may be inferred from the Mrichchakatikam, a Sanskrit play by Shudraka, and in the Vetala-panchvimshati, a medieval collection of tales. This association is linked to the fact that Kartikeya had dug through the Krauncha mountain to kill Taraka and his brothers (in the Mrichchakatikam, Sarivilaka prays to him before tunnelling into the hero's house).
However, Kartikeya's popularity in North India receded from the Middle Ages onwards, and his worship is today virtually unknown except in parts of Haryana. There is a very famous temple dedicated to Him in the town of Pehowa in Haryana and this temple is very well known in the adjoining areas, especially because women are not allowed anywhere close to it. Women stay away from this temple in Pehowa town of Haryana because this shrine celebrates the Brahmachari form of Kartikeya. Reminders of former devotions to him include a temple at Achaleshwar, near Batala in Punjab, and another temple of Skanda atop the Parvati hill in Pune, Maharashtra. Another vestige of his former popularity can be seen in Bengal and Odisha, where he is worshipped during the Durga Puja festivities alongside Durga. Lord Subramanya is the major deity among the Hindus of northern Kerala. Lord Subramanya is worshipped with utmost devotion in districts of Dakshina Kannada and Udupi in the state of Karnataka. Rituals like nagaradhane are unique to this region.
Kartikeya also known as Kartik or Kartika is also worshipped in West Bengal, and Bangladesh on the last day of the Hindu month of 'Kartik'. However, the popularity of Kartik Puja (worshipping Kartik) is decreasing now, and Lord Kartik is primarily worshipped among those who intend to have a son. In Bengal, traditionally, many people drop images of Kartik inside the boundaries of different households, who all are either newly married, or else, intend to get a son to carry on with their ancestry. Lord Kartik is also associated to the Babu Culture prevailed in historic Kolkata, and hence, many traditional old Bengali paintings still show Kartik dressed in traditional Bengali style. Also, in some parts of West Bengal, Kartik is traditionally worshipped by the ancestors of the past royal families too, as in the district of Malda. Kartik Puja is also popular among the prostitutes. This can probably be linked to the fact that, the prostitutes mostly got clients from the upper class babu-s in old Kolkata, who all, in turn, had been associated to the image of Kartik (as discussed above). In Bansberia (Hooghly district) Kartik Puja festival is celebrated like Durga puja of Kolkata, Jagadhatri puja in Chandannagar for consecutive four days. The festival starts on 17 November every year and on 16 November in case of Leap year.[13] Some of the must see Puja committees are Bansberia Kundugoli Nataraj, Khamarapara Milan Samity RadhaKrishna, Kishor Bahini, Mitali Sangha, Yuva Sangha, Bansberia Pratap Sangha and many more.
In Durga Puja in Bengal, Kartikeya is considered to be a son of Parvati or Durga and Shiva along with his brother Ganesha and sisters Lakshmi and Saraswati.[14]
Kartikeya is worshiped during Durga Puja in Odisha as well as in various Shiva temples throughout the year. Kartik puja is celebrated in Cuttack along with various other parts of the state during the last phases of Hindu month of Kartik. Kartik purnima is celebrated with much joy and in a grand fashion in Cuttack and other parts in the state.
Murugan is adored by both Tamil Hindus and Sinhalese Buddhists in Sri Lanka. Numerous temples exist throughout the island. He is a favorite deity of the common folk everywhere and it is said he never hesitates to come to the aid of a devotee when called upon. In the deeply Sinhalese south of Sri Lanka, Murugan is worshipped at the temple in Katirkāmam, where he is known as Kathiravel or Katragama Deviyo (Lord of Katragama) . This temple is next to an old Buddhist place of worship. Local legend holds that Lord Murugan alighted in Kataragama and was smitten by Valli, one of the local aboriginal lasses. After a courtship, they were married. This event is taken to signify that Lord Murugan is accessible to all who worship and love him, regardless of their birth or heritage. The Nallur Kandaswamy temple, the Maviddapuram Kandaswamy Temple and the Sella Channithy Temple near Valvettiturai are the three foremost Murugan temples in Jaffna. The Chitravelayutha temple in Verukal on the border between Trincomalee and Batticaloa is also noteworthy as is the Mandur Kandaswamy temple in Batticaloa. The late medieval-era temple of the tooth in Kandy, dedicated to the tooth relic of the Buddha, has a Kataragama deiyo shrine adjacent to it dedicated to the veneration of Skanda in the Sinhalese tradition. Almost all buddhist temples house a shrine room for Kataragama deviyo(Murugan)reflecting the significance of Murugan in Sinhala Buddhism,
Based on archeological evidence found, it is believed that the Kiri Vehera was either renovated to build during the 1st century BCE. There are number of others inscriptions and ruins.[15]
By the 16th century the Kathiravel shrine at Katirkāmam had become synonymous with Skanda-Kumara who was a guardian deity of Sinhala Buddhism.[16] The town was popular as a place of pilgrimage for Hindus from India and Sri Lanka by the 15 the century. The popularity of the deity at the Kataragama temple was also recorded by the Pali chronicles of Thailand such as Jinkalmali in the 16th century. There are number of legends both Buddhist and Hindu that attribute supernatural events to the very locality.[16] Scholars such as Paul Younger and Heinz Bechert speculate that rituals practiced by the native priests of Kataragama temple betray Vedda ideals of propitiation. Hence they believe the area was of Vedda veneration that was taken over by the Buddhist and Hindus in the medieval period.[17]
Lord Murugan is one of the most important deities worshipped by Tamil people in Malaysia and other South-East Asian countries such as Singapore and Indonesia. Thai Poosam is one of the important festivals celebrated. Sri Subramanyar Temple at Batu Caves temple complex in Malaysia is dedicated to Lord Murugan.
The main temples of Murugan are located in Tamil Nadu and other parts of south India. They include the Aru Padaiveedu (six abodes) — Thiruchendur, Swamimalai, Pazhamudircholai, Thirupparangunram, Palani (Pazhani), Thiruthani and other important shrines like Mayilam, Sikkal, Marudamalai, Kundrathur, Vadapalani, Kandakottam, Thiruporur, Vallakottai, Vayalur, Thirumalaikoil, Pachaimalai and Pavalamalai near Gobichettipalayam. Malai Mandir, a prominent and popular temple complex in Delhi, is one of the few dedicated to Murugan in all of North India apart from the Pehowa temple in Haryana.
There are many temples dedicated to Lord Subramanya in Kerala. Amongst them are Atiyambur Sri Subramanya Temple in Kanhangad Kasaragod, Payyannur Subramanya Swamy temple in Payyanur, Panmana Subramanya Swamy temple in Panmana and the Subramanya temple in Haripad. There is a temple in Skandagiri, Secunderabad and one in Bikkavolu, East Godavari district in the state of Andhra Pradesh. In Karnataka there is the Kukke Subramanya Temple where Lord Murugan is worshiped as the Lord of the serpents. Aaslesha Bali, Sarpa Samskara with nagapathista samarpa are major prayers here. There is a temple called Malai Mandir in South Delhi. Malai means hill in Tamil. Mandir means temple in Hindi.
The key temples in Sri Lanka include the sylvan shrine in Kataragama / (Kadirgamam) or Kathirkamam in the deep south, the temple in Tirukovil in the east, the shrine in Embekke in the Kandyan region and the famed Nallur Kandaswamy temple in Jaffna. There are several temples dedicated to Lord Murugan in Malaysia, the most famous being the Batu Caves near Kuala Lumpur. There is a 42.7-m-high statue of Lord Murugan at the entrance to the Batu Caves, which is the largest Lord Murugan statue in the world. Sri Thandayuthapani Temple in Tank Road, Singapore is a major Hindu temple where each year the Thaipusam festival takes place with devotees of Lord Muruga carrying Kavadis seeking penance and blessings of the Lord.
In the United Kingdom, Highgate Hill Murugan temple is one of the oldest and most famous. In London, Sri Murugan Temple in Manor park is a well-known temple. In Midlands, Leicester Shri Siva Murugan Temple is gaining popularity recently. Skanda Vale in West Wales was founded by Guruji, a Tamil devotee of Subramaniam, and its primary deity is Lord Murugan. In Australia, Sydney Murugan temple in Parramatta (Mays Hill), Perth Bala Muruguan temple in Mandogalup and Kundrathu Kumaran temple in Rockbank, Melbourne are major Hindu temples for all Australian Hindus and Murugan devotees. In New Zealand, there is a Thirumurugan Temple in Auckland and a Kurinji Kumaran Temple in Wellington, both dedicated to Lord Murugan. In the USA, Shiva Murugan Temple in Concord, Northern California and Murugan Temple of North America[18] in Maryland, Washington DC region are popular. In Toronto, Canada, Canada Kanthasamy Temple is known amongst many Hindus in Canada. In Dollard-des-Ormeaux, a suburb of the city of Montreal in Canada, there is a monumental temple of Murugan. The Sri Sivasubramaniar Temple, located in the Sihl Valley in Adliswil, is the most famous and largest Hindu temple in Switzerland.[19]