View allAll Photos Tagged knowledge,
if you know it about the right person :-) Ethel Watts
HBM!!
amur maple, 'Red Wing', j c raulston arboretum, ncsu, raleigh, north carolina
Charlie James
(Kwakwaka'wakw, 1870-1938)
Dzunuk'wa Feast Dish, ca. 1900
Paint on cedar
Museum Purchase: Indian Collection Subscription Fund, Rasmussen Collection of Northwest Coast Indian Art, 48.3.523a-
Charlie James and the Kwakwaka'wakw
Charlie James was a premier carver and painter from the Kwakwaka'wakw First Nation of British Columbia, also known by his ceremonial name Yakuglas.
He is credited with the revitalization of the Kwakwaka'wakw artistic style and served as stepfather and mentor to Mungo Martin, whom he guided into the Northwest Coast art scene. Few carvers have been as influential as James; his work laid the creative foundation for many artists, and today his work has come to epitomize traditional southern Kwakwaka'wakw art, though in his time he had a bold and unique style unlike anyone else of his period.
The Kwakwaka'wakw, also known as Kwakiutl, are a Pacific Northwest Coast people whose name translates as "Kwak'wala-speaking tribes," originally describing seventeen tribes who spoke the Kwak'wala language and who live in British Columbia on northern Vancouver Island and the mainland.
Archaeological evidence shows habitation in the Kwak'wala-speaking area for at least 8,000 years, and before contact with Europeans, the Kwakwaka'wakw fished, hunted, and gathered according to the seasons, securing an abundance of preservable food that allowed them to return to their winter villages for several months of intensive ceremonial and artistic activity.
The Kwakwaka'wakw are known for their artwork, distinct from other Northwest Coast Indigenous art in its style and cultural significance.
Dzunuk'wa: Wild Woman of the Woods
The name Dzunuk'wa comes from the Kwak'wala language and is sometimes translated as "Wild Woman of the Woods" or "Cannibal Woman," one of the most well-known and iconic figures in Kwakwaka'wakw mythology.
An extremely complex spirit, Dzunuk'wa may cause death and destruction or bestow blessings, life, wealth, and knowledge. She lives in the mountains and deep forests of the Pacific Northwest and serves as a warning to children not to wander off alone.
She is depicted as a towering, hairy, and clumsy female figure with deep-set eyes, exposed breasts, pursed red lips, and a wide mouth.
In the Kwakwaka'wakw Hamatsa secret society during winter ceremonials, she appears as a sleepy, lumbering dancer, often carrying a large basket containing coppers — symbols of wealth — presented to initiates as part of their induction, embodying her dual nature as a fearsome forest giant who ultimately bestows prosperity.
The Feast Dish
Great carved vessels known by the Kwakwaka'wakw as lukwalil, or "feasting dish on the floor of the house," were central to the practice of feasting and display by Northwest Coast families. Carved in the shape of an animal or supernatural being, the dishes embodied the history and wealth of their owners.
Large feast dishes were used primarily to hold food served to guests at winter dance ceremonies and potlatches, as well as on other important social occasions. In Kwakwaka'wakw communities, people celebrate major life events such as births, deaths, and the passing on of chieftainships with potlatches, gatherings that also function as traditional government, where the presence of guests verifies claims of inherited status and family history.
A feast dish carved in the form of Dzunuk'wa would thus carry layered meaning, linking the act of communal nourishment to the spirit's association with wealth, abundance, and ancestral power.
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**Citations**
U'mista Cultural Centre. *Yakuglas' Legacy: The Art and Times of Charlie James.* umista.ca
Heffel Fine Art Auction House. Charlie James (Yakuglas) artist entry. invaluable.com
My Mondo Trading. "James, Charlie (1875–1938)." mymondotrading.com
New World Encyclopedia. "Kwakwaka'wakw." newworldencyclopedia.org
The Canadian Encyclopedia. "Kwakwaka'wakw (Kwakiutl)." thecanadianencyclopedia.ca
Mythical Encyclopedia. "Dzunukwa: A Friendly Introduction." mythicalencyclopedia.com
Occult World. "Dzunukwa." occult-world.com
Grokipedia. "Dzunukwa." grokipedia.com
Don's Maps / First Nations of the Pacific Northwest. "The Potlatch." donsmaps.com
American Museum of Natural History. "Kwakwaka'wakw." amnh.org
I used AI to produce the background in this image from the original.
Today I have experienced a deep sadness.....A sort of distress... And , suddenly, I received this wonderful Prayer in my mail!
Then, I just started thinking of my "Open Cathedral", the Chateau de La Hulpe!! Where it feels like a Prayer!!
**** Thank you, my dearest friend, who, without knowing my sadness, you sent me this blessed Prayer! The ST. Theresa's Prayer !
Here is my Open Cathedral in Spring (** In LARGE is magical!!)!! And here also is the blessed Prayer:
ST. THERESA’S PRAYER :
May today, there be Peace within! May you trust, that you are exactly, where you are meant to be! May, you not forget the infinite possibilities that are born of faith in yourself and others! May, you use the gifts that you have received, and pass on the Love that has been given to you! May, you be content with yourself, just the way you are! Let this knowledge settle into your bones, and allow your soul the freedom to sing, dance, praise and Love! It is there, for each, and every one of us!!!
*** Have a wonderful New Week, dear friends!!
My photos are FREE to use, just give me credit and it would be nice if you let me know, thanks.
This monument (left) salutes the contribution of 11 religious brothers of communities - who have dedicated their lives to education. The work is called "The Flight”, unveiled June 20, 2000.
It evokes the passing of the teacher's knowledge to the student.
God's Utterance "God Himself, the Unique (III) God's Authority (II)" (Part Three)
www.holyspiritspeaks.org/videos/gods-authority-2-part-three/
God's words in this video are from the book "Continuation of The Word Appears in the Flesh".
The content of this video:
Progeny: The Fifth Juncture
1. One Has No Control Over What Becomes of One's Offspring
2. After Raising the Next Generation, People Gain a New Understanding of Fate
3. Believing in Fate Is No Substitute for a Knowledge of the Creator’s Sovereignty
4. Only Those Who Submit to the Creator’s Sovereignty Can Attain True Freedom
Eastern Lightning, The Church of Almighty God was created because of the appearance and work of Almighty God, the second coming of the Lord Jesus, Christ of the last days. It is made up of all those who accept Almighty God's work in the last days and are conquered and saved by His words. It was entirely founded by Almighty God personally and is led by Him as the Shepherd. It was definitely not created by a person. Christ is the truth, the way, and the life. God's sheep hear God's voice. As long as you read the words of Almighty God, you will see God has appeared.
Terms of Use en.godfootsteps.org/disclaimer.html
Digital collage and processing
Created for 45th MMM Challenge
Source image with thanks to ~Brenda-Starr~
Leley Noronha © All rights reserved.
Amarelo eh a cor da sabedoria. Aprenda sempre.
Mesmo que voce seje o instrutor. Abracose bom fim de semana..
Yellow is known to be the color of knowledge. I hope you are learning
every day. Even if you're your own instructor.
Make it a perfect week..
A BARREL payload sits on the launch pad at Esrange Space Center near Kiruna, Sweden.
The BARREL team is at Esrange Space Center launching a series of six scientific payloads on miniature scientific balloons. The NASA-funded BARREL – which stands for Balloon Array for Radiation-belt Relativistic Electron Losses – primarily measures X-rays in Earth’s atmosphere near the North and South Poles. These X-rays are produced by electrons raining down into the atmosphere from two giant swaths of radiation that surround Earth, called the Van Allen belts. Learning about the radiation near Earth helps us to better protect our satellites.
Several of the BARREL balloons also carry instruments built by undergraduate students to measure the total electron content of Earth’s ionosphere, as well as the low-frequency electromagnetic waves that help to scatter electrons into Earth’s atmosphere. Though about 90 feet in diameter, the BARREL balloons are much smaller than standard football stadium-sized scientific balloons.
This is the fourth campaign for the BARREL mission. BARREL is led by Dartmouth College in Hanover, New Hampshire. The undergraduate student instrument team is led by the University of Houston and funded by the Undergraduate Student Instrument Project out of NASA’s Wallops Flight Facility. For more information on NASA’s scientific balloon program, visit: www.nasa.gov/scientificballoons.
Image credit: NASA/University of Houston/Edgar Bering
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Since the microscope was first used for scientific purpose's in the 17th century, it has made invaluable contribution's to the fields of biology, chemistry, physics and micro electronics.
The Science Picnic of Polish Radio and the Copernicus Science Centre.
The event was held at the national stadium in Warsaw. As usual at such events it was full of kids and lots of colorful balloons.
As you can see the Science Picnic in my eyes looks very... Strange ?
The Architecture Of Knowledge - The Foundations Of The Spiritual Force by Daniel Arrhakis (2024/ 2025)
With the music: Nordanvinden (The North Wind) / Trollslottet
Sorgeberget
℗ 2024 Cryo Crypt
youtu.be/KAfpsjEbGM8?list=OLAK5uy_mIscZy_lp0YlL5XsSH2bWpu...
The Architecture Of Knowledge - The Foundations Of The Spiritual Force
Knowledge Architecture is a construction or system that allows us to connect all the elements or data, as if they were bricks or boards, scattered randomly, and transform them into a powerful, understandable, constructive and solid tool so that we can help us make effective decisions that support us in resolving problems or choosing priorities that we have to make on our journey as thinking beings.
This Knowledge Architecture thus incorporates a multidimensional, multifaceted and multifunctional constructive image patiently constructed through the collection, analysis, experimentation, creation and subsequent dissemination of knowledge through different means of communication.
This general and specific knowledge is fundamental and one of the essential foundations to sustain and strengthen our Spiritual Force to transcend our horizons beyond the knowledge of ourselves as material beings.
___________________________________________________
A Arquitetura Do Conhecimento - As Fundações da Força Espiritual
A Arquitetura do Conhecimento é uma construção ou sistema que nos permite conectar todos os elementos ou dados, como se de tijolos ou tábuas de tratassem, espalhados de forma aleatória, e transformá-los numa ferramenta poderosa, compreensível, construtiva e sólida, para que nos possa ajudar a tomar decisões eficazes, que nos apoiem nas resoluções dos problemas ou nas escolhas de prioridades que temos de tomar no nosso percurso como seres pensantes.
Esta Arquitetura do Conhecimento incorpora assim uma imagem construtiva multidimensional, multifacetada e multifuncional construída pacientemente através da recolha, análise, experimentação, criação e posterior divulgação do conhecimento através de diferentes meios de comunicação.
Este conhecimento geral e específico é fundamental e uma das fundações essenciais para suster e fortalecer a nossa Força Espiritual de modo a transcender os nossos horizontes para além do conhecimento de nós mesmos como seres materiais.
Lit from the side, by a 45watt bulb and a SB600 speed light on a chair, fitted with a phong light sphere 2
Prints available at zacharymassengill.smugmug.com
With more than 70 years old, she keeps pushing her hand cart to sell things to survive, many times pursued by the police to know if she has licence to sell, or if she is making competition to a "great shop" ....
............. and the "backwards" are those societes that respect them by their experience and wisdom...
A pair of Antique neoclassical carved wooden doors depicting both masculine and feminine figures with tablet and scroll.
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India. The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty. Historical records note that the Khajuraho temple site had 85 temples by 12th century, spread over 20 square kilometers. Of these, only about 20 temples have survived, spread over 6 square kilometers. Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.
The Khajuraho group of temples were built together but were dedicated to two religions - namely Hinduism and Jainism - suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains.
LOCATION
Khajuraho group of monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres southeast of New Delhi. The temples are in a small town also known as Khajuraho, with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai. The site is also linked by Indian Railways service, with the railway station located approximately six kilometres from the monuments entrance.
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, that is connected to Bhopal - the state capital - by the SW-NE running National Highway 86.
HISTORY
The Khajuraho group of monuments was built during the rule of the Rajput Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand. Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by Lakshmana temple. Vishvanatha temple best highlights King Dhanga's reign. The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Ganda from 1017-1029 CE. The temple inscriptions suggest many of the currently surviving temples were complete between 970 to 1030 CE, with further temples completed during the following decades.
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba, the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti. The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century, after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them “Kajarra” as follows:
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect. In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho. The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims. Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience. Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.
NOMENCLATURE
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm, and vāhaka, वाहक means "one who carries" or bearer). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use. He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
DESCRIPTION
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area. The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river). The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.
All temples, except one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence. The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthanks. For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design. Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara. The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution. The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture. Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images. The viewer has to look closely to find them, or be directed by a guide. The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.
Of all temples, the Matangeshvara temple remains an active site of worship. It is another square grid temple, with a large 2.5 metres high and 1.1 metres diameter lingam, placed on a 7.6 metres diameter platform.
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet. Jain templesThe Jain temples are located on east-southeast region of Khajuraho monuments. Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
ARCHITECTURE OF THE TEMPLES
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala. This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 sub-squares called padas.
Most Khajuraho temples deploy the 8x8 padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas. This fractal pattern that is common in Hindu temples. Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions. All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire). Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity. The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina. Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India. Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as “an organism of repeating cells”.
CONSTRUCTION
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view. The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons. Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. They concluded that these temples would have required hundreds of highly trained sculptors.
CHRONOLOGY
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions. In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
ARTS AND SCULPTURE
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices. Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples. James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art": "Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities; however the kama arts represent diverse sexual expressions of different human beings. The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition. For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era. These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples. Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa. Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples. Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples. Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.
TEMPLE NAME - DEITY - YEAR COMPLETED
Chausath Yogini - Devi, 64 Yoginis - 885
Brahma - Vishnu - 925
Lalgun Mahadev - Shiva - 900
Matangeshwar - Shiva - 1000
Varaha - Vishnu - 950
Lakshmana - Vaikuntha Vishnu - 939
Parshvanath - Parshvanath - 954
Visvanatha - Shiva - 999
Devi Jagadambi - Devi, Parvati - 1023
Chitragupta - Sun, Chitragupta - 1023
Kandariya Mahadeva - Shiva - 1029
Vamana - Vamana - 1062
Adinath Jain Temple - Rishabha - 1027
Javeri - Vishnu - 1090
Chaturbhuja - Vishnu - 1110
Duladeo (Duladeva) - Shiva - 1125
Ghantai - Jain Tirthankara - 960
Vishnu-Garuda - Vishnu - 1000
Ganesha - Shiva - 1000
Hanuman - Hanuman - 922
Mahishasuramardini - Devi - 995
Paris - Antonio Canova.
Antonio Canova (1 November 1757 – 13 October 1822) was an Italian sculptor who became famous for his marble sculptures that delicately rendered nude flesh. The epitome of the neoclassical style, his work marked a return to classical refinement after the theatrical excesses of Baroque sculpture.
Antonio Canova was born in Possagno, a village of the Republic of Venice situated amid the recesses of the hills of Asolo, where these form the last undulations of the Venetian Alps, as they subside into the plains of Treviso. At three years of age Canova was deprived of both parents, his father dying and his mother remarrying. Their loss, however, was compensated by the tender solicitude and care of his paternal grandfather and grandmother, the latter of whom lived to experience in her turn the kindest personal attention from her grandson, who, when he had the means, gave her an asylum in his house at Rome.
His father and grandfather followed the occupation of stone-cutters or minor statuaries; and it is said that their family had for several ages supplied Possagno with members of that calling. As soon as Canova's hand could hold a pencil, he was initiated into the principles of drawing by his grandfather Pasino. The latter possessed some knowledge both of drawing and of architecture, designed well, and showed considerable taste in the execution of ornamental works. He was greatly attached to his art; and upon his young charge he looked as one who was to perpetuate, not only the family name, but also the family profession.
The early years of Canova were passed in study. The bias of his mind was to sculpture, and the facilities afforded for the gratification of this predilection in the workshop of his grandfather were eagerly improved. In his ninth year he executed two small shrines of Carrara marble, which are still extant. Soon after this period he appears to have been constantly employed under his grandfather. Amongst those who patronized the old man was the patrician family Falier of Venice, and by this means young Canova was first introduced to the senator of that name, who afterwards became his most zealous patron.
Between the younger son, Giuseppe Falier, and the artist a friendship commenced which terminated only with life. The senator Falier was induced to receive him under his immediate protection. It has been related by an Italian writer and since repeated by several biographers, that Canova was indebted to a trivial circumstance - the moulding of a lion in butter - for the warm interest which Falier took in his welfare. The anecdote may or may not be true. By his patron Canova was placed under Bernardi, or, as he is generally called by filiation, Giuseppe Torretto, a sculptor of considerable eminence, who had taken up a temporary residence at Pagnano, one of Asolo's boroughs in the vicinity of the senator's mansion.
This took place whilst Canova was in his thirteenth year; and with Torretto he continued about two years, making in many respects considerable progress. This master returned to Venice, where he soon afterwards died; but by the high terms in which he spoke of his pupil to Falier, the latter was induced to bring the young artist to Venice, whither he accordingly went, and was placed under a nephew of Torretto. With this instructor he continued about a year, studying with the utmost assiduity.
After the termination of this engagement he began to work on his own account, and received from his patron an order for a group, Orpheus and Eurydice. The first figure, which represents Eurydice in flames and smoke, in the act of leaving Hades, was completed towards the close of his sixteenth year. It was highly esteemed by his patron and friends, and the artist was now considered qualified to appear before a public tribunal.
The kindness of some monks supplied him with his first workshop, which was the vacant cell of a monastery. Here for nearly four years he labored with the greatest perseverance and industry. He was also regular in his attendance at the academy, where he carried off several prizes. But he relied far more on the study and imitation of nature. A large portion of his time was also devoted to anatomy, which science was regarded by him as the secret of the art. He likewise frequented places of public amusement, where he carefully studied the expressions and attitudes of the performers. He formed a resolution, which was faithfully adhered to for several years, never to close his eyes at night without having produced some design. Whatever was likely to forward his advancement in sculpture he studied with ardour. On archaeological pursuits he bestowed considerable attention. With ancient and modern history he rendered himself well acquainted and he also began to acquire some of the continental languages.
Three years had now elapsed without any production coming from his chisel. He began, however, to complete the group for his patron, and the Orpheus which followed evinced the great advance he had made. The work was universally applauded, and laid the foundation of his fame. Several groups succeeded this performance, amongst which was that of Daedalus and Icarus, the most celebrated work of his noviciate. The terseness of style and the faithful imitation of nature which characterized them called forth the warmest admiration. His merits and reputation being now generally recognized, his thoughts began to turn from the shores of the Adriatic to the banks of the Tiber, for which he set out at the commencement of his twenty-fourth year.
Before his departure for Rome, his friends had applied to the Venetian senate for a pension, to enable him to pursue his studies without embarrassment. The application was ultimately successful. The stipend amounted to three hundred ducats (about 60 pounds per annum), and was limited to three years. Canova had obtained letters of introduction to the Venetian ambassador, the Cavaliere Zulian, and enlightened and generous protector of the arts, and was received in the most hospitable manner.
His arrival in Rome, on 28 December 1780, marks a new era in his life. It was here he was to perfect himself by a study of the most splendid relics of antiquity, and to put his talents to the severest test by a competition with the living masters of the art. The result was equal to the highest hopes cherished either by himself or by his friends. The work which first established his fame at Rome was Theseus Vanquishing the Minotaur, now in the collections of the Victoria & Albert Museum, in London. The figures are of the heroic size. The victorious Theseus is represented as seated on the lifeless body of the monster. The exhaustion which visibly pervades his whole frame proves the terrible nature of the conflict in which he has been engaged. Simplicity and natural expression had hitherto characterized Canova's style; with these were now united more exalted conceptions of grandeur and of truth. The Theseus was regarded with fervent admiration.
Canova's next undertaking was a monument in honor of Clement XIV; but before he proceeded with it he deemed it necessary to request permission from the Venetian senate, whose servant he considered himself to be, in consideration of the pension. This he solicited, in person, and it was granted. He returned immediately to Rome, and opened his celebrated studio close to the Via del Babuino. He spent about two years of unremitting toil in arranging the design and composing the models for the tomb of the pontiff. After these were completed, other two years were employed in finishing the monument, and it was finally opened to public inspection in 1787. The work, in the opinion of enthusiastic dilettanti, stamped the author as the first artist of modern times.
After five years of incessant labor, he completed another cenotaph, to the memory of Clement XIII, which raised his fame still higher. Works now came rapidly from his chisel. Amongst these is Psyche, with a butterfly, which is placed on the left hand, and held by the wings with the right. This figure, which is intended as a personification of man's immaterial part, is considered as in almost every respect the most faultless and classical of Canova's works. In two different groups, and with opposite expression, the sculptor has represented Cupid with his bride; in the one they are standing, in the other recumbent. These and other works raised his reputation so high that the most flattering offers were sent to him from the Russian court to induce him to remove to St Petersburg, but these were declined, although many of his finest works made their way to the Hermitage Museum. "Italy", says he, in writing of the occurrence to a friend, "Italy is my country - is the country and native soil of the arts. I cannot leave her; my infancy was nurtured here. If my poor talents can be useful in any other land, they must be of some utility to Italy; and ought not her claim to be preferred to all others?"
Numerous works were produced in the years 1795-1797, of which several were repetitions of previous productions. One was the celebrated group representing the Parting of Venus and Adonis. This famous production was sent to Naples. The French Revolution was now extending its shocks over Italy; and Canova sought obscurity and repose in his native Possagno. Thither he retired in 1798, and there he continued for about a year, principally employed in painting, of which art also he had some knowledge. Events in the political world having come to a temporary lull, he returned to Rome; but his health being impaired from arduous application, he took a journey through a part of Germany, in company with his friend Prince Rezzonico. He returned from his travels much improved, and again commenced his labors with vigour and enthusiasm.
The events which marked the life of the artist during the first fifteen years of the period in which he was engaged on the above-mentioned works scarcely merit notice. His mind was entirely absorbed in the labors of his studio, and, with the exception of his journeys to Paris, one to Vienna, and a few short intervals of absence in Florence and other parts of Italy, he never quit Rome. In his own words, "his statues were the sole proofs of his civil existence."
There was, however, another proof, which modesty forbade him to mention, an ever-active benevolence, especially towards artists. In 1815 he was commissioned by the Pope to superintend the transmission from Paris of those works of art which had formerly been conveyed thither under the direction of Napoleon. By his zeal and exertions - for there were many conflicting interests to reconcile - he adjusted the affair in a manner at once creditable to his judgment and fortunate for his country.
In the autumn of this year he gratified a wish he had long entertained of visiting London, where he received the highest tokens of esteem. The artist for whom he showed particular sympathy and regard in London was Benjamin Haydon, who might at the time be counted the sole representative of historical painting there, and whom he especially honored for his championship of the Elgin marbles, then recently transported to England, and ignorantly depreciated by polite connoisseurs. Among Canova's English pupils were sculptors Sir Richard Westmacott and John Gibson.
Canova returned to Rome in the beginning of 1816, with the ransomed spoils of his country's genius. Immediately after, he received several marks of distinction: he was made President of the Accademia di San Luca, the main artistic institution in Rome, and by the hand of the Pope himself his name was inscribed in "the Golden Volume of the Capitol", and he received the title of Marquis of Ischia, with an annual pension of 3000 crowns.
He now contemplated a great work, a colossal statue of Religion. The model filled Italy with admiration; the marble was procured, and the chisel of the sculptor ready to be applied to it, when the jealousy of churchmen as to the site, or some other cause, deprived the country of the projected work. The mind of Canova was inspired with the warmest sense of devotion, and though foiled in this instance he resolved to consecrate a shrine to the cause. In his native village he began to make preparations for erecting a temple which was to contain, not only the above statue, but other works of his own; within its precincts were to repose also the ashes of the founder. Accordingly he repaired to Possagno in 1819. After the foundation-stone of this edifice had been laid, Canova returned to Rome; but every succeeding autumn he continued to visit Possagno, in order to direct the workmen, and encourage them with pecuniary rewards and medals.
In the meantime the vast expenditure exhausted his resources, and compelled him to labor with unceasing assiduity notwithstanding age and disease. During the period which intervened between commencing operations at Possagno and his decease, he executed or finished some of his most striking works. Amongst these were the group Mars and Venus, the colossal figure of Pius VI, the Pietà, the St John, the recumbent Magdalen. The last performance which issued from his hand was a colossal bust of his friend, the Count Cicognara.
In May 1822 he paid a visit to Naples, to superintend the construction of wax moulds for an equestrian statue of the perjured Bourbon king Ferdinand VII. This journey materially injured his health, but he rallied again on his return to Rome. Towards the latter end of the year he paid his annual visit to the place of his birth, when he experienced a relapse. He proceeded to Venice, and expired there at the age of nearly sixty-five. His disease was one which had affected him from an early age, caused by the continual use of carving-tools, producing a depression of the ribs. The most distinguished funeral honors were paid to his remains, which were deposited in the temple at Possagno on 25 October 1822. His heart was interred in a marble pyramid he designed as a mausoleum for the painter Titian in the church of Santa Maria Gloriosa dei Frari in Venice, now a monument to the sculptor.
Among Canova's heroic compositions, his Perseus with the Head of Medusa (photo, right) appeared soon after his return from Germany. The moment of representation is when the hero, flushed with conquest, displays the head of the "snaky Gorgon", whilst the right hand grasps a sword of singular device. By a public decree, this fine work was placed in one of the stanze of the Vatican hitherto reserved for the most precious works of antiquity.
In 1802, at the personal request of Napoleon, Canova returned to Paris to model a bust of the first consul. The artist was entertained with munificence, and various honors were conferred upon him. The statue, which is colossal and entitled Napoleon as Mars the Peacemaker, was not finished till four years after. On the fall of the great emperor, Louis XVIII presented this statue to the British government, by whom it was afterwards given to the Duke of Wellington.
Palamedes, Creugas and Damoxenus, the Combat of Theseus and the Centaur, and Hercules and Lichas may close the class of heroic compositions, although the catalogue might be swelled by the enumeration of various others, such as Hector and Ajax, and the statues of George Washington (commissioned by the State of North Carolina to be displayed in its Capitol Building), King Ferdinand of Naples, and others.
Under the head of compositions of grace and elegance, the statue of Hebe takes the first place in point of date. Four times has the artist embodied in stone the goddess of youth, and each time with some variation. The last one is in the Museum of Forlì, in Italy. The only material improvement, however, is the substitution of a support more suitable to the simplicity of the art. Each of the statues is, in all its details, in expression, attitude and delicacy of finish, strikingly elegant.
The Dancing Nymphs maintain a character similar to that of the Hebe. The Three Graces and the Venus are more elevated. The Awakened Nymph is another work of uncommon beauty. The mother of Napoleon, his consort Maria Louise (as Concord), to model whom the author made a further journey to Paris in 1810, the princess Esterhazy and the muse Polymnia (Elisa Bonaparte) take their place in this class, as do the ideal heads, comprising Corinna, Sappho, Laura, Beatrice and Helen of Troy.
Of the cenotaphs and funeral monuments the most splendid is the monument to the archduchess Archduchess Maria Christina, Duchess of Teschen, consisting of nine figures.
Besides the two for the Roman Pontiffs already mentioned, there is one for Alfieri, another for Emo, a Venetian admiral, and a small model of a cenotaph for Horatio Nelson, besides a great variety of monumental relieves.
A BRIEF HISTORY OF THE MUSEUM
The Metropolitan Museum of Art was founded in 1870 by a group of American citizens – businessmen and financiers as well as leading arists and thinkers of the day – who wanted to create a museum to bring art and art education to the American people.
The Metropolitan's paintings collection also began in 1870, when three private European collections, 174 paintings in all, came to the Museum. A variety of excellent Dutch and Flemish paintings, including works by such artists as Hals and Van Dyck, was supplemented with works by such great European artists as Poussin, Tiepolo, and Guardi.
The collections continued to grow for the rest of the 19th century – upon the death of John Kensett, for example, 38 of his canvases came to the Museum. But it is the 20th century that has seen the Museum's rise to the position of one of the world's great art centers. Some highlights: a work by Renoir entered the Museum as early as 1907 (today the Museum has become one of the world's great repositories of Impressionist and Post-Impressionist art)...in 1910 the Metropolitan was the first public institution to accept works of art by Matisse...by 1979 the Museum owned five of the fewer than 40 known Vermeers...the Department of Greek and Roman Art now oversees thousands of objects, including one of the finest collections in glass and silver in the world...The American Wing holds the most comprehensive collection of American art, sculpture, and decorative arts in the world...the Egyptian art collection is the finest outside Cairo...the Islamic art collection is without peer...and so on, through many of the 17 curatorial departments.
In 1880, the Metropolitan Museum moved to its current site in Central Park. The original Gothic-Revival-style building has been greatly expanded in size since then, and the various additions (built as early as 1888) now completely surround the original structure. The present facade and entrance structure along Fifth Avenue were completed in 1926.
A comprehensive architectural plan for the Museum approved in 1971 was completed in 1991. The architects for the project were Kevin Roche John Dinkeloo and Associates, and the overall aim was to make the Museum's collections more accessible to the public, more useful to the scholars and, in general, more interesting and informative to all visitors.
Among the additions to the Museum as part of the master plan are: the Robert Lehman Wing (1975), which houses an extraordinary collection of Old Masters, as well as Impressionist and Post-Impressionist art; the installation in The Sackler Wing of the Temple of Dendur (1978), an Egyptian monument (ca. 15 B.C.) that was given to the United States by Egypt; The American Wing (1980), whose magnificent collection also includes 24 period rooms offering an unparalleled view of American art history and domestic life; The Michael C. Rockefeller Wing (1982) for the display of the arts of Africa, Oceania, and the Americas; the Lila Acheson Wallace Wing (1987), which houses modern art; and the Henry R. Kravis Wing, devoted to European sculpture and decorative arts from the Renaissance to the beginning of the 20th century.
With the building now complete, the Metropolitan Museum continues to refine and reorganize the collections in its existing spaces. In June 1998, the Arts of Korea gallery opened to the public, completing a major suite of galleries – a "museum within the Museum" – devoted to the arts of Asia. In October 1999 the renovated Ancient Near Eastern Galleries reopened. And a complete renovation and reinstallation of the Greek and Roman Galleries is underway: the first phase, The Robert and Renée Belfer Court for early Greek art, opened in June 1996; the New Greek Galleries premiered in April 1999; and in April 2000 the Cypriot Galleries will open to the public.
Antonio Canova (Possagno, 1 de Novembro de 1757 — Veneza, 13 de Outubro de 1822) foi um desenhista, pintor, antiquário e arquiteto italiano, mas é mais lembrado como escultor, desenvolvendo uma carreira longa e produtiva. Seu estilo foi fortemente inspirado na arte da Grécia Antiga, suas obras foram comparadas por seus contemporâneos com a melhor produção da Antiguidade, e foi tido como o maior escultor europeu desde Bernini, sendo celebrado por toda parte. Sua contribuição para a consolidação da arte neoclássica só se compara à do teórico Johann Joachim Winckelmann e à do pintor Jacques-Louis David, mas não foi insensível à influência do Romantismo. Não teve discípulos regulares, mas influenciou a escultura de toda a Europa em sua geração, atraindo inclusive artistas dos Estados Unidos, permanecendo como uma referência ao longo de todo o século XIX especialmente entre os escultores do Academismo. Com a ascensão da estética modernista caiu no esquecimento, mas sua posição prestigiosa foi restabelecida a partir de meados do século XX. Também manteve um continuado interesse na pesquisa arqueológica, foi um colecionador de antiguidades e esforçou-se por evitar que o acervo de arte italiana, antiga ou moderna, fosse disperso por outras coleções do mundo. Considerado por seus contemporâneos um modelo tanto de excelência artística como de conduta pessoal, desenvolveu importante atividade beneficente e de apoio aos jovens artistas. Foi Diretor da Accademia di San Luca em Roma e Inspetor-Geral de Antiguidades e Belas Artes dos estados papais, recebeu diversas condecorações e foi nobilitado pelo papa Pio VII com a outorga do título de Marquês de Ischia.[1][2][3]
ntonio Canova era filho de um escultor de algum mérito, Pietro Canova, que faleceu quando o filho tinha cerca de três anos. Um ano depois sua mãe, Angela Zardo, também o deixou, casando com Francesco Sartori e entregando o menino aos cuidados de seu avô paterno, Passino Canova, também escultor, e de sua tia Caterina Ceccato. Teve um meio-irmão das segundas núpcias de sua mãe, o abade Giovanni Battista Sartori, de quem se tornou amigo íntimo, e que foi seu secretário e executor testamentário. Aparentemente seu avô foi o primeiro a notar seu talento, e assim que Canova pôde segurar um lápis foi iniciado nos segredos do desenho. Sua juventude foi passada em estudos artísticos, mostrando desde cedo predileção pela escultura. Com nove anos já foi capaz de produzir dois pequenos relicários em mármore, que ainda existem, e desde então seu avô o empregou para diversos trabalhos. O avô era patrocinado pela rica família Falier de Veneza, e através dele Canova foi apresentado ao senador Giovanni Falier, que se tornou seu assíduo protetor, e cujo filho Giuseppe se tornou um dos seus mais constantes amigos. Através de Falier, Canova, com cerca de 13 anos, foi colocado sob a orientação de Giuseppe Torretto, um dos mais notáveis escultores do Vêneto em sua geração. Seu estudo foi facilitado pelo acesso que teve a importantes coleções de estatuária antiga, como as mantidas pela Academia de Veneza e pelo colecionador Filippo Farsetti, que foi-lhe útil estabelecendo novos contatos com ricos patronos. Logo suas obras foram elogiadas pela precoce virtuosidade, capacitando-o a receber suas primeiras encomendas, entre elas duas cestas de frutas em mármore para o próprio Farsetti, muito admiradas. A cópia que fez em terracota dos célebres Lutadores Uffizi valeu-lhe o segundo prêmio na Academia.[4][5]
Com a morte de Torretto a continuidade da instrução de Canova foi confiada a Giovanni Ferrari, sobrinho do outro, mas permaneceu com ele apenas um ano. Então, com apenas dezesseis anos, decidiu iniciar o trabalho por conta própria, e logo recebeu de Falier a encomenda para estátuas representando Orfeu e Eurídice. O conjunto, acabado entre 1776-77, resultou tão bem e atraiu tanto aplauso que seus amigos já previam para ele um futuro brilhante.[5] Nele, e em outro grupo importante, representando Dédalo e Ícaro (1778-79), o escultor já mostrava grande maturidade. Seu estilo nessa fase, se tinha um caráter ornamental típico do Rococó, era também vigoroso, e ao mesmo tempo se distinguia da tradição naturalista da arte veneziana e evidenciava uma tendência à idealização que adquirira com seus estudos dos clássicos.[4]
O grande progresso de Canova levou Falier a organizar sua ida para Roma, a fim de que se aperfeiçoasse. Roma nessa época era o mais importante centro de peregrinação cultural da Europa e uma meta obrigatória para qualquer artista que aspirasse à fama. Com sua pletora de monumentos antigos e grandes coleções, numa fase em que estava em pleno andamento a formação do Neoclassicismo, a cidade era toda um grande museu, e oferecia inúmeros exemplares autênticos para estudo em primeira mão da grande produção artística do passado clássico. [4] Antes de sua partida seus amigos conseguiram-lhe uma pensão de 300 ducados anuais, que se manteria por três anos. Também obteve cartas de apresentação para o embaixador veneziano na cidade, o Cavalier Girolamo Zulian, um ilustrado patrono das artes, que o recebeu com grande hospitalidade quando o artista chegou ali em torno de 1779 (Cf. nota: [6]), e providenciou a primeira exibição pública, em sua própria casa, de um trabalho do artista, uma cópia do grupo de Dédalo e Ícaro que mandou vir de Veneza e que suscitou a admiração de quantos a viram. Segundo o relato do conde Leopoldo Cicognara, um de seus primeiros biógrafos, apesar da aprovação unânime da obra Canova sentiu enorme embaraço naquele momento, falando muitas vezes dele anos mais tarde como um dos episódios mais tensos de sua vida. Através de Zulian Canova foi assim introduzido, com um sucesso imediato, na populosa comunidade local de intelectuais, onde brilhavam o arqueólogo Gavin Hamilton, os colecionadores sir William Hamilton e o cardeal Alessandro Albani, e o antiquário e historiador Johann Joachim Winckelmann, o principal mentor do Neoclassicismo, entre tantos outros que partilhavam de seu amor aos clássicos.[5][7]
Em Roma Canova pôde aprofundar o estudo das mais importantes relíquias da Antigüidade, completar sua educação literária, aperfeiçoar sua fluência no francês e colocar-se na competição com os melhores mestres da época.[8] O resultado ficou além de suas próprias expectativas. Sua primeira obra produzida em Roma, patrocinada por Zulian, foi Teseu vencendo o Minotauro (1781), que foi recebida com grande entusiasmo, a ponto de ser declarada como o marco inaugural de uma nova era para as artes. Em seguida esculpiu um pequeno Apolo em ato de coroar a si mesmo (1781-82), para o senador Abondio Rezzonico, uma estátua de Psiquê (1793) para Zulian, e passou a contar com o apoio de Giovanni Volpato, que abriu-lhe outras portas, entre elas a do Vaticano. Nesse período estabeleceu uma ligação tumultuada com a filha de Volpato, Domenica.[9][7]
Sua próxima encomenda, acertada por intermédio de Volpato, foi um monumento fúnebre ao papa Clemente XIV, mas para aceitá-la decidiu pedir permissão ao Senado de Veneza, em consideração à pensão que lhe haviam conseguido. Sendo concedida, fechou sua oficina em Veneza e voltou imediatamente para Roma, onde abriu um novo atelier nas imediações da Via del Babuino, onde os dois anos seguintes foram passados para a conclusão do modelo, e outros dois gastos na realização da obra, que foi finalmente inaugurada em 1787, atraindo o elogio dos maiores críticos da cidade. Durante esse período se engajou paralelamente em projetos menores, alguns baixos-relevos em terracota e uma estátua de Psique. Mais cinco anos foram despendidos na elaboração de um cenotáfio para Clemente XIII, entregue em 1792, que levou sua fama a alturas ainda maiores.[9]
Nos anos seguintes, até o encerramento do século, Canova se aplicou com ingente empenho em produzir um significativo conjunto de novas obras, entre elas vários grupos de Eros e Psiquê, em atitudes diferentes, que lhe valeram um convite para que se instalasse na corte russa, mas declarando sua íntima ligação com a Itália, declinou. Outras foram a Despedida de Vênus e Adônis, o grupo Hércules furioso lançando Licas ao mar, uma estátua de Hebe, e uma primeira versão da Madalena penitente. Mas o esforço foi excessivo para sua saúde, e o uso continuado de um apetrecho de escultura chamado trapano, que comprime o peito, provocou o afundamento de seu esterno. Sentindo-se exausto após tantos anos de atividades intensas e ininterruptas, e em vista da ocupação francesa de Roma em 1798, retirou-se para Possagno, onde aplicou-se à pintura, e logo seguiu em uma excursão de recreio pela Alemanha em companhia de seu amigo o Príncipe Rezzonico. Também passou pela Áustria, onde recebeu a encomenda de um cenotáfio para a arquiduquesa Maria Cristina, filha de Francisco I, que resultou anos mais tarde em uma obra majestosa, a melhor que produziu nesse gênero. Nessa mesma ocasião foi induzido a enviar para a capital austríaca o grupo de Teseu matando o centauro, que havia sido destinado para Milão, e que foi instalado em um templo em estilo grego construído especialmente para esse fim nos jardins do Palácio de Schönbrunn.[9]
Em sua volta a Roma em 1800, revigorado, produziu em poucos meses uma das suas composições mais aclamadas, o Perseu com a cabeça da Medusa (1800-01), inspirado livremente no Apolo Belvedere e julgado digno de ombrear com ele, e que lhe valeu o título de Cavalier, concedido pelo papa. Em 1802 foi convidado por Napoleão Bonaparte para visitar Paris e criar uma estátua sua, e segundo o testemunho de seu irmão, que o acompanhara, o escultor e o estadista mantiveram conversações em um nível de grande franqueza e familiaridade. Também encontrou o pintor Jacques-Louis David, o mais importante dos neoclássicos franceses.[10]
Em 10 de agosto de 1802 o papa Pio VII indicou o artista como Inspetor-Geral das Antiguidades e Belas Artes do Vaticano, posto que conservou até sua morte. Além de ser um reconhecimento de sua obra escultórica, a indicação implicava que ele também era considerado um conhecedor, com a capacidade de julgar a qualidade das obras de arte e um interesse em preservar as coleções papais. Entre as atribuições do cargo estavam a responsabilidade pela emissão de autorizações para escavações arqueológicas e a supervisão dos trabalhos de restauro, aquisição e exportação de antiguidades, além da supervisão sobre a instalação e organização de novos museus nos estados papais. Ele inclusive comprou 80 peças antigas com seus próprios recursos e as doou para os Museus Vaticanos. Entre 1805 e 1814 foi quem decidiu sobre a vinda de todos os artistas bolsistas italianos para aperfeiçoamento em Roma. Em 1810 foi indicado para a presidência da Accademia di San Luca, a mais importante instituição artística da Itália em sua época, e permaneceu como um baluarte de estabilidade na esfera cultural romana ao longo do turbulento período da ocupação francesa, sendo confirmado em suas posições por Napoleão. Sua missão administrativa culminou com a incumbência de resgatar, em 1815, o espólio artístico arrebatado da Itália pelo imperador francês, e por seu zelo e esforço conseguiu resolver o difícil trabalho de acomodar interesses internacionais divergentes e recuperar diversos tesouros para sua pátria, entre eles obras de Rafael Sanzio, o Apolo Belvedere, a Vênus Medici e o Laocoonte.[11][12]
No outono deste ano pôde realizar o sonho há muito acalentado de viajar a Londres, onde foi recebido com grande consideração. Sua viagem tinha dois propósitos primários: agradecer a ajuda que o governo britânico lhe dera da recuperação do acervo italiano confiscado, e conhecer os Mármores de Elgin, um grande conjunto de peças removidas do Partenon de Atenas, criadas por Fídias e seus assistentes, conhecimento que para ele foi uma revelação, contribuindo para confirmar sua impressão de que a arte grega era superior pela qualidade de seu acabamento e pela sua atenção à natureza. Ele também foi solicitado a dar seu parecer de perito sobre a importância do conjunto, que estava sendo posto à venda por Lord Elgin para a Coroa, e expressou-se nos termos mais elogiosos, mas recusou-se a restaurá-las, conforme foi convidado a fazê-lo, considerando que deviam permanecer como testemunhos autênticos da grande arte grega.[13] Voltando a Roma em 1816 com as obras devolvidas pela França, foi recebido em triunfo e recebeu do papa uma pensão de 3 mil escudos, tendo seu nome inscrito no Livro de Ouro do Capitólio com o título de Marquês de Ischia.[3][14]
Então Canova começou a elaborar o projeto para uma outra estátua, monumental, representando a Religião. Não por servilismo, uma vez que era um devoto ardente, mas sua idéia de instalá-la em Roma acabou frustrado mesmo sendo financiado por ele mesmo e estando pronto o modelo em seu tamanho definitivo, que entretanto acabou sendo executado em mármore em tamanho muito reduzido por ordem Lord Brownlow e levado para Londres. Mesmo assim ele decidiu erguer um templo em sua vila natal que conteria aquela escultura conforme seu plano original e outras peças de sua autoria, e nele deveriam, no tempo, repousar suas cinzas. Em 1819 foi lançada a pedra fundamental, e em seguida Canova retornou a Roma, mas a cada outono voltava às obras para acompanhar o seu progresso e instruir os empregados, encorajando-os com recompensas financeiras e medalhas. Mas o empreendimento se revelou excessivamente custoso, e o artista teve de voltar ao trabalho com renovado empenho a despeito de sua idade e doenças. Desta fase são algumas de suas peças mais significativas, como o grupo de Marte e Vênus para a Coroa Inglesa, a estátua colossal de Pio VI, uma Pietà (somente o modelo), outra versão da Madalena penitente. Sua última obra acabada foi um enorme busto de seu amigo o Conde Cicognara.[15]
Em maio de 1822 visitou Nápoles para superintender a construção do modelo para uma estátua eqüestre do Rei Fernando IV de Nápoles, mas o trajeto cobrou caro de sua saúde. Voltando a Roma, recuperou-se, mas em sua visita anual a Possagno já chegou lá doente, e recusando o repouso seu estado piorou. Então foi levado a Veneza, onde faleceu lúcido e serenamente. Suas últimas palavras foram "Anima bella e pura" (alma bela e pura), que pronunciou várias vezes antes de expirar. Testemunhos de amigos presentes em seu transpasse dizem que seu semblante foi adquirindo uma crescente radiância e expressividade, como se estivesse absorvido em uma contemplação extática. A autópsia realizada em seguida revelou uma obstrução do intestino por uma necrose na altura do piloro. Seu funeral, realizado em 25 de outubro de 1822, foi cercado das mais altas honras, entre a comoção de toda a cidade, e os acadêmicos disputaram para carregar seu caixão. Seu corpo foi em seguida sepultado em Possagno e seu coração foi depositado em uma urna de pórfiro mantida na Academia de Veneza. Sua morte gerou luto em toda a Itália, e as homenagens fúnebres ordenadas pelo papa em Roma foram assistidas por representantes de várias casas reais da Europa. No ano seguinte começou a ser erguido um cenotáfio para ele, a partir de um modelo que havia sido criado pelo próprio Canova em 1792 por encomenda de Zulian, originalmente para celebrar o pintor Ticiano, mas que não havia sido realizado. Hoje o monumento pode ser visitado na Basílica de Santa Maria Gloriosa dei Frari, em Veneza.[15]
Segundo a Memória Biográfica sobre o artista deixada pelo seu amigo íntimo o Conde Cicognara, Canova manteve ao longo de toda sua vida hábitos frugais e uma rotina regular. Acordava cedo e imediatamente começava a trabalhar. Após o almoço costumava retirar-se para um breve repouso. Teve uma doença crônica de estômago que permanece não identificada, que causava dores severas em ataques que se sucederam ao longo de toda sua vida. Parece ter nutrido uma fé religiosa profunda e sincera. Não manteve uma vida social especialmente brilhante, embora fosse constantemente solicitado para frequentar os círculos de personalidades ilustres que o admiravam, mas era comum que recebesse amigos em sua própria casa após sua jornada de trabalho, à noite, quando se revelava um anfitrião de modos finos, inteligente, afável e caloroso. Segundo suas próprias palavras, suas esculturas eram a única prova de sua existência civil. Parece que em duas ocasiões esteve perto de contrair matrimônio, mas permaneceu solteiro por toda a vida. Seu grupo de amigos, porém, era grande e a eles dedicava um afeto intenso e elevado. Não manteve discípulos regulares, mas se notava talento superior em algum artista iniciante não poupava bons conselhos e encorajamento. Muitas vezes apoiou financeiramente jovens promissores e buscou-lhes encomendas. Mesmo sempre às voltas com muito trabalho, não hesitava em abandonar seu atelier assim que fosse chamado por outro artista para dar sua opinião sobre assuntos de arte ou oferecer conselhos técnicos.[16]
Alimentou um perene entusiasmo pelo estudo da arte antiga e pela arqueologia. Gostava da literatura clássica e fazia frequentes leituras, mas de hábito alguém lia para ele enquanto trabalhava. Considerava a leitura de bons autores um recurso indispensável para aperfeiçoamento pessoal e de sua arte. Não foi um escritor, mas manteve profusa correspondência com amigos e intelectuais, onde se evidencia um estilo de escrita claro, simples e vívido, que foi-se refinando ao longo dos anos sem perder sua força e espontaneidade. Uma de suas cartas de 1812 atesta que chegou a pensar em publicar algo sobre sua arte em seus princípios gerais, mas não o concretizou. Contudo, em segredo muitas de suas observações e idéias foram registradas por seu círculo de associados e tornadas públicas mais tarde. Parecia ser imune à inveja, à crítica e à bajulação, e nunca se afligiu com o sucesso alheio; ao contrário, não economizava elogios quando percebia grandeza na obra de seus colegas de ofício, e manifestava gratidão por conselhos ou reparos que julgava justos e apropriados. Quando uma crítica contundente apareceu publicada em um jornal de Nápoles, dissuadiu seus amigos que queriam prover uma réplica, dizendo que seu trabalho se encarregaria de dar a resposta adequada.[17] As relações de Canova com a política de seu tempo são exemplificadas nas obras que criou para a Casa da Áustria e a Casa de Bonaparte, onde os desejos de legitimação e glorificação dos governantes entraram em conflito com a postura politicamente neutra que o escultor desejava manter. Teve obras recusadas ou severamente criticadas por ambas por não se enquadrarem naqueles desejos, como o grupo de Hércules furioso que lança Licas ao mar (1795), rejeitado pelo imperador austríaco, e o mesmo acontecendo com o retrato alegórico que fez para Napoleão como Marte pacificador.[18] Sua opinião a respeito de Napoleão tem sido descrita como ambígua, sendo ao mesmo tempo um admirador, aceitando da sua família várias encomendas, e um crítico, especialmente pela sua invasão da Itália e o confisco de um grande acervo de obras de arte italianas.[19]
Apreciava o sucesso de suas obras e era vivamente grato por isso, mas nunca evidenciou que um desejo de glória pessoal fosse seu objetivo primário, apesar de ter sido um dos artistas de seu tempo mais expostos aos perigos da celebridade, pois recebeu diversas condecorações e a proteção de muitos nobres importantes, foi ele mesmo nobilitado em vários Estados da Europa, incumbido de altos cargos públicos e incluído como membro em muitas academias de arte mesmo sem jamais tê-lo solicitado. Gastou boa parte da fortuna que veio a acumular em obras de caridade, no fomento de associações de classe e no apoio aos jovens artistas. Em várias ocasiões adquiriu com recursos próprios obras de arte para museus públicos e coleções de livros para bibliotecas, não raro fazendo suas doações anonimamente. Também em vários momentos precisou ser alertado para não dissipar seus rendimentos com os problemas alheios.[20][8]
Seu permanente fascínio pela antiguidade clássica fez com que ele acumulasse uma significativa coleção de peças arqueológicas de mármore e terracota. Sua coleção de placas de terracota da Campania era especialmente interessante, embora nunca citada nas suas primeiras biografias. As peças eram em sua maioria fragmentárias, mas muitas estavam íntegras e eram de alta qualidade, e as tipologias que ele preferiu reunir evidenciam que ele estava à frente das tendências museológicas e colecionistas de seu tempo. O seu interesse pelo material estava ligado ao uso da argila para criar os modelos de suas obras em mármore, e ele a preferia antes do que o gesso por ser mais fácil de trabalhar, e a empregava também para a elaboração dos relevos que ele chamava "de recreação privada", onde representava cenas que encontrava em suas leituras de Homero, Virgílio e Platão.[21]
The main library at Trinity College. This library houses the Book of Kells. To me, the library was more interesting.
My daughter went to Lafayette HS, as did other notable and important people like Harry Dean Stanton, Jim Varney, Gary Brewer, John Y. Brown, and Tom Hammond.
Holga 120CFN, Expired Kodak T-Max 400, D-76 1+1
are printed books days numbered?
I've been running out of places to store my books but since I bought a kobo hd glo I don't think I'll ever have that problem.
this kobo can store more than 3000 books at any one time, that's more space than I will ever need and I don't have to worry about eye strain that you get from other device. e ink is the way forward for me.
sb700 and a shoot through umbrella were used to light the subject.
The discerning heart seeks knowledge, but the mouth of a fool feeds on folly.
[Proverbs 15:14 NIV]
5 MORE THINGS YOU SHOULD KNOW:
1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)
2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)
3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)
4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)
5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)
Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!