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Aren't people funny when they are brought together like this!? Forced to pursue the same objective, seemingly reluctant to accept that they are all in pursuit of the same thing - in this case a bus home after shopping or working.
We're described at 'social animals' but you wouldn't think so to look at this photo in Madrid!
Disney Store Ursula Doll
From her shock of silver hair to the tips of her tentacles, the The Little Mermaid villain comes to life with our Ursula Doll. She wears a devilish grin and the shell that holds Ariel's voice. Her plush tentacles have a sparkly underside.
OMG!! I am seriously tripping! I remember this doll being released by Simba in Europe for the Platinum Edition DVD, and I totally wanted it! Unfortunately, shipping costs are a bitch for most overseas items! I'm so glad that i can get this for so much cheaper here. <3 I'll probably never be able to get the Ursula that Mattel made a while back, so this is the next best thing! lol
Also I know this is a longshot, but i hope they make the other Villains too, namely, The Evil Queen, Maleficent, Gothel..etc...lol
Image is from the Disney Store website. I can't believe she costs $12.50. =O
PRESIDIO OF MONTEREY, California -- The 2018 Language Day celebration was held by the Defense Language Institute Foreign Language Center at the Presidio of Monterey, May 11. Language Day is open to the public and attended by schools across the nation to promote an understanding of diverse customs and cultures from around the world. Approximately 6,000 people attended this annual event featuring cultural displays, activities and international ethnic cuisine served by local vendors.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
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The Edit of this Photo Demands Your View In BLACK with Large size for better out put, Plz Press L for Black
This is the cover photo of my set National Language Movement 2011
This Photo was taken on 21th Fab at 01:30 pm , From Jatio Shaheed Minar , Dhaka, BANGLADESH, This Photo was Taken while my Special Photowalk with The flickr Group Frame BANGLADESH
Description :The Bengali Language Movement: and in Bangali Trnslation to ভাষা আন্দোলন
The Bengali Language Movement: Can read In Bangoli here]ভাষা আন্দোলন, also known as the Language Movement (Bengali: ভাষা আন্দোলন; Bhasha Andolon), was a political effort in Bangladesh (then known as East Pakistan), advocating the recognition of the Bengali language as an official language ofPakistan. Such recognition would allow Bengali to be used in government affairs.When the state of Pakistan was formed in 1947, its two regions, East Pakistan (also called East Bengal) and West Pakistan, were split along cultural, geographical, and linguistic lines. In 1948, the Government of Pakistan ordained Urdu as the sole national language, sparking extensive protests among the Bengali-speaking majority of East Pakistan. Facing rising sectarian tensions and mass discontent with the new law, the government outlawed public meetings and rallies. The students of the University of Dhaka and other political activists defied the law and organised a protest on 21 February 1952. The movement reached its climax when police killed student demonstrators on that day. The deaths provoked widespread civil unrest led by the Awami Muslim League, later renamed the Awami League. After years of conflict, the central government relented and granted official status to the Bengali language in 1956. In 2000,UNESCO declared 21 February International Mother Language Day for the whole world to celebrate[1], in tribute to the Language Movement and the ethno-linguistic rights of people around the world.The Language Movement catalysed the assertion of Bengali national identity in Pakistan, and became a forerunner to Bengali nationalist movements, including the 6-point movement and subsequently the Bangladesh Liberation War in 1971. In Bangladesh, 21 February is observed as Language Movement Day, a national holiday. The Shaheed Minar monument was constructed near Dhaka Medical College in memory of the movement and its victims
Background
The present nations of Pakistan and Bangladesh were part of undivided India during the British colonial rule. From the mid-19th century, the Urdu language had been promoted as thelingua franca of Indian Muslims by political and religious leaders such as Sir Khwaja Salimullah, Sir Syed Ahmed Khan, Nawab Viqar-ul-Mulk and Maulvi Abdul Haq.[2][3] Urdu is an Indo-Aryan language of the Indo-Iranian branch, belonging to the Indo-European family of languages. It developed under Persian, Arabic and Turkic influence on apabhramshas (last linguistic stage of the medieval Indian Aryan language Pali-Prakrit)[4] in South Asia during the Delhi Sultanate and Mughal Empire.[5] With its Perso-Arabic script, the language was considered a vital element of the Islamic culture for Indian Muslims; Hindi and the Devanagari script were seen as fundamentals of Hindu culture.[2]While the use of Urdu grew common with Muslims in northern India, the Muslims of Bengal (a province in the eastern part of British Indian sub-continent) primarily used the Bengali language. Bengali is an Eastern Indo-Aryan language that arose from the eastern Middle Indic languages around 1000 CE[6] and developed considerably during the Bengal Renaissance. As early as the late 19th century, social activists such as the Muslim feminist Roquia Sakhawat Hussain were choosing to write in Bengali to reach out to the people and develop it as a modern literary language. Supporters of Bengali opposed Urdu even before the partition of India, when delegates from Bengal rejected the idea of making Urdu the lingua franca of Muslim India in the 1937 Lucknow session of the Muslim League. The Muslim League was a British Indian political party that became the driving force behind the creation of Pakistan as a Muslim state separate from British India.[7]
The Other Set related to this set are available here at : International Mother Language Day
All other Photos of this set are available at : National Language Movement Dat 2011
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Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Ugolino and His Sons is a marble sculpture that is known for its expressive detail and was created by Jean-Baptiste Carpeaux in Paris from 1865 to 1867.
The subject of this intense marble statue is derived from canto XXXIII of Dante's Inferno, which describes how the Pisan traitor Count Ugolino della Gherardesca, his sons, and his grandsons were imprisoned in 1288 and died of starvation.
Kinderbuch - childrens book
zweisprachig - two language
Es ist da und es ist echt sooo schön, bin selber begeistert.
Mehr hier - more here:
www.amazon.de/Blaubeerfuchs-Blueberryfox-Karina-Verlag/dp...
The word Allah
The Semitic language which is spoken in the celestial spheres, is the language in which the angels and God address each other. Adam Safi-Allah spoke the same language in paradise. Adam and eve then came into the world and settled in Arabia. Their children also spoke the same language. Then as a result of the descendants of Adam spreading in the world, this language passed from Arabic, Persian, Latin and into English and God was then known by different names in the different languages. As Adam lived in Arabia, there are many words of the Semitic language which are still found in the Arabic language. God addressed the Prophets, Adam as Adam Safi-Allah, Noah as Nuh Nabi-Allah, Abraham as Ibraheem Khalil-Allah, Moses as Musa Kalim-Allah, Jesus as I’sa Ruh-Allah and Mohammed Rasul-Allah. All these titles, in the Semitic language were written on the Tablet before the arrival of the Prophets. This is why the Prophet Mohammed said: “I was a Prophet even before I came in to this world.”
Many people believe that the word Allah is a name given by Muslims, this is not so.
The Prophet Mohammed’s fathers name was Abd-Allah, at a time when Islam did not exist. Prior to the advent of Islam the Name Allah was announced with the title of every Prophet. When the souls were created, the first Name on their tongue was Allah and when the soul entered the body of Adam, it said, Ya-Allah, and only then it entered the body. Many religions understand this enigma and chant the Name Allah and many others because of doubt are deprived of the Name.
Any name which is used to point towards God is worthy of respect.
In other words, which points towards God. The mystical effect of the Name of God has been diversified due to the different names. Every letter of the alphabet has a separate numeric value. This is also a celestial knowledge. All the numeric values are connected with all of the human race. Occasionally the numeric values do not agree with the astronomical calculations as a result of which people become afflicted. Many people go to astrologers and experts of this knowledge and have charts prepared based on the stars. They name their children on this basis.
Just as the letters (a, b, j, d,) (1, 2, 3, 4) when added have the numerical value of ten. Similarly every name has a separate numeric value. As God has been given so many different names, this has caused a conflict between the numeric value of the different names. If all the people called upon God by the same name, then despite the fact that they would all have separate religions, they would all be united inwardly. They too, like Nanak Sahib and Baba Farid would then say:
“All the souls have been created by the light of God, even though their environment and communities are separate.”
The angels that are assigned tasks in the world are also taught the languages of the people of the world.
It is important for the people of every Prophet that they recite, chant and affirm the Title of their Prophet which was granted by God to the Prophet at his time, for the recognition, spiritual grace and purification of his people. The recital and affirmation should be in the same method and in the language of their Prophet.
The entry of any individual into any religion is subject to the condition that the individual accepts and affirms the Title of the Prophet of that religion. Just as the affirmation and the verbal vows are a condition of any marriage.
Entry into the heavens has been made subject to the acceptance and affirmation of the Titles of the Prophets. In the western world many Muslims and Christians have no knowledge of their Prophet’s Title furthermore many do not even know their Prophets original name (in the original language of the Prophet.)
People who only verbalize the affirmation of their Prophet’s Title rely upon their good deeds. Those that reject and do not affirm their Prophet’s Title are refused entry to paradise. Those individuals in whose hearts the affirmation of their Prophet’s Title has descended (entered) they will enter paradise without any accountability.
The revealed celestial Scriptures, whichever language they are in so long as they are in the original form, are a means to finding God. Where the texts and the translations that have been adulterated, just as adulterated flour is harmful for the stomach, the adulterated books have become harmful and people of the same religion and the same of Prophet have divided into so many sects.
To be sure of the straight and guided path it is better that you are guided by the Light (of God) also.
The method of producing light.
In prehistoric times stones would be rubbed together to make fire. Whereas a spark can also be produced by rubbing two metals together. In a similar way electricity is made from water. Similarly by the friction of the blood inside the human body, in other words electric energy is produced by the vibrating heartbeat. In every human being there is present, approximately one and a half volts of electricity due to which the body is energetic. As the heartbeat slows in old age, this reduces the electricity in the body and this in turn also causes a reduction of the energy level in the body.
Firstly, the heartbeat has to be made vibrant and pronounced. Some do this by dancing, some by sports and exercise and some people try to do this by meditating and chanting the Name of God Allah.
When the heartbeat becomes vibrant and pronounced then by chanting the Name Allah try to synchronize it with every heartbeat. Alternatively try to synchronize Allah with one heartbeat and Hu with the other. Some time by placing your hand on the heart and when you feel your heartbeat, again try to synchronize the Name Allah by chanting it with the rythm of the heartbeat and imagine that the Name Allah is entering the heart.
The chanting of Allah Hu is better and more effective but if anyone has an objection, or a fear of chanting Hu, then instead of being deprived one should solely use the Name Allah, repetitively in the chanting. It is beneficial for people who chant and practice this discipline and who read mantras to physically remain as clean as possible as the:
“disrespectful are unfulfilled and the respectful are fulfilled.”
The first method for producing light.
Write Allah on a paper in black ink, and do this exercise for as long as you wish on a daily basis. Soon thereafter, the Word Allah will be transported from the paper and hover over the eyes. Then with one-pointed concentration, attempt to transport the word from the eyes to the heart.
The second method for producing light.
Write Allah on a zero watt bulb, in yellow. Whilst you are awake or just before sleep, concentrate and try to absorb it into the eyes. When it appears on the eyes then try to transport it to the heart.
The third method for producing light.
This method is for those people who have perfect spiritual guides and teachers and who due to their spiritual connection are spiritually assisted by them.
Sit alone and imagine that your index finger is a pen. Using your finger and with your concentration, attempt to write Allah on your heart. Call upon your spiritual teacher (spiritually), so that he too may, hold your finger, and write Allah on your heart. Continue to do this exercise everyday, until you see Allah written on your heart.
By the first and second method, the Name Allah becomes inscribed on the heart, just as it was written and seen by you but when it becomes synchronized with the heartbeat, then it slowly starts to shine. In the synchronized method, the assistance of the spiritual teacher is provided and for this reason it is seen shining and well written on the heart right from the beginning.
Many Prophets and Saints have come into the world, and just for the sake of testing this, if you feel it appropriate, concentrate or call upon all of them when you are practicing your meditation.
Whilst concentrating on any Prophet or Saint, during your meditating practice, if the rhythm of your heartbeat increases, in its vibration or you feel an improvement then this means that your destiny (spiritual fruits) lies with that Prophet or Saint.
Thereafter it is beneficial to concentrate on that same person whenever you practice your meditation as spiritual grace is transferred in this way, because every Saint is spiritually connected to a Prophet, even if that Prophet is not physically living.
The spiritual fruit (grace) of every illuminated person is in the hands of one Saint or another. It is essential that the Saint is living. Sometimes a very fortunate person is gifted with celestial spiritual grace by a perfect Saint who is not living, but this is very rare. However Saints not living in our human realm can provide worldly spiritual grace and assistance to people from their tombs. This is known as Owaisi spiritual grace.
The recipients of such spiritual grace often get entangled in their spiritual insights, visions and dreams because the spiritual guide providing the assistance is in the spiritual realm and so too is Satan and the recognition of the two becomes difficult.
Along with the spiritual grace it is important to have knowledge, for which a living Saint is more appropriate. If a person (Saint) possesses spiritual grace but is without knowledge, that person is known as a Majzoob (Godly but abstracted due to the complete absorption into the Essence of God and who is not in full control of his faculties).
A person (Saint) having spiritual grace and knowledge is known as a Mehboob (literally, loved one). Such people (Saints) as a result of their knowledge provide worldly spiritual assistance as well as spiritual grace and benefit. Whereas the Majzoobs are known to provide worldly spiritual assistance to people by their unusual but accepted practices of shouting obscenities and poking people with their wooden sticks.
If any (Prophet or Saint) appears but does not help or assist you then put Gohar Shahi to the test.
You may belong to any religion, there is no condition in this respect as long as the individual is not eternally ill-fated.
Many people have received the spiritual grace of Qalb meditation from the Moon. This is obtained when there is a full Moon from the East. Look at it with concentration and when you see the image of Gohar Shahi on it say Allah, Allah, Allah three times and you will be blessed with this spiritual grace. Thereafter without any fear or reservation practice the meditation as described.
Believe (the fact) that the image on the Moon has spoken to many people in many different languages. You can try looking and speaking to it also.
About Muraqba
(transcendental meditation)
(Literally. journey. Meditation in which the soul leaves the human body)
Many people without having acquired the illumination of the spiritual entities (‘Lata’if/Shaktian’) and without attaining spiritual strength and prowess try to engage in this meditation. They either fail to reach the meditative state or become the subject of Satanic interference. This type of meditation is for illuminated people, whose spiritual entity of the self has been purified and the Qalb has been cleansed. The practice or attempt at this type of meditation is foolish no matter what type of physical worship is used to achieve this. To collect and gather the strength of the soul and the spiritual entities and then to travel to a place is what is known as meditation.
Sainthood is the one fourtieth part of Prophecy.
Every dream, meditative journey, inspiration or revelation of a Prophet is accurate and authentic and does not need verification. Only fourty out of a hundred dreams, meditative journeys, inspirations and revelations of Saints are accurate the remaining sixty percent are inaccurate.
God cannot be understood without knowledge
The lowest type of meditative journey is started only after the illumination and awakening of the spiritual entity of the Qalb. This is impossible without first achieving the meditation of the Qalb (meditation with the vibrating heartbeat synchronized with the Name Allah). It takes one jerk or shake to bring the person out of this meditative state and back to consciousness. The faculty of the augury (foretelling the future by reading verses or looking into designated books) is also connected to the Qalb.
The next stage is the meditative journey of the soul. It takes three jerks or shakes to return a person back to normality from this meditative state.
The third stage of the meditative journey is done by the spiritual entity, Anna and the soul together. The soul travels along with the spiritual entity Anna, to the realm of souls just as the Archangel Gabriel accompanied the Prophet Mohammed to the realm of souls.
People who are in this meditative state are sometimes even taken to be buried in their graves and they are unaware of this happening to them. Such a meditative state and journey was taken by the “Companions of the Cave” as a result of which they remained asleep in the cave for more than three hundred years.
When this meditative state and journey was undertaken by the Sheikh, Abdul-Qadir al-Jilani, in the jungle, the occupants of the jungle would regard the Sheikh as dead and would take him to a grave for burial but the meditative journey would break just before the burial (the Sheikh would return to consciousness).
How to recognize a special inspiration and revelation from God.
When a person has awakened and illuminated the spiritual entities in the chest and is worthy of receiving the rays of the Grace of God, then at that point God communicates with that person. God is All-Powerful and can do as he pleases and thus communicate with the human being in any way fit, but he has made a special method for his recognition so that his friends can be saved from the deception of Satan.
Firstly, text in the Semitic language appears on the seekers heart and its translation is seen in the language of the seekers mother-tongue. The text is white and shiny and the eyes close automatically and look at the text (internally). The text then passes the Qalb and moves towards the spiritual entity Sirri as a result of which it shines even more. Then the text moves towards the spiritual entity, Akhfa and from here it shines more and then moves onto the tongue. The voice then spontaneously starts to repeat that text.
If this inspiration is from Satan then an illuminated heart will dull the text and if the text is strong and prominent then the spiritual entities Sirri or Akhfa destroy that text. Further if due to the weakness of the spiritual entities the text does arrive at the tongue, then the voice will prevent it from being spoken into words.
This type of inspiration is for special types of Saints, whereas in respect of ordinary Saints, God sends messages to them through the angels or other spiritual entities. When the Archangel Gabriel accompanies the special and inspired text, this is known as revelation which is confined to the Prophets.
For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags
The Ramayana or Rāmāyaṇa (/rɑːˈmɑːjənə/; Sanskrit: रामायणम्, Rāmāyaṇam, pronounced [rɑːˈmɑːjəɳəm]), is the first of two Sanskrit itihāsas (ancient Indian epic poem) traditionally ascribed to the Hindu muni (sage) Vālmīki - the other one being the Mahābhārata attributed to Kṛṣṇa Dvaipāyana Vyāsa.
The epic narrates the life of Rāma, a legendary rāja-kumāra (prince) of Kośala, his banishment from his kingdom by his father king Daśaratha, his travels across forests in India with his wife Sītā and brother Lakṣmaṇa, the kidnap of his wife by his enemies, resulting in a war with Rāvaṇa (the king of the island of Laṅkā) and eventual return to Ayodhya to be crowned king.
The Ramayana is one of the largest ancient epics in world literature. It is comprised nearly 24,000 verses (mostly set in the śloka meter), divided into seven Kāṇḍas (books) and about 500 sargas (chapters). In Hindu tradition, it is considered to be the ādi-kāvya (first kāvya poem). It depicts the duties of relationships, portraying ideal characters like the ideal father, the ideal servant, the ideal brother, the ideal wife and the ideal king. The Ramayana was an important influence on later Sanskrit poetry and Hindu life and culture. Like the Mahabharata, the Ramayana is not just a story: it presents the teachings of ancient Hindu sages in narrative allegory, interspersing philosophical and ethical elements. The characters Rāma, Sītā, Lakṣmaṇa, Bharata, Hanumān and Rāvaṇa are all fundamental to the cultural consciousness of India, Nepal, Sri Lanka, and south-east Asian countries such as Thailand, Cambodia, Malaysia and Indonesia.
There are many other versions of the Ramayana in Indian languages, besides Buddhist and Jain adaptations; and also Cambodian, Indonesian, Filipino, Thai, Lao, Burmese, and Malaysian versions of the tale.
ETYMOLOGY
The name Ramayana is a tatpuruṣa compound of Rāma and ayana("going, advancing"), translating to Rama's Journey.
Textual history and structure
Traditionally, the Ramayana is attributed to Valmiki. The Hindu tradition is unanimous in its agreement that the poem is the work of a single poet, the sage Valmiki, a contemporary of Rama and a peripheral actor in the drama. The story's original version in Sanskrit is known as Valmiki Ramayana.
According to Hindu tradition - and according to the Ramayana itself - the Ramayana belongs to the genre of itihāsa like the Mahabharata. The definition of itihāsa is a narrative of past events (purāvṛtta) which includes teachings on the goals of human life. According to Hindu tradition, the Ramayana takes place during a period of time known as Treta Yuga.
In its extant form, Valmiki's Ramayana is an epic poem of some 24,000 verses. The text survives in several thousand partial and complete manuscripts, the oldest of which is a palm-leaf manuscript found in Nepal and dated to the 11th century CE. A Times of India report dated 18 Dec 2015 informs about discovery of a 6th-century manuscript of Ramayana at the Asiatic Society library, Kolkata. The Ramayana text has several regional renderings, recensions, and subrecensions. Textual scholar Robert P. Goldman differentiates two major regional recensions: the northern(n) and the southern(s). Scholar Romesh Chunder Dutt writes that "the Ramayana, like the Mahabharata, is a growth of centuries, but the main story is more distinctly the creation of one mind."
There has been discussion as to whether the first and the last chapters of Valmiki's Ramayana were composed by the original author. Most Hindus still believe they are integral parts of the book, in spite of some style differences and narrative contradictions between these two chapters and the rest of the book.
Famous retellings include Gona Budda Reddy's Ramayanam in Telugu, Kamban's Ramavataram in Tamil (c. 11th–12th century), Madhava Kandali's Saptakanda Ramayana in Assamese (c. 14th century), Krittibas Ojha's Krittivasi Ramayan(also known as Shri Rama panchali) in Bengali (c. 15th century), Sarala Das' Vilanka Ramayana (c. 15th century) and Balaram Das' Dandi Ramayana(also known as the Jagamohan Ramayana) (c. 16th century) both in Odia, sant Eknath's Bhavarth Ramayan (c. 16th century) in Marathi, Tulsidas' Ramcharitamanas (c. 16th century) in Awadhi (which is an eastern form of Hindi) and Thunchaththu Ezhuthachan's Adhyathmaramayanam in Malayalam.
PERIOD
Some cultural evidence - such as the presence of sati in the Mahabharata but not in the main body of the Ramayana - suggests that the Ramayana predates the Mahabharata. However, the general cultural background of the Ramayana is one of the post-urbanization period of the eastern part of north India and Nepal, while the Mahabharata reflects the Kuru areas west of this, from the Rigvedic to the late Vedic period.
By tradition, the text belongs to the Treta Yuga, second of the four eons(yuga) of Hindu chronology. Rama is said to have been born in the treta yuga to king Dasaratha in the Ikshvaku dynasty.
The names of the characters(Rama, Sita, Dasaratha, Janaka, Vashista, Vishwamitra) are all known in late Vedic literature. However, nowhere in the surviving Vedic poetry is there a story similar to the Ramayana of Valmiki. According to the modern academic view, Vishnu - who, according to bala kanda, was incarnated as Rama - first came into prominence with the epics themselves and further during the puranic period of the later 1st millennium CE. Also, in the epic Mahabharata, there is a version of Ramayana known as Ramopakhyana. This version is depicted as a narration to Yudhishthira.
There is general consensus that books two to six form the oldest portion of the epic, while the first and last books(bala kanda and uttara kanda, respectively) are later additions. The author or authors of bala kanda and ayodhya kanda appear to be familiar with the eastern Gangetic basin region of northern India and with the Kosala and Magadha region during the period of the sixteen Janapadas, based on the fact that the geographical and geopolitical data accords with what is known about the region. The knowledge of the location of the island of Lanka also lacks detail. Basing his assumption on these features, archeologist Hasmukh Dhirajlal Sankalia has proposed a date of the 4th century BC for the composition of the text. Historian and indologist Arthur Llewellyn Basham is of the opinion that Rama may have been a minor chief who lived in the 8th or the 7th century BC.
CHARACTERS
Rāma is one of the protagonists of the tale. Portrayed as the seventh avatar of the god Vishnu, he is the eldest and favourite son of Dasharatha - the king of Ayodhya(current day Ayodhya, India) - and his Chief Queen, Kausalya. He is portrayed as the epitome of virtue. Dasharatha is forced by Kaikeyi, one of his wives, to command Rama to relinquish his right to the throne for fourteen years and go into exile. He kills the evil demon Ravana, who abducted his wife Sita and later returned to Ayodhya to form an ideal state.
Sīta is another of the tale's protagonists. She is daughter of Mother Earth, adopted by King Janaka and Rama's beloved wife. Rama went to Mithila (located in Janakpur, Nepal) and got a chance to marry her by breaking the Shiv Dhanush (bow) while trying to tie a knot to it in a competition organized by King Janaka of Nepal in Dhanusa. The competition was to find the most suitable husband for Sita and many princes from different states competed to win her. Sita is the avatara of the goddess Lakshmi, the consort of Vishnu. Sita is portrayed as the epitome of female purity and virtue. She follows her husband into exile and is abducted by the demon king Ravana. She is imprisoned on the island of Lanka, until Rama rescues her by defeating Ravana. Later, she gives birth to Lava and Kusha.
Hanumān is a vanara belonging to the kingdom of Kishkindha. He is an ideal bhakta of Rama. He is born as the son of Kesari, a Vanara king in Sumeru region and the goddess Añjanā. He plays an important part in locating Sita and in the ensuing battle. He is believed to live until our modern world.
Lakṣmaṇa, the younger brother of Rama, who chose to go into exile with him. He is the son of King Dasaratha and Queen Sumitra and twin of Shatrughna. Lakshmana is portrayed as an avatar of the Shesha, the nāga associated with the god Vishnu. He spends his time protecting Sita and Rama during which he fought the demoness Surpanakha. He is forced to leave Sita, who was deceived by the demon Maricha into believing that Rama was in trouble. Sita is abducted by Ravana upon him leaving her. He was married to Sita's younger sister Urmila.
Rāvaṇa, a rakshasa, is the king of Lanka. He was son of a sage named Vishrava and daitya princess Kaikeshi. After performing severe penance for ten thousand years he received a boon from the creator-god Brahma: he could henceforth not be killed by gods, demons,or spirits. He is portrayed as a powerful demon king who disturbs the penances of rishis. Vishnu incarnates as the human Rama to defeat him, thus circumventing the boon given by Brahma.
Jaṭāyu, the son of Aruṇa and nephew of Garuda. A demi-god who has the form of an vulture that tries to rescue Sita from Ravana. Jatayu fought valiantly with Ravana, but as Jatayu was very old, Ravana soon got the better of him. As Rama and Lakshmana chanced upon the stricken and dying Jatayu in their search for Sita, he informs them of the direction in which Ravana had gone.
Daśaratha is the king of Ayodhya and the father of Rama. He has three queens, Kausalya, Kaikeyi and Sumitra, and three other sons: Bharata, Lakshmana and Shatrughna. Kaikeyi, Dasharatha's favourite queen, forces him to make his son Bharata crown prince and send Rama into exile. Dasharatha dies heartbroken after Rama goes into exile.
Bharata is the son of Dasharatha and Queen Kaikeyi. When he learns that his mother Kaikeyi had forced Rama into exile and caused Dasharatha to die brokenhearted, he storms out of the palace and goes in search of Rama in the forest. When Rama refuses to return from his exile to assume the throne, Bharata obtains Rama's sandals and places them on the throne as a gesture that Rama is the true king. Bharata then rules Ayodhya as the regent of Rama for the next fourteen years staying outside the city of Ayodhya. He was married to Mandavi.
Śatrughna is the son of Dasharatha and his second wife Queen Sumitra. He is the youngest brother of Rama and also the twin brother of Lakshmana. He was married to Shrutakirti.
Sugrīva, a vanara king who helped Rama regain Sita from Ravana. He had an agreement with Rama through which Vaali – Sugriva's brother and king of Kishkindha – would be killed by Rama in exchange for Sugriva's help in finding Sita. Sugriva ultimately ascends the throne of Kishkindha after the slaying of Vaali and fulfills his promise by putting the Vanara forces at Rama's disposal.
Indrajit or Meghnadha, the eldest son of Ravana who twice defeated Rama and Lakshmana in battle, before succumbing to Lakshmana. An adept of the magical arts, he coupled his supreme fighting skills with various stratagems to inflict heavy losses on the Vanara army before his death.
Kumbhakarṇa, a brother of Ravana, famous for his eating and sleeping. He would sleep for months at a time and would be extremely ravenous upon waking up, consuming anything set before him. His monstrous size and loyalty made him an important part of Ravana's army. During the war he decimated the Vanara army before Rama cut off his limbs and head.
Sūrpanakha, Ravana's demoness sister who fell in love with Rama and had the magical power to take any form she wanted.
Vibhīṣaṇa, a younger brother of Ravana. He was against the kidnapping of Sita and joined the forces of Rama when Ravana refused to return her. His intricate knowledge of Lanka was vital in the war and he was crowned king after the fall of Ravana.
SYNOPSIS
BALA KANDA
Dasharatha was the king of Ayodhya. He had three wives: Kausalya, Kaikeyi and Sumitra. He was childless for a long time and anxious to produce an heir, he performs a fire sacrifice known as putra-kameshti yagya. As a consequence, Rama is first born to Kausalya, Bharata is born to Kaikeyi, Lakshmana and Shatrughna are born to Sumitra. These sons are endowed, to various degrees, with the essence of the Supreme Trinity Entity Vishnu; Vishnu had opted to be born into mortality to combat the demon Ravana, who was oppressing the gods, and who could only be destroyed by a mortal. The boys are reared as the princes of the realm, receiving instructions from the scriptures and in warfare. When Rama is 16 years old, the sage Vishwamitra comes to the court of Dasharatha in search of help against demons who were disturbing sacrificial rites. He chooses Rama, who is followed by Lakshmana, his constant companion throughout the story. Rama and Lakshmana receive instructions and supernatural weapons from Vishwamitra and proceed to destroy the demons.
Janaka was the king of Mithila. One day, a female child was found in the field by the king in the deep furrow dug by his plough. Overwhelmed with joy, the king regarded the child as a "miraculous gift of god". The child was named Sita, the Sanskrit word for furrow. Sita grew up to be a girl of unparalleled beauty and charm. The king had decided that who ever could lift and wield the heavy bow, presented to his ancestors by Shiva, could marry Sita. The sage Vishwamitra takes Rama and Lakshmana to Mithila to show the bow. Then Rama desires to lift it and goes on to wield the bow and, when he draws the string, it breaks. Marriages are arranged between the sons of Dasharatha and daughters of Janaka. Rama gets married to Sita, Lakshmana to Urmila, Bharata to Mandavi and Shatrughan to Shrutakirti. The weddings are celebrated with great festivity at Mithila and the marriage party returns to Ayodhya.
AYODHYA KANDA
After Rama and Sita have been married for twelve years, an elderly Dasharatha expresses his desire to crown Rama, to which the Kosala assembly and his subjects express their support. On the eve of the great event, Kaikeyi - her jealousy aroused by Manthara, a wicked maidservant - claims two boons that Dasharatha had long ago granted her. Kaikeyi demands Rama to be exiled into the wilderness for fourteen years, while the succession passes to her son Bharata. The heartbroken king, constrained by his rigid devotion to his given word, accedes to Kaikeyi's demands. Rama accepts his father's reluctant decree with absolute submission and calm self-control which characterises him throughout the story. He is joined by Sita and Lakshmana. When he asks Sita not to follow him, she says, "the forest where you dwell is Ayodhya for me and Ayodhya without you is a veritable hell for me." After Rama's departure, King Dasharatha, unable to bear the grief, passes away. Meanwhile, Bharata who was on a visit to his maternal uncle, learns about the events in Ayodhya. Bharata refuses to profit from his mother's wicked scheming and visits Rama in the forest. He requests Rama to return and rule. But Rama, determined to carry out his father's orders to the letter, refuses to return before the period of exile. However, Bharata carries Rama's sandals and keeps them on the throne, while he rules as Rama's regent.
ARNYA KANDA
Thirteen years pass and in the last year of exile Rama, Sita, and Lakshmana journey southward along the banks of river Godavari, where they build cottages and live off the land. At the Panchavati forest they are visited by a rakshasa (demon) woman, Surpanakha, the sister of Ravana. She attempts to seduce the brothers and failing in this, attempts to kill Sita. Lakshmana stops her by cutting off her nose and ears. Hearing of this, her demon brother, Khara, organises an attack against the princes. Rama annihilates Khara and his demons.
When news of these events reaches Ravana, he resolves to destroy Rama by capturing Sita with the aid of the rakshasa Maricha. Maricha, assuming the form of a golden deer, captivates Sita's attention. Entranced by the beauty of the deer, Sita pleads with Rama to capture it. Lord Rama, aware that this is the ploy of the demons, cannot dissuade Sita from her desire and chases the deer into the forest, leaving Sita under Lakshmana's guard. After some time, Sita hears Rama calling out to her; afraid for his life, she insists that Lakshmana rush to his aid. Lakshmana tries to assure her that Rama is invincible and that it is best if he continues to follow Rama's orders to protect her. On the verge of hysterics, Sita insists that it is not she but Rama who needs Lakshmana's help. He obeys her wish but stipulates that she is not to leave the cottage or entertain any strangers. He draws a chalk outline, the Lakshmana rekha, around the cottage and casts a spell on it that prevents anyone from entering the boundary but allows people to exit. With the coast finally clear, Ravana appears in the guise of an ascetic requesting Sita's hospitality. Unaware of the devious plan of her guest, Sita is tricked into leaving the rekha and is then forcibly carried away by the evil Ravana.
Jatayu, a vulture, tries to rescue Sita, but is mortally wounded. At Lanka, Sita is kept under the heavy guard of rakshasis. Ravana demands Sita marry him, but Sita, eternally devoted to Rama, refuses. Rama and Lakshmana learn about Sita's abduction from Jatayu and immediately set out to save her. During their search, they meet the demon Kabandha and the ascetic Shabari, who direct them towards Sugriva and Hanuman.
KISHKINDHA KANDA
The kishkindha kanda is set in the ape (Vanar) citadel Kishkindha. Rama and Lakshmana meet Hanuman, the bigest devotee of Rama, the greatest of ape heroes and an adherent of Sugriva, the banished pretender to the throne of Kishkindha. Rama befriends Sugriva and helps him by killing his elder brother Vali thus regaining the kingdom of Kiskindha, in exchange for helping Rama to recover Sita. However Sugriva soon forgets his promise and spends his time in enjoying his powers. The clever former ape queen Tara (wife of Vali) calmly intervenes to prevent an enraged Lakshmana from destroying the ape citadel. She then eloquently convinces Sugriva to honour his pledge. Sugriva then sends search parties to the four corners of the earth, only to return without success from north, east and west. The southern search party under the leadership of Angad and Hanuman learns from a vulture named Sampati (elder brother of Jatayu), that Sita was taken to Lanka.
SUNDARA KANDA
The sundara kanda forms the heart of Valmiki's Ramayana and consists of a detailed, vivid account of Hanuman's adventures. After learning about Sita, Hanuman assumes a gargantuan form and makes a colossal leap across the sea to Lanka. On the way he faces many challenges like facing a gandharva kanya who comes in the form of demon to test his abilities and he faces a mountain naming Mainakudu who offers Lord Hanuman some help to take some rest but he refuses because of the time is running out and there is a very less time remaining for searching Sita. After entering into Lanka he finds a demon lankini who protects the entire Lanka and Hanuman fights with her and kills her in order to get into Lanka. Here, Hanuman explores the demons' kingdom and spies on Ravana. He locates Sita in ashoka grove, who is wooed and threatened by Ravana and his rakshasis to marry Ravana. He reassures her, giving Rama's signet ring as a sign of good faith. He offers to carry Sita back to Rama, however she refuses and says that it is not the dharma. She says that Rama himself must come and avenge the insult of her abduction.
Hanuman then wreaks havoc in Lanka by destroying trees and buildings and killing Ravana's warriors. He allows himself to be captured and produced before Ravana. He gives a bold lecture to Ravana to release Sita. He is condemned and his tail is set on fire, but he escapes his bonds and leaping from roof to roof, sets fire to Ravana's citadel and makes the giant leap back from the island. The joyous search party returns to Kishkindha with the news.
LANKA KANDA
Also known as Lanka kanda, this book describes the Ramayana War between the army of Rama and the army of Ravana. Having received Hanuman's report on Sita, Rama and Lakshmana proceed with their allies towards the shore of the southern sea. There they are joined by Ravana's renegade brother Vibhishana. The apes named Nala and Nila construct a floating bridge (known as Rama Setu) across the sea, using stones that floated on water because they had Rama's name written on them. The princes and their army cross over to Lanka. A lengthy war ensues. During a battle, Ravana's son Indrajit hurls a powerful weapon at Lakshmana, who is badly wounded and is nearly killed. So Hanuman assumes a gigantic form and flies from Lanka to the Himalayas. Upon reaching Mount Sumeru, Hanuman was unable to identify the herb that could cure Lakshmana, and so decided to bring the entire mountain back to Lanka. Eventually, the war ends when Rama kills Ravana. Rama then installs Vibhishana on the throne of Lanka.
On meeting Sita, Rama asks her to undergo an "agni pareeksha" (test of fire) to prove her purity, as he wants to get rid of the rumours surrounding Sita's purity. When Sita plunges into the sacrificial fire, Agni the lord of fire raises Sita, unharmed, to the throne, attesting to her purity. The episode of agni pariksha varies in the versions of Ramayana by Valmiki and Tulsidas. In earlier versions this event does not occur and many scholars consider it to have been added later as society became more patriarchal. In Tulsidas's Ramacharitamanas Sita was under the protection of Agni (see Maya Sita) so it was necessary to bring her out before reuniting with Rama. At the expiration of his term of exile, Rama returns to Ayodhya with Sita and Lakshmana, where the coronation is performed. This is the beginning of Ram Rajya, which implies an ideal state with good morals.
UTTARA KANDA
The uttara kanda is regarded to be a later addition to the original story by Valmiki and concerns the final years of Rama, Sita and Rama's brothers. After being crowned king, Rama passes time pleasantly with Sita. After some time, Sita gets pregnant with twin children. However, despite the agni pariksha (fire ordeal) of Sita, rumours about her purity are spreading among the populace of Ayodhya. Rama yields to public opinion and reluctantly banishes Sita to the forest, where the sage Valmiki provides shelter in his ashrama (hermitage). Here, she gives birth to twin boys, Lava and Kusha, who become pupils of Valmiki and are brought up in ignorance of their identity.
Valmiki composes the Ramayana and teaches Lava and Kusha to sing it. Later, Rama holds a ceremony during Ashwamedha yagna, which the sage Valmiki, with Lava and Kusha, attends. Lava and Kusha sing the Ramayana in the presence of Rama and his vast audience. When Lava and Kusha recite about Sita's exile, Rama becomes grief-stricken and Valmiki produces Sita. Sita calls upon the earth, her mother, to receive her and as the ground opens, she vanishes into it. Rama then learns that Lava and Kusha are his children. Many years later, a messenger from the Gods appears and informs Rama that the mission of his incarnation was over. Rama returns to his celestial abode.
It was dramatised as the Uttararamacarita by the Sanskrit poet Bhavabhuti.
VARIANT VERSIONS
As in many oral epics, multiple versions of the Ramayana survive. In particular, the Ramayana related in north India differs in important respects from that preserved in south India and the rest of south-east Asia. There is an extensive tradition of oral storytelling based on the Ramayana in Indonesia, Cambodia, Philippines, Thailand, Malaysia, Laos, Vietnam and Maldives. Father Kamil Bulke, author of Ramakatha, has identified over 300 variants of Ramayana.
In India
The 7th century CE "bhatti's poem" Bhaṭṭikāvya of Bhaṭṭi is a Sanskrit retelling of the epic that simultaneously illustrates the grammatical examples for Pāṇini's Aṣṭādhyāyī as well as the major figures of speech and the Prakrit language.
There are diverse regional versions of the Ramayana written by various authors in India. Some of them differ significantly from each other. During the 12th century, Kamban wrote Ramavataram, known popularly as Kambaramayanam in Tamil. A Telugu version, Ranganatha Ramayanam, was written by Gona Budda Reddy in the 14th century. The earliest translation to a regional Indo-Aryan language is the early-14th century Saptakanda Ramayana in Assamese by Madhava Kandali. Valmiki's Ramayana inspired the Sri Ramacharit Manas by Tulsidas in 1576, an epic Awadhi(a dialect of Hindi) version with a slant more grounded in a different realm of Hindu literature, that of bhakti; it is an acknowledged masterpiece of India, popularly known as Tulsi-krta Ramayana. Gujarati poet Premanand wrote a version of Ramayana in the 17th century. Other versions include Krittivasi Ramayan, a Bengali version by Krittibas Ojha in the 15th century; the Vilanka Ramayana by the 15th century poet Sarala Dasa and the Dandi Ramayana (also known as Jagamohana Ramayana) by the 16th century poet Balarama Dasa both in Odia; a Torave Ramayana in Kannada by the 16th-century poet Narahari; Adhyathmaramayanam, a Malayalam version by Thunchaththu Ramanujan Ezhuthachan in the 16th century; in Marathi by Sridhara in the 18th century; in Maithili by Chanda Jha in the 19th century; and in the 20th century, Rashtrakavi Kuvempu's Sri Ramayana Darshanam in Kannada.
There is a sub-plot to Ramayana, prevalent in some parts of India, relating the adventures of Ahi Ravana and Mahi Ravana, the evil brother of Ravana, which enhances the role of Hanuman in the story. Hanuman rescues Rama and Lakshmana after they are kidnapped by the Ahi-Mahi Ravana at the behest of Ravana and held prisoner in a subterranean cave, to be sacrificed to the goddess Kali. Adbhuta Ramayana is a version that is obscure but also attributed to Valmiki - intended as a supplementary to original Valmiki Ramayana. In this variant of the narrative, Sita is accorded far more prominence such as elaboration of the events surrounding her birth — in this case to Ravana's wife, Mandodari as well as her conquest of Ravana's older brother in her Mahakali form.
Mappillapattu - a genre of song popular among the Muslims belonging to Kerala and Lakshadweep - has incorporated some episodes from the Ramayana into its songs. These songs, known as mappila ramayana, have been handed down from one generation to the next orally. In mappila ramayana, the story of the Ramayana has been changed into that of a sultan, and there are no major changes in the names of characters except for that of Rama which is `laman' in many places. The language and the imagery projected in the mappilapattu are in accordance with the social fabric of the earlier Muslim community.
BUDDHIST VERSION
In the Buddhist variant of Rāmāyaṇa(Dasarathajātaka, #467), Dasaratha was the king of Benares and not Ayodhya. Rāma [called Rāmapaṇḍita in this version] was son of Kausalya, first wife of Dasaratha, Lakṣmaṇa [Lakkhaṇa] was sibling of Rama and son of Sumitra second wife of Dasaratha, and Sita wife of Rama. To protect his children from his wife Kaikayi, who wished to promote her son Bharata, Dasaratha sent the three to a hermitage in the Himalayas for a twelve-year exile. After nine years, Dasaratha died and Lakkhaṇa and Sita returned; Rāmapaṇḍita, in deference to his father's wishes, remained in exile for a further two years. This version does not include the abduction of Sītā.
In the explanatory commentary on the Jātaka, Rāmapaṇḍita is said to have been a previous incarnation of the Buddha and Sītā an incarnation of Yasodharā.
This version is notable for depicting Rama and Sita as siblings who marry. Such sibling marriages are a common symbolic imagery in early Buddhist literature to denote purity of a dynasty. As the Buddha is supposed to have come from the Ikshvaku dynasty (of Rama).
SIKH VERSION
In Guru Granth Sahib, there is description of two types of Ramayana. One is spiritual Ramayana which is actual subject of Guru Granth Sahib, in which Ravan is ego, Seeta is budhi (intellect), Rama is inner soul and Laxman is mann (attention, mind). Guru Granth Sahib also believes in existence of dasavtara who were kings of their times which tried their best to bring revolution in the world. King Ramchandra was one of those and it is not covered in Guru Granth Sahib. Guru Granth Sahib states:
ਹੁਕਮਿ ਉਪਾਏ ਦਸ ਅਉਤਾਰਾ॥
हुकमि उपाए दस अउतारा॥
By hukam (supreme command), he created his ten incarnations,
This version of Ramayana was written by Guru Gobind Singh, which is part of Dasam Granth. In dasam granth, Guru Gobind Singh also explained that he does not believe Ramchandra as a God. He is equating Ramchandra with a common man.
He also said that the almighty, invisible, all prevailing God created so many of Indras, Moons and Suns, Deities, Demons and sages, so many Prophets and Brahmanas(enlightened people). But they too were caught in the noose of death (KAAL) (Transmigration of soul). This is very well same to as explained in Geeta which is part of Mahabharata.
JAIN VERSION
Jain versions of Ramayana can be found in the various Jain agamas like Padmapurana (story of Padmaja and Rama, Padmaja being the name of Sita), Hemacandra's Trisastisalakapurusa charitra (hagiography of 63 illustrious persons), Sanghadasa's Vasudevahindi and Uttarapurana by Gunabhadara. According to Jain cosmology, every half time cycle has nine sets of Balarama, Vasudeva and prativasudeva. Rama, Lakshmana and Ravana are the eighth baladeva, vasudeva, and prativasudeva respectively. Padmanabh Jaini notes that, unlike in the Hindu puranas, the names Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain Puranas. Instead they serve as names of two distinct class of mighty brothers, who appear nine times in each half time cycle and jointly rule the half the earth as half-chakravartins. Jaini traces the origin of this list of brothers to the jinacharitra (lives of the jinas) by Acharya Bhadrabahu (3–4th century BCE).
In the Jain epic of Ramayana, it is Lakshmana who ultimately kills Ravana and not Rama as told in the Hindu version. In the end, Rama who led an upright life renounces his kingdom, becomes a Jain monk and attains moksha. On the other hand, Lakshmana and Ravana go to hell. However, it is predicted that ultimately they both will be reborn as upright persons and attain liberation in their future births. According to Jain texts, Ravana will be the future Tirthankara (omniscient teacher) of Jainism.
The Jain versions have some variations from Valmiki's Ramayana. Dasharatha, the king of Saketa had four queens: Aparajita, Sumitra, Suprabha and Kaikeyi. These four queens had four sons. Aparajita's son was Padma and he became known by the name of Rama. Sumitra's son was Narayana: he became to be known by another name, Lakshmana. Kaikeyi's son was Bharata and Suprabha's son was Shatrughna. Furthermore, not much was thought of Rama's fidelity to Sita. According to Jain version, Rama had four chief-queen's: Maithili, Prabhavati, Ratinibha, and Sridama. Furthermore, Sita takes renunciation as a Jain ascetic after Rama abandons her and is reborn in heaven. Rama, after Lakshmana's death, also renounces his kingdom and becomes a Jain monk. Ultimately, he attains Kevala Jnana omniscience and finally liberation. Rama predicts that Ravana and Lakshmana, who were in fourth hell, will attain liberation in their future births. Accordingly, Ravana is the future tirthankara of next half ascending time cycle and Sita will be his Ganadhara.
IN NEPAL
Besides being the site of discovery of the oldest surviving manuscript of Ramayana, Nepal gave rise to two regional variants in mid 19th – early 20th century. One, written by Bhanubhakta Acharya, is considered the first epic of Nepali language, while the other, written by Siddhidas Mahaju in Nepal Bhasa was a foundational influence in the renaissance of that language.
The Ramayana written by Bhanubhakta Acharya is one of the most popular verses in Nepal. The popularization of the 'Ramayana' and its tale, originally written in Sanskrit Language was greatly enhanced by the work of Bhanubhakta. Mainly because of his writing of Nepali Ramayana, Bhanubhakta is also called 'Aadi Kavi' or 'The Pioneering Poet'.
SOUTHEAST ASIAN VERSIONS
Phra Lak Phra Lam is a Lao language version, whose title comes from Lakshmana and Rama. The story of Lakshmana and Rama is told as the previous life of the Buddha. In Hikayat Seri Rama of Malaysia, Dasharatha is the great-grandson of the Prophet Adam. Ravana receives boons from Allah instead of Brahma. In many Malay language versions, Lakshmana is given greater importance than Rama, whose character is considered somewhat weak.
The Cambodian version of Ramayana, the Reamker, is the most famous story of Khmer literature since the Kingdom of Funan era. It adapts the Hindu concepts to Buddhist themes and show's the balance of good and evil in the world. The Reamker has several differences from the original Ramayana, including scenes not included in the original and emphasis on Hanuman and Sovanna Maccha, a retelling which influences the Thai and Lao versions. Reamker in Cambodia is not confined to the realm of literature but extends to all Cambodian art forms, such as sculpture, Khmer classical dance, theater known as lakhorn luang (the foundation of the royal ballet), poetry and the mural and bas reliefs seen at the Silver Pagoda and Angkor Wat.
Thailand's popular national epic Ramakien(thai:รามเกียรติ์.,from Sanskrit rāmakīrti, "glory of Rama") is derived from the Hindu epic. In Ramakien, Sita is the daughter of Ravana and Mandodari(thotsakan and montho). Vibhisana(phiphek), the astrologer brother of Ravana, predicts calamity from the horoscope of Sita. Ravana has her thrown into the water, but is later rescued by Janaka(chanok). While the main story is identical to that of the Ramayana, many other aspects were transposed into a Thai context, such as the clothes, weapons, topography and elements of nature, which are described as being Thai in style. It has an expanded role for Hanuman and he is portrayed as a lascivious character. Ramakien can be seen in an elaborate illustration at Wat Phra Kaew in Bangkok.
Other Southeast Asian adaptations include Kakawin Ramayana of Java, Ramakavaca of Bali(Indonesia), Maharadia Lawana and Darangen of the Moro Muslims of Mindanao (Philippines) and the Yama Zatdaw of Myanmar.
Influence on culture and art
One of the most important literary works of ancient India, the Ramayana has had a profound impact on art and culture in the Indian subcontinent and southeast Asia with the lone exception of Vietnam. The story ushered in the tradition of the next thousand years of massive-scale works in the rich diction of regal courts and Hindu temples. It has also inspired much secondary literature in various languages, notably the Kambaramayanam by the Tamil poet Kambar of the 12th century, the Telugu-language Molla Ramayanam by poet Molla and Ranganatha Ramayanam by poet Gona Budda Reddy, 14th century Kannada poet Narahari's Torave Ramayana, and 15th century Bengali poet Krittibas Ojha's Krittivasi Ramayan, as well as the 16th century Awadhi version, Ramacharitamanas, written by Tulsidas.
The Ramayana became popular in southeast Asia during the 8th century and was represented in literature, temple architecture, dance and theatre. Today, dramatic enactments of the story of Ramayana, known as Ramlila, take place all across India and in many places across the globe within the Indian diaspora.
The Ramayana has also been depicted in many paintings, most notably by the Malaysian artist Syed Thajudeen in 1972. The epic tale was picturized on canvas in epic proportions measuring 72 x 453 cm in 9 panels. The painting depicts three prolific parts of the epic, namely The Abduction of Sita, Hanuman visits Sita and Hanuman Burns Lanka. The painting is currently in the permanent collection of the Malaysian National Visual Arts Gallery.
RELIGIOUS SIGNIFICANCE
Rama, the hero of the Ramayana, is one of the most popular deities worshipped in the Hindu religion. Each year, many devout pilgrims trace their journey through India and Nepal, halting at each of the holy sites along the way. The poem is not seen as just a literary monument, but serves as an integral part of Hinduism, and is held in such reverence that the mere reading or hearing of it, or certain passages of it, is believed by Hindus to free them from sin and bless the reader or listener.
According to Hindu tradition, Rama is an incarnation (Avatar) of the god Vishnu. The main purpose of this incarnation is to demonstrate the righteous path (dharma) for all living creatures on earth.
IN THE MEDIA
A number of movies and television serials have been produced based upon the Ramayana.
STAGE
Starting in 1978 and under the supervision of Baba Hari Dass, the Ramayana has been performed every year by Mount Madonna School in Watsonville, California. Currently, it is the largest yearly, Western version of the epic being performed. It takes the form of a colorful musical with custom costumes, sung and spoken dialog, jazz-rock orchestration and dance. This performance takes place in a large audience theater setting usually in June, in San Jose, CA. Baba Hari Dass has taught acting arts, costume-attire design, mask making and choreography to bring alive characters of Sri Ram, Sita, Hanuman, Lakshmana, Shiva, Parvati, Vibhishan, Jatayu, Sugriva, Surpanakha, Ravana and his rakshasa court, Meghnadha, Kumbhakarna and the army of monkeys and demons.
WIKIPEDIA
Ha Nhi woman in Kam Ho.
Also called U Ni and Xa U Ni, the Ha Nhi have about 12,500 inhabitants settling in the provinces of Lai Chau arc Lao Cai. Ha Nhi language belongs to the Tibet-Burman Group. The Ha Nhi mainly worship their ancestors. They live on rice cultivation of burnt-over land or terraced fields. They are one of the groups who have a traditional experience in reclaiming terraced fields on mountain slopes, digging canals and building small dams. They use ploughs and harrows pulled by oxens and buffaloes to work the fields. The gardens are often close to their houses.
Animal husbandry is developed as well as the weaving of cloth, wattling of basketry articles. Most of the Ha Nhi can produce clothes for themselves. Women dress varies depending on the regions. The women of Lai Chau have a decorated dress in raw colours, different from the dress of Lao Cai women which is in indigo colour only.
The Ha Nhi have adopted a sedentary lifestyle. Each hamlet contains 60 house holds. The Ha Nhi consists of many family lineages. Each lineage comprises many branches. Every year, at Tet (New Year's Day), the people of the same lineage gets together to listen to elderly men speaking about their ancestors. Some lineages recall far back their 40 generation ancestors. The children often take the name of the father or name of animal corresponding to their birthdays as their middle names. The young men and women are free to choose their partners. Each marriage goes through two stages. In the first stage, the young man and women become husband and wife. The bride comes to life with her husband's family and takes the family name of the husband according to custom of the Ha Nhi in Lai Chau province. Also in Lai Chau, matriarchy is still observed. The second stage is organized when the couple gets rich or has a child.
Funeral customs vary according to regions, but common practices have prevailed such as when a person dies, the partition making off the bedroom of the deceased is dismantled, as well as the altar to the ancestors. The dead body is placed on a bed in the kitchen and good hours and days must be chosen for burial. To determine the place of burial, an egg is tossed in the air and the grave dug where the egg hit the ground and breaks. There is no cemetery of the whole village. Around the grave, stones are piled up without building a funeral house or a protective fence. Earth grown with grass is refrained from filling up the grave.
The Ha Nhi possess many ancient tales arc stories in long verses. The young men and women play their own dances according to rhythms and accompanied by musical instruments. The young couples used to expose their love by playing leaf panpipe, lip organ and vertical flute. The young girls like to play am ba, met du, tuy huy or nat xi (various kinds of traditional flutes) when night falls. The young boys like to play la khu, a string zither. Besides, the festivals, drums, cymbals and castanets are per- formed. The Ha Nhi also have many songs such as lullabies, duet songs, wedding songs, mourning songs and songs reserved for new houses, receiving guests and welcoming Tet holidays. Particularly, a wedding song of the Ha Nhi in Muong Te district of Lai Chau province is composed by 400 verses.
Title in other languages:
English: Plane trees at Alphons-Silbermann-Weg close to the University of Cologne, Germany
Nederlands: Plataanen aan Alphons-Silbermann-Weg bij de universiteit te Keulen (Duitsland)
English:
Welcome and thank you for being here! This image forms part of a collection of photographs of moments on Planet Earth.
If you enjoy this work and want to support me financially, I’m glad to receive your donation via Paypal: paypal.me/jankohoener
If you intend to use this picture for your own purposes, please credit me with the following attribution line: Janko Hoener / CC-BY-SA-4.0. This is required by the license terms. A link back to this page and informing me about your usage via FlickrMail is appreciated.
Deutsch:
Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.
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Title in other languages:
Deutsch: Alle gehen aus am Königstag in Ommen (Niederlande)
English: Everyone goes out at King's Day in Ommen (The Netherlands)
English:
Welcome and thank you for being here! This image forms part of a collection of photographs of moments on Planet Earth.
If you enjoy this work and want to support me financially, I’m glad to receive your donation via Paypal: paypal.me/jankohoener
If you intend to use this picture for your own purposes, please credit me with the following attribution line: Janko Hoener / CC-BY-SA-4.0. This is required by the license terms. A link back to this page and informing me about your usage via FlickrMail is appreciated.
Deutsch:
Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.
Wenn Ihnen diese Arbeit zusagt und Sie mich finanziell dabei unterstützen möchten, so freue ich mich über Ihre Spende via Paypal: paypal.me/jankohoener
Wenn Sie dieses Foto für eigene Zwecke nutzen möchten, geben Sie bitte Janko Hoener / CC-BY-SA-4.0 in der Bildunterschrift an. Dies ist per Lizenz gefordert. Über einen Link auf diese Seite und eine Benachrichtigung über die Nutzung via FlickrMail freue ich mich.
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A World Between ~ Notre-Dame de Paris ~ MjYj
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Philosophy ~ La Librairie ~ Paris ~ MjYj
Philosophy is the study of general and fundamental problems, such as those connected with existence, knowledge, values, reason, mind, and language.
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Sweet Corn or Maize (originally 'mahiz' in the Taino language of the Caribbean Islands) was an important staple foodstuff for the Seneca Nation of native Americans. The Seneca had lived in the Pittsford-Victor area in Upstate New York for hundreds of years. They tilled the land, fought occasionally, hunted, trapped, and lived a generally good life. Not without reason, they called their lands Pleasant Valley.
But in the sixteenth century the French laid claim to what they called Nouvelle-France. Soon peace was a mere memory. The native Americans stood in the way of making of the new French colony a profitable undertaking. Especially central for this was the struggle over the fur trade.
Jacques-René de Brisay de Denonville (1637-1710), Governor General of Nouvelle-France from 1685-1689, decided to put an end once and for all to the 'encroachment' of the 'Indians' on fur economics. In 1687 his army crossed Lake Ontario from Montréal, to wreak devastation on the Seneca. They destroyed their way through the area where later would arise the village of Pittsford. About 15 miles south-southeast on a hill near today's Victor, New York, shone proudly the major Seneca town of Ganonagan. A fierce battle ensued. Denonville's forces were driven away by the Seneca, but Ganonagan was largely burnt down and its denizens fled, building smaller villages in a wide area around. Denonville's forces retreated back to what is today Canada, again via Pittsford.
It wasn't until the end of the eighteenth century that pioneers from the American eastern seaboard settled in the Northfield-Pittsford area. Especially at first, they must have endured a hard life of hunting, trapping and some farming in very cold winters and hot, mosquito-infested summers. But soon there were families, and schools and churches were built. A modicum of prosperity came with the opening of the Erie Canal in 1825.
But it's the corn - the maize - on Knickerbocker Hill that carries memories back to older times, to what Dutch settlers and traders had called the 'Sinnikens' of Ganonagan.
WITHOUT YOU.....BY DENIS LEGENDRE AND TROPIC OF CANCER WITH SPECIAL GUEST FABIEN MELANSON ON VOCALS !
The Kikuyu are the country's largest ethnic group (22%). They live on the whole territory of Kenya. However, the highest concentration can be found in Central Province, known as the traditional Kikuyu homeland. The Kikuyu were formerly hunters, and meat was the prerogative of men. But from now on, Kenyan laws prohibit them from hunting, and meat is served only on special occasions (circumcision, new visitor etc.). The Kikuyu are also traditionally an agricultural people. Nevertheless, many are involved in all kinds of businesses and a lot have moved into cities. Since they speak a Bantu language, they are culturally related to other Bantu-speaking peoples of East Africa, in particular the Kamba, the Meru, the Embu, and the Chuka.Most of their culture has been communicated through very rich oral traditions. Their oral literature consists of original poems, stories, fables, myths, enigmas, and proverbs containing the principles of their philosophy and moral codes. The Gicandi for example is an ancient poem of enigmas, which is sung in public markets and accompanied by musical instruments made from gourds. According to tradition, the founder of the tribe is a man named Gikuyu. His nine daughters are supposed to be on the origin of the nine sub-groups. Each member of the subclan (mbari) knows from which ancestor, or which daughter of Gikuyu, he or she originates. The transition from one life stage to another in the Kikuyu society used to be marked by rites of passage, both for males and females. Were included in the main stages : the birth of a newborn, the stage of infant, the one of children before circumcision or excision, and after circumcision or excision, the period of mariage without and then with children, and old age. The concept of age-sets (mariika) is still of the utmost importance in their society. Each one of the circumcision groups (generations) is given a name. Members of the same age-set are given a rank in the groups. This rank determines the behavior of the members within a age-set and their behavior towards members of other age groups. More respect is given to the elder. Relationships are very strong between members of the same age-set and continue throughout their lives, even if it is less true today. Traditionally the Kikuyu worship their ancestors and their unique God called Ngai, name borrowed to the Maasai. In the past, they used to offer to Ngai sacrifices of animals on sacred places. Mount Kenya for instance is considered the home of God. The Kikuyu still gather sometimes on these places for religious or political meetings. Traditionaly, the medicine man is a powerful person who forecasts the future, heals, or frees people from ill omens. His main attribute is a gourd. It contains river's pebbles collected during his initiation, as well as small bones and sticks, marbles, old coins and pieces of glass, among other things. Conversion to Christianity was slow because they didn't want to give up their own culture. Even now, many have become Christian but their customs are still very strong. Many Kikuyu firmly opposed to the abolishment of excision. However, because of the influence of Christianity and Western education, they tend to be monogam. And though the main religion is now Christianity, some still have their traditional beliefs and others are muslim.
Les Kikuyu sont le groupe ethnique le plus large du pays (22%).Ils vivent sur l’ensemble du territoire du Kenya. Toutefois, la plus grande concentration se trouve dans la Province Centrale, connue comme la terre traditionnelle des Kikuyu.Les Kikuyu étaient auparavant des chasseurs, et la viande était la prérogative des hommes. Mais désormais, les lois kenyanes leur interdisent de chasser, et la viande est servie uniquement pour les occasions spéciales (circoncision, nouveau venu etc.). Les Kikuyu sont aussi traditionnellement un peuple d’agriculteurs. Néanmoins, beaucoup se sont engagés dans tout type de commerces et un grand nombre est parti dans les villes. Comme ils parlent une langue Bantu, ils sont culturellement liés aux autres peuples de langue Bantu d’Afrique de l’Est, en particulier les Kamba, Meru, Embu et Chuka.La majorité de leur culture a été communiquée par des traditions orales très riches. La littérature orale est composée de poèmes originaux, histoires, fables, mythes, énigmes, et proverbes qui contiennent les principes de leur philosophie et codes moraux. Le Gicandi par exemple est un ancien poème d’énigmes qui est chanté sur les marchés publics et accompagné par des instruments de musique faits à partir de gourdes. Selon la tradition, le fondateur de la tribu est un homme nommé Gikuyu. Ses neuf filles sont censées être à l’origine des neuf sous-groupes. Chaque membre du sous-clan (mbari) sait de quel ancêtre, ou se quelle fille de Gikuyu, il provient. La transition d’une étape de la vie à une autre dans la société Kikuyu était autrefois marquée par des rites de passage, pour les hommes comme pour les femmes. Faisaient partie des étapes principales: la naissance du nouveau-né, l’étape du petit enfant, celle des enfants avant la circoncision ou l’excision, celle après la circoncision ou l’excision, la période du mariage sans puis avec enfants, et la vieillesse. Le concept de classes d’âge (mariika) est encore de la plus grande importance dans leur société. Un nom est attribué à chacun des groupes de circoncision (c’est-à-dire chacune des générations). Un rang est donné aux membres d’une même classe d’âge. Ce rang détermine la conduite des membres au sein d’une classe d’âge et celle envers les membres des autres groupes d’âge. Les aînés ont droit à davantage de respect. Les relations sont très solides entre les membres d’une même classe d’âge et continuent tout au long de leur vie, même si cela est moins vrai aujourd’hui. Traditionnellement, les Kikuyu vouent un culte à leurs ancêtres et leur Dieu unique appelé Ngai, nom emprunté aux Maasai. Dans le passé, ils avaient l’habitude d’offrir à Ngai des sacrifices d’animaux dans des endroits sacrés. Le Mont Kenya par exemple est considéré comme la maison de Dieu. Les Kikuyu se rassemblent encore quelques fois dans ces lieux pour des réunions religieuses et politiques. Traditionnellement, l’homme sorcier est une personne puissante qui prédit le futur, soigne, et libère les gens des mauvais augures. Son principal attribut est une gourde. Celle-ci contient des galets de rivière ramassés lors de son initiation, ainsi que des petits os et bâtonnets, des billes, des vieilles pièces et morceaux de verre, parmi d’autres choses. La conversion au Christianisme a été lente car ils ne voulaient pas abandonner leur propre culture. Encore de nos jours, beaucoup sont devenus chrétiens mais leurs coutumes sont encore très présentes. De nombreux Kukuyu s’opposent fermement à l’abolition de l’excision. Toutefois, à cause de l’influence du Christiansme et de l’éducation occidentale, ils ont de plus en plus tendance à être monogames. Et malgré le fait que la principale religion soit maintenant le Christianisme, certains ont conservé leurs croyances tandis que d’autres sont musulmans.
© Eric Lafforgue
Floriography noun : the language of flowers, Communication through the use of flowers.
textures thanks to Kim Klassen and Skeletalmess
Title in other languages:
English: Castle pond of Bad Bentheim, Germany
Nederlands: Kasteelvijver van Bad Bentheim in Duitsland
English:
Welcome and thank you for being here! This image forms part of a collection of photographs of moments on Planet Earth.
If you enjoy this work and want to support me financially, I’m glad to receive your donation via Paypal: paypal.me/jankohoener
If you intend to use this picture for your own purposes, please credit me with the following attribution line: Janko Hoener / CC-BY-SA-4.0. This is required by the license terms. A link back to this page and informing me about your usage via FlickrMail is appreciated.
Deutsch:
Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.
Wenn Ihnen diese Arbeit zusagt und Sie mich finanziell dabei unterstützen möchten, so freue ich mich über Ihre Spende via Paypal: paypal.me/jankohoener
Wenn Sie dieses Foto für eigene Zwecke nutzen möchten, geben Sie bitte Janko Hoener / CC-BY-SA-4.0 in der Bildunterschrift an. Dies ist per Lizenz gefordert. Über einen Link auf diese Seite und eine Benachrichtigung über die Nutzung via FlickrMail freue ich mich.
PRESIDIO OF MONTEREY, Calif. -- The Defense Language Institute Foreign Language Center observed Memorial Day during a ceremony on Soldier Field at the Presidio of Monterey, California, May 26. The annual ceremony consists of a formation of troops in their dress uniforms representing all four service detachments, ceremonial cannon fire and the playing of taps. Retired U.S. Air Force Col. William “Terry” Bare, former assistant commandant at DLIFLC from 2008 to 2011, was guest speaker at the event that honored service members killed in service to our nation.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Lehde (Lědy in the local Sorbian language) is a village situated near Lübbenau and meawhile integrated into that town. While Lehde had 298 inhabitants in 1929, only 150 people still live here (as of 2017). The place is a village consisting of many small islands. For centuries, until the early 1950s, Lehde could only be reached by water. Even today, practically all plots of land have their own access to one of the many canals between 0.8 and 1 meter deep, which largely have the function of roads. Postal deliveries and waste collection still take place by water. During the winter months, however, mail is delivered to mailboxes set up by the residents on the landside, by mail bike or car.
Due to the unusual location of Lehde and some preserved historical Spreewald houses, Lehde, which is completely under monumental protection, is a popular destination for tourists. Lehde can also be reached on foot, by bicycle or by car, however, the beauty and special features of the place can be experienced above all from the water side. (Wikpedia.de)
The Spreewald (German for 'Spree Forest'; in Lower Sorbian: Błota, i.e. 'the Swamps') is a section of the German state of Brandenburg located about 100 km sou It is known for its traditional irrigation system, consisting of more than 200 small canals (called Fließe; total length: 1,300 kilometres or 810 miles) within the 484-square-kilometre (187 sq mi) area. The landscape was shaped during the last Ice Age. About 50,000 people live in the biosphere reserve (1998). Many of them are descendants of the first settlers in the Spreewald region, the Slavic tribes of the Sorbs and Wends. They have preserved their traditional language, customs and clothing to this day.
Most inhabitants depend on tourism. Many tourists explore the Spreewald in punts. Agriculture, forestry and fishery are other important sources of income. The principal town of the area is Lübbenau. Alder forests on wetlands and pine forests on sandy dry areas are characteristic of the Spreewald region. Grasslands and fields can be found as well. About 18,000 species of flora and fauna have been identified. In 1991, the Spreewald was protected by the UNESCO under its Man and Biosphere Reserve Programme.
Although the Chinese sense of practicality can sometimes be quite humorous, i am posting this photo to demonstrate the mixture of cultures (Turkic Uighur with their turkic language and arabic script and Chinese Han with their Mandarin language and script) in Xinjiang. The English, of course, is added, as needed for tourists; this sign indicated the best place to stand to take a photo of a palace. Most signs in Xinjiang are in the two scripts.
Kashgar, China
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AN IN DEPTH LOOK AT CORVUS CORONE
LEGEND AND MYTHOLOGY
Crows appear in the Bible where Noah uses one to search for dry land and to check on the recession of the flood. Crows supposedly saved the prophet, Elijah, from famine and are an Inuit deity. Legend has it that England and its monarchy will end when there are no more crows in the Tower of London. And some believe that the crows went to the Tower attracted by the regular corpses following executions with written accounts of their presence at the executions of Anne Boleyn and Jane Gray.
In Welsh mythology, unfortunately Crows are seen as symbolic of evilness and black magic thanks to many references to witches transforming into crows or ravens and escaping. Indian legend tells of Kakabhusandi, a crow who sits on the branches of a wish-fulfilling tree called Kalpataru and a crow in Ramayana where Lord Rama blessed the crow with the power to foresee future events and communicate with the souls.
In Native American first nation legend the crow is sometimes considered to be something of a trickster, though they are also viewed positively by some tribes as messengers between this world and the next where they carry messages from the living to those deceased, and even carry healing medicines between both worlds. There is a belief that crows can foresee the future. The Klamath tribe in Oregon believe that when we die, we fly up to heaven as a crow. The Crow can also signify wisdom to some tribes who believe crows had the power to talk and were therefore considered to be one of the wisest of birds. Tribes with Crow Clans include the Chippewa (whose Crow Clan and its totem are called Aandeg), the Hopi (whose Crow Clan is called Angwusngyam or Ungwish-wungwa), the Menominee, the Caddo, the Tlingit, and the Pueblo tribes of New Mexico.
The crow features in the Nanissáanah (Ghost dance), popularized by Jerome Crow Dog, a Brulé Lakota sub-chief and warrior born at Horse Stealing Creek in Montana Territory in 1833, the crow symbolizing wisdom and the past, when the crow had became a guide and acted as a pathfinder during hunting. The Ghost dance movement was originally created in 1870 by Wodziwob, or Gray Hair, a prophet and medicine man of the Paiute tribe in an area that became known as Nevada. Ghost dancers wore crow and eagle feathers in their clothes and hair, and the fact that the Crow could talk placed it as one of the sages of the animal kingdom. The five day dances seeking trance,prophecy and exhortations would eventually play a major part in the pathway towards the white man's broken treaties, the infamous battle at Wounded knee and the surrender of Matȟó Wanáȟtaka (Kicking Bear), after officials began to fear the ghost dancers and rituals which seemed to occur prior to battle.
Historically the Vikings are the group who made so many references to the crow, and Ragnarr Loðbrók and his sons used this species in his banner as well as appearances in many flags and coats of arms. Also, it had some kind of association with Odin, one of their main deities. Norse legend tells us that Odin is accompanied by two crows. Hugin, who symbolizes thought, and Munin, who represents a memory. These two crows were sent out each dawn to fly the entire world, returning at breakfast where they informed the Lord of the Nordic gods of everything that went on in their kingdoms. Odin was also referred to as Rafnagud (raven-god). The raven appears in almost every skaldic poem describing warfare.Coins dating back to 940's minted by Olaf Cuaran depict the Viking war standard, the Raven and Viking war banners (Gonfalon) depicted the bird also.
In Scandinavian legends, crows are a representative of the Goddess of Death, known as Valkyrie (from old Norse 'Valkyrja'), one of the group of maidens who served the Norse deity Odin, visiting battlefields and sending him the souls of the slain worthy of a place in Valhalla. Odin ( also called Wodan, Woden, or Wotan), preferred that heroes be killed in battle and that the most valiant of souls be taken to Valhöll, the hall of slain warriors. It is the crow that provides the Valkyries with important information on who should go. In Hindu ceremonies that are associated to ancestors, the crow has an important place in Vedic rituals. They are seen as messengers of death in Indian culture too.
In Germanic legend, Crows are seen as psychonomes, meaning the act of guiding spirits to their final destination, and that the feathers of a crow could cure a victim who had been cursed. And yet, a lone black crow could symbolize impending death, whilst a group symbolizes a lucky omen! Vikings also saw good omens in the crow and would leave offerings of meat as a token.
The crow also has sacred and prophetic meaning within the Celtic civilization, where it stood for flesh ripped off due to combat and Morrighan, the warrior goddess, often appears in Celtic mythology as a raven or crow, or else is found to be in the company of the birds. Crow is sacred to Lugdnum, the Celtic god of creation who gave his name to the city of Lug
In Greek mythology according to Appolodorus, Apollo is supposedly responsible for the black feathers of the crow, turning them forever black from their pristine white original plumage as a punishment after they brought news that Κορωνις (Coronis) a princess of the Thessalian kingdom of Phlegyantis, Apollo's pregnant lover had left him to marry a mortal, Ischys. In one legend, Apollo burned the crows feathers and then burned Coronis to death, in another Coronis herself was turned into a black crow, and another that she was slain by the arrows of Αρτεμις (Artemis - twin to Apollo). Koronis was later set amongst the stars as the constellation Corvus ("the Crow"). Her name means "Curved One" from the Greek word korônis or "Crow" from the word korônê.A similar Muslim legend allegedly tells of Muhammad, founder of Islam and the last prophet sent by God to Earth, who's secret location was given away by a white crow to his seekers, as he hid in caves. The crow shouted 'Ghar Ghar' (Cave, cave) and thus as punishment, Muhammad turned the crow black and cursed it for eternity to utter only one phrase, 'Ghar, ghar). Native Indian legend where the once rainbow coloured crows became forever black after shedding their colourful plumage over the other animals of the world.
In China the Crow is represented in art as a three legged bird on a solar disk, being a creature that helps the sun in its journey. In Japan there are myths of Crow Tengu who were priests who became vain, and turned into this spirit to serve as messengers until they learn the lesson of humility as well as a great Crow who takes part in Shinto creation stories.
In animal spirit guides there are general perceptions of what sightings of numbers of crows actually mean:
1 Crow Meaning: To carry a message from your near one who died recently.
2 Crows Meaning: Two crows sitting near your home signifies some good news is on your way.
3 Crows Meaning: An upcoming wedding in your family.
4 Crows Meaning: Symbolizes wealth and prosperity.
5 Crows Meaning: Diseases or pain.
6 Crows Meaning: A theft in your house!
7 Crows Meaning: Denotes travel or moving from your house.
8 Crows Meaning: Sorrowful events
Crows are generally seen as the symbolism when alive for doom bringing, misfortune and bad omens, and yet a dead crow symbolises potentially bringing good news and positive change to those who see it. This wonderful bird certainly gets a mixed bag of contradictory mythology and legend over the centuries and in modern days is often seen as a bit of a nuisance, attacking and killing the babies of other birds such as Starlings, Pigeons and House Sparrows as well as plucking the eyes out of lambs in the field, being loud and noisy and violently attacking poor victims in a 'crow court'....
There is even a classic horror film called 'THE CROW' released in 1994 by Miramax Films, directed by Alex Proyas and starring Brandon Lee in his final film appearance as Eric Draven, who is revived by a Crow tapping on his gravestone a year after he and his fiancée are murdered in Detroit by a street gang. The crow becomes his guide as he sets out to avenge the murders. The only son of martial arts expert Bruce Lee, Brandon lee suffered fatal injuries on the set of the film when the crew failed to remove the primer from a cartridge that hit Lee in the abdomen with the same force as a normal bullet. Lee died that day, March 31st 1993 aged 28.
The symbolism of the Crow resurrecting the dead star and accompanying him on his quest for revenge was powerful, and in some part based on the history of the carrion crow itself and the original film grossed more than $94 Million dollars with three subsequent sequels following.
TAKING A CLOSER LOOK
So let's move away from legend, mythology and stories passed down from our parents and grandparents and look at these amazing birds in isolation.
Carrion crow are passerines in the family Corvidae a group of Oscine passerine birds including Crows, Ravens, Rooks, Jackdaws, Jays, Magpies, Treepies, Choughs and Nutcrackers. Technically they are classed as Corvids, and the largest of passerine birds. Carrion crows are medium to large in size with rictal bristles and a single moult per year (most passerines moult twice). Carrion crow was one of the many species originally described by Swedish naturalist Carl Linnaeus (Carl Von Linne after his ennoblement) in his 1758 and 1759 editions of 'SYSTEMA NATURAE', and it still bears its original name of Corvus corone, derived from the Latin of Corvus, meaning Raven and the Greek κορώνη (korōnē), meaning crow.
Carrion crow are of the Animalia kingdom Phylum: Chordata Class: Aves Order: Passeriformes Family: Corvidae Genus: Corvus and Species: Corvus corone
Corvus corone can reach 45-47cm in length with a 93-104cm wingspan and weigh between 370-650g. They are protected under The Wildlife and Countryside Act 1981 in the United Kingdom with a Green UK conservation status which means they are of least concern with more than 1,000,000 territories. Breeding occurs in April with fledging of the chicks taking around twenty nine days following an incubation period of around twenty days with 3 to 4 eggs being the average norm. They are abundant in the UK apart from Northwest Scotland and Ireland where the Hooded crow (Corvus cornix) was considered the same species until 2002. They have a lifespan of around four years, whilst Crow species can live to the age of Twenty years old, and the oldest known American crow in the wild was almost Thirty years old. The oldest documented captive crow died at age Fifty nine. They are smaller and have a shorter lifespan than the Raven, which again is used as a symbol in history to live life to the full and not waste a moment!
They are often mistaken for the Rook (Corvus frugilegus), a similar bird, though in the UK, the Rook is actually technically smaller than the Carrion crow averaging 44-46cm in length, 81-99cm wingspan and weighing up to 340g. Rooks have white beaks compared to the black beaks of Carrion crow, a more steeply raked ratio from head to beak, and longer straighter beaks as well as a different plumage pattern. There are documented cases in the UK of singular and grouped Rooks attacking and killing Carrion crows in their territory. Rooks nest in colonies unlike Carrion crows. Carrion crows have only a few natural enemies including powerful raptors such as the northern goshawk, the peregrine falcon, the Eurasian eagle-owl and the golden eagle which will all readily hunt them.
Regarded as one of the most intelligent birds, indeed creatures on the planet, studies suggest that Corvids cognitive abilities can rival that of primates such as chimpanzees and gorillas and even provide clues to understanding human intelligence. Crows have relatively large brains for their body size, compared to other animals. Their encephalization quotient (EQ) a ratio of brain to body size, adjusted for size because there isn’t a linear relationship is 4.1. That is remarkably close to chimps at 4.2 whilst humans are 8.1. Corvids also have a very high neuronal density, the number of neurons per gram of brain, factoring in the number of cortical neurons, neuron packing density, interneuronal distance and axonal conduction velocity shows that Corvids score high on this measure as well, with humans scoring the highest.
A corvid's pallium is packed with more neurons than a great ape's. Corvids have demonstrated the ability to use a combination of mental tools such as imagination, and anticipation of future events. They can craft tools from twigs and branches to hook grubs from deep recesses, they can solve puzzles and intricate methods of gaining access to food set by humans., and have even bent pieces of wire into hooks to obtain food. They have been proven to have a higher cognitive ability level than seven year old humans. Communications wise, their repertoire of wraw-wraw's is not fully understood, but the intensity, rhythm, and duration of caws seems to form the basis of a possible language. They also remember the faces of humans who have hindered or hurt them and pass that information on to their offspring.
Aesop's fable of 'The Crow and the Pitcher, tells of a thirsty crow which drops stones into a water pitcher to raise the water level and enable it to take a drink. Scientists have conducted tests to see whether crows really are this intelligent. They placed floating treats in a deep tube and observed the crows indeed dropping dense objects carefully selected into the water until the treat floated within reach. They had the intelligence to pick up, weigh and discount objects that would float in the water, they also did not select ones that were too large for the container.
Pet crows develop a unique call for their owners, in effect actually naming them. They also know to sunbathe for a dose of vitamin D, regularly settling on wooden garden fences, opening their mouths and wings and raising their heads to the sun. In groups they warn of danger and communicate vocally. They store a cache of food for later if in abundance and are clever enough to move it if they feel it has been discovered. They leave markers for their cache. They have even learned to place walnuts and similar hard food items under car tyres at traffic lights as a means of cracking them!
Crows regularly gather around a dead fellow corvid, almost like a funeral, and it is thought they somehow learn from each death. They can even remember human faces for decades.Crows group together to attack larger predators and even steal their food, and they have different dialects in different areas, with the ability to mimic the dialect of the alpha males when they enter their territory!
They have a twenty year life span, the oldest on record reaching the age of Fifty nine. Crows can leave gifts for those who feed them such as buttons or bright shiny objects as a thank you, and they even kiss and make up after an argument, having mated for life.
In mythology they are associated with good and bad luck, being the bringers of omens and even witchcraft and are generally reviled for their attacks on baby birds and small mammals. They have an attack method of to stunning smaller birds before consuming them, tearing violently at smaller, less aggressive birds, which is simply down to the fact that they are so highly intelligent, and also the top of the food chain. Their diet includes over a thousand different items: Dead animals (as their name suggests), invertebrates, grain, as well as stealing eggs and chicks from other birds' nests, worms, insects, fruit, seeds, kitchen scraps. They are highly adaptable when food sources grow scarce. I absolutely love them, they are magnificent, bold, beautiful and incredibly interesting to watch and though at times it is hard to witness attacks made by them, I cannot help but adore them for so many other and more important reasons.
OBSERVATIONS ON THE PAIR IN MY GARDEN
Crows have been in the area for a while, but rarely had strayed into my garden, leaving the Magpies to own the territory. Things changed towards the end of May when a beautiful female Carrion crow appeared and began to take some of the food that I put down for the other birds. Within a few days she began to appear regularly, on occasions stocking up on food, whilst other times placing pieces in the birdbath to soften them. She would stand on the birdbath and eat and drink and come back over the course of the day to eat the softened food.
Shortly afterwards she brought along her mate, a tall and handsome fella, much larger than her who was also very vocal if he felt she was getting a little too close to me. By now I had moved from a seated position from the patio as an observer, to laying on a mat just five feet from the birdbath with my Nikon so that I could photograph the pair as they landed, scavenged and fed. She was now confident enough to let me be very close, and she even tolerated and recognized the clicking of the camera. At first I used silent mode to reduce the noise but this only allowed two shooting frame rates of single frame or continuous low frame which meant I was missing shots. I reverted back to normal continuous high frames and she soon got used to the whirring of the mechanisms as the mirror slapped back and forth.
The big fella would bark orders at her from the safety of the fence or the rear of the garden, whilst she rarely made a sound. That was until one day when in the sweltering heat she kept opening her beak and sunning on the grass, panting slightly in the heat. I placed the circular water sprayer nearby and had it rotating so that the birdbath and grass was bathed in gentle water droplets and she soon came back, landed and seemed to really like the cooling effect on offer. She then climbed onto the birdbath and opened her wings slightly and made some gentle purring, cooing noises....
I swear she was expressing happiness, joy....
On another blisteringly hot day when the sprayer was on, she came down, walked towards it and opened her wings up running into the water spray. Not once, but many times.
A further revelation into the unseen sides to these beautiful birds came with the male and female on the rear garden fence. They sat together, locked beaks like a kiss and then the male took his time gently preening her head feathers and the back of her neck as she made tiny happy sounds. They stayed together like that for several minutes, showing a gentle, softer side to their nature and demonstrating the deep bond between them. Into July and the pair started to bring their three youngsters to my garden, the nippers learning to use the birdbath for bathing and dipping food, the parents attentive as ever. Two of the youngsters headed off once large enough and strong enough.
I was privileged to be in close attendance as the last juvenile was brought down by the pair, taught to take food and then on a night in July, to soar and fly with it's mother in the evening sky as the light faded. She would swoop and twirl, and at regular intervals just touch the juvenile in flight with her wing tip feathers, as if to reassure it that she was close in attendance. What an amazing experience to view. A few days later, the juvenile, though now gaining independence and more than capable of tackling food scraps in the garden, was still on occasions demand feeding from it's mother who was now teaching him to take chicken breast, hotdogs or digestive biscuits and bury them in the garden beds for later delectation. The juvenile also liked to gather up peanuts and bury them in the grass. On one occasion I witnessed a pair of rambunctious Pica Pica (Magpies), chasing the young crow on rooftops, leaping at him no matter how hard he tried to get away. He defended himself well and survived the attacks, much to my relief.
Into August and the last youngster remained with the adults, though now was very independent even though he still spent time with his parents on rooftops, and shared food gathering duties with his mum.Hotdog sausages were their favourite choice, followed by fish fingers and digestive biscuits which the adult male would gather up three at a time. In October, the three Crows were still kings of the area, but my time observing them was pretty much over as I will only put food out now for the birds in the winter months.
Corvus Corone.... magnificently misunderstood by some!
Paul Williams June 4th 2021
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Photograph taken at an altitude of Fifty three metres at 15:25pm on a summer afternoon on Tuesday 8th June 2021, of an adult Carrion crow (Corvus corone), standing beside some ground covering Geranium macrorrhizum off Hythe Avenue and Chessington Avenue in Bexleyheath, Kent.
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Nikon D850 Focal length 460mm Shutter speed: 1/800s Aperture f/7.1 iso250 Hand held with Tamron VC Vibration control set to ON in position 1 14 Bit uncompressed RAW NEF file size L (8256 x 5504 pixels) FX (36 x 24) Focus mode: AF-C AF-Area mode: 3D-tracking AF-C Priority Selection: Release. Nikon Back button focusing enabled 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual exposure mode Metering mode: Matrix metering White balance on: Auto1 (4600k) Colour space: RGB Picture control: Neutral (Sharpening +2)
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
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LATITUDE: N 51d 28m 28.35s
LONGITUDE: E 0d 8m 10.48s
ALTITUDE: 54.0m
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PROCESSED (JPeg) FILE: 41.40MB
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Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
Resting - even then it looks like communication. Are these 2 letters? A 'C' from Taj and a very long 'M' from Kita? Or.... I've been puzzling to read this message for a whlie now. Do you any ideas or clues?
A much younger woman was standing behind the older man. She was wearing black shorts. One of her eyes can be seen at the top of the frame.
Robert Burns (25 January 1759 – 21 July 1796), also known familiarly as Rabbie Burns, was a Scottish poet and lyricist. He is widely regarded as the national poet of Scotland and is celebrated worldwide. He is the best known of the poets who have written in the Scots language, although much of his writing is in a "light Scots dialect" of English, accessible to an audience beyond Scotland. He also wrote in standard English, and in these writings his political or civil commentary is often at its bluntest.
He is regarded as a pioneer of the Romantic movement, and after his death he became a great source of inspiration to the founders of both liberalism and socialism, and a cultural icon in Scotland and among the Scottish diaspora around the world. Celebration of his life and work became almost a national charismatic cult during the 19th and 20th centuries, and his influence has long been strong on Scottish literature. In 2009 he was chosen as the greatest Scot by the Scottish public in a vote run by Scottish television channel STV.
As well as making original compositions, Burns also collected folk songs from across Scotland, often revising or adapting them. His poem (and song) "Auld Lang Syne" is often sung at Hogmanay (the last day of the year), and "Scots Wha Hae" served for a long time as an unofficial national anthem of the country. Other poems and songs of Burns that remain well known across the world today include "A Red, Red Rose", "A Man's a Man for A' That", "To a Louse", "To a Mouse", "The Battle of Sherramuir", "Tam o' Shanter" and "Ae Fond Kiss".
Burns Night, in effect a second national day, is celebrated on Burns's birthday, 25 January, with Burns suppers around the world, and is more widely observed in Scotland than the official national day, St. Andrew's Day. The first Burns supper in The Mother Club in Greenock was held on what was thought to be his birthday on 29 January 1802; in 1803 it was discovered from the Ayr parish records that the correct date was 25 January 1759.
The format of Burns suppers has changed little since. The basic format starts with a general welcome and announcements, followed with the Selkirk Grace. After the grace comes the piping and cutting of the haggis, when Burns's famous "Address to a Haggis" is read and the haggis is cut open. The event usually allows for people to start eating just after the haggis is presented. At the end of the meal, a series of toasts, often including a 'Toast to the Lassies', and replies are made. This is when the toast to "the immortal memory", an overview of Burns's life and work, is given. The event usually concludes with the singing of "Auld Lang Syne".
Amelia Robertson Hill (15 January 1821 – 5 July 1904), birth record Emmilia McDermaid Paton, was a prominent Scottish artist and sculptor throughout the 19th century and one of the few with public commissions. Her most noteworthy works are the statue of David Livingstone in Princes Street Gardens, Edinburgh and statue of Robert Burns in Dumfries. She was the main female contributor to the statues on the Scott Monument, contributing three figures.
Life
Hill was born in Wooer's Alley, Dunfermline, the daughter of Catherine McDiarmid (d. 1853) and Joseph Neil Paton (1797–1874), a damask designer. Her sister Jemima, born on 11 November 1823. Her brothers were artists Joseph Noel Paton (1821–1901) and Waller Hugh Paton (1828–1895). She appears to have trained as a sculptor under William Brodie in Edinburgh.
In 1862 she married the pioneer photographer David Octavius Hill. She was his second wife. They lived in Edinburgh. His role as secretary of the Royal Scottish Academy played a part in this. In 1861 they moved to George Square, and in 1863 to Calton Stairs. In 1868 they set up home at Rock House, on the south-west corner of Calton Hill near the southern entrance steps to the hill. Although they are famously connected with this address they lived here only two years. He died in 1870 and Amelia moved out of the house, to Newington Lodge. She placed a bronze bust of his likeness, sculpted by her own hands, on his grave.
The 1891 census describes Hill as "sculptor, retired" but she exhibited at the Royal Scottish Academy until 1902, aged 82. She died at her house, Newington Lodge, 38 Mayfield Terrace on 5 July 1904 aged 83. She was buried next to her husband in Dean Cemetery, beneath her own sculpture of 34 years earlier.
Bicentenary
A walking tour of her Edinburgh works was instigated as 'The Amelia Tour' in her bicentenary year, 2021.
Principal works
Bust of John Fergus MP, Kirkcaldy Town Hall (1861)
Marble bust of Mary Louise, Countess of Elgin, Lord Elgin Hotel, Ottawa (1863)
Marble busts of Rev. Robert Smith Candlish in his role as principal of New College, one of the leaders of the Scottish Disruption, held by the University of Edinburgh (1864 and 1865)
Marble bust of Rev. Horatius Bonar, hymn-writer (1865)
James Wemyss of Wemyss MP, Fife County Hall (1866)
Marble bust of Thomas Carlyle, National Trust of Scotland collection (1866)
Marble bust of David Livingstone (1866)
Bust of Edward Cazalet (1866)
Bust of her husband, David Octavius Hill (1867)
Marble bust of Sir George Harvey (1867)
Marble bust of David Brewster, scientist (1867)
Three stone figures for the Scott Monument on Princes Street, Edinburgh (1870) (Magnus Troil and Minna Troil of The Pirate (novel) and Richard the Lionheart)
Pet Marjorie, the child author (1870)
Marble bust of her brother, Joseph Noel Paton, Scottish National Portrait Gallery (1872)
Bust of Sir James Young Simpson (1872)
Painting, "Ludlow Castle, evening" (1873)
Very prominent statue to David Livingstone on Princes Street in Edinburgh (1875) erected by public subscription.
Memorial to Regent Murray in Linlithgow, marking the place of his assassination (1876)
Figures of "Painting" and "Poetry" flanking the shoulders of the ornate entrance to the Albert Buildings, 22–30 Shandwick Place, Edinburgh (1877)
Statue of Robert Burns, Church Place, Dumfries (1881)
Bust of Percy Bysshe Shelley, exhibited RSA (1882)
Dumfries is a market town and former royal burgh in Dumfries and Galloway, Scotland, near the mouth of the River Nith on the Solway Firth, 25 miles (40 km) from the Anglo-Scottish border. Dumfries is the county town of the historic county of Dumfriesshire.
Before becoming King of Scots, Robert the Bruce killed his rival the Red Comyn at Greyfriars Kirk in the town in 1306. The Young Pretender had his headquarters here towards the end of 1745. In the Second World War, the Norwegian Army in exile in Britain largely consisted of a brigade in Dumfries.
Dumfries is nicknamed Queen of the South. This is also the name of the town's football club. People from Dumfries are known colloquially in Scots language as Doonhamers.
History
Early history
No positive information has been obtained of the era and circumstances in which the town of Dumfries was founded.
Some writers hold that Dumfries flourished as a place of distinction during the Roman occupation of North Great Britain. The Selgovae inhabited Nithsdale at the time and may have raised some military works of a defensive nature on or near the site of Dumfries; and it is more than probable that a castle of some kind formed the nucleus of the town. This is inferred from the etymology of the name, which, according to one theory, is resolvable into two Gaelic terms signifying a castle or fort in the copse or brushwood. Dumfries was once within the borders of the Kingdom of Northumbria. The district around Dumfries was for several centuries ruled over and deemed of much importance by the invading Romans. Many traces of Roman presence in Dumfriesshire are still to be found; coins, weapons, sepulchral remains, military earthworks, and roads being among the relics left by their lengthened sojourn in this part of Scotland. The Caledonian tribes in the south of Scotland were invested with the same rights by an edict of Antoninus Pius. The Romanized natives received freedom (the burrows, cairns, and remains of stone temples still to be seen in the district tell of a time when Druidism was the prevailing religion) as well as civilisation from their conquerors. Late in the fourth century, the Romans bade farewell to the country.
According to another theory, the name is a corruption of two words which mean the Friars' Hill; those who favour this idea allege that St. Ninian, by planting a religious house near the head of what is now the Friars' Vennel, at the close of the fourth century, became the virtual founder of the Burgh; however Ninian, so far as is known, did not originate any monastic establishments anywhere and was simply a missionary. In the list of British towns given by the ancient historian Nennius, the name Caer Peris occurs, which some modern antiquarians suppose to have been transmuted, by a change of dialect, into Dumfries.
Twelve of King Arthur's battles were recorded by Nennius in Historia Brittonum. The Battle of Tribruit (the tenth battle), has been suggested as having possibly been near Dumfries or near the mouth of the river Avon near Bo'ness.
After the Roman departure the area around Dumfries had various forms of visit by Picts, Anglo-Saxons, Scots and Norse culminating in a decisive victory for Gregory, King of Scots at what is now Lochmaben over the native Britons in 890.
Medieval period
When, in 1069, Malcolm Canmore and William the Conqueror held a conference regarding the claims of Edgar Ætheling to the English Crown, they met at Abernithi – a term which in the old British tongue means a port at the mouth of the Nith. It has been argued, the town thus characterised must have been Dumfries; and therefore it must have existed as a port in the Kingdom of Strathclyde, if not in the Roman days. However, against this argument is that the town is situated eight to nine miles (14 km) distant from the sea, although the River Nith is tidal and navigable all the way into the town itself.
Although at the time 1 mile (1.6 km) upstream and on the opposite bank of the Nith from Dumfries, Lincluden Abbey was founded circa 1160. The abbey ruins are on the site of the bailey of the very early Lincluden Castle, as are those of the later Lincluden Tower. This religious house was used for various purposes, until its abandonment around 1700. Lincluden Abbey and its grounds are now within the Dumfries urban conurbation boundary. William the Lion granted the charter to raise Dumfries to the rank of a royal burgh in 1186. Dumfries was very much on the frontier during its first 50 years as a burgh and it grew rapidly as a market town and port.
Alexander III visited Dumfries in 1264 to plan an expedition against the Isle of Man, previously Scots but for 180 years subjected by the crown of Norway. Identified with the conquest of Man, Dumfries shared in the well-being of Scotland for the next 22 years until Alexander's accidental death brought an Augustan era in the town's history to an abrupt finish.
A royal castle, which no longer exists, was built in the 13th century on the site of the present Castledykes Park. In the latter part of the century William Wallace chased a fleeing English force southward through the Nith valley. The English fugitives met the gates of Dumfries Castle that remained firmly closed in their presence. With a body of the town's people joining Wallace and his fellow pursuers when they arrived, the fleeing English met their end at Cockpool on the Solway Coast. After resting at Caerlaverock Castle a few miles away from the bloodletting, Wallace again passed through Dumfries the day after as he returned north to Sanquhar Castle.
During the invasion of 1300, Edward I of England lodged for a few days in June with the Minorite Friars of the Vennel, before he laid siege to Caerlaverock Castle at the head of the then greatest invasion force to attack Scotland. After Caerlaverock eventually succumbed, Edward passed through Dumfries again as he crossed the Nith to take his invasion into Galloway. With the Scottish nobility having requested Vatican support for their cause, Edward on his return to Caerlaverock was presented with a missive directed to him by Pope Boniface VIII. Edward held court in Dumfries at which he grudgingly agreed to an armistice. On 30 October, the truce solicited by Pope Boniface was signed by Edward at Dumfries. Letters from Edward, dated at Dumfries, were sent to his subordinates throughout Scotland, ordering them to give effect to the treaty. The peace was to last until Whitsunday in the following year.
Before becoming King of Scots, Robert the Bruce stabbed his rival the Red Comyn at Greyfriars Kirk in the town on 10 February 1306. Bruce's uncertainty about the fatality of the stabbing caused one of his followers, Roger de Kirkpatrick, to utter the famous, "I mak siccar" ("I make sure") and finish the Comyn off. Bruce was subsequently excommunicated as a result, less for the murder than for its location in a church. Regardless, for Bruce the die was cast at the moment in Greyfriars and so began his campaign by force for the independence of Scotland. Swords were drawn by supporters of both sides, the burial ground of the monastery becoming the theatre of battle. Bruce and his party then attacked Dumfries Castle. The English garrison surrendered and for the third time in the day Bruce and his supporters were victorious. He was crowned King of Scots barely seven weeks after. Bruce later triumphed at the Battle of Bannockburn and led Scotland to independence.
Once Edward received word of the revolution that had started in Dumfries, he again raised an army and invaded Scotland. Dumfries was again subjected to the control of Bruce's enemies. Sir Christopher Seton (Bruce's brother in law) had been captured at Loch Doon and was hurried to Dumfries to be tried for treason in general and more specifically for being present at Comyn's killing. Still in 1306 and along with two companions, Seton was condemned and executed by hanging and then beheading at the site of what is now St Mary's Church.
In 1659 ten women were accused of diverse acts of witchcraft by Dumfries Kirk Session although the Kirk Session minutes itself records nine witches. The Justiciary Court found them guilty of the several articles of witchcraft and on 13 April between 2 pm and 4 pm they were taken to the Whitesands, strangled at stakes and their bodies burnt to ashes.
Eighteenth century
The Midsteeple in the centre of the High Street was completed in 1707. Opposite the fountain in the High Street, adjacent to the present Marks & Spencer, was the Commercial and later the County Hotel. Although the latter was demolished in 1984–85, the original facade of the building was retained and incorporated into new retail premises. The building now houses a Waterstones Bookshop. Room No. 6 of the hotel was known as Bonnie Prince Charlie's Room and appropriately carpeted in the Royal Stewart tartan. The timber panelling of "Prince Charlie's room" was largely reinstated and painted complete with the oil painted landscapes by Robert Norie (1720–1766) in the overmantels at either end of the room and can still be seen as the upstairs showroom of the book shop. The Young Pretender had his headquarters here during a 3-day sojourn in Dumfries towards the end of 1745. £2,000 was demanded by the Prince, together with 1,000 pairs of brogues for his kilted Jacobite rebel army, which was camping in a field not one hundred yards distant. A rumour that the Duke of Cumberland was approaching, made Bonnie Prince Charlie decide to leave with his army, with only £1,000 and 255 pairs of shoes having been handed over.
Robert Burns moved to Dumfriesshire in 1788 and Dumfries itself in 1791, living there until his death on 21 July 1796. Today's Greyfriars Church overlooks the location of a statue of Burns, which was designed by Amelia Robertson Hill, sculpted in Carrara, Italy in 1882, and was unveiled by future Prime Minister, Archibald Primrose, 5th Earl of Rosebery on 6 April 1882. Today, it features on the 2007 series of £5 notes issued by the Bank of Scotland, alongside the Brig o' Doon.
After working with Patrick Miller of Dalswinton, inventor William Symington intended to carry out a trial in order to show than an engine would work on a boat without the boat catching fire. The trial finally took place on Dalswinton Loch near Dumfries on 14 October 1788. The experiment demonstrated that a steam engine would work on a boat. Symington went on to become the builder of the first practical steamboat.
20th century and beyond
The first official intimation that RAF Dumfries was to be built was made in late 1938. The site chosen had accommodated light aircraft since about 1914. Work progressed quickly, and on 17 June 1940, the 18 Maintenance Unit was opened at Dumfries. The role of the base during the war also encompassed training. RAF Dumfries had a moment of danger on 25 March 1943, when a German Dornier Do 217 aircraft shot up the airfield beacon, but crashed shortly afterwards. The pilot, Oberleutnant Martin Piscke was later interred in Troqueer Cemetery in Dumfries town, with full military honours. On the night of 3/4 August 1943 a Vickers Wellington bomber with engine problems diverted to but crashed 1+1⁄2 miles (2.4 km) short of the Dumfries runway.
During the Second World War, the bulk of the Norwegian Army during their years in exile in Britain consisted of a brigade in Dumfries. When the army High Command took over, there were 70 officers and about 760 privates in the camp. The camp was established in June 1940 and named Norwegian Reception Camp, consisting of some 500 men and women, mainly foreign-Norwegian who had volunteered for war duty in Norway during the Nazi occupation in early 1940. Through the summer the number was built up to around 1,500 under the command of General Carl Gustav Fleischer. Within a few miles of Dumfries are the villages of Tinwald, Torthorwald and Mouswald all of which were settled by Vikings.
Dumfries has experienced two Boxing Day earthquakes. These were in 1979 (measuring 4.7 ML centred near Longtown) and 2006 (centred in the Dumfries locality measuring 3.6 ML ). There were no serious consequences of either. There was also an earthquake on 16 February 1984 and a further earthquake on 7 June 2010.
Like the rest of Dumfries and Galloway, of Scotland's three major geographical areas Dumfries lies in the Southern Uplands.
The river Nith runs through Dumfries toward the Solway Firth in a southwards direction splitting the town into East and West. At low tide, the sea recedes to such an extent on the shallow sloping sands of the Solway that the length of the Nith is extended by 13 km to 113.8 km (70.7 mi). This makes the Nith Scotland's seventh longest river. There are several bridges across the river within the town. In between the Devorgilla (also known as 'The Old Bridge') and the suspension bridge is a weir colloquially known as 'The Caul'. In wetter months of the year the Nith can flood the surrounding streets. The Whitesands has flooded on average once a year since 1827.
Dumfries has numerous suburbs including Summerhill, Summerville, Troqueer, Georgetown, Cresswell, Larchfield, Calside, Lochside, Lincluden, Newbridge Drive, Sandside, Heathhall, Locharbriggs, Noblehill and Marchmount. Maxwelltown to the west of the river Nith, was formerly a burgh in its own right within Kirkcudbrightshire until its incorporation into Dumfries in 1929; Summerhill, Troqueer, Lochside, Lincluden, Sandside are among other suburbs located on the Maxwelltown side of the river. Palmerston Park, home to the town's senior football team Queen of the South, is on Terregles Street, also on the Maxwelltown side of the river.
Queensberry Square and High Street are the central focal points of the town and this area hosts many of the historical, social and commercial enterprises and events of Dumfries. During the 1990s, these areas enjoyed various aesthetic recognitions from organisations including Britain in Bloom.
Dumfries got its nickname 'Queen of the South' from David Dunbar, a local poet, who in 1857 stood in the general election. In one of his addresses he called Dumfries "Queen of the South" and this became synonymous with the town.
The term doonhamer comes from the way that natives of Dumfries over the years have referred to the area when working away from home. The town is often referred to as doon hame in the Scots language (down home). The term doonhamer followed, to describe those that originate from Dumfries.
The Doonhamers is also the nickname of Queen of the South who represent Dumfries and the surrounding area in the Scottish Football League.
The crest of Dumfries contains the words, "A Lore Burne". In the history of Dumfries close to the town was the marsh through which ran the Loreburn whose name became the rallying cry of the town in times of attack – A Lore Burne (meaning 'to the muddy stream').
In 2017 Dumfries was ranked the happiest place in Scotland by Rightmove.
Located on top of a small hill, Dumfries Museum is centred on the 18th-century windmill which stands above the town. Included are fossil footprints left by prehistoric reptiles, the wildlife of the Solway marshes, tools and weapons of the earliest peoples of the region and stone carvings of Scotland's first Christians. On the top floor of the museum is a camera obscura.
Based in the control tower near Tinwald Downs, the aviation museum has an extensive indoor display of memorabilia, much of which has come via various recovery activities. During the second world war, aerial navigation was taught at Dumfries also at Wigtown and nearby Annan was a fighter training unit. RAF Dumfries doubled as an important maintenance unit and aircraft storage unit. The museum is run by the Dumfries and Galloway Aviation Group and is the only private aviation museum in Scotland. The restored control tower of the former World War II airfield is now a listed building. The museum is run by volunteers and houses a large and ever expanding aircraft collection, aero engines and a display of artefacts and personal histories relating to aviation, past and present. It is also home to the Loch Doon Spitfire. Both civil aviation and military aviation are represented.
The Theatre Royal, Dumfries was built in 1792 and is the oldest working theatre in Scotland.
The theatre is owned by the Guild of Players who bought it in 1959, thereby saving it from demolition, and is run on a voluntary basis by the members of the Guild of Players. It is funded entirely by Guild membership subscriptions, and by box office receipts. It does not currently receive any grant aid towards running costs.
In recent years the theatre has been re-roofed and the outside refurbished. It is the venue for the Guild of Players' own productions and for performances from visiting companies. These include: Scottish Opera, TAG, the Borderline and 7:84.
The Robert Burns Centre is an art house cinema in Dumfries. The Odeon Cinema, which showed more mainstream movies, closed its doors in mid-2018 due to the local council refusing to allow Odeon to relocate, forcing them to close.
The Loreburn Hall (sometimes known colloquially as The Drill Hall) has hosted concerts by performers such as Black Sabbath, Big Country, The Proclaimers and Scottish Opera. The hall has hosted sporting events such as wrestling. The new DG One sport, fitness and entertainment centre became the principal indoor event venue in Dumfries in 2007, but in October 2014, it closed due to major defects being discovered in the building. However, the refurbished building reopened to the public in the summer of 2019. The Theatre Royal has also reopened following renovation work.
With a collection of over 400 Scottish paintings, Gracefield Arts Centre hosts a changing programme of exhibitions featuring regional, national and international artists and craft-makers.
Dumfries Art Trail brings together artists, makers, galleries and craft shops with venues accessible all year round.
There are a number of festivals which take place throughout the year, mostly based on traditional values.
Guid Nychburris (Middle Scots, meaning Good Neighbours) is the main festival of the year, a ceremony which is largely based on the theme of a positive community spirit.
The ceremony on Guid Nychburris Day, follows a route and sequence of events laid down in the mists of time. Formal proceedings start at 7.30 am with the gathering of up to 250 horses waiting for the courier to arrive and announce that the Pursuivant is on his way, and at 8.00 am leave the Midsteeple and ride out to meet the Pursuivant. They then proceed to Ride the Marches and Stob and Nog (mark the boundary with posts and flags) before returning to the Midsteeple at 12.15 pm to meet the Provost and then the Charter is proclaimed to the towns people of Dumfries. This is then followed by the crowning of the Queen of the South.
Since 2013, Dumfries has seen the annual Nithraid, a small boat race up the Nith from Carsethorn, celebrating the town's historical relationship with the river.
The region is also home to a number of thriving music festivals such as the Eden Festival (at St Ann's near Moffat), Youthbeatz (Scotland's largest free youth music festival), the Moniaive Folk Festival, Thornhill Music Festival, Big Burns Supper Festival and previously Electric Fields at Drumlanrig Castle.
Queen of the South represent Dumfries and the surrounding area in the third level of the country's professional football system, the Scottish League One. Palmerston Park on Terregles Street is the home ground of the team. This is on the Maxwelltown side of the River Nith. They reached the 2008 Scottish Cup Final, losing 3–2 to Rangers.
Dumfries City VFC are a virtual football club from the town.
Dumfries Saints Rugby Club is one of Scotland's oldest rugby clubs having been admitted to the Scottish Rugby Union in 1876–77 as "Dumfries Rangers".
Dumfries is also home to a number of golf courses:
The Crichton Golf Club
The Dumfries and County Golf Club
The Dumfries and Galloway Golf Club
Of those listed, only the Dumfries and Galloway Golf Club is on the Maxwelltown side of the River Nith. This course is also bisected into 2 halves of 9 holes each by the town's Castle Douglas Road. The club house and holes 1 to 7 and 17 and 18 are on the side nearest to Summerhill, Dumfries. Holes 8 to 16 are on the side nearest to Janefield.
The opening stage of the 2011 Tour of Britain started in Peebles and finished 105.8 miles (170.3 km) later in Dumfries. The stage was won by sprint specialist and reigning Tour de France green jersey champion, Mark Cavendish, with his teammate lead out man, Mark Renshaw finishing second. Cavendish had been scheduled to be racing in the 2011 Vuelta a España. However Cavendish was one a number of riders to withdraw having suffered in the searing Spanish heat. This allowed Cavendish to be a late addition to the Tour of Britain line up in his preparation for what was to be a successful bid two weeks later in the 2011 UCI Road World Championships – Men's road race. Cavendish in a smiling post race TV interview in Dumfries described the wet and windy race conditions through the Southern Scottish stage as 'horrible'.
DG One complex includes a national event-sized competition swimming pool.
The David Keswick Athletic Centre is the principal facility in Dumfries for athletics.
Dumfries is home to Nithsdale Amateur Rowing Club. The rowers share their clubhouse with Dumfries Sub-Aqua Club.
The town is also home to Solway Sharks ice hockey team. The team are current Northern Premier League winners. The team's home rink is Dumfries Ice Bowl. Dumfries Ice bowl is also recognised as Scotland's only centre of ice hockey excellence, and trials for the Scottish Jr national team are carried out at this venu.
Dumfries Ice Bowl is also home to two synchronised skating teams, Solway Stars and Solway Eclipse. In addition, Dumfries Ice Bowl is also home to several curling teams, competitions and leagues. Junior curling teams from Dumfries, consisting of curlers under the age of 21, regularly compete in the Dutch Junior Open based in Zoetermeer, the Netherlands. In 2007, 2008 and 2009 a Dumfries-based team have been the winners of the competition's Hogline Trophy.
Dumfries hosts three outdoor bowls clubs:
Dumfries Bowling Club
Marchmount Bowling Club
Maxwelltown Bowling Club
Dumfries hosts cycling organisations and cycling holidays
The most significant of the parks in Dumfries are all within walking distance of the town centre:-
Dock Park – located on the East bank of the Nith just to the South of St Michael's Bridge
Castledykes Park – as the name suggests on the site of a former castle
Mill Green (also known as deer park, although the deer formerly accommodated there have since been relocated) – on the West bank of the Nith opposite Whitesands
There are many buildings in Dumfries made from sandstone of the local Locharbriggs quarry.
The quarry is situated off the A701 on the north of Dumfries at Locharbriggs close to the nearby aggregates quarry. This dimension stone quarry is a large quarry. Quarry working at Locharbriggs dates from the 18th century, and the quarry has been worked continuously since 1890.
There are good reserves of stone that can be extracted at several locations. On average the stone is available at depths of 1m on bed although some larger blocks are obtainable. The average length of a block is 1.5m but 2.6m blocks can be obtained.
Locharbriggs is from the New Red Sandstone of the Permian age. It is a medium-grained stone ranging in colour from dull red to pink. It is the sandstone used in the Queen Alexandra Bridge in Sunderland, the Manchester Central Convention Complex and the base of the Statue of Liberty.
Luke now knows sign language for equal. Using sign language to explain human rights to a four year old well, that is another story.
The poetical language of flowers, or, The pilgrimage of love /
London :Charles Griffin and Company,n.d. [1869]
I think this is a good source for learning several languages at one time. Seriously, you can look at the word "sugar", for example.
There are English, French, German, Spanish, Portguese, Italian, Dutch, Swedish, Norwegian, Danish, Finnish (mmm, difficult), Russian (this is very difficult), Greek (very difficult), Polish (difficult), Chech (difficult), Arabic (you'll need at least 30 days to learn the letters), Japanese (my native tongue so no problem for me), and Chinese (the characters are the same so I can guess to some extent).
In this picture, there are Norwegian (blurred), Danish, Finnish, Russian, Greek, Polish, Chech, Arabic, Japanese, and Chinese (blurred).
Title in other languages:
Deutsch: Häuser und Zacken
English: Houses and jags
English:
Welcome and thank you for being here! This image forms part of a collection of photographs of moments on Planet Earth.
If you enjoy this work and want to support me financially, I’m glad to receive your donation via Paypal: paypal.me/jankohoener
If you intend to use this picture for your own purposes, please credit me with the following attribution line: Janko Hoener / CC-BY-SA-4.0. This is required by the license terms. A link back to this page and informing me about your usage via FlickrMail is appreciated.
Deutsch:
Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.
Wenn Ihnen diese Arbeit zusagt und Sie mich finanziell dabei unterstützen möchten, so freue ich mich über Ihre Spende via Paypal: paypal.me/jankohoener
Wenn Sie dieses Foto für eigene Zwecke nutzen möchten, geben Sie bitte Janko Hoener / CC-BY-SA-4.0 in der Bildunterschrift an. Dies ist per Lizenz gefordert. Über einen Link auf diese Seite und eine Benachrichtigung über die Nutzung via FlickrMail freue ich mich.
Six Aboriginal language groups are the traditional owners of the Greater Blue Mountains World Heritage Area:
Darug.
Gundungurra.
Wanaruah.
Wiradjuri.
Darkinjung.
Tharawal.
I acknowledge the Traditional Custodians of the land on which I work and live, and recognise their continuing connection to land, water and community. I pay respect to Elders past, present and emerging.
In North Lawson Park, on the northern side of the highway, contains Fairy Falls, St Michael's Falls and Frederica Falls. Of medium difficulty it takes in waterfalls, lush vegetation, birdlife, natural ponds, views and facilities.
To get to this waterfall you can actually walk from the train station at Lawson and head down on the north side of the Hwy, heading towards the Lawson Swimming pool.
Go around the pool and past the car park and follow the signs, it basically behind the pool.
Once you find the track which is sign posted, the first falls you get to is Dante's Glenn which is a spectacular waterfall which can be photographed from many angles.
Walk down under the power lines to the start of the Empire Pass Track. There is an old metal sign pointing into the bush, with distances in miles. Follow the track through open forest for 400m (about 5 minutes) to where it passes under more power lines. Keep left at a Y-intersection, ignoring a track to the right which heads down the hill under the power lines. Continue for another 400m up a rise to a fire trail with a locked gate on your right. Cross over the fire trail onto another foot track, signposted Empire Pass (4km, 2 hours circuit Easy Grade), and follow this for 400m to a track junction.
Dantes Glen
Take the track straight ahead, signposted to Echo Bluff. At the first rocky outcrops, the track continues down through a slot to the left for 100m further to the lookout. There are good views of the valley below through which the Empire Pass track passes.
Returning to the intersection, take the other track signposted to Empire Pass, Lawson Park and Dantes Glen. This contours for 600m to a set of rocky outcrops, with a set of stone steps leading down through a cleft. This is a quick way down into the valley, but misses out on the waterfalls, so continue along the main track.
Another 400m along the track enters a gully and you reach the first falls. Fairy Falls can be seen dropping in several stages from a lookout on the track. A little further along the track crosses the creek just below the top falls. Just beyond here is another track junction. Left leads up to North Lawson Park, so take the right branch. After a short distance it starts to descend a set of well contstructed steps, at first gently, then more steeply until the creek is reached. Crossing a bridge at the bottom, Dantes Glen Falls can be seen on the left.
Dantes Glen Creek
Head downstream on the left bank for 50m before the track crosses over to the right at a sign saying No Through Access. It is about 50m upstream on the other side creek to St Michaels Falls.
Continuing downstream on the right bank, the track stays at the same level, while the creek drops away below. Just past a small side creek, a set of steps leads up to the short cut. This could be used as a quick way back out.
A little further on the track heads down steps to creek level, and crosses to the right bank. Just after crossing a minor side creek, watch for the stairs going up to the left. If you miss them, the track will peter out shortly afterwards. The track follows the cliff on the left for a few hundred metres and then returns to the creek level, crossing over and climbing up on the right side. It stays high from here as it rounds Echo Point. From here it stays on the right hand side of the creek all the way to Frederica Falls.
Climb up to the fire trail at Frederica Falls and cross straight over on to a foot track. This slightly scrubby track generally follows the creek before heading uphill and emerging under the power lines back at the start of the walk.
I will certainly re visit this lovely circuit of waterfalls after some decent rainfall !