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by jwcurry. Ottawa, A Onion Printshop, 2o17.
homage: Eric Grice; an attempted proof on an abysmal surface consigned to the firewood pile & here burned in the same pit from which the initial flame leapt that provided the form for the stencil.
Eric, as "Go Fish", is generally acknowledged as being one of the earliest graffitists in Ottawa (though he will correctly assert that there was already work to be seen out there (P.Cob a very real possibility)). his Go Fish project was, i believe, a matter of both paintings & (shaped?) posters pasted up around town while still a teenager. little documentation of any part of this project is extant, though there're photographs of much more recent revisitations of the idea.
later, with a partner as "Puzzle", well over 1oo painted works of a remarkable variety of styles appeared sequestered around Ottawa on various surfaces in a numbered series (without being serial). few exist now but there is at least some photographic evidence.
these days, Eric is a sculptor (in Montréal) working primarily in wood & brick (see www.flickr.com/photos/79303856@N05/ for a sampling).
unquestionably, the Go Fish (i'm still unsure exactly how that should be written/spelled/punctuated) & Puzzle material was inspirational in many different ways to a sector of Ottawaän artists to follow, including but hardly limited to the Alpheratz crew, Berzerker, Never, Venus (Eric's sister, Nathalie) &, much later, "that Unwanted guy".
if this print'd've worked, i'd've nailed it up somewhere but the edging is smudgy & muddied, especially in its few (here indiscernible) details, so back to carbon it goes, swimming upflame, "cycles etc".
thanks for yr example, Eric!
Giorgio de Chirico was an Italian painter who, with Carlo Carrà and Giorgio Morandi, founded the style of Metaphysical painting. After studying art in Athens and Florence, de Chirico moved to Germany in 1906 and entered the Munich Academy of Fine Arts. His early style was influenced by Arnold Böcklin’s and Max Klinger’s paintings, which juxtapose the fantastic with the commonplace. By 1910 de Chirico was living in Florence, where he began painting a unique series of landscapes that included The Enigma of an Autumn Afternoon (1910), in which the long, sinister, and illogical shadows cast by unseen objects onto empty city spaces contrast starkly with bright, clear light that is rendered in brooding green tonalities. Moving to Paris in 1911, de Chirico gained the admiration of Pablo Picasso and Guillaume Apollinaire with his ambiguously ominous scenes of deserted piazzas. In these works, such as The Soothsayer’s Recompense (1913) and The Mystery and Melancholy of a Street (1914), classical statues, dark arcades, and small, isolated figures are overpowered by their own shadows and by severe, oppressive architecture.
In 1915 de Chirico was conscripted into the Italian army and stationed at Ferrara, Italy. There, he was able to continue making art and practiced a modification of his earlier manner, marked by more compact groupings of incongruous objects. Diagnosed with a nervous condition, he was admitted into a military hospital, where he met Carlo Carrà in 1917; together the two artists developed the style they named Metaphysical painting. In de Chirico’s paintings of this period, such as the Grand Metaphysical Interior (1917) and The Seer (1915), the colors are brighter, and dressmakers’ mannequins, compasses, biscuits, and paintings on easels assume a mysterious significance within enigmatic landscapes or interiors.
The element of mystery in de Chirico’s paintings dwindled after 1919, when he became interested in the technical methods of the Italian classical tradition. He eventually began painting in a more realistic and academic style, and by the 1930s he had broken with his avant-garde colleagues and disclaimed his earlier works. De Chirico’s Metaphysical paintings exercised a profound influence on the painters of the Surrealist movement in the 1920s.
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Balthasar de Monconys (1611-1665) was a French physicist and judge, born in Lyon. In 1618, Monconys' parents sent him to a Jesuit boarding school in Salamanca, Spain, as a plague had broken out in Lyon. Monconys was deeply interested in metaphysics and mysticism, and studied the teachings of Pythagoras, Zoroastrism, and Greek and Arab alchemists. From a young age, he dreamed of travelling to India and China. However, he returned to Lyon after finishing his studies. At the age of thirty-four years old he was finally able to leave behind the safety of his library and the theoretical speculation of the laboratory, and become a tireless traveller in Europe and the East.
Monconys travelled to Portugal, England, Germany, Italy, the Netherlands, Istanbul and the Middle East with the son of the Duke of Luynes. Even in his very first journey to Portugal, it is obvious that in each city Monconys is very soon able to connect with mathematicians, clergymen, surgeons, engineers, chemists, physicians and princes, to visit their laboratories and to collect “secrets and experiences”.
After Portugal, Monconys travelled to Italy, and finally departed to the East, to study the ancient religions and denominations, and meet the gymnosophists. In 1647-48 he was in Egypt. Seeking the Zoroasters and followers of Hermes Trismegistus, he reached Mount Sinai. In Egypt, the 17th century European was lost in a labyrinth of small and winding streetlets, and discovered different cults and religions, the diversity of ethnicities and their customs: Turks, Kopts, Jews, Arabs, Mauritans, Maronites, Armenians, and Dervishes. He followed several superstitious suggestions and discovered marvellous books of astronomy in Hebrew, Persian and Arabic. Later on, after his pilgrimage to the Holy Land, he crossed Asia Minor and reached Istanbul, from where he planned to travel to Persia. For once more in his life however, the plague forced him to change his course; he left for Izmir, and returned to Lyon in 1649.
Fron 1663 to 1665 Monconys travelled incessantly between Paris, London, the Netherlands and Germany. He visited princes and philosophers, libraries and laboratories, and maintained frequent correspondence with several scientists. Finally, after consequent asthma attacks he passed away before his travel notes could be published.
His travel journal (1665-1666) was edited and published by his son and by his Jesuit friend J. Berchet. The journal is enriched by drawings which testify to the wide scope of Monconys' interests. Monconys collected a vast corpus of material which includes medical recipes, chemistry forms, material connected to the esoteric sciences, mathematical puzzles, questions of Algebra and Geometry, zoological observations, mechanical applications, descriptions of natural phenomena, chemistry experiments, various machines and devices, medical matters, the philosopher's stone, astronomical measurements, magnifying lenses, thermometres, hydraulic devices, drinks, hydrometres, microscopes, architectural constructions and even matters connected to hygiene or the preparation of liquors.
The third volume includes a hundred and sixty-five medical, chemical and physics experiments with their outcomes as well as a sonnet on the battle of Marathon. There are five detailed indexes for the classification of the material. At the same time, this three-volume work permits the construction of a list of names (more than two hundred and fifty) of scholars, physicians, alchemists, astrologists, mathematicians, empirical scientists and other researches. From Monconys' text and correspondence a highly interesting network emerges, as it is possible for specialists of all disciplines to reconstruct the contacts between scientists and scholars of Western Europe, for a period spanning more than a decade in the mid-17th century.
Monconys' work is written in a monotonous style, but nevertheless possesses a perennial charm, as it is a combination of a travel journal and a laboratory scientist's workbook. The drawings accompanying the text make up a corpus of material unique in travel literature.
Written by Ioli Vingopoulou
Fransız asıllı fizikçi ve yargıç Balthasar de Monconys (1611-1665) (okunuş: Baltazar dö Monkoni) Lyon şehrinde doğar. Yaşadığı kentte 1618 yılında veba salgını baş gösterince, ailesi onu Salamanka şehrine bir Cizvit yatılı okuluna gönderir. Metafizik ve gizemcilik (mistisizm) için yoğun ilgi duyan Monconys, Pythagoras öğretilerini, Zerdüştlüğü, hatta Yunan ve Arap simyacıların eserlerini okur. Daha küçük yaştan beri Hindistan ve Çin'e kadar ulaşmayı düşlemesine karşın eğitimini tamamladıktan sonra Lyon'a geri döner ve nihayet 34 yaşındayken kütüphane güvenliğini ve teorik laboratuvar bilgilerini terkedip kararlı bir biçimde Avrupa ve Doğu'ya seyahat etmeye başlar.
Monconys, Luynes dükünün oğluyla birlikte Portekiz, İngiltere, Almanya, İtalya, Alçak Ülkeler (Hollanda), İstanbul ve Orta Doğu'ya seyahat eder. Daha ilk yolculuğundan (Portekiz'de) uğradığı her şehirde kısa zamanda matematikçi, rahip, cerrah, mühendis, kimyager, doktor ve prens gibi çeşit çeşit insanlarla bağ kurup laboratuvarlarını ziyaret ederek "sır ve tecrübeler" derler. Yazdığı metinde bu süreci izlemekteyiz. Portekiz'den sonra ilk kez olarak İtalya'ya gider ve nihayet çeşitli dogmaları, eski dinleri ve "gymnosophist"leri (çıplak bilgeler) incelemek üzere Doğu'ya doğru yola çıkar. 1647-48 yıllarında Mısır'da bulunmaktadır; Zerdüştçüler ve Hermes-Thot (Hermes Trismegistus) müritleriyle karşılaşmak için Sina dağına kadar ulaşır. Mısır'da 17. yüzyılın bu Batı Avrupalısı daracık sokakların oluşturduğu labirent içinde yitip, türk, kıptî, yahudî, arap, moritanyalı, maruni, ermeni, derviş gibi binbir çeşit dogma ve mezhep, milliyet ve kültürel adet keşfeder. Batıl inançlara uyar, ibranice farsça yada arapça dillerinde yazılmış şahane gökbilim kitapları keşfeder. Kutsal Yerlere hacılık ziyaretinin ardından Anadolu'yu boydan boya geçip İstanbul'a varır. Buradan İran'a gitmeyi planlar. Ancak veba salgını bir kez daha onu kaçmaya zorlar; İzmir'e geçip oradan 1649 yılında Lyon'a döner.
Monconys 1663'ten 1665'e kadar hiç ara vermeden Paris, Londra, Hollanda ve Almanya arasında mekik dokuyup prens ve filozoflarla konuşur, çeşitli kütüphane ve laboratuvarları ziyaret eder ve birçok bilim adamıyla yoğun bir mektuplaşma sürdürür. Ancak sonunda üstüste geçirdiği astım krizlerinden sonra seyahat notlarının kitap olarak basılmış halini göremeden ölür.
Sözkonusu yayın (1665-1666) Monconys'nin oğlu ve dostu Cizvit rahip J. Berchet tarafından hazırlanmıştır. Monconys'nin geniş bir ilgi alanına sahip oluşu günlüğünü tamamlayan desenlerle kanıtlanmaktadır. Derlemiş olduğu çeşitli ve zengin malzeme içinde: ilâç reçeteleri, kimyasal formüller, gizli ilimlerle ilgili malzeme, matematik bilmeceleri, cebir ve geometri problemleri, zoolojiye (hayvan bilimi) ilişkin gözlemler, mekanik uygulamalar, doğa fenomenleri betimlemeleri, kimyasal deneyler, makineler, tıp konuları, felsefe taşı, astronomi ölçümleri, büyüteçler, termometreler, su tesisatıyla ilgili cihazlar, içkiler, hidrometreler, mikroskoplar, mimarî yapılar, hijyen ve likör yapımı gibi konular var.
Kitabın üçüncü cildinde işlenen konular arasında 165 tane fizik kimya ve tıp deneyi ve sonuçları, ve Maraton muharebesi hakkında bir sone yer almaktadır. Bu içeriğin sınıflanması için kitaba beş tane ayrı çözümlemeli dizin eklenmiştir. Aynı zamanda, Monconys'nin üç ciltlik eserinden upuzun bir isimler katalogu da (250'den fazla isim) elde edilebilir. Bu isimler yazar ve düşünür, doktor, simyacı, astrolog, matematikçi, deneyci ve çeşitli uzman araştırmacılara aittir. Monconys'nin metninden ve mektuplaşmalarından, 17. yüzyıl ortalarında özellikle batı Avrupa'da, 20 yıldan fazla bir süre için, tüm bilim uzmanlarının yeniden birleştirebileceği son derece ilginç bir bilimler arası ilişki ağı ortaya çıkmaktadır.
Monconys'nin yazış uslubu tekdüze olmakla birlikte, bir laboratuvar araştırmacısının seyahat günlüğü ile gözlem defterini bir arada bulundurması açısından eşsiz bir cazibeye sahiptir. Metne eşlik eden desenler seyahat edebiyatı yayınlarında rastlanan ender türden bir malzeme oluşturmaktadır.
Yazan: İoli Vingopoulou
Tubular steel stacking armchairs
REF: 00757
STYLE: Bauhaus-Modernism
DESIGNER: Bruno Pollak
COUNTRY: England
MANUFACTURER: PEL
MATERIAL: chrome-plated tubular steel, iron thread fabric (Eisengarn)
YEAR: 1938
CONDITION: original
DIMENSIONS: h.: 84 cm x w.: 54,5 cm x d.: 64 cm
Nesting tables by Jindrich Halabala
REF: 02274
STYLE: Czech Modernism
DESIGNER: Jindrich Halabala
COUNTRY: Czechoslovakia
MANUFACTURER: UP Závody, Brno
MATERIAL: stained wood, Bakelite
YEAR: 1934
CONDITION: original
DIMENSIONS: h.: 66/63/60cm x w.: 55,5/49,5/43cm x d.: 40/37/34cm
Avant-garde pendant lamp
REF: 02282
STYLE: Avant-garde of the 30s
COUNTRY: Germany
MATERIAL: nickel-plated metal
YEAR: 1935
CONDITION: original
DIMENSIONS: h.: 90 cm, diameter: 55 cm
Floor lamp
REF: 01566
STYLE: German Modernism
DESIGNER: HALA company design
COUNTRY: Germany
MANUFACTURER: HALA
MODEL: 851
MATERIAL: nickel plated metal, lacquered metal, Bakelite
YEAR: 1935
CONDITION: original
DIMENSIONS: h.: 176 cm x diameter: 40 cm
Box, Berlin 1930
REF: 01848
STYLE: Art Deco
COUNTRY: Germany
MATERIAL: chrome-plated metal, mirror glass, Bakelite
YEAR: 1930
CONDITION: original
DIMENSIONS: h.: 3 cm x w.: 12 cm x d.: 10 cm
Giorgio de Chirico was an Italian painter who, with Carlo Carrà and Giorgio Morandi, founded the style of Metaphysical painting. After studying art in Athens and Florence, de Chirico moved to Germany in 1906 and entered the Munich Academy of Fine Arts. His early style was influenced by Arnold Böcklin’s and Max Klinger’s paintings, which juxtapose the fantastic with the commonplace. By 1910 de Chirico was living in Florence, where he began painting a unique series of landscapes that included The Enigma of an Autumn Afternoon (1910), in which the long, sinister, and illogical shadows cast by unseen objects onto empty city spaces contrast starkly with bright, clear light that is rendered in brooding green tonalities. Moving to Paris in 1911, de Chirico gained the admiration of Pablo Picasso and Guillaume Apollinaire with his ambiguously ominous scenes of deserted piazzas. In these works, such as The Soothsayer’s Recompense (1913) and The Mystery and Melancholy of a Street (1914), classical statues, dark arcades, and small, isolated figures are overpowered by their own shadows and by severe, oppressive architecture.
In 1915 de Chirico was conscripted into the Italian army and stationed at Ferrara, Italy. There, he was able to continue making art and practiced a modification of his earlier manner, marked by more compact groupings of incongruous objects. Diagnosed with a nervous condition, he was admitted into a military hospital, where he met Carlo Carrà in 1917; together the two artists developed the style they named Metaphysical painting. In de Chirico’s paintings of this period, such as the Grand Metaphysical Interior (1917) and The Seer (1915), the colors are brighter, and dressmakers’ mannequins, compasses, biscuits, and paintings on easels assume a mysterious significance within enigmatic landscapes or interiors.
The element of mystery in de Chirico’s paintings dwindled after 1919, when he became interested in the technical methods of the Italian classical tradition. He eventually began painting in a more realistic and academic style, and by the 1930s he had broken with his avant-garde colleagues and disclaimed his earlier works. De Chirico’s Metaphysical paintings exercised a profound influence on the painters of the Surrealist movement in the 1920s.
Balthasar de Monconys (1611-1665) was a French physicist and judge, born in Lyon. In 1618, Monconys' parents sent him to a Jesuit boarding school in Salamanca, Spain, as a plague had broken out in Lyon. Monconys was deeply interested in metaphysics and mysticism, and studied the teachings of Pythagoras, Zoroastrism, and Greek and Arab alchemists. From a young age, he dreamed of travelling to India and China. However, he returned to Lyon after finishing his studies. At the age of thirty-four years old he was finally able to leave behind the safety of his library and the theoretical speculation of the laboratory, and become a tireless traveller in Europe and the East.
Monconys travelled to Portugal, England, Germany, Italy, the Netherlands, Istanbul and the Middle East with the son of the Duke of Luynes. Even in his very first journey to Portugal, it is obvious that in each city Monconys is very soon able to connect with mathematicians, clergymen, surgeons, engineers, chemists, physicians and princes, to visit their laboratories and to collect “secrets and experiences”.
After Portugal, Monconys travelled to Italy, and finally departed to the East, to study the ancient religions and denominations, and meet the gymnosophists. In 1647-48 he was in Egypt. Seeking the Zoroasters and followers of Hermes Trismegistus, he reached Mount Sinai. In Egypt, the 17th century European was lost in a labyrinth of small and winding streetlets, and discovered different cults and religions, the diversity of ethnicities and their customs: Turks, Kopts, Jews, Arabs, Mauritans, Maronites, Armenians, and Dervishes. He followed several superstitious suggestions and discovered marvellous books of astronomy in Hebrew, Persian and Arabic. Later on, after his pilgrimage to the Holy Land, he crossed Asia Minor and reached Istanbul, from where he planned to travel to Persia. For once more in his life however, the plague forced him to change his course; he left for Izmir, and returned to Lyon in 1649.
Fron 1663 to 1665 Monconys travelled incessantly between Paris, London, the Netherlands and Germany. He visited princes and philosophers, libraries and laboratories, and maintained frequent correspondence with several scientists. Finally, after consequent asthma attacks he passed away before his travel notes could be published.
His travel journal (1665-1666) was edited and published by his son and by his Jesuit friend J. Berchet. The journal is enriched by drawings which testify to the wide scope of Monconys' interests. Monconys collected a vast corpus of material which includes medical recipes, chemistry forms, material connected to the esoteric sciences, mathematical puzzles, questions of Algebra and Geometry, zoological observations, mechanical applications, descriptions of natural phenomena, chemistry experiments, various machines and devices, medical matters, the philosopher's stone, astronomical measurements, magnifying lenses, thermometres, hydraulic devices, drinks, hydrometres, microscopes, architectural constructions and even matters connected to hygiene or the preparation of liquors.
The third volume includes a hundred and sixty-five medical, chemical and physics experiments with their outcomes as well as a sonnet on the battle of Marathon. There are five detailed indexes for the classification of the material. At the same time, this three-volume work permits the construction of a list of names (more than two hundred and fifty) of scholars, physicians, alchemists, astrologists, mathematicians, empirical scientists and other researches. From Monconys' text and correspondence a highly interesting network emerges, as it is possible for specialists of all disciplines to reconstruct the contacts between scientists and scholars of Western Europe, for a period spanning more than a decade in the mid-17th century.
Monconys' work is written in a monotonous style, but nevertheless possesses a perennial charm, as it is a combination of a travel journal and a laboratory scientist's workbook. The drawings accompanying the text make up a corpus of material unique in travel literature.
Written by Ioli Vingopoulou
Fransız asıllı fizikçi ve yargıç Balthasar de Monconys (1611-1665) (okunuş: Baltazar dö Monkoni) Lyon şehrinde doğar. Yaşadığı kentte 1618 yılında veba salgını baş gösterince, ailesi onu Salamanka şehrine bir Cizvit yatılı okuluna gönderir. Metafizik ve gizemcilik (mistisizm) için yoğun ilgi duyan Monconys, Pythagoras öğretilerini, Zerdüştlüğü, hatta Yunan ve Arap simyacıların eserlerini okur. Daha küçük yaştan beri Hindistan ve Çin'e kadar ulaşmayı düşlemesine karşın eğitimini tamamladıktan sonra Lyon'a geri döner ve nihayet 34 yaşındayken kütüphane güvenliğini ve teorik laboratuvar bilgilerini terkedip kararlı bir biçimde Avrupa ve Doğu'ya seyahat etmeye başlar.
Monconys, Luynes dükünün oğluyla birlikte Portekiz, İngiltere, Almanya, İtalya, Alçak Ülkeler (Hollanda), İstanbul ve Orta Doğu'ya seyahat eder. Daha ilk yolculuğundan (Portekiz'de) uğradığı her şehirde kısa zamanda matematikçi, rahip, cerrah, mühendis, kimyager, doktor ve prens gibi çeşit çeşit insanlarla bağ kurup laboratuvarlarını ziyaret ederek "sır ve tecrübeler" derler. Yazdığı metinde bu süreci izlemekteyiz. Portekiz'den sonra ilk kez olarak İtalya'ya gider ve nihayet çeşitli dogmaları, eski dinleri ve "gymnosophist"leri (çıplak bilgeler) incelemek üzere Doğu'ya doğru yola çıkar. 1647-48 yıllarında Mısır'da bulunmaktadır; Zerdüştçüler ve Hermes-Thot (Hermes Trismegistus) müritleriyle karşılaşmak için Sina dağına kadar ulaşır. Mısır'da 17. yüzyılın bu Batı Avrupalısı daracık sokakların oluşturduğu labirent içinde yitip, türk, kıptî, yahudî, arap, moritanyalı, maruni, ermeni, derviş gibi binbir çeşit dogma ve mezhep, milliyet ve kültürel adet keşfeder. Batıl inançlara uyar, ibranice farsça yada arapça dillerinde yazılmış şahane gökbilim kitapları keşfeder. Kutsal Yerlere hacılık ziyaretinin ardından Anadolu'yu boydan boya geçip İstanbul'a varır. Buradan İran'a gitmeyi planlar. Ancak veba salgını bir kez daha onu kaçmaya zorlar; İzmir'e geçip oradan 1649 yılında Lyon'a döner.
Monconys 1663'ten 1665'e kadar hiç ara vermeden Paris, Londra, Hollanda ve Almanya arasında mekik dokuyup prens ve filozoflarla konuşur, çeşitli kütüphane ve laboratuvarları ziyaret eder ve birçok bilim adamıyla yoğun bir mektuplaşma sürdürür. Ancak sonunda üstüste geçirdiği astım krizlerinden sonra seyahat notlarının kitap olarak basılmış halini göremeden ölür.
Sözkonusu yayın (1665-1666) Monconys'nin oğlu ve dostu Cizvit rahip J. Berchet tarafından hazırlanmıştır. Monconys'nin geniş bir ilgi alanına sahip oluşu günlüğünü tamamlayan desenlerle kanıtlanmaktadır. Derlemiş olduğu çeşitli ve zengin malzeme içinde: ilâç reçeteleri, kimyasal formüller, gizli ilimlerle ilgili malzeme, matematik bilmeceleri, cebir ve geometri problemleri, zoolojiye (hayvan bilimi) ilişkin gözlemler, mekanik uygulamalar, doğa fenomenleri betimlemeleri, kimyasal deneyler, makineler, tıp konuları, felsefe taşı, astronomi ölçümleri, büyüteçler, termometreler, su tesisatıyla ilgili cihazlar, içkiler, hidrometreler, mikroskoplar, mimarî yapılar, hijyen ve likör yapımı gibi konular var.
Kitabın üçüncü cildinde işlenen konular arasında 165 tane fizik kimya ve tıp deneyi ve sonuçları, ve Maraton muharebesi hakkında bir sone yer almaktadır. Bu içeriğin sınıflanması için kitaba beş tane ayrı çözümlemeli dizin eklenmiştir. Aynı zamanda, Monconys'nin üç ciltlik eserinden upuzun bir isimler katalogu da (250'den fazla isim) elde edilebilir. Bu isimler yazar ve düşünür, doktor, simyacı, astrolog, matematikçi, deneyci ve çeşitli uzman araştırmacılara aittir. Monconys'nin metninden ve mektuplaşmalarından, 17. yüzyıl ortalarında özellikle batı Avrupa'da, 20 yıldan fazla bir süre için, tüm bilim uzmanlarının yeniden birleştirebileceği son derece ilginç bir bilimler arası ilişki ağı ortaya çıkmaktadır.
Monconys'nin yazış uslubu tekdüze olmakla birlikte, bir laboratuvar araştırmacısının seyahat günlüğü ile gözlem defterini bir arada bulundurması açısından eşsiz bir cazibeye sahiptir. Metne eşlik eden desenler seyahat edebiyatı yayınlarında rastlanan ender türden bir malzeme oluşturmaktadır.
Yazan: İoli Vingopoulou
A morning-glory at my window satisfies me more than the metaphysics of books.
Walt Whitman
Morning glory (also written as morning-glory[1]) is the common name for over 1,000 species of flowering plants in the family Convolvulaceae, whose current taxonomy and systematics are in flux. Morning glory species belong to many genera, some of which are:
Argyreia
Astripomoea
Calystegia
Convolvulus
Ipomoea
Lepistemon
Merremia
Operculina
Rivea
Stictocardia
Morning glory was first known in China for its medicinal uses, due to the laxative properties of its seeds.
Ancient Mesoamerican civilizations used the morning glory species Ipomoea alba to convert the latex from the Castilla elastica tree and also the guayule plant to produce bouncing rubber balls [2]. The sulfur in the morning glory's juice served to vulcanize the rubber, a process predating Charles Goodyear's discovery by at least 3,000 years.[3] Aztec priests in Mexico were also known to use the plant's hallucinogenic properties (see Rivea corymbosa).
2019 08 12_9429.jpgh
Cekanje; Waiting 2 _ Music and Destruction,
OPUS: Look Homeward, Angel;
From Grand OPUS; Sarajevo City of Light,
SARAJEVO WAR 1992-1995; BOSNIA in Tragic WAR,
POETIC Beauty and Strength of the Human Spirit,
Picture is based on light and darkness counterpoints, with elements of Chiaroscuro.
Acutely observed realism brought a new level of emotional intensity,
Strong, dramatic expression, City Life and Street Scenes,
Observation of physical and psychological reality, Symbolism,
Perception beyond Appearance’s, Metaphysics ART, POETIC TransRealism;
"There the sun doesn’t shine, or the moon, or the stars, nor any earthly fire...
In Its light, invisible; in a secret place, In the heart It resides."
ARTIST Mirza Ajanovic POETIC Photography,
Artist MIRZA AJANOVIC: Painting With Light, Shadows dance,
FROM OPUS: Painting Light in Motion, FROM GRAND OPUS: Painting with Light, Rhythm and Movement Painting, Music of light, painter of light, Painting Music, Visual expression of music in Photography, ART Avant-garde, Painting with Light, Motion ART, Interrupted, graffiti/street-art, Avant-garde Painting with Light, Motion ART, Painting with MOTION Light, Motion artist, Shadows Dance, Metaphysics ART, Spirituality, Transcendental ART, Mystic ART, Mystical Photography, Fine ART Photography, Artist MIRZA AJANOVIC Photography, Acutely observed realism brought a new level of emotional intensity, Observation of physical and psychological reality… Perception beyond Appearance’s, POETIC Photography, Symbolism, Transcendental ART surrealism, Perception Internal,
Perception Beyond the Veil, Perception beyond any veil; including the veil of religion,
""I've brought you a mirror. Look at yourself and remember me.""
- Jalaluddin Rumi
Artist MIRZA AJANOVIC Fine ART Photography,
These Pictures are Actually Not Photoshopped,
Dream Runner.
● m e t r o p o l i s ●
Processed in Paintshop, objects generated in Daz3D (clothes by Wilmap) - rendered in 3Delight, thanks for the interest. :-D
The atmosphere is a physical and metaphysical representation of the boundary that exists between the earthly nature of the physical world and the light of creation. It is within this border region that the Angels of Light work.
They begin their activity with light as an aspect of fire, slowly working down through the elements in order of density with air next, then water, and finally earth. Associated with these angels are the nature spirits working with the creative forces of sound, color, and harmony which are all modes of creation.
Pink (Rubellite) Tourmaline
Elbaite Variety
from Barra Do Salinas, Minais Gerais, BRAZIL
Measurements Approx.
Height - 4 cm
Width - 3.9 cm
Length - 6.8 cm
Tourmaline is one of the most significant mineral groups for metaphysical use, and it includes a wide variety of different forms, colours and energy spectrums.
Although Tourmaline can be found on every continent, fine crystals specimens and gems are still considered rare and often command high prices.
Tourmaline made its entry into the commercial worlds of gems in 1876 when George Kunz sold a Green Tourmaline gem form Maine to Tiffany and Co.
In the ensuing years, Tourmaline gained great popularity as a gemstone, and more recently its subtle energy properties have made it a favourite of metaphysical collectors and practitioners.
Tourmaline is a complex aluminium borosilicate, its crystal pattern is hexagonal (trigonal) with prismatic crystals and striations running parallel to the main axis.
No other gemstone has such wide variations in colours. Tourmaline can be red, pink, yellow, brown, black and various shades of green, are called Watermelon Tourmaline.
Pink Tourmaline:
Spiritually Pink Tourmaline is said to activate the high-heart centre and one’s ability to surrender to love. It may help one find strength in vulnerability and feel joy in all one’s learning experiences.
Pink Tourmaline is considered a powerful emotional balancer and cleanser. It is also said to be one of the strongest stones to alleviating stress and help balance any emotional stress which may come from that state. It is considered by some a great stone for children, especially when hyperactive or having difficulty sleeping.
Physically Pink Tourmaline may help calm and soothe the heart, assisting with angina, irregular heartbeat and recovery from heart attack. It’s said to be useful in balancing brain biochemistry to help promote a balanced mental state.
Balthasar de Monconys (1611-1665) was a French physicist and judge, born in Lyon. In 1618, Monconys' parents sent him to a Jesuit boarding school in Salamanca, Spain, as a plague had broken out in Lyon. Monconys was deeply interested in metaphysics and mysticism, and studied the teachings of Pythagoras, Zoroastrism, and Greek and Arab alchemists. From a young age, he dreamed of travelling to India and China. However, he returned to Lyon after finishing his studies. At the age of thirty-four years old he was finally able to leave behind the safety of his library and the theoretical speculation of the laboratory, and become a tireless traveller in Europe and the East.
Monconys travelled to Portugal, England, Germany, Italy, the Netherlands, Istanbul and the Middle East with the son of the Duke of Luynes. Even in his very first journey to Portugal, it is obvious that in each city Monconys is very soon able to connect with mathematicians, clergymen, surgeons, engineers, chemists, physicians and princes, to visit their laboratories and to collect “secrets and experiences”.
After Portugal, Monconys travelled to Italy, and finally departed to the East, to study the ancient religions and denominations, and meet the gymnosophists. In 1647-48 he was in Egypt. Seeking the Zoroasters and followers of Hermes Trismegistus, he reached Mount Sinai. In Egypt, the 17th century European was lost in a labyrinth of small and winding streetlets, and discovered different cults and religions, the diversity of ethnicities and their customs: Turks, Kopts, Jews, Arabs, Mauritans, Maronites, Armenians, and Dervishes. He followed several superstitious suggestions and discovered marvellous books of astronomy in Hebrew, Persian and Arabic. Later on, after his pilgrimage to the Holy Land, he crossed Asia Minor and reached Istanbul, from where he planned to travel to Persia. For once more in his life however, the plague forced him to change his course; he left for Izmir, and returned to Lyon in 1649.
Fron 1663 to 1665 Monconys travelled incessantly between Paris, London, the Netherlands and Germany. He visited princes and philosophers, libraries and laboratories, and maintained frequent correspondence with several scientists. Finally, after consequent asthma attacks he passed away before his travel notes could be published.
His travel journal (1665-1666) was edited and published by his son and by his Jesuit friend J. Berchet. The journal is enriched by drawings which testify to the wide scope of Monconys' interests. Monconys collected a vast corpus of material which includes medical recipes, chemistry forms, material connected to the esoteric sciences, mathematical puzzles, questions of Algebra and Geometry, zoological observations, mechanical applications, descriptions of natural phenomena, chemistry experiments, various machines and devices, medical matters, the philosopher's stone, astronomical measurements, magnifying lenses, thermometres, hydraulic devices, drinks, hydrometres, microscopes, architectural constructions and even matters connected to hygiene or the preparation of liquors.
The third volume includes a hundred and sixty-five medical, chemical and physics experiments with their outcomes as well as a sonnet on the battle of Marathon. There are five detailed indexes for the classification of the material. At the same time, this three-volume work permits the construction of a list of names (more than two hundred and fifty) of scholars, physicians, alchemists, astrologists, mathematicians, empirical scientists and other researches. From Monconys' text and correspondence a highly interesting network emerges, as it is possible for specialists of all disciplines to reconstruct the contacts between scientists and scholars of Western Europe, for a period spanning more than a decade in the mid-17th century.
Monconys' work is written in a monotonous style, but nevertheless possesses a perennial charm, as it is a combination of a travel journal and a laboratory scientist's workbook. The drawings accompanying the text make up a corpus of material unique in travel literature.
Written by Ioli Vingopoulou
Fransız asıllı fizikçi ve yargıç Balthasar de Monconys (1611-1665) (okunuş: Baltazar dö Monkoni) Lyon şehrinde doğar. Yaşadığı kentte 1618 yılında veba salgını baş gösterince, ailesi onu Salamanka şehrine bir Cizvit yatılı okuluna gönderir. Metafizik ve gizemcilik (mistisizm) için yoğun ilgi duyan Monconys, Pythagoras öğretilerini, Zerdüştlüğü, hatta Yunan ve Arap simyacıların eserlerini okur. Daha küçük yaştan beri Hindistan ve Çin'e kadar ulaşmayı düşlemesine karşın eğitimini tamamladıktan sonra Lyon'a geri döner ve nihayet 34 yaşındayken kütüphane güvenliğini ve teorik laboratuvar bilgilerini terkedip kararlı bir biçimde Avrupa ve Doğu'ya seyahat etmeye başlar.
Monconys, Luynes dükünün oğluyla birlikte Portekiz, İngiltere, Almanya, İtalya, Alçak Ülkeler (Hollanda), İstanbul ve Orta Doğu'ya seyahat eder. Daha ilk yolculuğundan (Portekiz'de) uğradığı her şehirde kısa zamanda matematikçi, rahip, cerrah, mühendis, kimyager, doktor ve prens gibi çeşit çeşit insanlarla bağ kurup laboratuvarlarını ziyaret ederek "sır ve tecrübeler" derler. Yazdığı metinde bu süreci izlemekteyiz. Portekiz'den sonra ilk kez olarak İtalya'ya gider ve nihayet çeşitli dogmaları, eski dinleri ve "gymnosophist"leri (çıplak bilgeler) incelemek üzere Doğu'ya doğru yola çıkar. 1647-48 yıllarında Mısır'da bulunmaktadır; Zerdüştçüler ve Hermes-Thot (Hermes Trismegistus) müritleriyle karşılaşmak için Sina dağına kadar ulaşır. Mısır'da 17. yüzyılın bu Batı Avrupalısı daracık sokakların oluşturduğu labirent içinde yitip, türk, kıptî, yahudî, arap, moritanyalı, maruni, ermeni, derviş gibi binbir çeşit dogma ve mezhep, milliyet ve kültürel adet keşfeder. Batıl inançlara uyar, ibranice farsça yada arapça dillerinde yazılmış şahane gökbilim kitapları keşfeder. Kutsal Yerlere hacılık ziyaretinin ardından Anadolu'yu boydan boya geçip İstanbul'a varır. Buradan İran'a gitmeyi planlar. Ancak veba salgını bir kez daha onu kaçmaya zorlar; İzmir'e geçip oradan 1649 yılında Lyon'a döner.
Monconys 1663'ten 1665'e kadar hiç ara vermeden Paris, Londra, Hollanda ve Almanya arasında mekik dokuyup prens ve filozoflarla konuşur, çeşitli kütüphane ve laboratuvarları ziyaret eder ve birçok bilim adamıyla yoğun bir mektuplaşma sürdürür. Ancak sonunda üstüste geçirdiği astım krizlerinden sonra seyahat notlarının kitap olarak basılmış halini göremeden ölür.
Sözkonusu yayın (1665-1666) Monconys'nin oğlu ve dostu Cizvit rahip J. Berchet tarafından hazırlanmıştır. Monconys'nin geniş bir ilgi alanına sahip oluşu günlüğünü tamamlayan desenlerle kanıtlanmaktadır. Derlemiş olduğu çeşitli ve zengin malzeme içinde: ilâç reçeteleri, kimyasal formüller, gizli ilimlerle ilgili malzeme, matematik bilmeceleri, cebir ve geometri problemleri, zoolojiye (hayvan bilimi) ilişkin gözlemler, mekanik uygulamalar, doğa fenomenleri betimlemeleri, kimyasal deneyler, makineler, tıp konuları, felsefe taşı, astronomi ölçümleri, büyüteçler, termometreler, su tesisatıyla ilgili cihazlar, içkiler, hidrometreler, mikroskoplar, mimarî yapılar, hijyen ve likör yapımı gibi konular var.
Kitabın üçüncü cildinde işlenen konular arasında 165 tane fizik kimya ve tıp deneyi ve sonuçları, ve Maraton muharebesi hakkında bir sone yer almaktadır. Bu içeriğin sınıflanması için kitaba beş tane ayrı çözümlemeli dizin eklenmiştir. Aynı zamanda, Monconys'nin üç ciltlik eserinden upuzun bir isimler katalogu da (250'den fazla isim) elde edilebilir. Bu isimler yazar ve düşünür, doktor, simyacı, astrolog, matematikçi, deneyci ve çeşitli uzman araştırmacılara aittir. Monconys'nin metninden ve mektuplaşmalarından, 17. yüzyıl ortalarında özellikle batı Avrupa'da, 20 yıldan fazla bir süre için, tüm bilim uzmanlarının yeniden birleştirebileceği son derece ilginç bir bilimler arası ilişki ağı ortaya çıkmaktadır.
Monconys'nin yazış uslubu tekdüze olmakla birlikte, bir laboratuvar araştırmacısının seyahat günlüğü ile gözlem defterini bir arada bulundurması açısından eşsiz bir cazibeye sahiptir. Metne eşlik eden desenler seyahat edebiyatı yayınlarında rastlanan ender türden bir malzeme oluşturmaktadır.
Yazan: İoli Vingopoulou
Crystal Export From India-Manufacturer & Wholesaler of New Age Products, Gemstone Products, Metaphysical Products, Gemstone Jewellery, Silver Jewelery, Chakra jewllery, Chakra Pendants, Pendulums, Healing Wands Etc With Low cost and high quality
Artist MIRZA AJANOVIC: Painting With Light ,.
FROM OPUS: Painting Light in Motion, FROM GRAND OPUS: Painting with Light, Rhythm and Movement Painting, Music of light, painter of light, Painting Music, Visual expression of music in Photography, ART Avant-garde, Painting with Light, Motion ART, Interrupted, graffiti/street-art, ART Avant-garde, Avant-garde Painting with Light, Motion ART, Painting with MOTION Light, Motion artist, Shadows Dance, Metaphysics ART, Spirituality, Transcendental ART, Mystic ART, Mystical Photography, Fine ART Photography, Artist MIRZA AJANOVIC Photography, Acutely observed realism brought a new level of emotional intensity, Observation of physical and psychological reality… Perception beyond Appearance’s, POETIC Photography, Symbolism, Transcendental ART surrealism, Perception Internal, Perception Beyond the Veil, Perception beyond any veil; including the veil of religion, ""I've brought you a mirror. Look at yourself and remember me."" - Jalaluddin Rumi Artist MIRZA AJANOVIC Fine ART Photography, .
www.wix.com/artajanovic/MIRZA.
These Pictures are Actually Not Photoshopped,
Giorgio de Chirico (1888-1978) - Metaphysical interior (1925). In the collection of the Yale University Art Gallery, New Haven, CT.
The painting in the picture reminds me of François Auguste Biard's work at the North Norway Art Museum.
Painted in 1917. The subject of this painting comes from the Iliad, when the Trojan hero Hector bids goodbye to his wife Andromache before he leaves to fight the Achaeans. Italian artist Giorgio De Chirico (1888-1978) painted the figures into geometrical shapes typical of his 'metaphysical' style.
“Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” Immanuel Kant
"You win some, lose some, and wreck some" Dale Earnhardt NASCAR driver 1951-2001
Saw this old rusted wreck just east of FR205 on the Arizona Trail hiking across the Central Kaibab between the North Rim of the Grand Canyon and Jacob Lake north of Crane Lake.
The Knight's bones are dust,
And his good sword rust;--
His soul is with the saints, I trust.
Samuel Taylor Coleridge "The Knight's Tomb"
Balthasar de Monconys (1611-1665) was a French physicist and judge, born in Lyon. In 1618, Monconys' parents sent him to a Jesuit boarding school in Salamanca, Spain, as a plague had broken out in Lyon. Monconys was deeply interested in metaphysics and mysticism, and studied the teachings of Pythagoras, Zoroastrism, and Greek and Arab alchemists. From a young age, he dreamed of travelling to India and China. However, he returned to Lyon after finishing his studies. At the age of thirty-four years old he was finally able to leave behind the safety of his library and the theoretical speculation of the laboratory, and become a tireless traveller in Europe and the East.
Monconys travelled to Portugal, England, Germany, Italy, the Netherlands, Istanbul and the Middle East with the son of the Duke of Luynes. Even in his very first journey to Portugal, it is obvious that in each city Monconys is very soon able to connect with mathematicians, clergymen, surgeons, engineers, chemists, physicians and princes, to visit their laboratories and to collect “secrets and experiences”.
After Portugal, Monconys travelled to Italy, and finally departed to the East, to study the ancient religions and denominations, and meet the gymnosophists. In 1647-48 he was in Egypt. Seeking the Zoroasters and followers of Hermes Trismegistus, he reached Mount Sinai. In Egypt, the 17th century European was lost in a labyrinth of small and winding streetlets, and discovered different cults and religions, the diversity of ethnicities and their customs: Turks, Kopts, Jews, Arabs, Mauritans, Maronites, Armenians, and Dervishes. He followed several superstitious suggestions and discovered marvellous books of astronomy in Hebrew, Persian and Arabic. Later on, after his pilgrimage to the Holy Land, he crossed Asia Minor and reached Istanbul, from where he planned to travel to Persia. For once more in his life however, the plague forced him to change his course; he left for Izmir, and returned to Lyon in 1649.
Fron 1663 to 1665 Monconys travelled incessantly between Paris, London, the Netherlands and Germany. He visited princes and philosophers, libraries and laboratories, and maintained frequent correspondence with several scientists. Finally, after consequent asthma attacks he passed away before his travel notes could be published.
His travel journal (1665-1666) was edited and published by his son and by his Jesuit friend J. Berchet. The journal is enriched by drawings which testify to the wide scope of Monconys' interests. Monconys collected a vast corpus of material which includes medical recipes, chemistry forms, material connected to the esoteric sciences, mathematical puzzles, questions of Algebra and Geometry, zoological observations, mechanical applications, descriptions of natural phenomena, chemistry experiments, various machines and devices, medical matters, the philosopher's stone, astronomical measurements, magnifying lenses, thermometres, hydraulic devices, drinks, hydrometres, microscopes, architectural constructions and even matters connected to hygiene or the preparation of liquors.
The third volume includes a hundred and sixty-five medical, chemical and physics experiments with their outcomes as well as a sonnet on the battle of Marathon. There are five detailed indexes for the classification of the material. At the same time, this three-volume work permits the construction of a list of names (more than two hundred and fifty) of scholars, physicians, alchemists, astrologists, mathematicians, empirical scientists and other researches. From Monconys' text and correspondence a highly interesting network emerges, as it is possible for specialists of all disciplines to reconstruct the contacts between scientists and scholars of Western Europe, for a period spanning more than a decade in the mid-17th century.
Monconys' work is written in a monotonous style, but nevertheless possesses a perennial charm, as it is a combination of a travel journal and a laboratory scientist's workbook. The drawings accompanying the text make up a corpus of material unique in travel literature.
Written by Ioli Vingopoulou
Fransız asıllı fizikçi ve yargıç Balthasar de Monconys (1611-1665) (okunuş: Baltazar dö Monkoni) Lyon şehrinde doğar. Yaşadığı kentte 1618 yılında veba salgını baş gösterince, ailesi onu Salamanka şehrine bir Cizvit yatılı okuluna gönderir. Metafizik ve gizemcilik (mistisizm) için yoğun ilgi duyan Monconys, Pythagoras öğretilerini, Zerdüştlüğü, hatta Yunan ve Arap simyacıların eserlerini okur. Daha küçük yaştan beri Hindistan ve Çin'e kadar ulaşmayı düşlemesine karşın eğitimini tamamladıktan sonra Lyon'a geri döner ve nihayet 34 yaşındayken kütüphane güvenliğini ve teorik laboratuvar bilgilerini terkedip kararlı bir biçimde Avrupa ve Doğu'ya seyahat etmeye başlar.
Monconys, Luynes dükünün oğluyla birlikte Portekiz, İngiltere, Almanya, İtalya, Alçak Ülkeler (Hollanda), İstanbul ve Orta Doğu'ya seyahat eder. Daha ilk yolculuğundan (Portekiz'de) uğradığı her şehirde kısa zamanda matematikçi, rahip, cerrah, mühendis, kimyager, doktor ve prens gibi çeşit çeşit insanlarla bağ kurup laboratuvarlarını ziyaret ederek "sır ve tecrübeler" derler. Yazdığı metinde bu süreci izlemekteyiz. Portekiz'den sonra ilk kez olarak İtalya'ya gider ve nihayet çeşitli dogmaları, eski dinleri ve "gymnosophist"leri (çıplak bilgeler) incelemek üzere Doğu'ya doğru yola çıkar. 1647-48 yıllarında Mısır'da bulunmaktadır; Zerdüştçüler ve Hermes-Thot (Hermes Trismegistus) müritleriyle karşılaşmak için Sina dağına kadar ulaşır. Mısır'da 17. yüzyılın bu Batı Avrupalısı daracık sokakların oluşturduğu labirent içinde yitip, türk, kıptî, yahudî, arap, moritanyalı, maruni, ermeni, derviş gibi binbir çeşit dogma ve mezhep, milliyet ve kültürel adet keşfeder. Batıl inançlara uyar, ibranice farsça yada arapça dillerinde yazılmış şahane gökbilim kitapları keşfeder. Kutsal Yerlere hacılık ziyaretinin ardından Anadolu'yu boydan boya geçip İstanbul'a varır. Buradan İran'a gitmeyi planlar. Ancak veba salgını bir kez daha onu kaçmaya zorlar; İzmir'e geçip oradan 1649 yılında Lyon'a döner.
Monconys 1663'ten 1665'e kadar hiç ara vermeden Paris, Londra, Hollanda ve Almanya arasında mekik dokuyup prens ve filozoflarla konuşur, çeşitli kütüphane ve laboratuvarları ziyaret eder ve birçok bilim adamıyla yoğun bir mektuplaşma sürdürür. Ancak sonunda üstüste geçirdiği astım krizlerinden sonra seyahat notlarının kitap olarak basılmış halini göremeden ölür.
Sözkonusu yayın (1665-1666) Monconys'nin oğlu ve dostu Cizvit rahip J. Berchet tarafından hazırlanmıştır. Monconys'nin geniş bir ilgi alanına sahip oluşu günlüğünü tamamlayan desenlerle kanıtlanmaktadır. Derlemiş olduğu çeşitli ve zengin malzeme içinde: ilâç reçeteleri, kimyasal formüller, gizli ilimlerle ilgili malzeme, matematik bilmeceleri, cebir ve geometri problemleri, zoolojiye (hayvan bilimi) ilişkin gözlemler, mekanik uygulamalar, doğa fenomenleri betimlemeleri, kimyasal deneyler, makineler, tıp konuları, felsefe taşı, astronomi ölçümleri, büyüteçler, termometreler, su tesisatıyla ilgili cihazlar, içkiler, hidrometreler, mikroskoplar, mimarî yapılar, hijyen ve likör yapımı gibi konular var.
Kitabın üçüncü cildinde işlenen konular arasında 165 tane fizik kimya ve tıp deneyi ve sonuçları, ve Maraton muharebesi hakkında bir sone yer almaktadır. Bu içeriğin sınıflanması için kitaba beş tane ayrı çözümlemeli dizin eklenmiştir. Aynı zamanda, Monconys'nin üç ciltlik eserinden upuzun bir isimler katalogu da (250'den fazla isim) elde edilebilir. Bu isimler yazar ve düşünür, doktor, simyacı, astrolog, matematikçi, deneyci ve çeşitli uzman araştırmacılara aittir. Monconys'nin metninden ve mektuplaşmalarından, 17. yüzyıl ortalarında özellikle batı Avrupa'da, 20 yıldan fazla bir süre için, tüm bilim uzmanlarının yeniden birleştirebileceği son derece ilginç bir bilimler arası ilişki ağı ortaya çıkmaktadır.
Monconys'nin yazış uslubu tekdüze olmakla birlikte, bir laboratuvar araştırmacısının seyahat günlüğü ile gözlem defterini bir arada bulundurması açısından eşsiz bir cazibeye sahiptir. Metne eşlik eden desenler seyahat edebiyatı yayınlarında rastlanan ender türden bir malzeme oluşturmaktadır.
Yazan: İoli Vingopoulou
In civilizations of a traditional nature, intellectual intuition lies at the root of everything; in other words, it is the pure metaphysical doctrine that constitutes the essential, everything else being linked to it, either in the form of consequences or applications to the various orders of contingent reality.
Not only is this true of social institutions, but also of the sciences, that is, branches of knowledge bearing on the domain of the relative, which in such civilizations are only regarded as dependencies, prolongations, or reflections of absolute or principial knowledge.
Thus a true hierarchy is always and everywhere preserved: the relative is not treated as non-existent, which would be absurd; it is duly taken into consideration, but is put in its rightful place, which cannot but be a secondary and subordinate one; and even within this relative domain there are different degrees of reality, according to whether the subject lies nearer to or further from the sphere of principles.
Thus, as regards science, there are two radically different and mutually incompatible conceptions, which may be referred to respectively as traditional and modern. We have often had occasion to allude to the 'traditional sciences' that existed in antiquity and the Middle Ages and which still exist in the East, though the very idea of them is foreign to the Westerners of today. It should be added that every civilization has had 'traditional sciences' of its own and of a particular type. Here we are no longer in the sphere of universal principles, to which pure metaphysics alone belongs, but in the realm of adaptations.
(…)
By seeking to sever the connection of the sciences with any higher principle, under the pretext of assuring their independence, the modern conception robs them of all deeper meaning and even of all real interest from the point of view of knowledge; it can only lead them down a blind alley, by enclosing them, as it does, in a hopelessly limited realm.
Moreover, the development achieved in this realm is not a deepening of knowledge, as is commonly supposed, but on the contrary remains completely superficial, consisting only of the dispersion in detail already referred to and an analysis as barren as it is laborious; this development can be pursued indefinitely without coming one step closer to true knowledge.
It must also be remarked that it is not for its own sake that, in general, Westerners pursue science; as they interpret it, their foremost aim is not knowledge, even of an inferior order, but practical applications, as can be deduced from the ease with which the majority of our contemporaries confuse science and industry, and from the number of those for whom the engineer represents the typical man of science.
(…)
Modern experimentalism involves the curious illusion that a theory can be proven by facts, whereas in reality the same facts can always be equally well explained by several different theories; some of the pioneers of the experimental method, such as Claude Bernard, have themselves recognized that they could interpret facts only with the help of preconceived ideas, without which they would remain 'brute facts' devoid of all meaning and scientific value.
Since we have been led to speak of experimentalism, the opportunity may be taken to answer a question that may be raised in this connection: why have the experimental sciences received a development in modern civilization such as they never had in any other?
The reason is that these sciences are those of the sensible world, those of matter, and also those lending themselves most directly to practical applications; their development, proceeding hand in hand with what might well be called the 'superstition of facts', is therefore in complete accord with specifically modern tendencies, whereas earlier ages could not find sufficient interest in them to pursue them to the extent of neglecting, for their sake, knowledge of a higher order. It must be clearly understood that we are not saying that any kind of knowledge can be deemed illegitimate, even though it be inferior; what is illegitimate is only the abuse that arises when things of this kind absorb the whole of human activity, as we see them doing at present.
(…)
One of the characteristics of the present age is the exploitation of everything that had hitherto been neglected as being of insufficient importance for men to devote their time and energy to, but which nevertheless had to be developed before the end of the cycle, since the things concerned had their place among the possibilities destined to be manifested within it; such in particular is the case of the experimental sciences that have come into existence in recent centuries.
There are even some modern sciences that represent, quite literally, residues of ancient sciences that are no longer understood: in a period of decadence, the lowest part of these sciences became isolated from all the rest, and this part, grossly materialized, served as the starting-point for a completely different development, in a direction conforming to modern tendencies; this resulted in the formation of sciences that have ceased to have anything in common with those that preceded them. Thus, for example, it is wrong to maintain, as is generally done, that astrology and alchemy have respectively become modern astronomy and modern chemistry, even though this may contain an element of truth from a historical point of view; it contains, in fact, the very element of truth to which we have just alluded, for, if the latter sciences do in a certain sense come from the former, it is not by 'evo-lution' or 'progress' - as is claimed - but on the contrary, by degeneration.
(…)
These are the two complementary functions proper to the traditional sciences: on the one hand, as applications of the doctrine, they make it possible to link the different orders of reality and to integrate them into the unity of a single synthesis, and on the other, they constitute, at least for some, and in accordance with their individual aptitudes, a preparation for a higher knowledge and a way of approach to it - forming by virtue of their hierarchical positioning, according to the levels of existence to which they refer, so many rungs as it were by which it is possible to climb to the level of pure intellectuality.
It is only too clear that modern sciences cannot in any way serve either of these purposes; this is why they can be no more than 'profane science', whereas the 'traditional sciences', through their connection with metaphysical principles, are effectively incorporated in 'sacred science'.
The ways leading to knowledge may be extremely different at the lowest degree, but they draw closer and closer together as higher levels are reached. This is not to say that any of these preparatory degrees are absolutely necessary, since they are mere contingent methods having nothing in common with the end to be attained; it is even possible for some persons, in whom the tendency to contemplation is predominant, to attain directly to true intellectual intuition without the aid of such means; but this is a more or less exceptional case, and in general it is accepted as being necessary to proceed upward gradually.
The whole question may also be illustrated by means of the traditional image of the 'cosmic wheel': the circumference in reality exists only in virtue of the center, but the beings that stand upon the circumference must necessarily start from there or, more precisely, from the point thereon at which they actually find themselves, and follow the radius that leads to the center. Moreover, because of the correspondence that exists between all the orders of reality, the truths of a lower order can be taken as symbols of those of higher orders, and can therefore serve as 'supports' by which one may arrive at an understanding of these; and this fact makes it possible for any science to become a sacred science, giving it a higher or 'anagogical' meaning deeper than that which it possesses in itself.
Every science, we say, can assume this character, whatever may be its subject-matter, on the sole condition of being constructed and regarded from the traditional standpoint; it is only necessary to keep in mind the degrees of importance of the various sciences according to the hierarchical rank of the diverse realities studied by them; but whatever degree they may occupy, their character and functions are essentially similar in the traditional conception.
What is true of the sciences is equally true of the arts, since every art can have a truly symbolic value that enables it to serve as a support for meditation, and because it’s rules, like the laws studied by the sciences, are reflections and 'applications of fundamental principles: there are then in every normal civilization 'traditional arts', but these are no less unknown to the modern West than are the 'traditional sciences'. The truth is that there is really no 'profane realm' that could in any way be opposed to a 'sacred realm'; there is only a 'profane point of view', which is really none other than the point of view of ignorance.
This is why 'profane science', the science of the moderns, can as we have remarked elsewhere be justly styled 'ignorant knowledge', knowledge of an inferior order confining itself entirely to the lowest level of reality, knowledge ignorant of all that lies beyond it, of any aim more lofty than itself, and of any principle that could give it a legitimate place, however humble, among the various orders of knowledge as a whole. Irremediably enclosed in the relative and narrow realm in which it has striven to proclaim itself independent, thereby voluntarily breaking all connection with transcendent truth and supreme wisdom, it is only a vain and illusory knowledge, which indeed comes from nothing and leads to nothing.
This survey will suffice to show how great is the deficiency of the modern world in the realm of science, and how that very science of which it is so proud represents no more than a deviation and, as it were, a downfall from true science, which for us is absolutely identical with what we have called 'sacred' or 'traditional' science. Modern science, arising from an arbitrary limitation of knowledge to a particular order-the lowest of all orders, that of material or sensible reality-has lost, through this limitation and the consequences it immediately entails, all intellectual value; as long, that is, as one gives to the word 'intellectuality' the fullness of its real meaning, and refuses to share the 'rationalist' error of assimilating pure intelligence to reason, or, what amount to the same thing, of completely denying intellectual intuition.
The root of this error, as of a great many other modern errors - and the cause of the entire deviation of science that we have just described - is what may be called 'individualism', an attitude indistinguishable from the anti-traditional attitude itself and whose many manifestations in all domains constitute one of the most important factors in the confusion of our time; we shall therefore now study this individualism more closely.
----
excerpts from The Crisis of the Modern World by René Guenon
Chapter 4: Sacred and profane science
This is the 6th of 9 images of a wonderful stone from India that I first saw a few years ago and had not purchased any until this year. These are the small ones (only about 4" long"). At this size, 4" = $4.00 each. Yes, I bought several of these. Seen at the Tucson Rock and Gem Show, venue at the Ramada Ltd.
Here is a link to another online vendor, who has embellished the metaphysical information more than Raj Minerals, who is the vendor who allowed me to photograph here. You may get a chuckle out of this:
www.freespiritemporium.com/lingams.html
Some of these images are quite beautiful to me and faithfully capture how I saw them displayed this year. Each photo has another link and detail added to the description. All are part of the set I have started for this year's show. The largest stones are seen at the start of this series and go up to about 50" long!
"I was thrown out of college for cheating on the metaphysics exam: I looked into the soul of another boy."
– Woody Allen, "Annie Hall" (1977).
"I am against bigness and greatness in all their forms, and with the invisible molecular moral forces that work from individual to individual, stealing in through the crannies of the world like so many soft rootlets, or like the capillary oozing of water, and yet rending the hardest monuments of man's pride, if you give them time. The bigger the unit you deal with, the hollower, the more brutal, the more mendacious is the life displayed. So I am against all big organizations as such, national ones first and foremost; against all big successes and big results; and in favor of the eternal forces of truth which always work in the individual and immediately unsuccessful way, under-dogs always, till history comes, after they are long dead, and puts them on top.—You need take no notice of these ebullitions of spleen, which are probably quite unintelligible to anyone but myself."
– William James, letter to Mrs. Henry Whitman (June 7, 1899).
Test shot. Not sure exactly what a Metaphysical store sells - I will check it out another time when they're open.
Nikon D700 + AF-S NIKKOR 24mm f/1.4 G ED N Aspherical
_ND74376
Theyyam is an artistic dance form where metaphysical thoughts and expressions of immortal souls are impersonated to a believer through a mortal body. Theyyam originated from "Kaliyattam" once practiced by the tribal community of north Kerala. Theyyam had grown to the present form through many transformations since it’s origin. Landlords and chieftains of those days are the main forces behind many of such transformations. The community and its body began to use this art to propagate the major theme of social enforcement. The artists are also encouraged by the authorities to introduce new themes into its traditional layers and classified different acts and expressions to match specific needs for their desire. The character representations were very broad. They range from mild to wild in representations. Theyyam is a sect in which old heroes are sanctified and worshipped as the guardians of villages and homes. Yet, it includes a complex universe centered on the belief that a man can—after suitable mental, physical and spiritual preliminaries—don the costume of a particular deity and then become that deity. In this elevated state he assumes superhuman and divine powers—speaking, moving, blessing and even healing as a god or goddess. What is crucial is that the person is not possessed by the spirit of the deity.
according to wikipedia
A hijab or ḥijāb (Arabic: حجاب, (he-zjab)pronounced [ħiˈʒæːb]/[ħiˈɡæːb]) is both the head covering traditionally worn by Muslim women and modest Muslim styles of dress in general.
The Arabic word literally means curtain or cover (noun). Most Islamic legal systems define this type of modest dressing as covering everything except the face and hands in public.[1][2] According to Islamic scholarship, hijab is given the wider meaning of modesty, privacy, and morality;[3] the word for a headscarf or veil used in the Qur'an is khimār (خمار) and not hijab. Still another definition is metaphysical, where al-hijab refers to "the veil which separates man or the world from God."[2]
Muslims differ as to whether the hijab should be required on women in public, as it is in countries like Iran and Saudi Arabia, or whether it should be banned in schools, as it is in France and Turkey.
According to the Encyclopedia of Islam and the Muslim World, the meaning of hijab has evolved over time:
The term hijab or veil is not used in the Qur'an to refer to an article of clothing for women or men, rather it refers to a spatial curtain that divides or provides privacy. The Qur'an instructs the male believers (Muslims) to talk to wives of Prophet Muhammad behind a hijab. This hijab was the responsibility of the men and not the wives of Prophet Muhammad. However, in later Muslim societies this instruction, specific to the wives of Prophet Muhammad, was generalized, leading to the segregation of the Muslim men and women. The modesty in Qur'an concerns both men's and women's gaze, gait, garments, and genitalia. The clothing for women involves khumūr over the necklines and jilbab (cloaks) in public so that they may be identified and not harmed. Guidelines for covering of the entire body except for the hands, the feet and the face, are found in texts of fiqh and hadith that are developed later.[4]
In Indonesia, notably the nation with the largest Muslim population, and some cultures or languages influenced by it namely Malaysia, Brunei and the Philippines, the term jilbab is used instead with few exceptions to refer to the hijab, as opposed to its "correct" modern Arabic definition. In some cases, colloquial use of the term Jilbab may refer to any pre-Islamic female traditional head-dress.
Qur'an
The Qur'an instructs both Muslim men and women to dress in a modest way.
The clearest verse on the requirement of the hijab is surah 24:30-31, asking women to draw their khimar over their bosoms.[5][6]
And say to the believing women that they should lower their gaze and guard their modesty; that they should not display their beauty and ornaments except what (must ordinarily) appear thereof; that they should draw their khimar over their bosoms and not display their beauty except to [...] (Qur'an 24:31)
In the following verse, Muslim women are asked to draw their jilbab over them (when they go out), as a measure to distinguish themselves from others, so that they are not harassed. Sura 33:59 reads:[6]
Those who harass believing men and believing women undeservedly, bear (on themselves) a calumny and a grievous sin. O Prophet! Enjoin your wives, your daughters, and the wives of true believers that they should cast their outer garments over their persons (when abroad) That is most convenient, that they may be distinguished and not be harassed. [...] (Qur'an 33:58–59)
Other Muslims take a relativist approach to ħijāb. They believe that the commandment to maintain modesty must be interpreted with regard to the surrounding society. What is considered modest or daring in one society may not be considered so in another. It is important, they say, for believers to wear clothing that communicates modesty and reserve in the situations in which they find themselves.[7]
Along with scriptural arguments, Leila Ahmed argues that head covering should not be compulsory in Islam because the veil predates the revelation of the Qur'an. Head-covering was introduced into Arabia long before Muhammad, primarily through Arab contacts with Syria and Iran, where the hijab was a sign of social status. After all, only a woman who need not work in the fields could afford to remain secluded and veiled.[8][9]
Leila Ahmed argues for a more liberal approach to hijab. Among her arguments is that while some Qur'anic verses enjoin women in general to Qur'an 33:58–59. “draw their Jilbabs (overgarment or cloak) around them to be recognized as believers and so that no harm will come to them.” and Qur'an 24:31. “guard their private parts... and drape down khimar over their breasts [when in the presence of unrelated men]”, they urge modesty.
However according to the vast majority of Muslims Sunni and Shia, al-Mawrid al-Qawrid Arabic dictionary, Hans-Wehr Dictionary of Arabic into English, and the exhaustive ancient Arabic dictionary "Lisan al-arab", (literally the tongue of the Arabs) the word 'Khimar' means and was used to refer to a piece of cloth that covers the head, or headscarf today called 'hijab'.
Other verses do mention separation of men and women but they refer specifically to the wives of the prophet:
Abide still in your homes and make not a dazzling display like that of the former times of ignorance:(Qur'an 33:32–33)
And when ye ask of them [the wives of the Prophet] anything, ask it of them from behind a curtain.(Qur'an 33:53)
According to Leila Ahmed, nowhere in the whole of the Qur'an is the term hijab applied to any woman other than the wives of Muhammad..[8][10]
According to at least two authors, (Reza Aslam and Leila Ahmed) the stipulations of the hijab were originally meant only for Muhammad's wives, and were intended to maintain their inviolability. This was because Muhammad conducted all religious and civic affairs in the mosque adjacent to his home:
People were constantly coming in and out of this compound at all hours of the day. When delegations from other tribes come to speak with Prophet Muhammad, they would set up their tents for days at a time inside the open courtyard, just a few feet away from the apartments in which Prophet Muhammad's wives slept. And new emigrants who arrived in Yatrib would often stay within the mosque's walls until they could find suitable homes.[8]
According to Ahmed:
By instituting seclusion Prophet Muhammad was creating a distance between his wives and this thronging community on their doorstep.[11]
They argue that the term darabat al-hijab ("taking the veil"), was used synonymously and interchangeably with "becoming Prophet Muhammad's wife", and that during Muhammad's life, no other Muslim woman wore the hijab. Aslam suggests that Muslim women started to wear the hijab to emulate Muhammad's wives, who are revered as "Mothers of the Believers" in Islam,[8] and states "there was no tradition of veiling until around 627 C.E." in the Muslim community.[8][11]
The four major Sunni schools of thought (Hanafi, Shafi'i, Maliki and Hanbali) hold that entire body of the woman, except her face and hands- though many[who?] say face, hands, and feet-, is part of her awrah, that is the parts of her body that must be covered during prayer and in public settings.[13][14]
Some Muslims[who?] recommend that women wear clothing that is not form fitting to the body: either modest forms of western clothing (long shirts and skirts), or the more traditional jilbāb, a high-necked, loose robe that covers the arms and legs. A khimār or shaylah, a scarf or cowl that covers all but the face, is also worn in many different styles. Some Salafi scholars encourage covering the face, while some follow the opinion that it is only not obligatory to cover the face and the hands but mustahab (Highly recommended). Other scholars oppose face covering, particularly in the west where the woman may draw more attention as a result. These garments are very different in cut than most of the traditional forms of ħijāb, and they are worn worldwide by Muslims.
Detailed scholarly attention has been focused on prescribing female dress. Most scholars agree that the basic requirements are that when in the presence of someone of the opposite sex (other than a close family member - see mahram), a woman should cover her body, and walk and dress in a way which does not draw sexual attention to her. Some scholars go so far as to specify exactly which areas of the body must be covered. In some cases, this is everything save the eyes but most require everything save the face and hands to be covered. In nearly all Muslim cultures, young girls are not required to wear a ħijāb. There is not a single agreed age when a woman should begin wearing a ħijāb; however, in many Muslim countries, puberty is the dividing line.
In private, and in the presence of mahrams, the rules on dress are relaxed. However, in the presence of husband, most scholars stress the importance of mutual freedom and pleasure of the husband and wife.[15]
The burqa (also spelled burka) is the garment that covers women most completely: either only the eyes are visible, or nothing at all. Originating in what is now Pakistan, it is more commonly associated with the Afghan chadri. Typically, a burqa is composed of many yards of light material pleated around a cap that fits over the top of the head, or a scarf over the face (save the eyes). This type of veil is cultural as well as religious.
It has become tradition that Muslims in general, and Salafis in particular, believe the Qur'ān demands women wear the garments known today as jilbāb and khumūr (the khumūr must be worn underneath the jilbāb). However, Qur'ān translators and commentators translate the Arabic into English words with a general meaning, such as veils, head-coverings and shawls.[16] Ghamidi argues that verses [Qur'an 24:30] teach etiquette for male and female interactions, where khumūr is mentioned in reference to the clothing of Arab women in the 7th century, but there is no command to actually wear them in any specific way. Hence he considers head-covering a preferable practice but not a directive of the sharia (law).[17]
[edit] Men's dress
Although certain general standards are widely accepted, there has been little interest in narrowly prescribing what constitutes modest dress for Muslim men. Most mainstream scholars say that men should cover themselves from the navel to the knees; a minority say that the hadith that are held to require this are weak and possibly inauthentic. They argue that there are hadith indicating that the Islamic prophet Muħammad wore clothing that uncovered his thigh when riding camels, and hold that if Muħammad believed that this was permissible, then it is surely permissible for other Muslim males.[citation needed]
As a practical matter, however, the opinion that Muslim men must cover themselves between the navel and the knees is predominant, and most Muslims believe that a man who fails to observe this requirement during salah must perform the prayer again,[citation needed] properly covered, in order for it to be valid. Three of the four Sunni Madh'hab, or schools of law, require that the knees be covered; the Maliki school recommends but does not require knee covering.
According to some hadith, Muslim men are asked not to wear gold jewellery, silk clothing, or other adornments that are considered feminine. Some scholars say that these prohibitions should be generalized to prohibit the lavish display of wealth on one's person.[18]
In more secular Muslim nations, such as Turkey or Tunisia, many women are choosing, or being coerced, to wear the Hijab, Burqa, Niqab, etc. because of the widespread growth of the Islamic revival in those areas.[citation needed] Similarly, increasing numbers of men are abandoning the Western dress of jeans and t-shirts, that dominated places like Egypt 20 to 30 years ago, in favour of more traditional Islamic clothing such as the Galabiyya.
In Iran many women, especially younger ones, have taken to wearing transparent, colorful and very loosly worn Hijabs instead of Chadors or mantoos to protest but keep within the law of the state.
The colors of this clothing varies. It is mostly black, but in many African countries women wear clothes of many different colours depending on their tribe, area, or family. In Turkey, where the hijab is banned in private and state universities and schools, 11% of women wear it, though 60% wear traditional non-Islamic headscarves, figures of which are often confused with hijab.[19] [20][21]
In many of the western nations, there has been a general rise of hijab-wearing women. They are especially common in Muslim Student Associations at college campuses.
Some Muslims have criticized strict dress codes that they believe go beyond the demands of hijab, using Qur'an 66:1 to apply to dress codes as well; the verse suggests that it is wrong to refrain from what is permitted by God.[cit
John Esposito, professor of Islamic Studies at Georgetown University, writes that the customs of veiling and seclusion of women in early Islam were assimilated from the conquered Persian and Byzantine societies and then later on they were viewed as appropriate expressions of Quranic norms and values. The Qur'an does not stipulate veiling or seclusion; on the contrary, it tends to emphasize the participation of religious responsibility of both men and women in society.[22] He claims that "in the midst of rapid social and economic change when traditional security and support systems are increasingly eroded and replaced by the state, (...) hijab maintains that the state has failed to provide equal rights for men and women because the debate has been conducted within the Islamic framework, which provides women with equivalent rather than equal rights within the family."[23]
Bloom and Blair also write that the Qur'an doesn't require women to wear veils; rather, it was a social habit picked up with the expansion of Islam. In fact, since it was impractical for working women to wear veils, "A veiled woman silently announced that her husband was rich enough to keep her idle."[24]
[edit] Modern practice
Some governments encourage and even oblige women to wear the hijab, whilst others have banned it in at least some public settings.
Some Muslims believe hijab covering for women should be compulsory as part of sharia, i.e. Muslim law. Wearing of the hijab was enforced by the Taliban regime in Afghanistan, and is enforced in the Kingdom of Saudi Arabia and in the Islamic Republic of Iran. The Islamic Emirate required women to cover not only their head but their face as well, because "the face of a woman is a source of corruption" for men not related to them.[25] While some women wholeheartedly embrace the rules, others protest by observing the rules in slipshod or inconsistent fashion, or flouting them whenever possible. Sudan's criminal code allows the flogging or fining of anyone who “violates public morality or wears indecent clothing”, albeit without defining "indecent clothing",
Turkey, Tunisia, and Tajikistan are Muslim-majority countries where the law prohibits the wearing of hijab in government buildings, schools, and universities. In Tunisia, women were banned from wearing hijab in state offices in 1981 and in the 1980s and 1990s more restrictions were put in place.[26] The Turkish government recently attempted to lift a ban on Muslim headscarves at universities, but were overturned by the country's Constitutional Court.[27]
On March 15, 2004, France passed a law banning "symbols or clothes through which students conspicuously display their religious affiliation" in public primary schools, middle schools, and secondary schools. In the Belgian city of Maaseik, Niqāb has been banned.[28] (2006)
On July 13, 2010, France's lower house of parliament overwhelmingly approved a bill that would ban wearing the Islamic full veil in public. There were 335 votes for the bill and only one against in the 557-seat National Assembly.
[edit] Non-governmental
Non-governmental enforcement of hijab is found in many parts of the Muslim world.
Successful informal coercion of women by sectors of society to wear hijab has been reported in Gaza where Mujama' al-Islami, the predecessor of HAMAS, reportedly used "a mixture of consent and coercion" to "`restore` hijab" on urban educated women in Gaza in the late 1970s and 1980s.[29]
Similar behavior was displayed by Hamas itself during the first intifada in Palestine. Though a relatively small movement at this time, Hamas exploited the political vacuum left by perceived failures in strategy by the Palestinian factions to call for a 'return' to Islam as a path to success, a campaign that focused on the role of women.[30] Hamas campaigned for the wearing of the hijab alongside other measures, including insisting women stay at home, segregation from men and the promoting of polygamy. In the course of this campaign women who chose not to wear the hijab were verbally and physically harassed, with the result that the hijab was being worn 'just to avoid problems on the streets'.[31]
In France, according to journalist Jane Kramer, veiling among school girls became increasingly common following the 9/11 Attack of 2001, due to coercion by "fathers and uncles and brothers and even their male classmates" of the school girls. "Girls who did not conform were excoriated, or chased, or beaten by fanatical young men meting out Islamic justice."[32] According to the American magazine The Weekly Standard, a survey conducted in France in May 2003 reportedly "found that 77% of girls wearing the hijab said they did so because of physical threats from Islamist groups."[33]
In India a 2001 "acid attack on four young Muslim women in Srinagar ... by an unknown militant outfit, [was followed by] swift compliance by women of all ages on the issue of wearing the chadar (head-dress) in public."[34][35][36]
In Basra Iraq, "more than 100 women who didn't adhere to strict Islamic dress code" were killed between the summer of 2007 and spring of 2008 by Islamist militias (primarily the Mahdi Army) who controlled the police there, according to the CBS news program 60 Minutes.[37]
Islamists in other countries have been accused of attacking or threatening to attack the faces of women in an effort to intimidate them from wearing of makeup or allegedly immodest dress.[38][39][40]
[edit] Hijab by country
The veil has become the subject of lively contemporary debate, in Muslim countries as well as within Western countries with Muslim populations. For example, in 2006 British government minister Jack Straw suggested that communication with some of the Muslim members of his constituency would be made significantly easier if they ceased covering their faces.[41] In broader terms, the sweep of the debate is captured by Bodman and Tohidi, stating that 'the meaning of the hijab ranges from a form of empowerment for the woman choosing to wear it to a means of seclusion and containment imposed by others'.[42] The subject has also become highly politicized. There is a diverse range of views on the wearing of the hijab in general. Sadiki interviews a woman who views it as 'submission to God's commandments'.[43] Rubenberg illustrates how even secular women in Muslim countries can be made to wear the veil due to a social or political context.[44] Some criticise the hijab in its own right as a regressive device, such as Polly Toynbee stating that it 'turns women into things'.[45] Faisal al Yafai meanwhile argues that the veil should be debated, but that more pressing issues like political and legal rights of women should be a greater priority.[46]
Writers such as Leila Ahmed and Karen Armstrong have highlighted how the veil became a symbol of resistance to colonialism, particularly in Egypt in the latter part of the 19th Century, and again today in the post-colonial period. In The Battle for God, Armstrong writes:
“The veiled woman has, over the years, become a symbol of Islamic self-assertion and a rejection of Western cultural hegemony.”[47]
While in Women and Gender, Ahmed states:
“...it was the discourses of the West, and specifically the discourse of colonial domination, that in the first place determined the meaning of the veil in geopolitical discourses and thereby set the terms for its emergence as a symbol of resistance.”[48]
The issue of the veil has thus been “hijacked” to a degree by cultural essentialists on both sides of the divide.[citation needed] Arguments against veiling have been co-opted, along with wider “feminist” discourse, to create a colonial “feminism” that uses questions of Muslim women’s dress amongst others to justify “patriarchal colonialism in the service of particular political ends.”[citation needed] Thus, efforts to improve the situation of women in Muslim (and other non-Western) societies are judged purely on what they wear.[citation needed] Meanwhile, for Islamists, rejection of “Western” modes of dress is not enough: resistance and independence can only be demonstrated by the “wholesale affirmation of indigenous culture”[49]—a prime example being the wearing of the veil.
Tracing the Victorian law of coverture, Legal Scholar L. Ali Khan provides a critique of the British male elite that wishes to impose its own "comfort views" to unveil Muslim women from Asia, Africa, and Middle East.[50]
In her discussion of findings from interviews of university-educated Moroccan Muslim women who choose to wear the Hijab, Hessini argues that wearing the Hijab is used as a method of separation of women from men when women work and therefore step into what is perceived to be the men’s public space, so in this case, when women have the right and are able to work, a method has been found to maintain the traditional societal arrangements.[51]
Academic Rema Hammai quotes a Palestinian woman reflective of an "activist" resistance to "hijabization" in Gaza saying that "in my community it's natural to wear" hijab. "The problem is when little boys, including my son, feel they have the right to tell me to wear it."[52] Similarly Iranian-American novelist Azar Nafisi, author of Reading Lolita in Tehran, Marjane Satrapi, author of the graphic novel Persepolis, and Parvin Darabi, who wrote Rage Against the Veil are some of the famous opponents of compulsory hijab, which was protested when first imposed.[53]
Cheryl Benard, writing an opinion piece in Rand Corporation, criticized those who used fear to enforce the hijab and stated that "in Pakistan, Kashmir, and Afghanistan, hundreds of women have been blinded or maimed when acid was thrown on their unveiled faces by male fanatics who considered them improperly dressed."[54]
Lubna al-Hussein, a journalist in Khartoum, was arrested by the Public Order Police for wearing trousers. She is protesting the punishment for breaking hijab: forty lashes and an indeterminate fine.