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Offrandes au Gange.
Offerings to the Gange India.
Ofertas al Ganges.
Très tôt le matin,les pélerins,les sadhus,les femmes et les enfants,bref toutes âmes pouvant marcher se rendent sur les ghats,ces escaliers qui descendent au Gange afin de faire leurs ablutions et ainsi se purifier dans le fleuve sacré.
Ils portent souvent avec eux un récipient afin de prelever un peu de nectar du Gange et ainsi arroser statues et lingams (pierre de forme phallique, représentation symbolique de Shiva) disséminés dans la ville sainte.
Early morning, pilgrims, sadhus, women and children, in short, all souls can go walk on the ghats, the stairs down to the Ganges to perform their ablutions and so purify themselves in the sacred river.
They often carry with them a container so to levy some nectar and water of the Ganges and statues and lingams (phallic stone, symbolic representation of Shiva) scattered in the holy city.
Des femmes préparent des offrandes aux abords de la zone de baignade.
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I swore I'd never buy another Parker Pastime, because they are so often damaged and difficult to repair. But I made an exception for this 1910 French Pastime Puzzle, because I have long admired it on The Jigasaurus.
360 pieces, with a beautiful cut, and none of the tab damage you get in American Parker Pastimes. The sepia/pastel colours are enhanced (for me!) by over a century of gentle fading. The artist is Francois Boucher (1703 - 1770).
In the Spring of 2008, the Fondation Pierre Gianadda will present the Offerings to the Egyptian Gods exhibition. This event is the fruit of a new co-operation with the prestig-ious New York Metropolitan Museum of New Art. After the Metropolitan Museum of New York, masterpieces of European painting exhibition in 2006, the Treasures of the St. Catherine Monastery of Mount Sinai exhibition in 2004 and the From Matisse to Pi-casso, the Jacques and Natasha Gelman collection in 1994, Offerings to the Egyptian Gods will open in Martigny on 17 March 2008, after its stopover in New York from 16 October 2007 to 18 February 2008. This is the first exhibition ever devoted to these attractive and ever-enigmatic works.
During their long history, the ancient Egyptians used copper, bronze, gold and silver to create a dazzling and elegant collection of metal statues relating to the vast system of relationships that they maintained with their gods – from the ritual dramas represented in the temples and the sanctuaries scattered across the landscape to the festival proces-sions through the cities and countryside, to which believers flocked.
Some seventy copper alloy and precious metal statues and statuettes (including bronze – an alloy of copper and tin) will be exhibited, covering a period of more than two millen-nia. The Fondation Pierre Gianadda will be bringing masterpieces to this exhibition from around the world, including seven large stone-set and decorated bronzes of an ex-tremely rare type, dating from the first half of the first millennium B.C., or more precisely from what is called the Third Intermediate Period (1070-664 B.C.), the highpoint of Egyptian metallurgy. They include the astonishing statue of the priestess and noble lady, Takoushit, a treasure of the Egyptian archaeological collection of the Athens National Museum. It is 70 centimetres high and is covered with a luminous lattice of divine figures and various precious metal symbols. This work has never before left Greece.
Understanding the bronze and precious metal statuary of Ancient Egypt raises particular questions and poses true challenges. These statues, which were reverently placed in large deposits under the temples and buried after long use, often bear no inscription and hardly provide any contextual information. The metal statuary also reveals a somewhat surprising panorama of Egyptian art, because it bears witness to production structures and a social and cultural environment different from those we know from the stone crea-tions which are more familiar to us. Thus the representation of Hepu, a great character from the kingdom (Athens National Archaeological Museum), with his natural hair – and not the traditional wig – designates him as a member of a group of new fame, probably a soldier of the New Impirical wars (c. 1550-1478 B.C.). Thanks to the recent studies of the metal statues, researchers have been able to work out new reading schemes for the history of Ancient Egypt and, in return, enrich their knowledge of these works of art.
The exhibition illustrates a renewed understanding of the development and types of metal statues through the centuries. Particular attention has been paid to the period when this art was in full development, the Third Intermediate Period, whose qualifier – “inter-mediate” – seems ill-suited to describe its artistic importance.
While the Old Empire (c. 2575-2100 B.C.) offers remarkable metal creations, the use of copper and its alloys – including bronze – for statues of gods and kings emerges appre-ciably with the Middle Empire (c. 2040-1650 B.C.), perhaps because of the royal pa-tronage which took an ever greater hold on the temples. The figure of the young prin-cess Sobeknakht cradling her new-born son (Brooklyn Museum of Art) is particularly touching. Under the powerful and rich Pharaohs of the New Empire, whose diplomatic relations were spreading and taking on increasing importance in international trade, the temples accumulated wealth, most of which is lost today and is known only through rep-resentations. The crafty crocodile, metamorphosed into richly gem-set ritual objects, and the great and terrible Seth, on show at the exhibition, are among the rarities of that period (Louvre Museum, Paris and Ny Carlsberg Glyptothek, Copenhagen, respectively). At the same time, the series of kneeling kings (The Metropolitan Museum of Art, the Uni-versity of Pennsylvania Museum of Archaeology and Anthropology) show the growing interest of royalty in the great public religious ceremonies. These works were probably placed in boat-shaped reliquaries, set on stretchers and carried by priests, so that the divine figure, sheltered under a canopy and masked by hangings, could venture out among the hurley-burley of popular fervour in the feast day processions.
The surprising items that occupy the centre of the exhibition were produced during the Third Intermediate Period (c. 1070-664 B.C.). Political dissension and the instability of religious beliefs then endowed the temples with new importance. The small golden statuette of the god Amon, with his supple and nimble gait, offers a striking image of the divinity. The sparkling colours and animation of the religious ceremonies surrounding these divine images can be seen through the great figures of Kings Pedubaste and Pami (Museu Gulbenkian, Lisbon, and British Museum, London, respectively) and those of the ladies of high rank, such as Takoushit, instrumentalists or chorus-singers, were assigned to serve in the temples and kept company with the gods. The elaborate figurative decoration on the body of the statues is a feature characteristic of the period. While the ornamentation on the statue of Takoushit was perhaps intended to create a space for worship around a divine figure which she accompanied, it is Osiris, the god of the afterlife, and his symbols which adorn the body of another great female statue (Ägyptisches Museum und Papyrussamlung, Berlin). The subtle use of alloys and their nuances, among other techniques, is the expression of a sophisticated technology, in-separable from the artistic quality of these statues.
During the Low Period (664-323 B.C.) and the Ptolemaic Period (323-30 B.C.), the temples accumulated immense powers. Although a unified kingdom was restored, it was the identification of the king with the child of the great gods, in the temples, that main-tained his prestige through all the political vicissitudes of the first millennium B.C., marked by frequent invasions and a precarious internal consensus. Carved images of King Amasis, with his soft, childish features – whose kneeling figurine, presenting his offering to the gods (The Metropolitan Museum of Art) as well as a head wearing a necklace per-taining to a liturgical object (Egyptian Museum, Cairo) – exquisitely express this concept of royalty. Individual offerings appeared as of the Third Intermediate Period and did not cease developing thereafter. As a result, there are an extraordinary number of statues, whose variety bears witness to an art pulsating with vitality, produced in various sites and sensitive to various influences.
The exhibition will explain the place and use of statuary in the temples, from the informa-tion yielded up by the statues themselves or thanks to archaeological evidence. Old texts have provided ritual regulations concerning the treatment of statues for worship, which were apparently unique and specific, and which were fed and adorned, to which jewel offerings were made and that were protected from the dangers of the night. Minia-ture golden bracelets and necklaces directly confirm these practices and certain statues preserved legible traces of their location and their movement during the ritual ceremo-nies. But, in fact, the thousands and thousands of works which were buried in holy de-posits escape any linear and simple explanation. New archaeological finds – such as little Harpocrates in the Metropolitan Museum, with a finger pointing towards his mouth and who comes from Saqqara – throw a new light on the extent of the phenomenon of offerings to divine statues in Egypt in the first millennium B.C, which supports the inter-pretations placed on it. For example, a recent find revealed hundreds of these gifts, from the most refined to the crudest, carefully stored in a vault, deep below a temple. One chapter of the catalogue will be devoted to these, even though their function or status remains obscure; the temple, as depositaries of the existence of the gods, in fact ac-cepted and preserved all these statuettes.
The exhibition has been set up by Marsha Hill, Curator of the Department of Egyptian Antiquities of The Metropolitan Museum of Art, New York.
Petit plateau carré en feuilles de cocotier tressées, au fond tapissé de pétales de fleurs.
Sert à déposer les offrandes quotidiennes dans les temples, sur les autels, à l'entrée des ruelles, maisons,
commerces, et partout ou c'est jugé nécessaire!
Y sont rajoutés des bâtonnets d'encens, petits gâteaux, menue monnaie, cigarette, etc.
Ici, vendus en gros au marché de Denpasar.
Pétales destinées à la confection des canang-sari
Canang-sari, définition:
Petit plateau carré en feuilles de cocotier tressées, au fond tapissé de pétales de fleurs.
Sert à déposer les offrandes quotidiennes dans les temples, sur les autels, à l'entrée des ruelles, maisons,
commerces, et partout ou c'est jugé nécessaire!
Y sont rajoutés des bâtonnets d'encens, petits gateaux, menue monaie, cigarette, etc.
A good definition of the canang-sari, (found on internet!):
A small offering of flowers and/or money placed on a tiny square tray woven out of coconut leaf. "Canang" refers to the tray, while "sari" refers to the "essence" of the offering which may be a small amount of money placed on top.
Canang sari may be found all over the BALI island, in small house shrines, in village temples, even on the ground! (To step on one unintentionally is not a terrible offense, so don't sweat it.)
Canang sari are offered every morning by devout Balinese to show gratitude to the creator (Sang Hyang Widi Wasa). Canang sari require a bit of effort to create, which adds meaning to the sacrifice being made.
Akhenaton et sa famille accomplissant une offrande pour le Globe Aton (dalle trouvée dans la tombe royale) Musée du Caire
Offrandes au Gange.
Offerings to the Gange India.
Ofertas al Ganges.
Très tôt le matin,les pélerins,les sadhus,les femmes et les enfants,bref toutes âmes pouvant marcher se rendent sur les ghats,ces escaliers qui descendent au Gange afin de faire leurs ablutions et ainsi se purifier dans le fleuve sacré.
Ils portent souvent avec eux un récipient afin de prelever un peu de nectar du Gange et ainsi arroser statues et lingams (pierre de forme phallique, représentation symbolique de Shiva) disséminés dans la ville sainte.
Early morning, pilgrims, sadhus, women and children, in short, all souls can go walk on the ghats, the stairs down to the Ganges to perform their ablutions and so purify themselves in the sacred river.
They often carry with them a container so to levy some nectar and water of the Ganges and statues and lingams (phallic stone, symbolic representation of Shiva) scattered in the holy city.
Les jets d'eau de la Vida : conçue en Alsace, par Agnès Gschaedler, cette sculpture est l'antithèse de l'offrande. Il s'agit ici de souligner les traits d'une mère de famille espagnole qui a accouché, puis allaité. Elle représente la vie, l'air, l'eau et la terre.
Chevigny St Sauveur (21 - Côte d'Or)
Website : www.fluidr.com/photos/pat21
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Autrement appelée "Schmuckmadonna", ou Notre dame des offrandes. L'image est ornée de nombreux bijoux datant des 19e et 20e siècles, en guise d'offrandes votives en remerciement des faveurs reçues. La vénération de l'image remonte à la fin du XVIIe siècle.
This photo was taken during the jubilee ceremony of the king of Allada. On the right of this woman are the Asen staffs. They serve as memorials to the dead. Each is dedicated to a different royal ancestor. Offerings are made to the ground in which it is placed.
Cette photo a été prise durant les cérémonies du jubilé du roi d'Allada. A la droite de cette femme se trouvent les Assins. Ils servent d'autels pour les ancêtres. Chacun est dédié à un ancêtre royal différent. Des offrandes sont faites à l'endroit où ils sont plantés dans le sol.
Recommended View Large
Taken a few weeks back on a Friday early morning at the entry of the BTS train station at Thong Lo. This is a recurring moment that you can witness every morning with perhaps a special meaning on Friday's .. :-)
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Prise de vue realisee voici deja quelques semaines tres tot un Vendredi matin a l'entree de la rame BTS Thong Lo . Ces offrandes ont lieu tous les matins meme heure entre 6 et 8. Les moines deferlent et la populace les nourris par offrades afin d'atiser les bons sorts et pas le contraire.. lol :-)