(further pictures and information you can see if you go to the end of page and by clicking on the link...)

Belvedere

Belvedere Castle. Garden Front of the Lower Belvedere.

Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.

1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.

The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.

The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.

Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).

Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).

1770 Belvedere Palace was venue of brilliant festivities:

In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,

were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.

1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.

Castle Park with Upper Belvedere. Photograph, around 1890.

1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.

During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.

As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.

Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.

To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,

"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.

Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.

Belvedere Castle. Staircase in the Upper Belvedere (left).

Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).

If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:

"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."

Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.

After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.

During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.

Excerpts from

Thus lived the Habsburgs - Imperial and Royal Palaces in the

Austro-Hungarian Monarchy

Ingrid Haslinger, Gerhard Trumler

Christian Brandstätter Verlag mbH

The publishing service for museums, businesses and

public bodies

www.brandstaetter - verlag.at

Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.

Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.

After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.

After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.

aeiou - the cultural information system of the bm: bwk

14,000 key words and 2000 pictures from history, geography, politics and business in Austria

www.aeiou.at

Austrian Gallery Belvedere

The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle

provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper

Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.

Austrian Gallery Belvedere

Prinz Eugen -Strasse 27 , A - 1037 Wien

Phone +43 / ( 0) 1 / 79557-0

Fax +43 / (0) 1/79 84 337

Upper Belvedere

Collections of the 19th and 20th century

Prinz Eugen -Strasse 27 , A - 1037 Wien

Lower Belvedere

Baroque Museum, and Museum of Medieval Art

Rennweg 6a, A - 1030 Vienna

www.wien-vienna.at/blickpunkte.php?ID=255

Cortinarius allutus Fr. ss. Moser non J. Lange, syn.: Phlegmacium allutum (Fr.) M.M. Moser,

Cortinarius melliolens Schäffer ex Orton, Cortinarius multiformis ss. CFP, Ricken

DE: Bereifter Schleimkopf

Slo.: poprhnjena koprenka

 

Dat.: Oct. 6. 2017

Lat.: 46.36139 Long.: 13.69922

Code: Bot_1093/2017_DSC9358

 

Habitat: Mixed wood, Fagus sylvatica dominant, Picea abies scattered; slightly inclined mountain slope, southeast aspect; calcareous, colluvial, shallow ground; relatively warm and dry place; partly protected from direct rain by tree canopies; average precipitations ~ 3.000 mm/year, average temperature 6-9 deg C, elevation 670 m (2.200 feet), alpine phytogeographical region.

 

Substratum: forest soil, leaf litter.

 

Place: Lower Trenta valley, right bank of river Soča; between villages Soča and Trenta; near the trail to settlement Na skalah, East Julian Alps, Posočje, Slovenia EC.

 

Comments: Genus Cortinarius is huge - more than 1.000 species, subspecies, var. and f. have been described. No wonder, there is confusion in their names. Index Fungorum recognizes Cortinarius allutus as a current name, while other authorities consider it as a synonym of Cortinarius multiformis (this too is a current name according to IF). Recent (2014) DNA phylogenetic studies (Ref.8) revealed that much more complex situation exists in the group of species similar to this find. Ref.8 considers now the name Cortinarius allutus as a misapplied name. Anyway, I will keep with Index Fungorum and use the name Cortinarius allutus. Macroscopic traits and spores fit well to the most of the descriptions found in literature.

 

There grew 6 or 7 pilei in an area of about 3 x 3 m. Habitat was montane Fagus sylvatica forest with a few Picea abies intermixed. In a distance of 0.3 - 3 m from the pilei two young, about 1-1.5 m tall and in a distance of about 5 m a grown up Picea abies three were present. Cortinarius allutus is supposed to be in mycorrhizal relation to conifers. Fruitbody description: pilei diameter 6 - 9 cm, trama thin near the edge of pilei, in the midrange about 8 mm thick, gills up to 10 mm broad, hut dry (after a several days long dry period); however, leaves and other debris were firmly 'glued' to the hut surface (ixocutis); stipe 4.2 - 6.5 cm long and 8 - 20 mm in diameter; when old stipe partly hollow; quite abruptly bulbous (with a few fruitbodies almost marginate); bulb from 1.6 to 1.9 times the diameter of the stipe; smell mild, pleasant, mushroomy, on leather?; taste not tested; 5% KOH reactions: on trama yellow-brown, not violent; on hut brownish, deepens the color of the hut; trama in the bulb brownish; on gills dark brown, almost blackish; Lugol reactions: on trama instant gold-yellowish, on pilei slightly yellowish, almost none; pilei do not bruise when handled except gills - they darken slightly; SP abundant, almost the same color as the whole fruitbodies, buff-fox color, oac714.

 

Spores minutely and uniformly warty. Dimensions: (7.8) 8 - 8.8 (9.1) x (4.5) 4.7 - 5 (5.2) microns; Q = (1.6) 1.7 - 1.8 (1.9); N = 35; Me = 8.5 x 4.8 microns; Qe = 1.8. Olympus CH20 , NEA 100x/1.25, magnification 1.000 x, oil; in water, fresh material. AmScope MA500 digital camera.

 

Herbarium: Mycotheca and lichen herbarium (LJU-Li) of Slovenian Forestry Institute, Večna pot 2, Ljubljana, Index Herbariorum LJF

 

Ref.:

(1) R.M.Daehncke, 1200 Pilze in Farbfotos, AT Verlag (2009), p 726.

(2) www.fichasmicologicas.com/?micos=1&alf=C&art=556 (accessed Oct.8. 2017)

www2.muse.it/bresadola/gallery.asp?code=87 (accessed Oct.8. 2017)

(3) R. Phillips, Mushrooms, Macmillan (2006), p 182.

(4)

www.nahuby.sk/obrazok_detail.php?obrazok_id=512681&po... (accessed Oct.8. 2017)

(5) www.123pilze.de/DreamHC/Download/OrangeseidigerKlumpfuss.htm (accessed Oct.8. 2017)

(6) www.pilzflora-ehingen.de/pilzflora/arthtml/callutus.html (accessed Oct.8. 2017)

(7) J. Breitenbach, F. Kraenzlin, Eds., Fungi of Switzerland, Vol.5. Verlag Mykologia (2000), p 164.

(8) T. E. Brandrud et all. Cortinarius subgenus Phlegmacium section Multiformes in Europe, (2014) Journal des J.E.C., No. 16, p.162–199. available at karl.soop.org/JEC16B_multif.pdf

■ Feu D'artifice de Clôture de MP2013 par le Groupe F, Marseille (13) 2013, FRA

 

■ Le 31 Décembre 2013.

Le Groupe F, créateur de lumières de feu et d’images propose une œuvre multiforme, au carrefour du Land Art, de la performance pyrotechnique et du théâtre à ciel ouvert. Mêlant l’eau et le feu, musiques et récits, les Révélations prennent la forme d’une saga épique dont les épisodes parcourent les eaux du territoire Marseille Provence.

 

Pour clôturer cette année Capitale en beauté, le dernier épisode se déroulera sur le légendaire Vieux Port de Marseille. Projections monumentales, acteurs de lumière, pyrotechnie sur bateaux, tarasque de feu, son…

 

■ Les photos de ce site ne sont pas libres de droit / The pictures in this website are copyrighted

Pour toute utilisation veuillez Me Contacter ICI ou ICI / For any use please Contact Me HERE or HERE

 

■ Bonne visite / Good visit.

(further pictures and information you can see if you go to the end of page and by clicking on the link...)

Belvedere

Belvedere Castle. Garden Front of the Lower Belvedere.

Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.

1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.

The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.

The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.

Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).

Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).

1770 Belvedere Palace was venue of brilliant festivities:

In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,

were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.

1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.

Castle Park with Upper Belvedere. Photograph, around 1890.

1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.

During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.

As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.

Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.

To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,

"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.

Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.

Belvedere Castle. Staircase in the Upper Belvedere (left).

Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).

If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:

"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."

Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.

After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.

During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.

Excerpts from

Thus lived the Habsburgs - Imperial and Royal Palaces in the

Austro-Hungarian Monarchy

Ingrid Haslinger, Gerhard Trumler

Christian Brandstätter Verlag mbH

The publishing service for museums, businesses and

public bodies

www.brandstaetter - verlag.at

Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.

Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.

After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.

After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.

aeiou - the cultural information system of the bm: bwk

14,000 key words and 2000 pictures from history, geography, politics and business in Austria

www.aeiou.at

Austrian Gallery Belvedere

The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle

provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper

Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.

Austrian Gallery Belvedere

Prinz Eugen -Strasse 27 , A - 1037 Wien

Phone 43 / ( 0) 1 / 79557-0

Fax 43 / (0) 1/79 84 337

Upper Belvedere

Collections of the 19th and 20th century

Prinz Eugen -Strasse 27 , A - 1037 Wien

Lower Belvedere

Baroque Museum, and Museum of Medieval Art

Rennweg 6a, A - 1030 Vienna

www.wien-vienna.at/blickpunkte.php?ID=255

(further pictures and information you can see if you go to the end of page and by clicking on the link...)

Belvedere

Belvedere Castle. Garden Front of the Lower Belvedere.

Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.

1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.

The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.

The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.

Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).

Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).

1770 Belvedere Palace was venue of brilliant festivities:

In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,

were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.

1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.

Castle Park with Upper Belvedere. Photograph, around 1890.

1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.

During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.

As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.

Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.

To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,

"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.

Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.

Belvedere Castle. Staircase in the Upper Belvedere (left).

Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).

If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:

"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."

Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.

After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.

During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.

Excerpts from

Thus lived the Habsburgs - Imperial and Royal Palaces in the

Austro-Hungarian Monarchy

Ingrid Haslinger, Gerhard Trumler

Christian Brandstätter Verlag mbH

The publishing service for museums, businesses and

public bodies

www.brandstaetter - verlag.at

Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.

Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.

After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.

After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.

aeiou - the cultural information system of the bm: bwk

14,000 key words and 2000 pictures from history, geography, politics and business in Austria

www.aeiou.at

Austrian Gallery Belvedere

The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle

provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper

Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.

Austrian Gallery Belvedere

Prinz Eugen -Strasse 27 , A - 1037 Wien

Phone +43 / ( 0) 1 / 79557-0

Fax +43 / (0) 1/79 84 337

Upper Belvedere

Collections of the 19th and 20th century

Prinz Eugen -Strasse 27 , A - 1037 Wien

Lower Belvedere

Baroque Museum, and Museum of Medieval Art

Rennweg 6a, A - 1030 Vienna

www.wien-vienna.at/blickpunkte.php?ID=255

La lettura di questa raccolta di poesie mi ha fatto rivivere il “non luogo fisico” della scrittura, che ha permesso nel nostro caso, ad una comunità di individui, di poter esprimere “sé per gli altri” in una apertura autentica, che risentendo fortemente del legame di gruppo libera e proietta le singole individualità oltre la limitazione del contingente verso l'esterno, l'altro, il mondo reale o rappresentato. La forza del gruppo e il sentire individuale si fondono in una tensione verso la vita, verso la straordinaria bellezza della quotidianità, più volte presente negli scritti, che dovrebbe fungere da monito per una riflessione e contemplazione del nostro vissuto, così spesso permeato e diretto dalla frenetica categoria del tempo e dall'utilità del fare.

 

Durante la lettura si sono addensate nella mia mente conoscenze e riflessioni indotte dai “maestri” che ciascuno di noi ha avuto modo, e fortuna, di incontrare o spesso di studiare, che hanno inciso profondamente sulla nostra esistenza ristrutturando continuamente il nostro punto di vista e le nostre modalità di relazione intra ed interpersonali. Il mio pensiero è andato allo psichiatra Franco Basaglia, per il suo profondo credo nel dialogo, nella libera comunicazione tra “interno” ed “esterno”, sia a livello individuale che sociale. La malattia mentale sradicata dalla sola dimensione organica e dal protocollo istituzionale di trattamento, viene affrontata, dallo studioso, come stato transitorio di “crisi” in cui è necessario l'abbattimento dei muri del pregiudizio, della paura, della diffidenza che la società innalza con estrema facilità. Dal suo impegno e dalla legge “180/78”, meritoriamente Legge Basaglia, sono ormai passati 32 anni, ed anche se alcuni frammenti di muri resistono, i modelli delle comunità terapeutiche, hanno comunque affermato, anche nel senso comune, la loro valenza terapeutica ed esistenziale nel definire un processo di risocializzazione ed orientamento alla “vita” come superamento della “crisi” indotta dalla malattia o dalla dipendenza.

 

Parallelamente alcuni temi delle poesie di gruppo, il cambiamento di sé e degli altri, l'amore e la natura, il viaggiare e il volare, l'importanza dell'allegria, oltre a proiettare il gruppo verso una dimensione di “futuro”, traducono in scenari fantastici ed emozionali il proprio sentire; significativo tra tutti il richiamo al “non aver paura di essere felice”, felicità e allegria che di solito si collegano ad un sentimento di libertà e di gioia, assumono in questo caso una connotazione di ostacolo, per vincere il quale c'è bisogno della forza del gruppo, dell'interazione reale con la società.

 

Il cambiamento se da un lato si collega alle condizioni cliniche, riabilitative e pedagogiche che possono renderlo possibile ed autentico, dall'altro è condizione esistenziale di ciascuno. Noi cambiamo organicamente ed affettivamente giorno dopo giorno, che lo si voglia o meno, più o meno coscientemente, ma la qualità della nostra crescita dipende, secondo il prof. Reuven Feuerstein, psicologo e ricercatore israeliano allievo di Jean Piaget e di Ray a Ginevra, nonché fondatore della teoria della Modificabilità Cognitiva Strutturale, dal “cambiamento”, dalla propensione dell'individuo a modificarsi nella sua struttura cognitiva, emotiva e relazionale in risposta all'adattamento intelligente agli stimoli del mondo interiore ed esteriore.

 

Il “cambiamento” però è reso possibile, secondo lo studioso, dalla qualità della “mediazione”, cioè dai soggetti che nel corso della nostra vita hanno mediato tra noi e la realtà; i nostri genitori “in primis” e tutti coloro “buoni o cattivi maestri” che abbiamo incontrato lungo il nostro percorso esistenziale. Il mediatore come figura essenziale della crescita individuale ci rimanda all'ambiente modificante, che dovrebbe distinguersi per assenza di pregiudizi rispetto all'accesso alle opportunità di vita, per uguaglianza dei diritti e dei doveri, per attribuzione di responsabilità correlate agli strumenti personali che ciascuno è in grado di utilizzare da solo o con aiuto. Questa dimensione di fiducia profonda nella possibilità di cambiamento si ritrova tutta nel motto dello studioso: “Non accettarmi come sono”, che rimanda alla dimensione del cambiamento personale, non come utopia, ma come condizione strutturale e di vita, che però richiede requisiti concreti per la sua realizzazione.

 

Accanto a questa dimensione del cambiamento si nota nelle poesie la differenza di genere espressa nel diverso modo di sentire. La profondità del sentimento, nella scrittura delle donne, prende colorazioni multiformi che si fondono in un particolare sguardo poetico verso la realtà e l'esistenza:

la fiducia verso una mano amica, il calore, il canto e la gioia di vivere e l'amicizia trovata. Si rimarca la tendenza al legame, al sostegno dell'amico che spesso ci ha soccorso e che lo farà di nuovo nel momento in cui ci vedrà in difficoltà;

la sfiducia, la mancanza di sostegno, lo strazio per il rifiuto dell'altro, “altri che non credono in te da cui vorresti essere amata, smetto di lottare”. La crisi che prende il sopravvento che sembra chiudere ogni possibilità di vita, ma che poi viene superata;

“la pace nell'essere sereni, nella salute, nella prosperità, nell'istruzione, nello stare bene vicini e non disturbarsi”. La bella visione della pace come affetto caro, come famiglia, come vicinanza che non arreca disturbo;

“il volare per non respirare solo terra, nuvole, sole, aironi e angeli, far crescere gli alberi capovolti per non cadere, non chiudere mai gli occhi per vedere tutto”. La tensione spirituale la voglia di sollevarsi, di volersi staccare dal terreno è la stessa forza del voler divenire altro controllando la natura e il suo corso;

“la corda d'oro che lega i cuori, il donare senza pretendere, l'azzerare le distanze”. La corda d'oro, amicizia che lega due cuori e sostanzia il dono prezioso del dare senza pretendere.

Nell'espressività maschile il sentire personale mette in evidenza differenti temi:

il viaggio come filo tra affetti genitoriali e affetti adulti: l'amore per una donna;

“la fine del tunnel della malattia mentale, la vita normale, Dio e la grazia, la donna, la famiglia e figli”. La forza del vissuto e della crisi personale si intreccia con la speranza di una nuova vita;

“il paradiso come forza, dove gli angeli hanno sesso e non devono volare per forza”. Rifiuto della costrizione e una rappresentazione libera degli angeli (e della fede?), non devono volare per forza, possono scegliere di non farlo.

 

amore per la musica e la fisarmonica “vorrei suonare un fisarmonica più grande ma costa e io i soldi non ce l'ho”. Passione da coltivare che parla all'anima ma che richiede risorse economiche per essere sostenuta.

 

i partiti che promettono e non mantengono le promesse, “io senza casa famiglia come facevo?”

Richiamo sociale al sistema della politica e alla risposta istituzionale positiva delle comunità che si prendono carico delle persone in crisi.

 

“E se…trasgressione, matto urbano come lavoro, non stare bene con persone tipiche, una psicologia umana priva di schemi da seguire”. La forza della trasgressione, del non comune, una psicologia dell'uomo libera da schemi concettuali che imprigionano invece di liberare.

Le poesie riportano una rappresentazione di tutti noi e del nostro mondo con l'importanza dei valori e dei sentimenti, dell'amore, dell'accoglienza e della possibilità di essere non straordinari, ma normali, l'elogio della normalità non come assenza di aspirazioni, ma come piacere e rivalutazione profonda della vita nella sua dimensione personale e sociale: “coraggio gaspero è ora di alzarsi” come invito a vivere e a lottare per realizzare l'impresa eccezionale di esistere.

 

Una lettura particolarmente adatta ai giovani, agli studenti, che spesso dimenticano la forza espressiva e costruttiva della parola, relegandola nel confine tetro della nozione, che non diventerà mai cognizione e conoscenza senza un lavoro di rielaborazione personale. La speranza è che l'impegno profuso dai liberi scrittori di questo testo e da coloro che hanno mediato questa esperienza, possa essere solo l'inizio di un duraturo dialogo tra il dentro e il fuori personale e sociale che caratterizza l'esistenza di ciascuno di noi.

 

www.ghaleb.it/istantanee9.htm

■ Feu D'artifice de Clôture de MP2013 par le Groupe F, Marseille (13) 2013, FRA

 

■ Le 31 Décembre 2013.

Le Groupe F, créateur de lumières de feu et d’images propose une œuvre multiforme, au carrefour du Land Art, de la performance pyrotechnique et du théâtre à ciel ouvert. Mêlant l’eau et le feu, musiques et récits, les Révélations prennent la forme d’une saga épique dont les épisodes parcourent les eaux du territoire Marseille Provence.

 

Pour clôturer cette année Capitale en beauté, le dernier épisode se déroulera sur le légendaire Vieux Port de Marseille. Projections monumentales, acteurs de lumière, pyrotechnie sur bateaux, tarasque de feu, son…

 

■ Les photos de ce site ne sont pas libres de droit / The pictures in this website are copyrighted

Pour toute utilisation veuillez Me Contacter ICI ou ICI / For any use please Contact Me HERE or HERE

 

■ Bonne visite / Good visit.

L'orgue est un instrument à vent multiforme dont la caractéristique est de produire les sons à l’aide d’ensembles de tuyaux sonores accordés suivant une gamme définie.

The Dakshinkali Temple is located 22 kilometers from Kathmandu next to the village of Pharping. It's one of the main temples in Nepal. Twice every week thousands of people come here to worship the goddess Kali by sacrificing life animals, particularly cockerels and uncastrated male goats.

 

GODDESS KALI

Kālī (/ˈkɑːli/; Sanskrit: काली & Bengali: কালী; IPA: [kɑːliː]), also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, or shakti. She is the fierce aspect of the goddess Durga. The name of Kali means black one and force of time; she is therefore called the Goddess of Time, Change, Power, Creation, Preservation, and Destruction. Her earliest appearance is that of a destroyer principally of evil forces. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman; and recent devotional movements re-imagine Kāli as a benevolent mother goddess. She is often portrayed standing or dancing on her husband, the god Shiva, who lies calm and prostrate beneath her. Worshipped throughout India but particularly South India, Bengal, and Assam, Kali is both geographically and culturally marginal.

 

ETYMOLOGY

Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time", but also means "black"; hence, Kālī means "the black one" or "beyond time". Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः। तस्य पत्नीति - काली। kālaḥ śivaḥ। tasya patnīti kālī - "Shiva is Kāla, thus, his consort is Kāli".

 

Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"), and Kallie ("black alchemist"). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.

 

Kāli's association with darkness stands in contrast to her consort, Shiva, whose body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī.

 

ORIGINS

Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7). Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, "black night") and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona's son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija ("Bloodseed"). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.

 

According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts "usually place her on the periphery of Hindu society or on the battlefield." She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.

 

WORSHIP AND MANTRA

Kali could be considered a general concept, like Durga, and is mostly worshiped in the Kali Kula sect of worship. The closest way of direct worship is Maha Kali or Bhadra Kali (Bhadra in Sanskrit means 'gentle'). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti (Goddess Durga) or Bhagavathy according to the region. The mantra for worship is

 

Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥

 

ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा शिवा क्षमा धात्री स्वाहा स्वधा नमोऽस्तु‍ते ॥

 

(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.

 

Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā śivā ksamā dhātrī svāhā svadhā namō'stu‍tē.)

 

YANTRA

Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kali who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kāli is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kāli's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial sakti, and in one passage Shiva praises her:At the dissolution of things, it is Kāla [Time]. Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art. The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation. This is clear in the work of the Karpuradi-stotra, a short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)He, O Mahākāli who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.The Karpuradi-stotra clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.

 

BENGALI TRADITION

Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.

 

The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kāli's teachings adopting the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Rāmprasād's work. Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas:

 

Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]

Were she not merciless, would she kick the breast of her lord?

Men call you merciful, but there is no trace of mercy in you, Mother.

You have cut off the heads of the children of others, and these you wear as a garland around your neck.

It matters not how much I call you "Mother, Mother." You hear me, but you will not listen.

 

To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.

 

A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama Sangeet ("Music of the Night"). Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyāma Sāngeet is Pannalal Bhattacharya.

 

In Bengal, Kāli is venerated in the festival Kali Puja, the new moon day of Ashwin month which coincides with Diwali festival.

 

In a unique form of Kāli worship, Shantipur worships Kāli in the form of a hand painted image of the deity known as Poteshwari (meaning the deity drawn on a piece of cloth).

 

LEGENDS

SLAYER AND RAKTABIJA

In Kāli's most famous legend, Devi Durga (Adi Parashakti) and her assistants, the Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabija he reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates. Durga, in need of help, summons Kāli to combat the demons. It is said, in some versions, that Goddess Durga actually assumes the form of Goddess Kāli at this time. The Devi Mahatmyam describes:

 

Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.

 

Kali consumes Raktabija and his duplicates, and dances on the corpses of the slain. In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda. Chamunda is very often identified with Kali and is very much like her in appearance and habit.

  

DAKSHINA KALI

In her most famous pose as Daksinakali, popular legends say that Kali, drunk on the blood of her victims, is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her, and she steps upon his chest. Recognizing Shiva beneath her feet, she calms herself. Though not included in any of the puranas, popular legends state that Kali was ashamed at the prospect of keeping her husband beneath her feet and thus stuck her tongue out in shame. The Devi-Bhagavata Purana, which goes into great depths about the goddess Kali, reveals the tongue's actual symbolism.

 

The characteristic icons that depict Kali are the following; unbridled matted hair, open blood shot eyes, open mouth and a drooping tongue; in her hands, she holds a Khadga (bent sword or scimitar) and a human head; she has a girdle of human hands across her waist, and Shiva lies beneath her feet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali energy. The depiction of Kali on Shiva shows that without energy, matter lies "dead". This concept has been simplified to a folk-tale depicting a wife placing her foot

 

on her husband and sticking her tongue out in shame. In tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva.

 

If Kali steps on Shiva with her right foot and holds the sword in her left hand, she is considered to be Dakshina Kali. The Dakshina Kali Temple has important religious associations with the Jagannath Temple and it is believed that Daksinakali is the guardian of the kitchen of the Lord Jagannath Temple. Puranic tradition says that in Puri, Lord Jagannath is regarded as Daksinakalika. Goddess Dakshinakali plays an important role in the 'Niti' of Saptapuri Amavasya.

 

One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in the forest of Thiruvalankadu or Thiruvalangadu. She terrorizes the surrounding area with her fierce, disruptive nature. One of Shiva's devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, and Shiva challenges Kali to a dance contest, wherein Kali matches Shiva until Shiva takes the "Urdhvatandava" step, vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and becomes pacified.

 

SMASHAN KALI

If the Kali steps out with the left foot and holds the sword in her right hand, she is the terrible form of Mother, the Smashan Kali of the cremation ground. She is worshiped by tantrics, the followers of Tantra, who believe that one's spiritual discipline practiced in a smashan (cremation ground) brings success quickly. Sarda Devi, the consort of Ramakrishna Paramhansa, worshipped Smashan Kali at Dakshineshwar.

 

MATERNAL KALI

At the time of samundra manthan when amrit came out, along with that came out poison which was going to destroy the world hence on the request of all the gods, Lord Shiva drank it to save the world but as he is beyond death he didn't die but was very much in pain due to the poison effect hence he became a child so that Kali can feed him with her milk which will sooth out the poison effect.

 

MAHAKALI

Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली), literally translated as Great Kali, is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also be used as an honorific of the Goddess Kali, signifying her greatness by the prefix "Mahā-". Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi Mahatmya. Here she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who allows the cosmic order to be restored.

 

Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is carrying a various implement which vary in different accounts, but each of these represent the power of one of the Devas or Hindu Gods and are often the identifying weapon or ritual item of a given Deva. The implication is that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one headed image may be displayed with ten arms, signifying the same concept: the powers of the various Gods come only through Her grace.

 

ICONOGRAPHY

Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in color but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing on a seemingly dead Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.

 

In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces, ten feet, and three eyes for each head. She has ornaments decked on all her limbs. There is no association with Shiva.

 

The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.

 

In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible form, she is also often seen as a great protector. When the Bengali saint Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, "Maharaj", when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?"

 

According to Ramakrishna, darkness is the Ultimate Mother, or Kali:

 

My Mother is the principle of consciousness. She is Akhanda Satchidananda;

indivisible Reality, Awareness, and Bliss. The night sky between the stars is perfectly black.

The waters of the ocean depths are the same; The infinite is always mysteriously dark.

This inebriating darkness is my beloved Kali.

—Sri Ramakrishna

This is clear in the works of such contemporary artists as Charles Wish, and Tyeb Mehta, who sometimes take great liberties with the traditional, accepted symbolism, but still demonstrate a true reverence for the Shakta sect.

 

POPULAR FORM

Classic depictions of Kali share several features, as follows:

 

Kali's most common four armed iconographic image shows each hand carrying variously a sword, a trishul (trident), a severed head, and a bowl or skull-cup (kapala) catching the blood of the severed head.

 

Two of these hands (usually the left) are holding a sword and a severed head. The Sword signifies Divine Knowledge and the Human Head signifies human Ego which must be slain by Divine Knowledge in order to attain Moksha. The other two hands (usually the right) are in the abhaya (fearlessness) and varada (blessing) mudras, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.

 

She has a garland consisting of human heads, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a Japa Mala or rosary for repetition of Mantras) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari. Hindus believe Sanskrit is a language of dynamism, and each of these letters represents a form of energy, or a form of Kali. Therefore, she is generally seen as the mother of language, and all mantras.

 

She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti. She is shown as very dark as she is brahman in its supreme unmanifest state. She has no permanent qualities - she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, bad do not apply to her - she is the pure, un-manifested energy, the Adi-shakti.

 

Kali as the Symbol of Creation , Freedom , Preservation and Destruction

 

The head that hangs in Kali's hand is a symbol of Ego and the scimitar which she is holding represents power and energy.It is believed that Kali is protecting the human race by that scimitar and also destroying the negativity and ego within human being. The body lying under Kali symbolizes ruination, is actually a form of Shiva. Kali steps her leg on the chest of the body and suppress ruination . Since she is standing on the pure white chest of Lord Shiva who, as pure primal awareness, lays in a passive reclining position, peacefully lies with his eyes half open in a state of bliss. Her hair is long, black and flowing freely depicting Her freedom from convention and the confines of conceptualization. The white teeth which Kali has stands for conscience and her red tongue represents greed. By pressing her white teeth on her tongue Kali refers to control greed.The goddess may appear terrible from outside but every symbol in Kali signifies truth of life. Since the earth was created out of darkness, the dark black color of Kali symbolizes the color from which everything was born. Her right hand side arms she shows the Abhaya mudra(gesture of fearlessness) and Vara mudra (gesture of welcome and charity) respectively . But on the other arm in left side she holds a bloody scimitar and a severed head depicting destruction and end of ego.

Kali as the Symbol of Mother Nature

 

The name Kali means Kala or force of time. When there were neither the creation, nor the sun, the moon, the planets, and the earth, there was only darkness and everything was created from the darkness. The Dark appearance of kali represents the darkness from which everything was born. Her complexion is deep blue, like the sky and ocean water as blue. As she is also the goddess of Preservation Kali is worshiped as mother to preserve the nature.Kali is standing calm on Shiva, her appearance represents the preservation of mother nature. Her free, long and black hair represents nature's freedom from civilization. Under the third eye of kali, the signs of both sun, moon and fire are visible which represent the driving forces of nature.

 

SHIVA IN KALI ICONOGRAPHY

In both these images she is shown standing on the prone, inert or dead body of Shiva. There is a legend for the reason behind her standing on what appears to be Shiva's corpse, which translates as follows:

 

Once Kali had destroyed all the demons in battle, she began a terrific dance out of the sheer joy of victory. All the worlds or lokas began to tremble and sway under the impact of her dance. So, at the request of all the Gods, Shiva himself asked her to desist from this behavior. However, she was too intoxicated to listen. Hence, Shiva lay like a corpse among the slain demons in order to absorb the shock of the dance into himself. When Kali eventually stepped upon Shiva, she realized she was trampling and hurting her husband and bit her tongue in shame.

 

The story described here is a popular folk tale and not described or hinted in any of the puranas. The puranic interpretation is as follows:

 

Once, Parvati asks Shiva to chose the one form among her 10 forms which he likes most. To her surprise, Shiva reveals that he is most comfortable with her Kali form, in which she is bereft of her jewellery, her human-form, her clothes, her emotions and where she is only raw, chaotic energy, where she is as terrible as time itself and even greater than time. As Parvati takes the form of Kali, Shiva lies at her feet and requests her to place her foot on his chest, upon his heart. Once in this form, Shiva requests her to have this place, below her feet in her iconic image which would be worshiped throughout.

 

This idea has been explored in the Devi-Bhagavata Purana [28] and is most popular in the Shyama Sangeet, devotional songs to Kali from the 12th to 15th centuries.

 

The Tantric interpretation of Kali standing on top of her husband is as follows:

 

The Shiv tattava (Divine Consciousness as Shiva) is inactive, while the Shakti tattava (Divine Energy as Kali) is active. Shiva and Kali represent Brahman, the Absolute pure consciousness which is beyond all names, forms and activities. Kali, on the other hand, represents the potential (and manifested) energy responsible for all names, forms and activities. She is his Shakti, or creative power, and is seen as the substance behind the entire content of all consciousness. She can never exist apart from Shiva or act independently of him, just as Shiva remains a mere corpse without Kali i.e., Shakti, all the matter/energy of the universe, is not distinct from Shiva, or Brahman, but is rather the dynamic power of Brahman. Hence, Kali is Para Brahman in the feminine and dynamic aspect while Shiva is the male aspect and static. She stands as the absolute basis for all life, energy and beneath her feet lies, Shiva, a metaphor for mass, which cannot retain its form without energy.

 

While this is an advanced concept in monistic Shaktism, it also agrees with the Nondual Trika philosophy of Kashmir, popularly known as Kashmir Shaivism and associated most famously with Abhinavagupta. There is a colloquial saying that "Shiva without Shakti is Shava" which means that without the power of action (Shakti) that is Mahakali (represented as the short "i" in Devanagari) Shiva (or consciousness itself) is inactive; Shava means corpse in Sanskrit and the play on words is that all Sanskrit consonants are assumed to be followed by a short letter "a" unless otherwise noted. The short letter "i" represents the female power or Shakti that activates Creation. This is often the explanation for why She is standing on Shiva, who is either Her husband and complement in Shaktism or the Supreme Godhead in Shaivism.

 

To properly understand this complex Tantric symbolism it is important to remember that the meaning behind Shiva and Kali does not stray from the non-dualistic parlance of Shankara or the Upanisads. According to both the Mahanirvana and Kularnava Tantras, there are two distinct ways of perceiving the same absolute reality. The first is a transcendental plane which is often described as static, yet infinite. It is here that there is no matter, there is no universe and only consciousness exists. This form of reality is known as Shiva, the absolute Sat-Chit-Ananda - existence, knowledge and bliss. The second is an active plane, an immanent plane, the plane of matter, of Maya, i.e., where the illusion of space-time and the appearance of an actual universe does exist. This form of reality is known as Kali or Shakti, and (in its entirety) is still specified as the same Absolute Sat-Chit-Ananda. It is here in this second plane that the universe (as we commonly know it) is experienced and is described by the Tantric seer as the play of Shakti, or God as Mother Kali.

 

From a Tantric perspective, when one meditates on reality at rest, as absolute pure consciousness (without the activities of creation, preservation or dissolution) one refers to this as Shiva or Brahman. When one meditates on reality as dynamic and creative, as the Absolute content of pure consciousness (with all the activities of creation, preservation or dissolution) one refers to it as Kali or Shakti. However, in either case the yogini or yogi is interested in one and the same reality - the only difference being in name and fluctuating aspects of appearance. It is this which is generally accepted as the meaning of Kali standing on the chest of Shiva.

 

Although there is often controversy surrounding the images of divine copulation, the general consensus is benign and free from any carnal impurities in its substance. In Tantra the human body is a symbol for the microcosm of the universe; therefore sexual process is responsible for the creation of the world. Although theoretically Shiva and Kali (or Shakti) are inseparable, like fire and its power to burn, in the case of creation they are often seen as having separate roles. With Shiva as male and Kali as female it is only by their union that creation may transpire. This reminds us of the prakrti and purusa doctrine of Samkhya wherein prakāśa- vimarśa has no practical value, just as without prakrti, purusa is quite inactive. This (once again) stresses the interdependencies of Shiva and Shakti and the vitality of their union.

 

Gopi Krishna proposed that Kali standing on the dead Shiva or Shava (Sanskrit for dead body) symbolised the helplessness of a person undergoing the changing process (psychologically and physiologically) in the body conducted by the Kundalini Shakti.

 

DEVELOPMENT

In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable, and only Shiva is able to tame her just as only Kali can tame Shiva. This is both because she is often a transformed version of one of his consorts and because he is able to match her wildness.

 

The ancient text of Kali Kautuvam describes her competition with Shiva in dance, from which the sacred 108 Karanas appeared. Shiva won the competition by acting the urdva tandava, one of the Karanas, by raising his feet to his head. Other texts describe Shiva appearing as a crying infant and appealing to her maternal instincts. While Shiva is said to be able to tame her, the iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes close to unravelling.

 

Shiva's involvement with Tantra and Kali's dark nature have led to her becoming an important Tantric figure. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they accepted Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes grew beyond that of a chaos - which could be confronted - to that of one who could bring wisdom, and she is given great metaphysical significance by some Tantric texts. The Nirvāna-tantra clearly presents her uncontrolled nature as the Ultimate Reality, claiming that the trimurti of Brahma, Vishnu and Rudra arise and disappear from her like bubbles from the sea. Although this is an extreme case, the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra declare her the svarupa (own-being) of the Mahadevi (the great Goddess, who is in this case seen as the combination of all devis).The final stage of development is the worshipping of Kali as the Great Mother, devoid of her usual violence. This practice is a break from the more traditional depictions. The pioneers of this tradition are the 18th century Shakta poets such as Ramprasad Sen, who show an awareness of Kali's ambivalent nature. Ramakrishna, the 19th century Bengali saint, was also a great devotee of Kali; the western popularity of whom may have contributed to the more modern, equivocal interpretations of this Goddess. Rachel McDermott's work, however, suggests that for the common, modern worshipper, Kali is not seen as fearful, and only those educated in old traditions see her as having a wrathful component. Some credit to the development of Devi must also be given to Samkhya. Commonly referred to as the Devi of delusion, Mahamaya or Durga, acting in the confines of (but not being bound by) the nature of the three gunas, takes three forms: Maha-Kali, Maha-Lakshmi and Maha-Saraswati, being her tamas-ika, rajas-ika and sattva-ika forms. In this sense, Kali is simply part of a larger whole.

 

Like Sir John Woodroffe and Georg Feuerstein, many Tantric scholars (as well as sincere practitioners) agree that, no matter how propitious or appalling you describe them, Shiva and Devi are simply recognizable symbols for everyday, abstract (yet tangible) concepts such as perception, knowledge, space-time, causation and the process of liberating oneself from the confines of such things. Shiva, symbolizing pure, absolute consciousness, and Devi, symbolizing the entire content of that consciousness, are ultimately one and the same - totality incarnate, a micro-macro-cosmic amalgamation of all subjects, all objects and all phenomenal relations between the "two." Like man and woman who both share many common, human traits yet at the same time they are still different and, therefore, may also be seen as complementary.

 

Worshippers prescribe various benign and horrific qualities to Devi simply out of practicality. They do this so they may have a variety of symbols to choose from, symbols which they can identify and relate with from the perspective of their own, ever-changing time, place and personal level of unfolding. Just like modern chemists or physicists use a variety of molecular and atomic models to describe what is unperceivable through rudimentary, sensory input, the scientists of ontology and epistemology must do the same. One of the underlying distinctions of Tantra, in comparison to other religions, is that it allows the devotee the liberty to choose from a vast array of complementary symbols and rhetoric which suit one's evolving needs and tastes. From an aesthetic standpoint, nothing is interdict and nothing is orthodox. In this sense, the projection of some of Devi's more gentle qualities onto Kali is not sacrilege and the development of Kali really lies in the practitioner, not the murthi.

 

A TIME magazine article of October 27, 1947, used Kali as a symbol and metaphor for the human suffering in British India during its partition that year. In 1971, Ms. Magazine used an image of Kali, her multiple arms juggling modern tasks, as a symbol of modern womanhood on its inaugural issue.

 

Swami Vivekananda wrote his favorite poem Kali the Mother in 1898.

 

KALI IN NEOPAGAN AND NEW AGE PRACTICE

An academic study of Western Kali enthusiasts noted that, "as shown in the histories of all cross-cultural religious transplants, Kali devotionalism in the West must take on its own indigenous forms if it is to adapt to its new environment."[60] The adoption of Kali by the West has raised accusations of cultural appropriation:

 

A variety of writers and thinkers have found Kali an exciting figure for reflection and exploration, notably feminists and participants in New Age spirituality who are attracted to goddess worship. [For them], Kali is a symbol of wholeness and healing, associated especially with repressed female power and sexuality. [However, such interpretations often exhibit] confusion and misrepresentation, stemming from a lack of knowledge of Hindu history among these authors, [who only rarely] draw upon materials written by scholars of the Hindu religious tradition. The majority instead rely chiefly on other popular feminist sources, almost none of which base their interpretations on a close reading of Kali's Indian background. The most important issue arising from this discussion - even more important than the question of 'correct' interpretation - concerns the adoption of other people's religious symbols. It is hard to import the worship of a goddess from another culture: religious associations and connotations have to be learned, imagined or intuited when the deep symbolic meanings embedded in the native culture are not available.

 

INCARNATIONS OF KALI

Draupadi, Wife of Pandavas, was an avatar of Kali, who born to assist Lord Krishna to destroy arrogant kings of India. There is a temple dedicated to this incarnation at Banni Mata Temple at Himachal Pradesh. The vedic deity Nirriti or the Puranic deity Alakshmi is often considered as incarnations of Kali.

 

WIKIPEDIA

Parco degli Acquedotti - Rome - Lazio - Italy

 

Zero Image Zero MultiFormat 6x9

Ilford FP4Plus

Tetenal Ultrafin Plus 1+4 cont. agitation 5:00 + 3 min. stand

 

Direct film scan

Öl auf Leinwand / Oil on canvas

Kate Tothko Prizel and Ilya Prizel Collection

Kunsthistorisches Museum Wien

La mostra – la più ampia ed articolata antologica degli ultimi decenni di uno tra i più imprevedibili e multiformi artisti nel campo della fotografia – offre un panorama dettagliato ed esauriente del percorso di Nino Migliori, in più di 60 anni di ricerca sulla fotografia, della fotografia, con la fotografia.

Oltre 300 opere esposte a Palazzo Fava Palazzo delle Esposizioni per raccontare l’opera dell’autore, a cui si aggiungono 9 installazioni, 2 delle quali a Casa Saraceni e Palazzo Pepoli Museo della Storia di Bologna.

 

Mostra promossa da Fondazione Cassa di Risparmio in Bologna

in collaborazione con l'Archivio Nino Migliori

 

18 gennaio - 28 aprile 2013

Palazzo Fava Palazzo delle Esposizioni

Genus Bononiae Musei nella Città

Bologna

 

foto Paolo Righi

YL3941 (CMMF).

Bonsecours (Estrie), 16 septembre 2005.

Récolté à l'orée d'une plantation de sapins d’environ 25-30 ans, en terrain montagneux, avec des bouleaux et des peupliers pas loin.

 

Sp. subamygdaloïdes, moyennement verruqueuses, 8,5-9,5 x 5,3-5,5 microns.

 

La séquence ITS de cette récolte correspond à C. talimultiformis. Cette identification a été permise suite au Projet d'étude phylogénétique des Cortinarius du Québec, dirigé par Jacques Landry et rendu possible grâce au grand nombre de spécimens de certains membres de Mycoquébec.

 

Le nom latin signifie "à mi-chemin entre C. talus et C. multiformis". Donc de forme intermédiaire entre les deux espèces, en faisant allusion à la base du pied dans ce cas. Je suggère donc le nom français "Cortinaire intermédiaire".

 

Les cortinaires de la section Multiformes, certains si semblables à l'oeil nu, comme ceux de la plupart des autres sections, peuvent souvent être séparés par leur localisation géographique, la taille précise et l'ornementation de leurs spores, ou bien par leur partenaire symbiotique. Donc, c'est seulement quand nous aurons ces données pour chacune de nos récoltes que l'on pourra les identifier sans recourir à leurs séquences ITS.

 

Le pied à bulbe submarginé de C. talimultiformis, plus prononcé en comparaison avec C. multiformis, est ce qui permettrait de le distinguer sur le terrain. Le bulbe du pied de C. talus est quant à lui bien plus prononcé; cette espèce possède aussi un chapeau nettement plus terne et pruineux-givré. Des différences dans la taille et l'ornementation des spores permettraient de distinguer avec assurance C. talimultiformis de C. multiformis... Mais cela, possiblement pour le cortinariologue expérimenté uniquement.

 

RÉF. :

J. Landry, Y. Lamoureux, R. Lebeuf, A. Paul, H. Lambert et R. Labbé (2021). "Répertoire des cortinaires du Québec". Mycoquébec. org., Québec, 552 p.

 

YL

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You may not modify, publish or use this photo without written permission and consent.

 

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Il cantautore italiano presenta "Diwan" al Teatro Nazionale

Apriti Sesamo è il ventottesimo album di Franco Battiato, già disco d'oro per le oltre trentamila copie vendute. Eclettico e multiforme, ricco di citazioni (dantesche o di Santa Teresa d'Avila) e di collaborazioni, dalla chitarra di Simon Tong, ex Verve, al basso di Faso di Elio e le Storie Tese. Dopo il successo di Apriti Sesamo Tour, il sofisticato cantautore italiano ritorna con un nuovo progetto ambizioso, Diwan - L'Essenza del reale, un live per riportare a galla una cultura dimenticata.

 

Attorno all'anno Mille, infatti, in Sicilia fiorisce, in tre secoli, un'importante scuola poetica araba. Questa preziosa fonte di cultura ci ha lasciato ricche testimonianze in alcuni manoscritti che Battiato studia e interpreta con la sua musica. Assieme all'artista, sul palco, un ensemble multietnico tra cui Etta Scollo, Nabil Salameh dei Radiodervish, Carlo Guaitoli, Gianluca Ruggeri della PMCE e Ramzi Aburedwan fondatore degli Al Kamandjati.

Convenio Fundación HIVOS y MADC.

7 de Febrero al 5 de abril

Sala I, II, III, IV

Artistas: Regina Aguilar, Gustavo Araujo, Patricia Belli, Bayardo Blandino, Andrés Carranza, Isabel de Obaldía, Sandra Eleta, Dario Escobar, Luis González Palma, Walterio Iraheta, Rodolfo Molina, Priscilla Monge, Yasser Musa, Raúl Quintanilla, Isabel Ruíz, Karla Solano, Cinthya Soto, Gilvano Swawey, Jaime David Tischler, Patricia Villalobos.

Curaduría: Rolando Barahona y Tahituey Ribot.

INFO: lacamerachiara.asterischi@gmail.com

 

asterischi.com/lacamerachiara

 

  

Il mondo visto con gli occhi di chi fugge è realtà multiforme e complessa. Un passo, infatti, non è semplicemente un passo, ma un allontanarsi o un avvicinarsi a realtà più sicure. Allo stesso modo ogni cosa non è mai eguale a se stessa. La prospettiva della fuga è rapida, fluente, e in continua evoluzione. Poi, a volte, è il mondo stesso ad essere in fuga, come volontario accecamento per quello che è diventato (o per quello che noi l’abbiamo fatto diventare). La vita in fuga è una cosa sospesa, che lascia e prende con confini labili e, a volte, incomprensibili. In questa duplice prospettiva si muove il senso del prossimo concorso fotografico, terza tappa del cammino, in cui ancora una volta gli artisti dovranno tuffarsi in una tematica variamente interpretabile, e che aspetta nuovi stimoli per diventare altro.

Il tema offre all’artista la possibilità di scappare dalla routine quotidiana, vivere “On The Road” e far esplodere la propria creatività fotografica senza meta, senza alcun tipo di freno. L’artista cercherà lo scatto che rappresenti di più il senso della libertà,del movimento continuo, della fuga dal mondo stesso:

“Non si può negare che andare liberi senza meta da sempre ci rende euforici . Ha a che fare con l’idea della fuga: dalla storia, dall’oppressione , dalla legge, dalla noia degli obblighi.. Libertà assoluta…”

  

INFO: lacamerachiara.asterischi@gmail.com

 

asterischi.com/lacamerachiara

 

Parma is a city in the Italian region of Emilia-Romagna famous for its ham, its cheese, its architecture and the fine countryside around it. This is the home of the University of Parma, one of the oldest universities in the world. Parma is divided into two parts by the little stream with the same name. Parma's Etruscan name was adapted by Romans to describe the round shield called Parma.The Italian poet Attilio Bertolucci (born in a hamlet in the countryside) wrote: "As a capital city it had to have a river. As a little capital it received a stream, which is often dry". The district on the far side of the river is Oltretorrente.

 

Parma è un comune italiano di 186.000 abitanti, capoluogo dell'omonima provincia in Emilia-Romagna.Antica capitale del ducato di Parma e Piacenza (1545-1859), la città di Parma è sede dell'omonima università.Sul territorio comunale sono presenti numerosi parchi, giardini e aree verdi, alcuni di notevole pregio storico e architettonico. La percentuale di verde urbano sulla superficie comunale è pari all'1,8% (ossia circa 4,68 km²) mentre ammonta a 26,6 m² il verde urbano per ogni abitante.] Il verde fruibile pro-capite nell'area urbana è di 14,57 m² per abitante e la città si è posizionata al 5º posto in Italia ed al 1º in Emilia-Romagna nel rapporto Ecosistema Urbano 2009. A Parma sono censiti 100.000 alberi, 28 milioni di m² di manto erboso, oltre 80 aree gioco per i bimbi allestite e situate in contesti verdi e una quarantina di aree dedicate ai cani.Le aristocratiche tradizioni ed una certa raffinatezza della vita sociale caratterizzano ancor oggi l'anima cittadina che si evidenzia in particolare con la passione dei parmigiani nei confronti della musica e dell'Opera, da secoli molto seguite ed apprezzate da vari strati della popolazione.Il primo letterato nativo di Parma di cui si abbia notizia fu Gaio Cassio Parmense (I secolo a.C.), appartenente ad una delle famiglie romane fondatrici della città e autore di tragedie ed elegie, ma la storia parmense si è col tempo arricchita del contributo intellettuale di numerosi artisti, poeti e pittori che ne hanno determinato l'intenso fervore nei confronti di multiformi interessi culturali, confermato dalla presenza in città di numerosi teatri, musei, manifestazioni e rassegne internazionali nel campo dell'arte e degli scambi commerciali. Benedetto Antelami, il Parmigianino, il Correggio, Ireneo Affò, Giovanni Battista Bodoni, Ferdinando Paër, Giuseppe Verdi, Arturo Toscanini, Ennemond Alexandre Petitot, Étienne Bonnot, abate di Condillac, Attilio Bertolucci, sono solo alcune delle personalità legate a Parma che hanno lasciato un'impronta importante nelle tradizioni artistiche e culturali cittadine.Parma fu magnificata da Stendhal che la visitò per la prima volta nel 1814 e la sognò nelle pagine della sua "Chartreuse" (La Certosa di Parma); successivamente fu desiderata da Marcel Proust nel suo Du côté de chez Swann (La strada di Swann).Nel XVIII secolo lo sviluppo dell'arte e delle istituzioni cittadine contribuirono a definire Parma "l'Atene d'Italia" mentre oggi, grazie al nuovo ruolo attribuitole all'interno dell'Unione Europea con l'assegnazione di un'importante agenzia comunitaria, la città sta preparando e progettando il proprio futuro in funzione di questa investitura destinata a produrre un processo di internazionalizzazione e crescita sociale e culturale, riaffermando l'antica tradizione di piccola capitale.

 

www.youtube.com/watch?v=PIzsFeFoIv8

  

MP2013 Aix en Provence groupe F

 

Le Groupe F, créateur de lumières de feu et d’images basé au Mas-Thibert, à côté d’Arles, propose une œuvre multiforme, au carrefour du Land Art, de la performance pyrotechnique et du théâtre à ciel ouvert.

23/11/2013

 

Camera : Canon EOS 5D Mark III

Lens : EF24-105mm f/4L IS USM 90mm

Ouverture : 11

Vitesse : 1/60

ISO : 400

 

© 2013 Chris J.

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follow me on www.sergione.info

 

You may not modify, publish or use any files on

this page without written permission and consent.

 

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Il 24 ottobre al Teatro Sociale di Como, Mika rivisiterà il suo repertorio di successi e proporrà nuove canzoni in chiave sinfonica con l’orchestra “Affinis Consort”, diretta da Simon Leclerc, creata appositamente per l’occasione da 81 professionisti internazionali: 65 strumentisti e 16 coristi.

 

Lo spettacolo nasce dal desiderio di Mika di replicare in Italia l’incredibile esperienza dei tre concerti sinfonici tenutisi a Montréal lo scorso febbraio, in cui ha confermato la sua versatilità e la qualità del suo repertorio pop, anche in chiave classica.

 

Il concerto arriva dopo i grandi successi estivi al Fabrique di Milano, al Teatro Antico di Taormina e all’Arena della Regina di Cattolica e le prossime tre date nei palasport di Milano (27 settembre), Roma (29 settembre) e Firenze (30 settembre). Le prevendite per la serata speciale partiranno da giovedì 1 ottobre.

 

Simon Leclerc è un affermato compositore di colonne sonore per la Paramount e direttore d’orchestra canadese a cui Mika ha affidato l’arrangiamento in chiave classica del suo repertorio. Dopo i concerti di Montreal, Mika ha entusiasticamente dichiarato: “Provenendo io stesso da una formazione professionale classica, per me è straordinario sentire le mie canzoni nelle veste classica che Simon ha dato loro, perché nella mia mente, le ho sempre immaginate così!”

 

Dal piccolo ensemble alla grande orchestra sinfonica. Dalle fondamenta classiche alle contaminazioni contemporanee e pop.

Affinis Consort racchiude nel suo dna la multiformità del suo essere.

L'unione di mondi, il Canada e l'Italia. Il superamento dei confini geografici e culturali. Il connubio e la condivisione delle esperienze che ogni singolo musicista porta sul palco, elevando le affinità.

 

This picture shows the multiforms of Android gadgets. From smartphones to tablets.

 

Top to bottom: Sony Ericsson Xperia X10 mini, Xperia X8, Nexian Journey, Tabulet Mech, Zyrex One Pad.

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2020. Dr. Ursula Quatember, et al., Inizia il Restauro del Tempio di Adriano a Efeso. Austrian Archaeological Institute (2018); 1-730 [in PDF]. S.v., ARCHAEOLOGIE-ONLINE.DE (2020) & JRA 23 (2010): 376-394 [in PDF].

 

wp.me/pbMWvy-PI

 

www.flickr.com/photos/imperial_fora_of_rome/50626750613

 

1). Dr. Ursula Quatember, et al., Inizia il Restauro del Tempio di Adriano a Efeso. Austrian Archaeological Institute (2018); 1-730 [in PDF].

 

Ursula Quatember, Der sogenannte Hadrianstempel an der Kuretenstraße in Ephesos, Forschungen in Ephesos XI/3. Mit Beiträgen von Martin Pliessnig, Walter Prochaska, Hans Quatember, Hans Taeuber, Barbara Thuswaldner, Johanes Weber (Vienna 2018).

 

www.flickr.com/photos/imperial_fora_of_rome/50626751598

 

The so-called Temple of Hadrian on Curetes Street is one of the best-known monuments of Roman Ephesos. Shortly after its excavation in the 1950s, the small temple was rebuilt, and today its façade dominates Curetes Street, one of the main thoroughfares of the ancient city. The excavator Franz Miltner interpreted the building – presumably in accordance with the building inscription – as the neocorate temple, the ›official‹ temple for a provincial cult of the emperor Hadrian, which was granted to Ephesus between AD 130 and 132.

 

www.flickr.com/photos/imperial_fora_of_rome/50627598157

 

Miltner’s interpretation received criticism, but no alternative explanation could be established. This publication presents the results of a research project carried out between 2009 and 2012 at the Austrian Archaeological Institute providing evidence for the building phases, the decoration and the inscriptions, and a prosopographic view of the benefactors of the temple. According to the new contextual interpretation, the building, which is called a »temple« or »shrine« in its dedicatory inscription, should be seen in the context of religious processions through the city, originating from and leading to the Temple of Artemis, located outside of the city limits.

 

Printed with the support of the Austrian Science Fund (FWF).

 

Fonte / foto/ source:

--- Austrian Academy of Sciences Press, Vienna(2020). Nota: cliccare sul testo in inglese "OPEN ACCESS" per l'edizione PDF.

austriaca.at/7994-8

 

--- Dr. Ursula Quatember / Academia.edu. (2020).

www.academia.edu/35976386/Ursula_Quatember_Der_sogenannte...

 

www.flickr.com/photos/imperial_fora_of_rome/50627598997

 

2). Restaurierung des Hadrianstempels in Ephesos begonnen [= Inizia il Restauro del Tempio di Adriano a Efeso]. ARCHAEOLOGIE-ONLINE.DE (2020).

 

** Nota: Testo pubblicato originariamente in tedesco, tradotto in italiano tramite google traduttore. **

 

Per i prossimi mesi, i visitatori degli scavi di Efeso non avranno accesso al Tempio di Adriano. Un team di restauro dell'OeAI ha lavorato intensamente al restauro e al consolidamento dell'antico monumento da metà settembre. Dopo l'approvazione dell'autorità turca per la protezione dei monumenti, potrebbero essere avviate le misure urgentemente necessarie. Il progetto è reso possibile dal generoso sostegno dell'americano JM Kaplan Fund e dai fondi dell'OeAI.

 

Il piccolo edificio simile a un tempio che si trova lungo Kuretenstrasse - il viale di Efeso - è stato donato nel 117/118 d.C. La sua funzione originale non è chiara. L'ipotesi che questo sia il tempio di culto ufficiale dell'imperatore Adriano, per la cui costruzione Efeso ricevette il permesso, oggi è stata smentita, ma vive nel nome ancora oggi utilizzato come tempio di Adriano.

 

Il Tempio di Adriano fu scavato negli anni '50 e ricostruito poco dopo. Durante questa ricostruzione, una cosiddetta anastilosi, sono stati utilizzati i componenti originali ancora conservati e nuovi materiali come il cemento sono stati aggiunti solo in casi eccezionali. Oggi, il Tempio di Adriano, insieme alla Biblioteca di Celso e alle case in collina, è uno dei monumenti più famosi e delle opportunità fotografiche più popolari nell'antica metropoli. L'anastilosi si manifesta oggi con un pattern di danneggiamento multiforme in tutte le aree, sia dei materiali storici che di quelli moderni utilizzati, ed è in cattivo stato di conservazione. Questo sviluppo è rafforzato dal fatto che gli edifici antichi avevano originariamente un tetto, che di solito manca agli anastylos di oggi. Ciò significa che sono esposti a tutte le condizioni atmosferiche senza protezione. Sabine Ladstätter, capo degli scavi di Efeso e direttrice dell'Istituto archeologico austriaco: "Oggetti rinvenuti e monumenti ricostruiti necessitano di una manutenzione permanente, questo spesso viene dimenticato. Si scava, si ripristina e poi si lascia il magazzino ai tempi e di fatto di nuovo Il lento degrado. Il monitoraggio del restauro dei siti archeologici è quindi una necessità urgente per evitare in anticipo costosi danni consequenziali. Oggetti di scavo e monumenti ricostruiti necessitano di una manutenzione permanente, spesso dimenticata. Si scava, si ripristina e poi si lascia il magazzino a i tempi e di fatto di nuovo al lento declino. Un monitoraggio del restauro dei siti archeologici è quindi una necessità urgente per evitare costosi danni consequenziali. Ad Efeso, tutti gli edifici che sono stati ricostruiti sono ora attentamente esaminati e tutti necessari si stanno prendendo misure. "Gli oggetti di scavo e i monumenti ricostruiti necessitano di una manutenzione permanente, questo viene spesso dimenticato. Si scava, si ripristina e poi si lascia il brodo ai tempi e di fatto di nuovo al lento declino. Un monitoraggio del restauro dei siti archeologici è quindi un must urgente per evitare in anticipo costosi danni consequenziali. Ad Efeso, tutti gli edifici ricostruiti vengono ora esaminati attentamente e vengono prese tutte le misure necessarie. "per evitare in anticipo costosi danni conseguenti. Ad Efeso, tutti gli edifici che sono stati ricostruiti vengono ora esaminati attentamente e vengono prese tutte le misure necessarie." al fine di evitare in anticipo costosi danni consequenziali. Ad Efeso, tutti gli edifici ricostruiti vengono ora esaminati attentamente e vengono prese tutte le misure necessarie. "

 

Una delle principali aree problematiche del Tempio di Adriano è la corrosione degli elementi in ferro che furono introdotti nel corso dell'anastilosi per collegare e rinforzare i blocchi di marmo e come acciaio di rinforzo per il calcestruzzo. Dopo oltre 50 anni di esposizione agli agenti atmosferici, i singoli elementi in ferro si sono quasi completamente dissolti e mettono in pericolo la stabilità del tempio. Inoltre, il processo di corrosione ha un forte effetto esplosivo nel marmo o cemento adiacente. Il risultato è la formazione di crepe in questi materiali con il rischio associato di caduta delle parti. Questo rappresenta un grave pericolo per i visitatori degli scavi di Efeso. Un secondo danno significativo al tempio è il degrado della superficie in marmo, il cosiddetto decadimento dello zucchero. Con questo comune fenomeno atmosferico causato dalle differenze di temperatura,

 

I principali interventi di restauro consistono quindi nella sostituzione dei composti ferrosi nell'area dell'antica muratura in marmo, nel miglioramento del bilancio idrico, nella protezione statica delle aree a rischio e nella conservazione di tutti i materiali. Martin Pliessnig, capo restauratore del progetto del Tempio di Adriano: "L'obiettivo principale del concetto di restauro è la conservazione della struttura tradizionale. È importante prolungare la vita del bene culturale e mantenere l'alta qualità del design della superficie per il futuro generazioni. Il danno esistente si basa sulla conoscenza attuale della conservazione dei monumenti e del futuro evitato nel miglior modo possibile ".

 

Il lavoro è stato svolto nei mesi invernali per rendere il tempio di nuovo adatto per il prossimo tour.

 

Fonte / source:

--- ARCHAEOLOGIE-ONLINE.DE (2020).

www.archaeologie-online.de/nachrichten/restaurierung-des-...

 

www.flickr.com/photos/imperial_fora_of_rome/50627501491

 

3). Forschungen in Ephesos [ = materiali di ricerca aggiuntivi e pubblicazioni online per Efeso, vedere:] / VERLAG DER ÖSTERREICHISCHEN AKADEMIE

DER WISSENSCHAFTEN. Vienna (2020).

 

Der erste Band der Reihe Forschungen in Ephesos erschien bereits 1906. Er wurde von der Österreichischen Akademie der Wissenschaften (ÖAW) herausgegeben, die die Reihe seit 1977 im eigenen Verlag veröffentlicht.

 

Zum 125-jährigen Jubiläum des Grabungsbeginns macht das Österreichische Archäologische Institut (ÖAI), in Zusammenarbeit mit dem Verlag der ÖAW und dem von der Universität Heidelberg und der bayrischen Staatsbibliothek betriebenen Fachinformationsdienst Propyläum die gesamte Reihe der Öffentlichkeit und der Nachwelt als Open Access Publikationen sukzessive frei zugänglich.

 

Die Grabung Ephesos in der Westtürkei ist Österreichs größtes Wissenschaftsunternehmen im Ausland. Seit 1895 führt das Österreichische Archäologische Institut (ÖAI) Ausgrabungen im Gebiet der antiken Stadt durch. Seit 2015 zählt das antike Ephesos zum UNESCO-Weltkulturerbe.

 

Ein Langzeitprojekt wie Ephesos bietet die Möglichkeit, an einer der bedeutendsten Fundstätten des Mittelmeerraumes archäologische Grundlagenforschung und Methodenentwicklung zu betreiben: Als Forschungsgegenstand steht eine Stadtanlage mit ihrem Umland zur Verfügung, die von der Bronzezeit bis in das Mittelalter durchgehend besiedelt war, und dies zumeist als Zentralort der Region. Die Grabung Ephesos begreift sich dabei als Plattform für interdisziplinäre Grundlagenforschung in der Archäologie. Bei den Feldforschungen werden heute modernste und zu großen Teilen zerstörungsfreie Methoden wie Surveys und geophysikalische Prospektion eingesetzt und nur gezielte, meist klein dimensionierte Grabungen durchgeführt. Einen zunehmend bedeutenden Aspekt der Arbeiten des ÖAI bilden Denkmalpflege und Monitoring des antiken Bestands.

 

www.flickr.com/photos/imperial_fora_of_rome/50627501961

 

Fonte / source:

--- VERLAG DER ÖSTERREICHISCHEN AKADEMIE

DER WISSENSCHAFTEN. Vienna (2020).

verlag.oeaw.ac.at/kategorie_149.ahtml

verlag.oeaw.ac.at/artikel_16653.ahtml

 

S.v.,

 

--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2020. Dr. Ursula Quatember, The “Temple of Hadrian” on Curetes Street in Ephesus: new research into its building history. JRA 23 (2010): 376-394 [in PDF].

 

Fonte / source:

--- Dr. Ursula Quatember / Academia.edu. (2020).

 

www.academia.edu/958016/_The_Temple_of_Hadrian_on_Curetes...

O. M. Aïvanhov

11 novembre 2005

 

Et bien chers amis, vous me voyez content de vous retrouver ainsi, tout d'abord, avant de m'exprimer librement, je souhaite vous entendre vous exprimer librement sur ce que vous avez à me demander.

 

Question : A quoi correspond l'image de la pyramide ?

La pyramide est un symbole universel qui a été présent dans un certain nombre de civilisations sur cette planète mais aussi dans les peuples de l'extra Terre et de l'intra Terre. C'est un symbole universellement répandu dans les mondes vivants. La pyramide correspond à un degré de diffraction de la Lumière. C'est un lieu de ressourcement dans les plans subtils. Maintenant, sur les plans denses incarnés, comme ils s'en trouvent dans différentes régions, la pyramide correspond à la concrétisation aussi de l'énergie de systèmes solaires extrêmement importants. Ce sont des centres de transformations. Ce sont des centres qui permettent, aussi bien dans les mondes subtils que dans les vibrations les plus denses, de transsubstantionner, de transmuter la matière en Lumière et de transmuter aussi la Lumière en matière. Il s'agit en quelque sorte d'une centrale de retournement de l'état matière à l'état Lumière mais aussi de l'état Lumière à l'état matière. La pyramide est un symbole de transformation, un symbole d'évolution mais aussi une usine énergétique qui permet réellement la transformation des consciences, la transformation cellulaire et la transformation des planètes, aussi.

 

Question : Le choix de devenir psychiatre est-il juste à notre époque ?

Il faut savoir que l'on ne devient pas médecin par hasard, ni médecin, ni psychiatre. Le titre ronflant de médecin, le titre ronflant de psychiatre, encore plus ronflant devrais-je dire, correspond au niveau de l'âme à un rachat karmique, à une notion de quelqu'un qui se pose comme celui qui est le sauveur et, dans cet archétype de fonctionnement, aux niveaux psychologique, spirituel mais aussi matériel. La peur de manquer est profondément inscrite dans tous les médecins car elle fait partie en quelque sorte de leur cheminement d'âme. Et le développement le plus important pour un médecin, un docteur en médecine, un docteur en psychiatrie, est bien évidemment de dépasser cette notion de peur de manquer. La personnalité freine l'enthousiasme de l'âme, l'enthousiasme du sauveur. Mais nul ne peut devenir un vrai sauveur s'il ne fait comme a dit le Christ : « Laisse les morts enterrer les morts et suis moi. » Cela voulait bien dire ce que cela voulait dire. On ne peut pas prétendre à la Lumière, on ne peut pas vouloir la Lumière et avoir peur de l'ombre. Peur de l'ombre est multiforme, c'est aussi avoir peur de manquer d'argent. Bien évidemment, on peut se dire intellectuellement, rationnellement, que le manque d'argent m'empêche de faire les choses ou que la peur de manquer d'argent va m'entraîner dans un cercle où je vais travailler de plus en plus non pas parce que je manque d'argent mais parce que j'ai peur d'en manquer. Tant que cette dialectique est mise en œuvre, aucun médecin quel qu'il soit ne peut trouver la paix de l'Esprit, quel qu'il soit, quel que soit le pays, quelle que soit la façon de travailler car cela fait partie de l'archétype karmique de celui qui a choisi d'être médecin. Voilà, ce que j'avais à dire par rapport à cela. Maintenant, il faut faire confiance à la Lumière. Laisser faire la Lumière. Lâcher prise à l'ombre. En cela, la fluidité se montrera dans toute sa magnificence et dans toute sa beauté. Aussi bien au niveau matériel, aussi bien au niveau de la Lumière intérieure, aussi bien au niveau du développement psychologique mais aussi du développement spirituel.

 

Question : Quel est l'endroit le plus juste pour s'installer aujourd'hui ?

Chacun devra être où il sera au moment où il devra y être. Il n'y a pas de prévisions ou de plans qui tiennent : à partir du moment où vous sentez l'impératif d'être à tel endroit, vous devez y être. Maintenant, s'il y a une quelconque précipitation de ce qui doit se passer, là où vous serez, vous serez touché dans votre intérieur. Il vous sera alors possible de vous rendre là où vous devez vous rendre. Simplement, effectivement, il faut anticiper, non pas des grandes décisions sur des années mais anticiper simplement sur quelques jours par rapport à l'alimentaire, par rapport aux possibilités de retrait d'un lieu temporaire. Tout cela vous devez l'avoir en tête. Mais continuer aussi à vivre, chaque jour, chaque minute de votre vie dans l'instant présent en étant le plus centré dans votre présent, dans ce que vous faites, dans ce que vous avez à faire et pas dans des projections futures. Le grand danger, voyez-vous chers amis, c'est de vouloir projeter, de penser à l'avenir, de penser à ce qui vient et qui malheureusement est déjà là parmi vous, que vous soyez sans arrêt en décalage par rapport à votre présent, sans arrêt en décalage et en fuite vers le futur. Rappelez-vous : ce qui se passe à l'extérieur, se passe à l'intérieur de vous, donc où vous voulez fuir. Il y a simplement à être raisonnable dans le bon sens du terme. En ce qui concerne cette fessée cosmique, vous sentirez l'importance et l'urgence, chacun selon sa manière, de sentir et de ressentir de ce qu'il y aura lieu de faire en ce qui concerne vos lieux, en ce qui concerne vos vies au moment précis où cela surviendra. Néanmoins, rien ne vous empêche d'anticiper ce que vous sentez devoir faire, partir de tel lieu pour aller à tel lieu, préparer pour un futur d'après la fessée ce que vous avez envie de faire, ce que vous devez faire. Mais néanmoins, il convient d'être totalement à l'instant présent. Je ne peux pas être plus précis à ce niveau là. Il est extrêmement fondamental, qu'elles que soient les informations que vous gagnez de gauche à droite et de droite à gauche, de rester centré, de rester parfaitement intériorisé par rapport à cela car, à partir du moment où vous vous centrez dans la Lumière que vous êtes dans l'instant présent, absolument rien ne peut vous déstructurer, vous déstabiliser. Il n'y a que vos pensées qui peuvent vous déstabiliser ou vous déstructurer. Rien d'autre ne peut le faire à partir du moment où vous restez centré dans la Lumière de l'instant présent. Et vous vaquez à ce que vous avez à faire à chaque minute. Ainsi, les mises en garde sont bien là.

Le seul problème de l'être humain c'est que tant qu'on ne lui a pas donné de temps il est persuadé qu'il a l'éternité devant lui, c'est pareil pour la vie. Vous savez tous, nous savons tous que nous allons mourir un jour mais l'échelle de temps est profondément différente. Si je vous disais que vous alliez mourir demain, qu'allez-vous faire ? Vous n'avez plus le temps de rien faire. Si je vous dis vous allez mourir dans cinq ans, et bien, vous allez entreprendre votre vie de manière à terminer tout ce que vous avez à terminer avant ce laps de temps qui vous est imparti de cinq ans. Si je vous dis maintenant que vous allez mourir dans trente ans, vous allez vous dire j'ai le temps. Je fais ça demain. Mais n'oubliez pas qu'à un certain degré de conscience il n'y a pas de temps et néanmoins vous vivez dans le temps. Le plus merveilleux c'est que votre Esprit vit dans ce temps alors que votre Esprit doit être détaché du temps.

Tout ce qui est fait dans la vie que vous avez créée sur cette Terre, de vous-même, indépendamment des forces dites involutives, vous a raccroché au temps. Vous évoluez dans un temps que vous avez créé de toute pièce, dans des corps que vous avez créés de toute pièce, dans des cellules que vous avez créées de toute pièce, dans des créations de plus en plus énormes, enchevêtrées, en résonance les unes avec les autres, extrêmement complexes, extrêmement grandes qui sont vos propres créations et la création de personne d'autre. Vous avez été libres, nous avons été libres d'expérimenter totalement tout ce qu'il a été possible d'expérimenter dans cette troisième dimension. Et là, vous êtes au chemin de la bascule entre la troisième et la cinquième dimension c'est-à-dire le passage de l'aspect purement matériel, analogique, de la vie, à l'aspect purement numérique, géométrique, vibratoire, ondulatoire de la vie où la matière perd de son importance. J'ai pas dit n'existe plus mais j'ai dit simplement perd de son importance. L'importance de la matière tient à l'illusion du temps et à rien d'autre mes enfants.

 

Question : Pourriez-vous nous parler des dauphins ?

L'enseignement des dauphins est l'enseignement de la Source. Ce mot est extrêmement important. L'enseignement de la Source est l'enseignement de l'humilité, est l'enseignement de la non séparativité des consciences ainsi que le vivent les dauphins. Tous les dauphins vivant sur cette planète dans l'eau (je ne parle pas de l'intra Terre) sont en résonance. Ils sont déjà « internet » eux-mêmes. Ils n'ont pas besoin d'appareillage. Leur Esprit est connecté en réseau tout autour de la Terre et ils sont connectés à la Source. De la vient l'intelligence suprême qui n'est pas l'intelligence isolée mais l'intelligence des réseaux. Cela vous êtes en train de le découvrir, humain incarné à travers les modèles que vous avez créés de communication, les modèles modernes et technologiques mais ce n'est que le pâle reflet de la réalité. Vous extériorisez ce qui existe déjà à l'intérieur. Il ne pourrait pas y avoir d'avion si vous ne pouviez pas voler. Il ne pourrait pas y avoir de réseau « internet » s'il n'y avait pas internet en vous au niveau de l'humanité tout entière et non pas au niveau de l'individu seulement. Ainsi, l'intelligence des dauphins repose sur ces trois mots seulement : réseau, Source, fraternité/humanité. Les dauphins sont une humanité extrêmement importante.

 

Question : Parlez-nous de la région appelée « Pyrénées ».

Oui, bien sûr, il n'y a pas de secrets là-dedans. Cette région a été une région qui a été bénie des Dieux voilà bien longtemps, lors de la dernière destruction de l'Atlantide voilà plus de douze mille ans. Un certain nombre d'êtres sont partis, certains vers l'Egypte, d'autre vers la Chine, mais aussi d'autres dans cette région qu'est les Pyrénées et ont établi dans la montagne des traces de leur passage. Il y a des pyramides enterrées depuis douze mille ans dans cette région, dans la montagne, en cristal de couleur ambrée, cristal de roche particulier, qui n'a rien à voir avec les cristaux bleus. Mais néanmoins, ces cristaux sont des générateurs extrêmement puissants qui sont en train de se réactiver dans la montagne. Vous avez dans certaines régions de la montagne des Pyrénées Atlantique, non loin de la frontière avec le pays voisin, des endroits extrêmement forts en vibration, des endroits bénis des Dieux dans tous les sens du terme, lieux qui sont en train de se réactiver. J'ai eu l'occasion de mon vivant de constater visuellement et vibratoirement aussi ce qui s'y passait. Maintenant le bord de mer n'est pas si dangereux que cela. Il y a des régions de bord de mer qui sont au-delà du niveau de la mer, bien au-delà. Ne vous attendez pas à voir débarquer une montagne d'eau de ce côté-ci de l'Atlantique. Il y aura, certes, des mouvements d'eau mais à partir du moment où vous n'êtes pas au niveau de l'eau, il n'y a aucun risque de quoi que ce soit. Maintenant, en ce qui concerne l'histoire, elle est reliée à l'Atlantide, à la destruction de l'Atlantide, et à la mémoire atlantéenne mais aussi à certain nombre de secrets vibratoires mais aussi physiques qui ont été cachés dans des endroits précis de la montagne. Il ne convient pas, pour l'instant, d'être au courant de ces lieux. Sachez simplement qu'ils existent. Ils sont extrêmement puissants, ils irradient dans toute la région leur énergie tellurique et cosmique. Ce sont des phares pour l'humanité au même titre que d'autres régions de la planète. Néanmoins, ce ne sont pas des lieux qui interviendront plus tard au niveau de ce que l'on a appelé les « regroupements ». Mais néanmoins, c'est un pays béni des Dieux et béni aussi par, en quelque sorte, une relative protection par rapport aux évènements économiques, biologiques, géologiques, aquatiques, aériques qui viennent à votre rencontre.

 

Question : Qu'en est-il de la fraternité blanche universelle, aujourd'hui ?

Bien évidemment, à partir du moment où le fondateur d'une religion ou d'un mouvement meurt, que se passe-t-il ? Les êtres de pouvoir récupèrent. Cela a été le cas pour l'église catholique, cela a été le cas pour tous les mouvements qui ont été créés à la surface de cette Terre. Pour l'instant, la fraternité blanche universelle possède un certain nombre de dérives, pas plus et pas moins que l'église catholique, qui doit, elle aussi, mourir. La fraternité blanche universelle dont je parle n'a rien à voir avec celle existante, celle qui sera mise en œuvre bien après les évènements, celle qui correspondra à la totalité de l'humanité présente sur Terre à travers un moment de renouveau du Christ, non pas dans une chapelle, non pas à travers autre chose qu'une fraternité. Je ne parle pas de la fraternité blanche telle qu'elle existe à l'heure actuelle qui a perdu son essence parce qu'elle n'est plus dirigée authentiquement par un être de Lumière ou par un être missionné pour cela. Et donc, les loups sont sortis du bois et donc, effectivement, il y a des dérives au même titre que dans l'église catholique ou dans d'autres mouvements dits spirituels. Je ne parle pas de la fraternité blanche universelle. Je parle de la future.

 

Question : Est-ce opportun de se regrouper dans des lieux de vie communs ?

Oui, à condition que cela soit fait dans un temps bien ultérieur. Ce n'est point le moment pour l'instant, à part de le mettre en idée. Il est beaucoup trop tôt. La totalité des humains n'ont pas encore vécu la fessée cosmique. Nous en reparlerons après la fessée cosmique qui changera bien des mentalités humaines. Pour le moment il est peut-être utile d'en parler dans une locution intérieure avec soi-même, de mettre en place des idées et non pas le projet lui-même. C'est beaucoup trop tôt. Bien évidemment, c'est une réalité future qui peut-être tout à fait en rapport avec l'aspect incarné de la fraternité blanche universelle qui va bien au-delà de la fraternité humaine. Rappelez-vous qu'un certain nombre d'évènements doivent se produire d'ici la fin de l'année, indépendamment de ces évènements désagréables de la fessée cosmique, mais aussi des évènements spirituels extrêmement importants comme la reconnaissance de l'existence de l'intra Terre, comme la reconnaissance de l'existence aussi des phénomènes extra Terrestres. Chaque chose en son temps mais, néanmoins, il y a possibilité d'avoir plusieurs lieux de rassemblements qui sont totalement différents de ceux que nous avions appelé, à d'autres moments, des lieux de regroupements. Ce sont des choses totalement différentes, auxquelles pour l'instant, nous n'avons pas à être confrontés.

 

Voilà chers amis, si vous le voulez bien maintenant, je vais vous laisser profiter de cette belle soirée et pour moi retourner à mes espaces et rendre la liberté à mon canal. Je vous apporte, comme il est convenu de le faire, toute ma bénédiction et tout mon amour fraternel et tout mon amour en humanité. A tout bientôt.

  

Mentre dormivi nella tua culla, la Luna, che è il capriccio in persona, guardò dalla finestra e disse:

"Questa bambina mi piace".

 

Discese languidamente la sua scala di nuvole, e passò senza far rumore attraverso i vetri.

Poi si stese su di te con la morbida tenerezza di una madre, e depose i suoi colori sulla tua faccia.

Così le tue pupille sono rimaste verdi, e le tue guance straordinariamente pallide.

Contemplando quella visitatrice i tuoi occhi si sono così bizzarramente ingranditi;

e lei ti ha così teneramente serrato la gola che ti è rimasta per sempre la voglia di piangere.

 

Nell`espansione della sua gioia, la Luna continuava a riempire tutta la stanza di un`atmosfera

fosforescente, di un veleno luminoso; e tutta quella viva luce pensava e diceva:

"Subirai eternamente l`influsso del mio bacio. Sarai bella a modo mio.

Amerai ciò che io amo e ciò che mi ama: l`acqua, le nuvole, il silenzio e la notte; il mare immenso e verde;

l`acqua informe e multiforme; il luogo in cui non sei; l`amante che non conosci; i fiori mostruosi;

i profumi che fanno delirare; i gatti che si beano sui pianoforti e che gemono come donne,

con voce roca e dolce.

 

E sarai amata dai miei amanti, corteggiata da chi mi fa la corte. Sarai la regina di chi ha gli occhi verdi,

di coloro a cui ho stretto la gola con le mie carezze notturne; di coloro che amano il mare,

il mare immenso, tumultuoso e verde, l`acqua informe e multiforme, il luogo in cui non sono,

la donna che non conoscono, i fiori sinistri che somigliano ai turiboli di una religione ignota,

i profumi che turbano la volontà, e gli animali selvaggi e voluttuosi che sono gli emblemi della loro follia".

 

Ed è per questo, maledetta e cara bambina viziata, che io ora sono ai tuoi piedi,

e cerco in tutta la tua persona il riflesso della temibile Divinità, della fatidica madrina,

dell`intossicante madrina di tutti i lunatici!

 

Baudelaire

Parco degli Acquedotti - Rome - Lazio - Italy

 

Zero Image Zero MultiFormat 6x9

Ilford FP4Plus

Tetenal Ultrafin Plus 1+4 cont. agitation 5:00 + 3 min. stand

 

Direct film scan

Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.

 

Photo UN/MINUSCA - Leonel Grothe

Mario Benedetti (né à Paso de los Toros le 14 septembre 1920 et mort le 17 mai 2009 à Montevideo) est un écrivain uruguayen multiforme : poète, mais aussi nouvelliste, essayiste, romancier et dramaturge. Il est considéré comme l'un des écrivains les plus importants de l'Amérique latine.

Multiform køkken

Langbiang Mountain is located in Lac Duong district which is 12 km from Dalat in the North. With its height of 2,169m above the sea level, Langbiang Mountain has not only been an attractive tourist site but also kept a legend about a passionate love.

  

According to the old people, there was a love story of K'Lang (a boy of Lach minority people) and Ho-biang (a girl of Chil minority people).

 

Their families both lived at the foot of the mountain. They met each other by chance and then they were beloved. However, they were at different tribes, so Ho-biang couldn't get married to K'Lang.

 

Finally, they decided to overcome their strict customs and got married. Then they left their hometown and came to live in a place in the top of the mountain. One day, Ho-biang was ill, K'Lang managed to cure his wife but she couldn't get over her illness. K'Lang decided to go back Ho- biang village to inform people about her illness. However, because Chil people hated him, they prepared a bow and a poisoned arrow to kill him.

 

Suddenly, Ho-biang went to stand before K'Lang to prevent her husband from the arrow. The arrow shot her and she died. K'Lang cried a lot and he also died. His tear turned into a scream that we call DanKia now.

  

After the death of K'Lang and Ho-biang, the father of Bian realized what he did before was wrong, so he united all the hill tribes of Lach, Chil, Sre, etc and they all became one hill tribe, K'ho. Since then, the boys and girls of the hill tribes can get married with each other. The tombs of Lang and Biang turned into two mountains standing with each other, so the local people gave the name Langbiang for the mountains.

 

Nowadays, Langbiang tourist site has been known by a lot of local and foreign tourists with its multiform biology of plants, animals and its attractive amusements such as climbing mountain, camping, taking eco-tours and researching native culture.

  

YL4207 (fongarium personnel).

Saint-Côme (Lanaudière-Nord), 14 septembre 2011.

Récolté dans une pessière mêlée de quelques sapins, en terrain montagneux.

 

Identité confirmée grâce au projet d'APCQ dirigé par Jacques Landry pour Mycoquébec.

 

Ce cortinaire est un des Phlegmacium les plus communs sous les conifères au Québec. Malgré cela, pour des raisons de nomenclature, les différents auteurs ne s’entendaient pas tous sur le nom qui devait lui être apposé. La question serait maintenant réglée.

 

La couleur fauve orangé assez vive du chapeau et la taille et l'ornementation des spores confirment son identité. Le pied peut être simplement clavé ou plus ou moins bulbeux-marginé; il se tache rapidement de jaune-brun avec l’âge. Le bulbe du pied de son sosie C. talimultiformis semble plus prononcé.

 

Les spores de la récolte YL4207, ellipsoïdes à subamygdaloïdes et moyennement verruqueuses, mesurent 9-9,5 (10) x 5,2-5,7 µm. La chair ne réagit pas au contact du KOH 20 %.

 

Dans mon fongarium, j’ai une collection sous conifères qui possèdent des spores plus grandes… Mais elle provient d’Ontario, tout juste au bord des lignes (mettons ;-).

 

-----

OUVRAGES CONSULTÉS

 

BRANDRUD, T. E, B. DIMA, G. SCHMIDT-STOHN. F. BELLÙ, T. G. FRØSLEV, B. OERTEL, G. SAAR & K. SOOP, 2014. «Cortinarius subgenus Phlegmacium section Multiformes in Europe.» Journal de J. E. C., no 16: 162-199.

 

J. Landry, Y. Lamoureux, R. Lebeuf, A. Paul, H. Lambert et R. Labbé (2021). "Répertoire des cortinaires du Québec". Mycoquébec. org., Québec, 552 p.

 

YL

■ Feu D'artifice de Clôture de MP2013 par le Groupe F, Marseille (13) 2013, FRA

 

■ Le 31 Décembre 2013.

Le Groupe F, créateur de lumières de feu et d’images propose une œuvre multiforme, au carrefour du Land Art, de la performance pyrotechnique et du théâtre à ciel ouvert. Mêlant l’eau et le feu, musiques et récits, les Révélations prennent la forme d’une saga épique dont les épisodes parcourent les eaux du territoire Marseille Provence.

 

Pour clôturer cette année Capitale en beauté, le dernier épisode se déroulera sur le légendaire Vieux Port de Marseille. Projections monumentales, acteurs de lumière, pyrotechnie sur bateaux, tarasque de feu, son…

 

■ Les photos de ce site ne sont pas libres de droit / The pictures in this website are copyrighted

Pour toute utilisation veuillez Me Contacter ICI ou ICI / For any use please Contact Me HERE or HERE

 

■ Bonne visite / Good visit.

Langbiang Mountain is located in Lac Duong district which is 12 km from Dalat in the North. With its height of 2,169m above the sea level, Langbiang Mountain has not only been an attractive tourist site but also kept a legend about a passionate love.

  

According to the old people, there was a love story of K'Lang (a boy of Lach minority people) and Ho-biang (a girl of Chil minority people).

 

Their families both lived at the foot of the mountain. They met each other by chance and then they were beloved. However, they were at different tribes, so Ho-biang couldn't get married to K'Lang.

 

Finally, they decided to overcome their strict customs and got married. Then they left their hometown and came to live in a place in the top of the mountain. One day, Ho-biang was ill, K'Lang managed to cure his wife but she couldn't get over her illness. K'Lang decided to go back Ho- biang village to inform people about her illness. However, because Chil people hated him, they prepared a bow and a poisoned arrow to kill him.

 

Suddenly, Ho-biang went to stand before K'Lang to prevent her husband from the arrow. The arrow shot her and she died. K'Lang cried a lot and he also died. His tear turned into a scream that we call DanKia now.

  

After the death of K'Lang and Ho-biang, the father of Bian realized what he did before was wrong, so he united all the hill tribes of Lach, Chil, Sre, etc and they all became one hill tribe, K'ho. Since then, the boys and girls of the hill tribes can get married with each other. The tombs of Lang and Biang turned into two mountains standing with each other, so the local people gave the name Langbiang for the mountains.

 

Nowadays, Langbiang tourist site has been known by a lot of local and foreign tourists with its multiform biology of plants, animals and its attractive amusements such as climbing mountain, camping, taking eco-tours and researching native culture.

  

Presentazione di Argo H2O e di Argo Art Projects ed esposizione di alcune opere da WATERSHAPE, a cura di Eleonora Di Erasmo e Daniela Shalom Vagata, sabato 21 dicembre 2013, Roma.

Live-set "Snowy Afternoon" di Andrea Buratta aka Novembertraum

 

Video, musica, fotografie di:

Andrea Buratta aka Novembertraum, Stefano Bandini, Sebastiano Luciano, Chie Matsui, Andrés Mendéz, Monochrome Circus, Yoichi Nagano, Masakatsu Tagaki, Chris Rudz, Yasu Suzuka, Toru Yamanaka

 

Argo rivista d’esplorazione dedica il nuovo numero Argo H2O al tema fluido e multiforme dell’acqua: acqua come fonte primordiale di vita, frontiera dell’orizzonte umano, risorsa e bene comune. Pensati appositamente per questo nuovo numero, sono visibili nelle versioni cartacea e online di Argo H2O i progetti Voce al silenzio e WATERSHAPE.

 

www.argonline.it

© sergione infuso - all rights reserved

follow me on www.sergione.info

 

You may not modify, publish or use any files on

this page without written permission and consent.

 

-----------------------------

 

Il 24 ottobre al Teatro Sociale di Como, Mika rivisiterà il suo repertorio di successi e proporrà nuove canzoni in chiave sinfonica con l’orchestra “Affinis Consort”, diretta da Simon Leclerc, creata appositamente per l’occasione da 81 professionisti internazionali: 65 strumentisti e 16 coristi.

 

Lo spettacolo nasce dal desiderio di Mika di replicare in Italia l’incredibile esperienza dei tre concerti sinfonici tenutisi a Montréal lo scorso febbraio, in cui ha confermato la sua versatilità e la qualità del suo repertorio pop, anche in chiave classica.

 

Il concerto arriva dopo i grandi successi estivi al Fabrique di Milano, al Teatro Antico di Taormina e all’Arena della Regina di Cattolica e le prossime tre date nei palasport di Milano (27 settembre), Roma (29 settembre) e Firenze (30 settembre). Le prevendite per la serata speciale partiranno da giovedì 1 ottobre.

 

Simon Leclerc è un affermato compositore di colonne sonore per la Paramount e direttore d’orchestra canadese a cui Mika ha affidato l’arrangiamento in chiave classica del suo repertorio. Dopo i concerti di Montreal, Mika ha entusiasticamente dichiarato: “Provenendo io stesso da una formazione professionale classica, per me è straordinario sentire le mie canzoni nelle veste classica che Simon ha dato loro, perché nella mia mente, le ho sempre immaginate così!”

 

Dal piccolo ensemble alla grande orchestra sinfonica. Dalle fondamenta classiche alle contaminazioni contemporanee e pop.

Affinis Consort racchiude nel suo dna la multiformità del suo essere.

L'unione di mondi, il Canada e l'Italia. Il superamento dei confini geografici e culturali. Il connubio e la condivisione delle esperienze che ogni singolo musicista porta sul palco, elevando le affinità.

 

Templo ubicado en las cercanías de la falda oriente del cerro del Tepeyac. Fue construido de 1777 a 1791 y diseñado por el arquitecto Francisco Guerrero y Torres.Fue edificado sobre un pozo de aguas consideradas milagrosas, así, pronto comenzaron las peregrinaciones al lugar.10 Gran cantidad de enfermos bebía y lavaba sus heridas en el mismo sitio, por lo que pronto se convirtió en foco de infecciones. Para controlar las epidemias se impidió el acceso directo al pozo y se construyó una techumbre sencilla, pero las peregrinaciones continuaron. Para 1777 se tomó la decisión de construir un templo en el sitio.

 

El sello particular de esta capilla pequeña, considerada joya arquitectónica del estilo barroco, es su forma pues su planta es la única de base circular o cántrica levantada durante el siglo XVIII que se conserva en México. Este carácter permite que el visitante perciba el espacio poco a poco, como si éste se escondiera. El movimiento que le imprime a la cúpula la decoración en zigzag, lo mismo que las líneas multiformes utilizadas en las ventanas contribuye a crear esta atmósfera de movimiento lento. Todos los símbolos que cargan los angelitos pintados en la cúpula, son los símbolos marianos que aparecen en la Letanía Lauretana, parte final del rezo del rosario: espejo de virtudes, torre de David, estrella de la mañana, etc. Otro elemento importante de la decoración es el Juan Diego que sostiene el púlpito de madera.10

 

En 1815 el insurgente José María Morelos se le permitió como última voluntad ir a orar a la Virgen de Guadalupe en este templo antes de ser ejecutado en una población cercana en el actual municipio de Ecatepec de Morelos.

 

Con las obras de creación del Atrio de las Américas en la década de 1950, el templo pasó de estar inmerso en la traza urbana a encontrarse aislado de ésta, tal como se lo contempla en la actualidad.

Templo ubicado en las cercanías de la falda oriente del cerro del Tepeyac. Fue construido de 1777 a 1791 y diseñado por el arquitecto Francisco Guerrero y Torres.Fue edificado sobre un pozo de aguas consideradas milagrosas, así, pronto comenzaron las peregrinaciones al lugar.10 Gran cantidad de enfermos bebía y lavaba sus heridas en el mismo sitio, por lo que pronto se convirtió en foco de infecciones. Para controlar las epidemias se impidió el acceso directo al pozo y se construyó una techumbre sencilla, pero las peregrinaciones continuaron. Para 1777 se tomó la decisión de construir un templo en el sitio.

 

El sello particular de esta capilla pequeña, considerada joya arquitectónica del estilo barroco, es su forma pues su planta es la única de base circular o cántrica levantada durante el siglo XVIII que se conserva en México. Este carácter permite que el visitante perciba el espacio poco a poco, como si éste se escondiera. El movimiento que le imprime a la cúpula la decoración en zigzag, lo mismo que las líneas multiformes utilizadas en las ventanas contribuye a crear esta atmósfera de movimiento lento. Todos los símbolos que cargan los angelitos pintados en la cúpula, son los símbolos marianos que aparecen en la Letanía Lauretana, parte final del rezo del rosario: espejo de virtudes, torre de David, estrella de la mañana, etc. Otro elemento importante de la decoración es el Juan Diego que sostiene el púlpito de madera.10

 

En 1815 el insurgente José María Morelos se le permitió como última voluntad ir a orar a la Virgen de Guadalupe en este templo antes de ser ejecutado en una población cercana en el actual municipio de Ecatepec de Morelos.

 

Con las obras de creación del Atrio de las Américas en la década de 1950, el templo pasó de estar inmerso en la traza urbana a encontrarse aislado de ésta, tal como se lo contempla en la actualidad.

Templo ubicado en las cercanías de la falda oriente del cerro del Tepeyac. Fue construido de 1777 a 1791 y diseñado por el arquitecto Francisco Guerrero y Torres.Fue edificado sobre un pozo de aguas consideradas milagrosas, así, pronto comenzaron las peregrinaciones al lugar.10 Gran cantidad de enfermos bebía y lavaba sus heridas en el mismo sitio, por lo que pronto se convirtió en foco de infecciones. Para controlar las epidemias se impidió el acceso directo al pozo y se construyó una techumbre sencilla, pero las peregrinaciones continuaron. Para 1777 se tomó la decisión de construir un templo en el sitio.

 

El sello particular de esta capilla pequeña, considerada joya arquitectónica del estilo barroco, es su forma pues su planta es la única de base circular o cántrica levantada durante el siglo XVIII que se conserva en México. Este carácter permite que el visitante perciba el espacio poco a poco, como si éste se escondiera. El movimiento que le imprime a la cúpula la decoración en zigzag, lo mismo que las líneas multiformes utilizadas en las ventanas contribuye a crear esta atmósfera de movimiento lento. Todos los símbolos que cargan los angelitos pintados en la cúpula, son los símbolos marianos que aparecen en la Letanía Lauretana, parte final del rezo del rosario: espejo de virtudes, torre de David, estrella de la mañana, etc. Otro elemento importante de la decoración es el Juan Diego que sostiene el púlpito de madera.10

 

En 1815 el insurgente José María Morelos se le permitió como última voluntad ir a orar a la Virgen de Guadalupe en este templo antes de ser ejecutado en una población cercana en el actual municipio de Ecatepec de Morelos.

 

Con las obras de creación del Atrio de las Américas en la década de 1950, el templo pasó de estar inmerso en la traza urbana a encontrarse aislado de ésta, tal como se lo contempla en la actualidad.

Templo ubicado en las cercanías de la falda oriente del cerro del Tepeyac. Fue construido de 1777 a 1791 y diseñado por el arquitecto Francisco Guerrero y Torres.Fue edificado sobre un pozo de aguas consideradas milagrosas, así, pronto comenzaron las peregrinaciones al lugar.10 Gran cantidad de enfermos bebía y lavaba sus heridas en el mismo sitio, por lo que pronto se convirtió en foco de infecciones. Para controlar las epidemias se impidió el acceso directo al pozo y se construyó una techumbre sencilla, pero las peregrinaciones continuaron. Para 1777 se tomó la decisión de construir un templo en el sitio.

 

El sello particular de esta capilla pequeña, considerada joya arquitectónica del estilo barroco, es su forma pues su planta es la única de base circular o cántrica levantada durante el siglo XVIII que se conserva en México. Este carácter permite que el visitante perciba el espacio poco a poco, como si éste se escondiera. El movimiento que le imprime a la cúpula la decoración en zigzag, lo mismo que las líneas multiformes utilizadas en las ventanas contribuye a crear esta atmósfera de movimiento lento. Todos los símbolos que cargan los angelitos pintados en la cúpula, son los símbolos marianos que aparecen en la Letanía Lauretana, parte final del rezo del rosario: espejo de virtudes, torre de David, estrella de la mañana, etc. Otro elemento importante de la decoración es el Juan Diego que sostiene el púlpito de madera.10

 

En 1815 el insurgente José María Morelos se le permitió como última voluntad ir a orar a la Virgen de Guadalupe en este templo antes de ser ejecutado en una población cercana en el actual municipio de Ecatepec de Morelos.

 

Con las obras de creación del Atrio de las Américas en la década de 1950, el templo pasó de estar inmerso en la traza urbana a encontrarse aislado de ésta, tal como se lo contempla en la actualidad.

Erano le 5 della mattina, erano giunti in spiaggia di ritorno da una notte di sguardi, di complicità, di sfioramenti appena pronunciati, di parole, di vino con bollicine, con sottofondo le note di Scott Walker E I SUOI FRATELLI, Isaac Hayes e di quel pazzesco disco dei Beastie Boys solo strumentale.

L’estate sarebbe di lì a breve scoppiata con botti folgoranti e sfavillanti; la cittadina marittima si sarebbe trasformata in un parco di divertimenti, un luogo surreale approdo di famigliole cafone, di giovanotti alla ricerca disperata di magia, di avventure facili, di annebbiamento totale, di madri con figli senza mariti, di ragazzine protese a liberarsi dal peso insopportabile della timidezza.

A Baby tutto questo infastidiva, e quella mattina si trovava lì proprio per vivere ancora una volta, prima dell’avvento delle masse, la sensazione di padronanza di quel regno incantato e labile.

Baby era seduta su uno sdraio, Lui le accarezzava una guancia, mentre l’altra mano scivolava con movimenti regolari e sicuri dalla spalla alla vita.

Baby conosceva Lui da tanto, da quando Lui la andava a trovare con il triciclo e Baby, quando lo vedeva avanzare nel vialetto, correva nella stanza dei giochi per urlare: tutto questo è mio, scordatelo.

Lui l’aveva seguita da lontano, senza invadenza, in quell’avanzare di anni impetuoso, aveva visto Baby trasformarsi da uno spillo verdognolo con apparecchio ai denti e con capelli alla maschietto in una ragazzina dalle linee morbide, affusolate, aggraziate, vibranti e protese verso l’ignoto.

Era sempre presente quando Baby lo chiamava a rapporto: Baby aveva facilità a ficcarsi nei guai, soprattutto aveva preso la cattiva abitudine di buttarsi a capofitto in quegli amori impossibili, totalizzanti, travolgenti, che solo lei con ricerca minuziosa andava a scovare nei meandri tortuosi della Romagna.

E così anche quella volta, Baby lo aveva chiamato: Lui arrivò nella casa del mare, Baby era preda di una crisi isterica, Lui cerò invano di calmarla, è per cercare di rilassarla che iniziarono a fluire litri di vino. Lui ascoltò, venne come al solito traumatizzato dai racconti rocamboleschi di Baby: la sera prima Baby si trovava in macchina con l’altro, bevevano fumavano parlavano senza ascoltarsi, lui accelerò nel mentre si accorsero che la strada svoltava a gomito.

L’auto non sterzò continuò in rettilineo poi il vuoto. Baby si riprese a causa delle luci abbaglianti delle auto della polizia; la sirena dell’ambulanza avvertiva del suo arrivo, Baby si sollevò, si sentiva a posto, si voltò verso l’altro, c’era sangue, c’erano vetri rotti su di lui, c’era lo sportello aperto e qualcuno che cercava di tirarlo fuori.

Fu portato in ospedale in coma, Baby rimase in silenzio ad aspettare il babbo e i suoi ceffoni, mentre l’agente la interrogava.

Per tutto questo Lui ascoltava Baby, guardandola come se si trovasse di fronte a qualcuno con capacità di rivestire personaggi multiformi, sempre diversi e terrificanti; come qualcuno che lo faceva palpitare.

Lui la voleva sua, ma non glielo avrebbe mai detto.

Durante quella notte in spiaggia, lui le tolse i vestiti e fecero il bagno, quel bagno purificatore per Baby, quel bagno gelato portatore di pace.

Lui oggi è diventato babbo, in un paese lontano, ha chiamato Baby per dirle che quel bambino si addormenterà ascoltando storie con un’unica Eroina.

 

Erythema multiforme. View of a child's arm covered in round, red weals with pale centres. This condi- tion is called erythema multiforme which literally means

Templo ubicado en las cercanías de la falda oriente del cerro del Tepeyac. Fue construido de 1777 a 1791 y diseñado por el arquitecto Francisco Guerrero y Torres.Fue edificado sobre un pozo de aguas consideradas milagrosas, así, pronto comenzaron las peregrinaciones al lugar.10 Gran cantidad de enfermos bebía y lavaba sus heridas en el mismo sitio, por lo que pronto se convirtió en foco de infecciones. Para controlar las epidemias se impidió el acceso directo al pozo y se construyó una techumbre sencilla, pero las peregrinaciones continuaron. Para 1777 se tomó la decisión de construir un templo en el sitio.

 

El sello particular de esta capilla pequeña, considerada joya arquitectónica del estilo barroco, es su forma pues su planta es la única de base circular o cántrica levantada durante el siglo XVIII que se conserva en México. Este carácter permite que el visitante perciba el espacio poco a poco, como si éste se escondiera. El movimiento que le imprime a la cúpula la decoración en zigzag, lo mismo que las líneas multiformes utilizadas en las ventanas contribuye a crear esta atmósfera de movimiento lento. Todos los símbolos que cargan los angelitos pintados en la cúpula, son los símbolos marianos que aparecen en la Letanía Lauretana, parte final del rezo del rosario: espejo de virtudes, torre de David, estrella de la mañana, etc. Otro elemento importante de la decoración es el Juan Diego que sostiene el púlpito de madera.10

 

En 1815 el insurgente José María Morelos se le permitió como última voluntad ir a orar a la Virgen de Guadalupe en este templo antes de ser ejecutado en una población cercana en el actual municipio de Ecatepec de Morelos.

 

Con las obras de creación del Atrio de las Américas en la década de 1950, el templo pasó de estar inmerso en la traza urbana a encontrarse aislado de ésta, tal como se lo contempla en la actualidad.

Francisco Salamone fue un Arquitecto Italo-Argentino, que vivió y trabajó en Argentina; construyó en apenas cuatro años, entre 1936 y 1940, más de 60 edificios en 25 municipios de la Provincia de Buenos Aires.

    

Las torres de la llanura

    

Las obras del arquitecto Francisco Salamone, creadas en los años 30, sorprenden al viajero en pueblos y ciudades bonaerenses. Un fuerte símbolo del avance de la civilización sobre el desierto que combina Art Deco y futurismo.

Torres altísimas y facetadas con terminaciones multiformes, ángeles de piedra con rasgos geométricos y fuentes con extraño aspecto de pastel parecen pistas diseminadas por la provincia de Buenos Aires para descubrir la puerta de entrada a una futurista y misteriosa Ciudad Gótica. Se trata, en verdad, de la expresión material de los sueños de poder y grandeza que reinaban en el país en los años 30, plasmados en ornamentos de edificios municipales, cementerios y mataderos construidos hace más de 60 años por el arquitecto Francisco Salamone.

    

En Foto:El Cementerio de Azul- El matader

    

Foto:Pablo Avincetto

Ripensando a Creativa2005.

Creativa si è confermata non-luogo unico del network in Italia non inquinato dal declino perbenistico e "mostraiolo" della mail-art, non-luogo di confusa (talvolta) ma stimolante comunicazione e di scambio, di azioni graffianti ma anche folli e grottesche, popolaresche e "culte", non-luogo d'incroci multimediali, opificio di poesia vecchia e nuova, lineare comportamentale videocomputerizzata sonora gridata o dolcissimamente sussurrata, rifugio di sogni e di ribellione, fucina di immagini emblematiche: Cristo che resuscita e s'invola culetto al vento senza falsi pudori chiesastici, un estintore rosso sul pavimento insanguinato, fanciulle in fiore trasformate in statue, marionette in carne ed ossa, un coro sul palco che inneggia alla non-arte, passerelle modaiole stravaganti e trash, che, stiamoci attenti, potrebbero venir sponsorizzate o saccheggiate da qualche stilista d'avanguardia, un pranzo allietato dal canto di stornellatori improvvisati bravissimi o da umoristi più o meno spiritosi e sconclusionati, un variopinto e chiassoso corteo che straripa "oltre i limiti" nel paese a incontrare la popolazione, e tante altre cose o azioni che talvolta non ho potuto neppure vedere bene tanti erano i fotografi o videomakers che attorniavano gli attori performers.... e in mezzo al bailamme la costante presenza mercuriale del burattinaio di tanto evento, con le ali ai piedi, anzi con le ruote: Franco, detto Mangiafoco, al quale auguriamo: "Foco-ardi ancora, perché Creativa, isola di utopia, non si spenga, ma continui a darci gioia di amicizia e impulso prezioso di crescita e di rinnovamento. Per lunghi e lunghi anni!

Gianni Broi

 

Creativa 6, anno 2005

Eccoci finalmente a Creativa 6! Oltre i limiti del quotidiano! Trasportato dagli amici ferrovieri dal nome complementare de i Santini Del Prete dal paesello sul mar Tirreno al paesello sull’Arno.

Due giorni intensamente spesi nel grande magico contenitore che Claudio Fusai e Franco Piri Focardi, sostenuti da famigliari ed amici affettuosi e propositivi hanno costruito per tutti quelli che da ogni dove sono venuti per partecipare al grande evento.

Io, abitudinariamente, spettatore anonimo e riservato sono invece subito stato coinvolto da quella atmosfera anarchica e scientifica, casuale, ma pregna di sapienza caotica e progettuale che tormenta e alimenta l’anima e la vita dei poeti, degli artisti, dei musicisti, dei performers, di tutti i creativi presenti che hanno vissuto per uno o due giorni insieme dentro e fuori la Scuola di Rignano.

Non si può resistere da spettatore all’energia creativa che si sprigiona in una tale multiformità di azioni ed apparizioni, ed anch’io da quasi subito mi sono sentito particella attiva di questo incessante cinetismo artistico.

Vorrei ricordare in elenco tutti i presenti, quasi tutti incontrati per la prima volta, ma penso di poter rimandarvi al prossimo catalogo che sicuramente i due amicissimi da cui “ Tutto ebbe inizio “ (titolo di un loro appassionante racconto a due mani che invito tutti a leggere) organizzeranno per testimoniare l’accaduto.

Da parte mia, ho voluto scrivere questa breve cartolina ricordo per ringraziarvi tutti veramente di cuore per avermi ossessionato a ricordare di essere un creativo anch’io, più o meno come tutti voi.

 

Grazie

Ido Breza

  

Avanguardia Creativa,

Rignano sull’Arno 29 maggio 2005

 

La non-arte è l’unica Avanguardia praticabile nel XXI secolo.

L’uomo non-artista, liberatosi dalla professione di artista, può esprimersi dilettevolmente con ironia e tragedia, passionalità e leggerezza, con amore e odio, manualità e tecnologia, finalmente svincolatosi nell’esercitare e manifestare la propria peculiare creatività dalle leggi dell’economia, finanza, politica, marketing, spettacolo che dominano ed appiattiscono l’arte contemporanea.

Pace e Amore da i santini del prete

 

Sides popped out

Nuestra acción organizacional está centrada en entregarle a las naciones el evangelio expresando la multiforme sabiduría de Dios, aplicada a los diferentes campos de la estructura que componen las naciones y las ciudades, a saber: Gobierno, Economía, Medios de Comunicación Masivos, Religión, Familia, Educación, Arte y Entretenimiento.

Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.

 

Photo UN/MINUSCA - Leonel Grothe