Sigma Lens (EX DG) Users Group
View allAll Photos Tagged practitioner,
Zen practitioners develop a sense of balance, as well as simplicity, order, and harmony. ... A central aspect of Zen is meditation. Zen is actually a Japanese term that is derived from the Chinese word “Ch'an.” Translated, it means concentration or meditation.
Work made with stock images and images of mine.
Stocks used:
13 different photos
Four terns posing, while working to perpetuate the species, a group of voyeurs, one practicing for when they have their opportunity, oh, and one photographer standing in the Atlantic Ocean to take their photograph.
Anastasia beach.
No, I don't remember taking this photo, or the series before, during, and after this event. But I was glad when I came across it 5 years later.
Royal terns.
I have over 100 folders of unprocessed photos from the past 6 years which I’m currently going through, this is one of the photos from that group. Many of these re-visit an already posted subject. I'm on folder 13 - that has 1428 photos! This photo was in the first 1/3 of that folder.
Miss Ky is a retro fashionista who is also a veterinary practitioner believe it or not .
Rods n Rockabilly
Brisbane
A fictional practitioner of magic.
Come with me now
I'm gonna show you how.
Afraid to lose control and get caught up in this world.
I've wasted time, I've wasted breath.
I think I've thought myself to death.
Come with me now.
Candid street shot, Bristol, UK.
Hair/Hat - Foxy - Maeve Hair (Natural Ombres)
Hairbase - Tableau Vivant - Genus Hairbase 02 (D)
Head - Genus - Babyface
Skin - Pumec - Cleo (Tone #5) Genus
Face Tattoo - Bus - Moon Child Tattoo (Genus)
Cheek Acc - La baguette - Cute Witch Stickers
Chest Tattoo - Rainbow Sundae - Basic Witch - Chest 02
Choker - Ama - Pentacle Collar (Black Silver)
Necklace - Reign - Moon Crystal Necklace - Silver
Dress - Pixicat - Banshee Dress - Black
Rings - Ama - Brigid Rings (Black Teal) Maitreya
Nails - Aleutia - SS17 Manicure Polish HUD (Purple)
Mini Cauldron Acc - Witchy Hands - #2 Magic Cauldron (Rare)
Decor -
Backdrop - Focus Poses - Witch Craft Room Backdrop (Edited)
Cabinet / Spellbook Stand - DRD - Spiritualists Shoppe
Wooden Chair - Jian - Witch's Recluse - Chair
Spider Chair / Potion Bottles - Ionic -
Table / Potion Cabinet / Potions /Book Pile / Flying Papers - Merak - Frozen in Time
Wall Pentacle / Hanging Herbs / Herb Bottles / Herb Drawers / Smudgesticks etc - Dust Bunny - Wiccan Artistry
Moon Box / Potion Bottles / Grimoire / Wand / Small Book etc - Kunst
Cauldron - Random Matter
Floating Candles - The Emporium - Magician's Candle (White)
(If I've missed something and you'd like to know where it is from, please just ask)
♥
A fishmonger (historically fishwife for female practitioners) is someone who sells raw fish and seafood. Fishmongers can be wholesalers or retailers, and are trained at selecting and purchasing, handling, gutting, boning, filleting, displaying, merchandising and selling their product. In some countries modern supermarkets are replacing fishmongers who operate in shops or fish markets.
The fishmongers guild, one of the earliest guilds, was established in the City of London by a Royal Charter granted by Edward I shortly after he became king in 1272. Partnership with foreigners was forbidden and the sale of fish was tightly controlled to ensure freshness and restrain profit, which was limited to one penny in the shilling. Nevertheless, the guild grew rich and, after Edward's victory over the Scots, was able to make a great show, including one thousand mounted knights.
During the reign of Edward II, the political power of the fishmongers waned and Parliament decreed that no fishmonger could become mayor of the city. This was soon rescinded and their wealth increased further so that, during the reign of Edward III, the guild could provide £40 to the war against the French, this being a great sum at that time.
The guild was then reformed by Great Charter as the Mystery of the Fishmongers of London. They were given a monopoly over the crying and selling of fish and they regulated the catching of fish in the Thames which teemed with fish such as salmon at that time. The guild still continues today as one of the Great Twelve City Livery Companies.
In many countries, the fishwife was proverbial for her sharp tongue and outspoken speech. In Medieval France, the ones in Paris were known for their special privilege of being able to speak frankly to the King himself, when he ventured into the marketplace, and voice criticism without fear of punishment.
Molly Malone is a character from a popular Irish song about a young fishwife who tragically dies at a young age.
Charles Fort in his book Lo! compiles the story of the Mad Fishmonger or "St. Fishmonger", which later may or may not appear in the Schrödinger's Cat Trilogy by Robert Anton Wilson. St. Fishmonger allegedly caused crabs and periwinkles to fall from the sky.
In the English translation of the Asterix series, the village fishmonger is called Unhygienix. In the film The Beach, the Island's chef has only fish as a source of meat, and is named Unhygienix in reference to the Asterix character.
In Shakespeare's Hamlet, some contend that the word fishmonger was a euphemism for a "fleshmonger" or pimp. Source Wikipedia.
TD : Agfapan 100 Professional 35mm film, developed in D-76 1+1 for 7 minutes. Exposure ISO 100 @35mm lens, natural daylight. Scanned with Alpha 6000 edited in ACR, inverted in CS6.
My nurse practitioner recommends I walk at least one hour each day. While it's a 45 minute drive to Heber City, a walk along Deer Creek Reservoir is always worth the time. It was sunny on Saturday with a light breeze, and temperatures were in the high 20s.
I set up for a shot of the 1:00 Deer Creek Express just south of Soldier Hollow. If you look closely at the reservoir, the surface is only partially frozen. Under normal conditions, the entire reservoir is frozen over and ice fishing is everywhere. Our overall temperatures have been warmer than normal this season and average precipitation is down to 49% of normal. There is still time to build up the average before spring runoff, of course.
It's funny seeing buses again in the town centre but with the Bus Station most part closed we can all enjoy this once regular scene. Once again it's a jepg edit which is quicker and good quality.
Excerpt from aht.ca/who-we-are/our-history/:
Anishnawbe Health Toronto (AHT) is a vision of the late Elder, Joe Sylvester.
Initial efforts began with a diabetes research project, which realized that a more comprehensive approach to health care was needed by the Aboriginal community.
In response, Anishnawbe Health Resources was incorporated in 1984. One of its objectives stated, “To recover, record and promote Traditional Aboriginal practices where possible and appropriate.”
In 1989, having successfully secured resources from the Ministry of Health, Anishnawbe Health Toronto became recognized and funded as a community health centre.
Since then, AHT has and continues to grow to meet the needs of the community it serves. As a fully accredited community health centre, AHT offers access to health care practitioners from many disciplines including Traditional Healers, Elders and Medicine People. Ancient ceremonies and traditions, intrinsic to our health care model are available. Our work with the homeless has evolved from early directions of crisis intervention to our current efforts of working with those who seek to escape homelessness. Training programs offer community members the opportunity to learn and grow in a culture-based setting.
Today, AHT not only promotes Traditional Aboriginal practices but has affirmed and placed them at its core. Its model of health care is based on Traditional practices and approaches and is reflected in the design of its programs and services.
Nurse practitioner Nan Madden and Pediatrician Dr. Greg Melnick at the pre clinic.
Cebu City Team Members Rotary Philippines "cleft lip" "cleft palate" surgery children volunteers Canada USA ward recovery "operating room" nurses doctors surgeons anethetists pediatrician cebuano service helping "service above self" volunteer rotarians
Excerpt from aht.ca/who-we-are/our-history/:
Anishnawbe Health Toronto (AHT) is a vision of the late Elder, Joe Sylvester.
Initial efforts began with a diabetes research project, which realized that a more comprehensive approach to health care was needed by the Aboriginal community.
In response, Anishnawbe Health Resources was incorporated in 1984. One of its objectives stated, “To recover, record and promote Traditional Aboriginal practices where possible and appropriate.”
In 1989, having successfully secured resources from the Ministry of Health, Anishnawbe Health Toronto became recognized and funded as a community health centre.
Since then, AHT has and continues to grow to meet the needs of the community it serves. As a fully accredited community health centre, AHT offers access to health care practitioners from many disciplines including Traditional Healers, Elders and Medicine People. Ancient ceremonies and traditions, intrinsic to our health care model are available. Our work with the homeless has evolved from early directions of crisis intervention to our current efforts of working with those who seek to escape homelessness. Training programs offer community members the opportunity to learn and grow in a culture-based setting.
Today, AHT not only promotes Traditional Aboriginal practices but has affirmed and placed them at its core. Its model of health care is based on Traditional practices and approaches and is reflected in the design of its programs and services.
As a practitioner of old ocean magic, and the paragon of aqua corpus transmogrification, Karklin dwells within his sea swell abode, protecting and collecting various magical items from across the seven seas.
Built as a part of #TimeforCrab 2024!
Join in on the fun with your own lego crab!
1. Build a crab
2. Post your crab with the tag #TimeforCrab
3. Repeat!
Excerpt from aht.ca/who-we-are/our-history/:
Anishnawbe Health Toronto (AHT) is a vision of the late Elder, Joe Sylvester.
Initial efforts began with a diabetes research project, which realized that a more comprehensive approach to health care was needed by the Aboriginal community.
In response, Anishnawbe Health Resources was incorporated in 1984. One of its objectives stated, “To recover, record and promote Traditional Aboriginal practices where possible and appropriate.”
In 1989, having successfully secured resources from the Ministry of Health, Anishnawbe Health Toronto became recognized and funded as a community health centre.
Since then, AHT has and continues to grow to meet the needs of the community it serves. As a fully accredited community health centre, AHT offers access to health care practitioners from many disciplines including Traditional Healers, Elders and Medicine People. Ancient ceremonies and traditions, intrinsic to our health care model are available. Our work with the homeless has evolved from early directions of crisis intervention to our current efforts of working with those who seek to escape homelessness. Training programs offer community members the opportunity to learn and grow in a culture-based setting.
Today, AHT not only promotes Traditional Aboriginal practices but has affirmed and placed them at its core. Its model of health care is based on Traditional practices and approaches and is reflected in the design of its programs and services.
"Know your role, know your place and where to be. Sharpen yourself everyday till that opportunity presents itself."
- Ren
Ma, Wai Chung Registered Chinese Medicine Practitioner (and his father, also a very well known Chinese Medicine Practitioner) was pretty well known back in the prime time. Unfortunately, their property needed to be reconstruct due to its old age as the building is almost 70 years old, and seems like they have nowhere to go.
Rolleiflex Xenotar 2.8F
Kodak Ektar
June 2023
Ps: minor adjustment in Photoshop
Avatar (1980-1997) was a young stray my husband and I adopted from the Humane Society in 1982. He remained healthy for many years but in Jan. 1995, he was diagnosed with chronic renal failure (CRF). During his illness we learned about feline kidney failure from our vets and books. There was nothing online about it at that time. In an effort to distribute hard-to-find information to others with CRF cats, we created a website in 1996. During the 20 years or so that we were online we had thousands of visitors and thousands of positive and caring emails both from feline caregivers and vets. Avatar became known internationally as the poster cat for feline CRF. Our website received very positive reviews from both Cat Fancy and Cats magazines and was mentioned in three or four articles about kidney disease in both of these publications. The website was quoted in a Tufts University newsletter (Diagnosis: Kidney Disease) and was chosen as the Featured Website for September, 2001 by the American Association of Feline Practitioners. As time went on there was so much information about feline chronic renal disease online and, as we were growing older, we eventually felt that it was time to close the website. Our boy Avatar changed our lives dramatically for the better. He was an extraordinary cat and my soul-mate. All Avatar photos copyright C. Statton DiFiori
‘roots, language and social norms have been three of the most important parts of the definition of what it is to be a
human being. The migrant, denied all three, is obliged to find new ways of describing himself, new ways of being human.’
From Imaginary Homelands: Essays and Criticism,Salman Rushdie
Encounter with a ‘Japanese Doll’ practitioner, Dalston, London
Bertolt Brecht (1898-1956) German theatre practitioner, playwright, and poet. He is most well known for his revolutionary masterwork Die Dreigroschenoper (The Threepenny Opera) produced in 1928 in Berlin in collaboration with composer Kurt Weill.
"Die Welt ist arm, der Mensch ist schlecht" (The world is poor, mankind rotten).
An LBM growing in moss. Such a little cuite I don't even care much that I have no ID. OM 90mm at f4 or so.
The uniform of medical practitioners during the Great Plague of the 1600s. The strange appearance is the result of the erroneous belief that the plague was caused by 'foul air.' To counter this, the 'beak' of the mask would be filled with herbs and spices which would 'filter' the air like an early gas mask. However, this made communication very difficult, so the plague doctor would use a 'wand' or staff to issue instructions. They would also often prescribe odd medicines, such as spiders and toads (whose skin absorbs air and water) and even a urine bath.
Of-course, in reality, the bubonic plague is caused by flea bites that lived on the many rats in cities at this time. Ironically though, plague doctors were protected by their uniforms, but not for the reasons they thought. The mask came with a thick leather overcoat and gloves, which somewhat protected the wearer from flea bites to a degree.
The only Mini Cooper ambulance vehicle in the country used by SCAS as a CHP seen here at Policing Through The Ages 2015. My thanks go to the driver of the vehicle for putting the blues on for photos.
Taken on: 03/10/15
a signature collection campaign for a petition against the harvesting of organs from Falun Dafa practitioners in China (dafoh.org)
It is the Age of Steam...
Deep in the darkest depths of Yorkshire lives Dr Frankenstein.
He resides in a luxurious country mansion where he masquerades as a respectable medical practitioner. When night falls however, he spends most of his time doing experiments on cadavers, perfecting their reanimation.
Dr. Frankenstein
Victor trained formally as a practioner of medicine and then later on as coroner. His interest in science and particularly in the research of the cycle of life and death, resulted him becoming some what of an introvert. Spending more and more time in his lab and less and less time seeing patients, The Doctor became renowned for his ability to perform complicated and often life saving surgery with the greatest of ease. So much so that the villagers who lived nearby turn a blind eye to some of his more obvious eccentricities. Indeed such was his familiarity with the inner workings of the human body he was able to accrue a vast fortune from selling anatomical guides and operational procedures to the wider medical community.
"Mr Igor"
The Doctor's faithful manservant. A "fellow" recruited from the scrapheap of broken men back from the war with Muscovy, he travels the countryside looking for organ or limb donors who want to assist the Good Doctor with his experiments. It's most unfortunate that at times, the people donating the organs still need them ( It's all in the name of science you understand)...
The Monster
Dr Frankensteins' greatest achievement is the reconstruction and reanimation of his dearly departed brother Adam. Killed in the war with Muscovy, his internal organs have been replaced with clockwork pumps and machinations. Fitting all those parts into Adam's wretched and mutilated body proved to difficult so using a patchwork of donor parts and a reinforced extemded brass skeleton the monster was born. Frankenstein believes Adam's consciousness is still locked away inside the monsters brain, but as of yet his experiments to restore his brothers identity have proved futile.
Madam Auderville
Madam Auderville is the only servant who has remained loyal to the doctor upon finding out his true nature. This is most probably why she is still alive and the rest have ended up on the mortuary slab. she takes good care of the Mansion and ensures at least outwardly that the place appears normal and without cobwebs (much to Mr Igor's disdain).
Photo by Gmanvespa as always!
Megastovepipehat and crazy arms by V&A Steamworks
A portrait shot of a member of the black.d.o.t_. performing group, seul_dew, just before their Taekwondo and Korean calligraphy performance at the Our Tampines Hub during the Korean Travel Fair 2023.
As a practitioner of Taekwondo, she wears the dobok, the uniform that is usually worn by practitioners of Korean martial arts.
Featured Image from Sonata Series
Sonata concentrates on seeing rather than looking. In our waking-state, we look at things all the time but consciously unless chosen to do we make the effort to see. This on-going series concentrates on the elements of design ; color, line, shape texture form and pattern. Each image composes of a singular point of interest to achieve photographic satisfaction. Here the visible, mundane & overlooked has its moment.
Nkosi.artiste@gmail.com
ABOUT THE ARTIST
Chance Nkosi Gomez known initiated by H.H Swami Jyotirmayanda as Sri Govinda walks an integral yogic path in which photography is the primary creative field of expression. The medium was introduced during sophomore year of high school by educator Dr. Devin Marsh of Robert Morgan Educational Center. Coming into alignment with light, its nature and articulating the camera was the focus during that time. Thereafter while completing a Photographic Technology Degree, the realization of what made an image “striking” came to the foreground of the inner dialogue. These college years brought forth major absorption and reflection as an apprentice to photographer and educator Tony A. Chirinos of Miami Dade College. The process of working towards a singular idea of interest and thus building a series became the heading from here on while the camera aided in cultivating an adherence to the present moment. The viewfinder resembles a doorway to the unified field of consciousness in which line, shape, form, color, value, texture all dissolve. It is here that the yogi is reminded of sat-chit-ananda (the supreme reality as all-pervading; pure consciousness). As of May 2024 Govinda has completed his 300hr yoga teacher training program at Sattva Yoga Academy studying from Master Yogi Anand Mehrotra in Rishikesh, India, Himalayas. This has strengthened his personal Sadhana and allows one to carry and share ancient Vedic Technology leading others in ultimately directing their intellect to bloom into intuition. As awareness and self-realization grows so does the imagery that is all at once divine in the mastery of capturing and controlling light. Over the last seven years he has self-published six photographic books, Follow me i’ll be right behind you (2017), Sonata - Minimal Study (2018), Birds Singing Lies (2018), Rwanda (2019), Where does the body begin? (2019) & Swayam Jyotis (2023). Currently, Govinda is employed at the Leica Store Miami as a camera specialist and starting his journey as a practitioner of yoga ॐ
All sources of rivers in India are regarded as holy and rightly so. Religion is a brilliant invention that in today's world is used by its practitioners to manipulate and control vast swathes of human population.
I am sure when river sources located high up in the Himalayas needed to be given an air of sanctity and association with Gods and goddesses it was done so with a purpose to venerate the primordial resource that constitutes life on Earth. Water.
The door, a wooden one stood steadfast in light blue with a knocker and a red sash as it would in a Buddhist monastery. The boundaries between Buddhist and Hindu architecture can sometimes merge into eachother. No mistaking the fiery red sashes that adorn and cover the white marble statues of the motley collection of local deities from Shiva to Krishna inside.
Today water is getting scarce and will become scarcer( pardon the superlative) with time. In India we are unable to utilize the resource properly and already riparian states have been fighting over it for many years. At the local level, the availability is not so good. Water will get more expensive with every year that goes by.
I met an Orthopedic doctor a few days ago whose name is a derivative of Lord Shiva much like all South Indian names which are names of Gods and God's qualities and even God's procreative tools. He was of the opinion that if India were to ever have a revolution like the French did a few centuries ago, it would be the lack of water that would lead to it.
Here is hoping to change with or without water.
In the frame are the twin temples with a water tank where water from the source of the river is collected perhaps for a holy dip for the followers.
_DSC8571 nef
Vancouver Falun Gong practitioners often gather at the Vancouver Art Gallery north plaza for speeches and to protest persecution in China.
It has been 20 years since the Chinese government branded Falun Gong as a cult.
The persecution of Falun Gong is the anti-religious campaign initiated in 1999 by the Communist Party of China to eliminate the spiritual practice of Falun Gong in China.
China maintains a doctrine of state atheism.
Falun Gong practitioners who were imprisoned in China's detention centres and labour camps report undergoing unexplained medical examinations and blood tests as a precursor to live organ harvesting.
Branded a heretical organization by Beijing, Falun Gong’s members are increasingly being harassed in Canada by Chinese diplomatic officials and other agents.
Beijing’s long arm can be seen influencing Canadian politicians at the local and national levels, as well as infiltrating civil society and community events to keep an eye on practitioners.
Built in the 10th Century by two practitioners of Tantric Buddhism it is located in the most fantastic geological folds and schist's rock surroundings and popularly called MOONSCAPE and it certainly looks like an alien planet..
Lamayuru also marks the meeting place of the Great Himalayan Wall & of the East Karakorum Ranges.
I've been through Lamayaru 5 times over the last couple of years but such is the play of light in Ladakh that I've never once seen the the landscape remain same as each time a different color would burst out of an unseen vein of minerals with the changing light of the day.. .. It is always different but never fails to makes you gasp in awe each time you pass through or decide to stay...
The gompa itself has been undergoing renovations for the last 2 years and now is restored completely with newly painted frescoes
Lamayuru is located in between Bodhkharbu and Kha-la-che, on a steep rock mountain. It lies at a distance of approximately 127 km to the west of Leh town. It belongs to the Red-Hat sect of Buddhism and houses approximately 150 Buddhist monks. The monastery is made up of a number of shrines and also has a very rich collection of thankas and magnificent wall paintings. At the outset, the Monastery consisted of five buildings, out of which only the central one exists today.
Every year the Gompa plays host a masked dance, which takes place on the 17th and 18th day of the 5th month of Tibetan lunar calendar. The monks from the monasteries of the nearby areas also come to take part in the celebrations.
There is an interesting legend associated with the gompa It is said that the Lamayuru Valley used to be a clear lake, at the time of Sakhyamuni (the Historical Buddha). And, Nags (holy serpents) used to reside in the lake.
Bodhisattva Madhyantaka had once a prediction quite a long time back that the lake would eventually be dried, making way for the construction of a Buddhist monastery. The legend moves further to state that Mahasiddhacharya Naropa, an 11th century Indian Buddhist scholar, sat in meditation for a number of years in one of the caves in Dukhang. He was the one who caused a crack in the hillside surrounding the lake.
Through this crack, the lake started draining. When the lake dried out, the scholar found a dead lion lying inside it. On the same spot, where he found the tiger, he constructed the first temple of the area, known as the Singhe Ghang (Lion Mound).
Another legend has it that the building of Lamayuru Monastery was constructed, as per the instructions of King of Ladakh, under the direction of Rinchen Zangpo, the Translator ( and a protector manifestation of Padmasambhava. After this, the monastery came under the administration of the Zhwa-mar-pa (Red Hats).
Later, Dharmaraja Jamyang Namgial offered the monastery to Chosje Danma. And this led to the observance of the rituals of the Digung Kargyud School, with the monastery being renamed as Yungdrung Tharpaling. Today, the Lamayuru Monastery is served by the successive reincarnations of Skyabsje Toldan Rinpoche. and remains one of the oldest schools of Tibetan Buddhism along with Samye Monastery in Tibet..
LV63 LLX London Ambulance Service 8120 Advanced Paramedic Practitioner Skoda Octavia 4WD Rapid Response Vehicle
SADHU
SMOKING HASHISH
mystic, an ascetic, practitioner of yoga (yogi) and/or wandering monks. The sadhu is solely dedicated to achieving the fourth and final Hindu goal of life, moksha (liberation), through meditation and contemplation of Brahman. Sadhus often wear ochre-colored clothing, symbolizing renunciation.
'Sādhu!' is also a Sanskrit and Pali term used as an exclamation for something well done.
The Sanskrit terms sādhu ("good man") and sādhvī ("good woman") refer to renouncers who have chosen to live a life apart from or on the edges of society in order to focus on their own spiritual practice.
The words come from the Sanskrit root sādh, which means "reach one's goal", "make straight", or "gain power over" The same root is used in the word sādhana, which means "spiritual practice".
Sadhu smoking charas,a common practice amongst Sadhus(mostly Shaivite) to suppress,& eventually destroy their sexual desire;and just concentrate on meditation.
Sadhus are sanyasi, or renunciates, who have left behind all material and sexual attachments and live in caves, forests and temples all over India.
BENARES
Photography’s new conscience
The uniform of medical practitioners during the Great Plague of the 1600s. The strange appearance is the result of the erroneous belief that the plague was caused by 'foul air.' To counter this, the 'beak' of the mask would be filled with herbs and spices which would 'filter' the air like an early gas mask. However, this made communication very difficult, so the plague doctor would use a 'wand' or staff to issue instructions. They would also often prescribe odd medicines, such as spiders and toads (whose skin absorbs air and water) and even a urine bath.
Of-course, in reality, the bubonic plague is caused by flea bites that lived on the many rats in cities at this time. Ironically though, plague doctors were protected by their uniforms, but not for the reasons they thought. The mask came with a thick leather overcoat and gloves, which somewhat protected the wearer from flea bites to a degree.
Happy Halloween Peeps.
One of SAS's stunning brand new Santa Fe PPRV's seen parked up at Aberdeen Ambulance Station. HUGE thanks to the awesome Fleet Manager for taking this vehicle outside of the workshops and positioning it in a different part of the station (and giving me a ride in it when he was doing this), and putting the blues and reds on! This vehicle is not in service yet, and he told me this Santa Fe is one of 2 that are going to end up in the Grampian area; this one is going to Aberdeen with the other one based at Elgin.
4th January 2017.
©Calum's 999 & Transport Photography. All rights reserved.
From Wikipedia, the free encyclopedia
+++++++++++++++++++++++++++++++++
Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
Cornelis Dusart (Dutch, 1660-1704)
The Quack was a common theme in 17th-century Dutch art and is here represented by the Kopster. Her funnel as a hat and the clyster in the assistant’s belt signals their quackery. Using the light available from the window, the village surgeon treats the wound, clearly painful, as the patient’s wife watches. He is surrounded by the instruments of his trade including a scalpel, dressings, salves and a bleeding bowl.
-Jonathan Meakins
The uniform of medical practitioners during the Great Plague of the 1600s. The strange appearance is the result of the erroneous belief that the plague was caused by 'foul air.' To counter this, the 'beak' of the mask would be filled with herbs and spices which would 'filter' the air like an early gas mask. However, this made communication very difficult, so the plague doctor would use a 'wand' or staff to issue instructions. They would also often prescribe odd medicines, such as spiders and toads (whose skin absorbs air and water) and even a urine bath.
Of-course, in reality, the bubonic plague is caused by flea bites that lived on the many rats in cities at this time. Ironically though, plague doctors were protected by their uniforms, but not for the reasons they thought. The mask came with a thick leather overcoat and gloves, which somewhat protected the wearer from flea bites to a degree.
Plague Doctor Urbex at Huncoat Power Station. Colour Image made B&W then manipulated into a true B&W graphic. Modified back into a half graphic, half colour, half photographic image.
Enochian is an angelic language used by angels in Heaven. They communicate over angel radio using this language, though in more recent years, they began communicating in English predominately. The angels, the Knights of Hell, and the Men of Letters are also familiar with an archaic dialect of the angelic language called "Pre-Enochian" or "Old Enochian". Castiel used sigils from this Enochian dialect to bind Alastair in a devil's trap he made. The Knights of Hell like Abaddon used the old Enochian sigil associated with them as their crest, leaving it behind in areas where they strike. Belphegor reveals that very few demons like Lilith, Crowley, and Abaddon have been known to understand Enochian. Enochian sigils are powerful glyphs that can be used against angels and demons and protect an area from angelic and demonic interference. Throughout Season 5, Castiel uses one to conceal Sam, Dean, and Adam from every angel in creation by carving it into their ribs.
www.supernaturalwiki.com/Enochian
Enochian has also been used in reciting various spells that can be used against some of the most dangerous creatures in all creation. Lily Sunder became a practitioner of Enochian Magic after Ishim taught her all their secrets, using spells that burn off pieces of her soul in exchange for longevity and access to angelic powers until it's completely burned away. The Whore of Babylon uses what appears to be an Enochian spell to harm Castiel. Lucifer's Cage can be opened and closed with the rings of the Four Horsemen of the Apocalypse and an Enochian phrase. When angels are reverted to their "factory settings", they relay any information hidden in their minds encrypted in Enochian.
The Two of Swords shows a blindfolded woman, Pamela Smith has become an impetrant, she begins her initiation into Enochian magic, the artist is dressed in a white dress, holding two crossed swords. The blindfold tells us that Pamela is confused about her inner light and cannot clearly see either the problem or the solution. She may also be missing relevant information that would make her decision much clearer if she were to get it. The swords she holds are in perfect balance, suggesting that she is weighing her thoughts and addressing both sides of the situation to find the best resolution.
Behind the woman is a body of water dotted with rocky islets. Water represents emotions, and while the costume of swords is traditionally associated with the mind and intellect, its presence shows that Pamela must use both her head and her heart to weigh her options. The islands represent obstacles in his path and suggest that his decision is not as clear cut as it seems. It will have to consider the situation as a whole. The crescent moon to her right is a sign that Pamela should trust her intuition to make her choice. Pamela is also alone on the beach. His eyes are blindfolded, his arms are tied. Eight swords planted in the ground form a prison around her. However, the circle is not completely closed. So there is an exit that the blindfold prevents you from seeing. The Two of Swords indicates that you are faced with a difficult decision, but you do not know which option to take. Both possibilities may seem equally good – or equally bad – and you don't know which will lead you to the better result. You need to be able to weigh the pros and cons of each choice and then make a conscious judgment. Use both your head (your mind and intellect) and your heart (your feelings and intuition) to choose the path that is most in alignment with your Higher Self.
Pamela Smith represented in this card wears a blindfold, indicating that she cannot see the entirety of her circumstance. You may lack the information you need to make the right decisions. You may be missing something, such as the threats or potential risks, alternative solutions or critical pieces of information that would help guide you in a particular direction. Once you remove the blindfold and see the situation for what it really is, you will be in a much better position to find your best path forward. Research your options more, seek outside opinions and feedback and ask yourself what you might be missing.`` Alone, far from the city and its ramparts, this woman seems very isolated. The sky is gray, the landscape is bleak. There emerges from the Card a feeling of uncertainty and absence of hope. The Eight of Swords symbolizes the feeling of helplessness of the Consultant. Lost, disoriented, the Consultant does not know what to do to overcome the obstacles or challenges of his environment. The Consultant experiences the very unpleasant feeling of being “stuck”, trapped. However – and this is important to stress – the Eight of Swords is not a fatalistic card. On the Map, the young woman could free herself from her fabric ties and remove the blindfold covering her eyes. She could regain the comfort and safety of the city behind her. The blockage, the "prison" of these Swords planted in a circle therefore symbolize first of all a situation created by the Consultant himself. Quite logically, he or she could get rid of it and get by on his own. The blockage is notably due to limiting beliefs on the part of the Consultant. These limiting beliefs go on and on: “You are not capable of…”; “A man like that, caring about you!? Do not even think about it ! » ; "Returning to training at your age to change paths will never work..." These limiting thoughts end up defining our possibilities and therefore we are no longer able to do otherwise, innovate or find solutions. It also happens that the feeling of helplessness is generated by external circumstances. The Consultant “wakes up”, dissatisfied with his environment and his life and wonders how he or she could have come to this.The Eight of Swords reveals that you feel trapped and restricted by your circumstances. You believe your options are limited with no clear path out. You might be in an unfulfilling job, an abusive relationship, a significant amount of debt or a situation way out of alignment with your inner being. You are now trapped between a rock and a hard place, with no resolution available. However, take note that the woman in the card is not entirely imprisoned by the eight swords around her, and if she wanted to escape, she could. She merely needs to remove the blindfold and free herself from the self-imposed bindings that hold her back. When the Eight of Swords appears in a Tarot reading, it comes as a warning that your thoughts and beliefs are no longer serving you. You may be over-thinking things, creating negative patterns or limiting yourself by only considering the worst-case scenario. The more you think about the situation, the more you feel stuck and without any options. It is time to get out of your head and let go of those thoughts and beliefs holding you back. As you change your thoughts, you change your reality. Replace negative thoughts with positive ones, and you will start to create a more favourable situation for yourself. The Eight of Swords assures you there is a way out of your current predicament – you just need a new perspective. You already have the resources you need, but it is up to you to use those resources in a way that serves you. Others may be offering you help, or there may be an alternative solution you haven’t yet fully explored. Be open to finding the answer rather than getting stuck on the problem. The Eight of Swords is often associated with a victim mentality. You surrendered your power to an external entity, allowing yourself to become trapped and limited in some way. You may feel that it isn’t your fault – you have been placed here against your will. You may feel like the victim, waiting to be rescued, but is this energy serving you? If not, it is imperative you take back your power and personal accountability and open your eyes to the options in front of you. The fact is you do have choices, even if you do not like them. You are not powerless. At times, the Eight of Swords indicates that you are confused about whether you should stay or go, particularly if you are in a challenging situation. It is not as clear-cut as you would like, making the decision very difficult. You have one foot in, hoping things can work out, but your other foot is out the door, ready to leave. The trouble is that you worry either option could lead to negative consequences, and so you remain stuck where you are. Again, this card is asking you to get out of your head and drop down into your gut and your intuition so you can hear your inner guidance. Your thoughts are not serving you right now, but your intuition is. Trust yourself. In any case, it is necessary to "take back control" of the circumstances and to remember that in life, we always have a choice. The possibilities in front of you may not be ideal, easy or desired… but they exist! You have to be able to look them in the face, and choose the best… or the least bad.
www.biddytarot.com/tarot-card-meanings/minor-arcana/suit-...
www.biddytarot.com/tarot-card-meanings/minor-arcana/suit-...
In 1903 Waite succeeded Yeats as Grand Master of the Golden Dawn. His first act under his new status was a reform of the fundamental principles of the Order: he proclaimed the primacy of spiritual achievement (emphasis on esoteric knowledge and the search for Truth) over material fulfillment (which occultism in general, and magic in particular, presupposes). Seeing in this act of negating the very foundation of the Golden Dawn (namely the practice of the occult sciences) the outright annihilation of the Order, former Grand Master Yeats strongly opposed Waite.
Two camps were then formed: one bringing together the supporters of the reform and represented by William Alexander Ayton, (relatively fearful in terms of operability), Waite's right-hand man, and the other bringing together, alongside the former Grand Mr. Yeats, the curators. The feud lasted two years, after which the Yeats camp ended up going on to found its own order (La Stella Matutina, the "Morning Star")—a perfect transposition of the Golden Dawn before Waite's reform, seceding from what took then the name of Holy Order of the Golden Dawn ("Holy Order of the Golden Dawn"; the expression "holy order" illustrating more the new mystical tendencies instilled by Waite) and which continued to be shaken by internal strife until disbanded in 1915, following Waite's departure.
After this "schism of 1905", which was the real coup de grace for the Hermetic Order of the Golden Dawn, certain initiates who had remained neutral in the struggle between Camp Yeats and Camp Ayton preferred to go and found, alone or in groups, their own brotherhood.
Arthur Edward Waite (1857-1942), wanted to be a true scholar in occultism. He wrote, among other things, "The Holy Kaballah" and "The Key to the Tarot", published in London in 1910. For Waite, symbolism is the key to the Tarot. In "The Key to the Tarot" he says, "True tarot is symbolic; it uses no other languages or other signs". One of the unique characteristics of the Arthur Edwart Waite tarot and one of the main reasons for its popularity is that all the cards, including those of the Minor Arcana, depict scenes complete with figures and symbols. The images of all Pamela Coman-Smith's cards lend themselves to an interpretation based on the conscious and unconscious reading of the scene, without the need to consult explanatory texts.
What is striking in the Tarot Rider-Waite, therefore, is above all the Minor Arcana, which are difficult to translate with the Tarot of Marseilles for most of those interested, but have suddenly become emblematic with the Tarot that Waite offers us. Therefore, these mysteries illustrated with scenes are easier to interpret.The Tarots of Wirth and Knapp Hall are to be considered to be Tarots based on "hermetic science". A science which will be strongly included in the broad fields of esoteric exploration to which the golden dawn will give access...The first decks that can be designated as decks born from the ideologies of the Golden Dawn and created according to their cosmogony is undoubtedly the Tarot Rider-Waite... It is the result of a long and meticulous research on esoteric symbols and their correspondence.
But the first member of the Hermetic Order of the Golden Dawn to have designed a Tarot is obviously doctor Gérard Encausse, Papus, who joined the members of the Hermetic Order of the Golden Dawn in 1895. The Papus tarot would have been designed around 1899... At the beginning, it was certainly reserved for a few insider circles only... It was seen for the first time in illustration in the works of Papus, among others in "Le Tarot des Bohémiens , absolute key to the occult sciences" (1889), but the book will only be really known and accessible to the general public from its 3rd edition published in 1926. Then will follow the work "The divinatory tarot. Key to card printing and fates" (1909), reissued in large circulation also the same year of 1926. From then on, the Tarot of Papus will gain much popularity and the public will seek to obtain it... The Tarot of Papus will be diffused little by little print from the 1930s.
While the tarots of Papus, Wirth and the Knapp Hall were appearing almost simultaneously, the renowned house of Grimaud, for its part, was preparing to publish the Tarot which would become the reference for the general public, it was this famous modified reproduction of the Conver, proposed by Paul Marteau. It will appear in 1930 and will become the most fashionable tarot... Despite the modifications made to this Tarot, it has no affiliation with occult groups and is intended to be a Tarot in the tradition of the Tarot de Marseille.
That said, the Tarot which will set the tone and which will be the reference for the members of the Golden Dawn is undoubtedly the Tarot developed by Rider and Waite.
There are already a hundred decks that derive directly from the tarot originally designed by Rider-Waite. Not to mention pirated copies, clones, etc... This tarot has long been a reference for budding occultists and kabbalists... It still is...
So, in fact, there are many tarots that were designed in the ideology of the Golden Dawn!!!
It will first be the Tarot of Aleister Crowley which, following the Rider-Waite, will stand out and bring modifications to the "esoteric" Tarot, always with reference to the Golden Dawn, to the Kabbalah, to ancient Egypt initiates, etc... With in addition, references to sexual magic...The members of the Golden Dawn mainly used the Tarot of Waite, but during the 1950s, 1960s, they put a lot of effort into creating a Tarot that could finally be directly linked to the precepts and esoteric teachings of the Golden Dawn... A Tarot which originally wanted to be, once again, a Tarot exclusively reserved for members of the Order. This is the famous "Tarot of the Golden Dawn", so the Tarot which wants to be "officially" attested by the order...
But beware !! This name known as "Tarot of the Golden Dawn" is confusing... Several Tarots are decked out with the label "of the Golden Dawn"...
In truth, of all these tarot cards there is only one that is truly recognized by the Hermetic Order of the Golden Dawn and as such, and that is the one developed by Israel Regardie and Robert Wang from esoteric works of Samuel Liddel Matthers.
Robert Wang will also create the "Jungian Tarot", very appreciated also by the followers of the Golden Dawn; and perhaps even more by those interested in "modern theosophy" and in the principles elaborated by Jung.
The "Jungian Tarot" is quite similar to the so-called "Golden Dawn" Tarot, but is intended more for "personal evolution" than for the initiatory journey of the Order, strictly speaking... In truth these two tarots are the results of extensive research in matters of esotericism, research that has been carried out by the study centers of the Hermetic Order of the Golden Dawn. Its construction, on the basis of the four elements, the celestial phenomena, the Holy Kabbalah, and a highly evolved psychology, can apparently lead its followers into the inner recesses of psychic and intuitive awareness.
Above all, this tarot can be used as a basis for occult study, in order to learn to possess all the aspects of the traditional "center-wisdom", and "high-science" kabbalistic... (There are many Rosicrucian references , and also references to Freemasonry and alchemy).
Originally, the Golden Dawn Tarot was only reserved for members of the official Order. It began to be broadcast from 1975.
Despite the claim of these creators, it should still be known that the vast majority of members of the Hermetic Order of the Golden Dawn, will study the Tarot from the "Tarot B.O.T.A.", or the original Rider-Waite. What is striking in the Tarot Rider-Waite, therefore, is above all the Minor Arcana, which are difficult to translate with the Tarot of Marseilles for most of those interested, but have suddenly become emblematic with the Tarot that Waite offers us. Therefore, these mysteries illustrated with scenes are easier to interpret.
THE TAROT B.O.T.A.
It is actually a very special version of the Rider-Waite Tarot presented in a "black and white" version, and the members were invited to color their own tarots... The study of symbolism esoteric was first done using this Tarot Rider-Waite in its original version (in black and bench). Indeed, the Waite-Rider Tarot in its black and white version is the most used by Golden Dawn followers and should be considered the official Golden Dawn Tarot.
A nearly similar version is still used by members of the B.O.T.A. and followers of hermetic schools. (The initials B.O.T.A. mean "Builders of the Adytum", it is a traditional and fraternal association founded by Paul Foster Case, continued and extended by Ann Davies...
A popular theory is that author William Walker Atkinson co-wrote the legendary "Kybalion" tome with Paul Foster Case. This theory is often defended by members of the "Builders of the Adytum". B.O.T.A. offers courses and techniques based on the study of the mystical teachings of the Holy Qabalah and TAROT. In fact, this confusing story about the Tarot B.O.T.A. and writing the "Kybalion", seems to have started with a breakaway group from the B.O.T.A., "The Brotherhood of Hidden Light" (which emphasizes the "secret (or lost) knowledge of the sages of Atlantis") .
The members of the Golden Dawn like the members of the B.O.T.A., consider that the Rider-Waite tarot is the ultimate "reference"...
secretsdutarot.blogspot.com/2013/01/les-tarots-dits-de-la...
This dissertation seeks to define the importance of Waite’s interpretation of mediaeval and Renaissance esoterica regarding the contacting of daemons and its evolution into a body of astrological and terrestrial correspondences and intelligences that included a Biblical primordial language, or a lingua adamica. The intention and transmission of John Dee’s angel magic is linked to the philosophy outlined in his earlier works, most notably the Monas Hieroglyphica, and so this dissertation also provides a philosophical background to Dee’s angel magic. The aim of this dissertation is to establish Dee’s conversations with angels as a magic system that is a direct descendant of Solomonic and Ficinian magic with unique Kabbalistic elements. It is primarily by the Neoplatonic, Hermetic, Kabbalistic, and alchemical philosophy presented in the Monas Hieroglyphica that interest in Dee’s angel magic was transmitted through the Rosicrucian movement. Through Johann Valentin Andreae’s Chymische Hochzeit Christiani Rosencreutz anno 1459, the emphasis on a spiritual, inner alchemy became attached to Dee’s philosophy. Figures such as Elias Ashmole, Ebenezer Sibley, Francis Barret, and Frederick Hockley were crucial in the transmission of interest in Dee’s practical angel magic and Hermetic philosophy to the founders of the Hermetic Order of the Golden Dawn.
Enochian Angel Magic: From John Dee to the Hermetic Order of the Golden Dawn www.academia.edu/921740/Enochian_Angel_Magic_From_John_De...
The rituals of the Golden Dawn utilized Dee’s angel magic, in addition to creative Kabbalistic elements, to form a singular practice that has influenced Western esoterica of the modern age. This study utilizes a careful analysis of primary sources including the original manuscripts of the Sloane archives, the most recent scholarly editions of Dee’s works, authoritative editions of original documents linked to Rosicrucianism, and Israel Regardie’s texts on Golden Dawn practices."In Whose hands the Sun is as a sword, and the Moon as a through- thrusting fire." An elegant equation, defining the parameters of the. creation. The god declares dominion over planetary forces (Sun-Moon) and elemental forces (fire-air). He also declares control over the two types of dualities: those in which one pole is projective and the other responsive (Sun-Moon) and over those in which two forces of similar polarity are balanced (fire-air). Within the area of creation, the positive pole is attributed to the element of swords, Air, and the anti-positive pole is attributed to the element of Fire. This is reflected in the precedence followed by the elements throughout the Tablets and Calls: Air first, then Water, Earth, and Fire. "Which measure your garments in the midst of my vestures..." The word translated here as "garments" is used uniformly to mean "creation" or "being" elsewhere in the Keys. Another word is used for
"garments" in the next sentence of this same Key. Another word is also used for "midst" further on in this Key. So the translation here is questionable. A magickal image given to define this phrase shows the scene through the god's eyes as he pulls endless threads of living light out of a lamen on his chest.
Enochian magic is a system of ceremonial magic based on the 16th-century writings of John Dee and Edward Kelley, who wrote that their information, including the revealed Enochian language, was delivered to them directly by various angels. Dee's journals contain the record of these workings, the Enochian script, and the tables of correspondences used in Enochian magic. Dee and Kelley believed their visions gave them access to secrets contained within Liber Logaeth, which Dee and Kelley referred to as the "Book of Enoch".In the early 1580s, John Dee had become discontented with his progress in learning the secrets of nature. Dee wrote: I have from my youth up, desired and prayed unto God for pure and sound wisdom and understanding of truths natural and artificial, so that God's wisdom, goodness, and power bestowed in the frame of the world might be brought in some bountiful measure under the talent of my capacity... So for many years and in many places, far and near, I have sought and studied many books in sundry languages, and have conferred with sundry men, and have laboured with my own reasonable discourse, to find some inkling, gleam, or beam of those radical truths. But after all my endeavours I could find no other way to attain such wisdom but by the Extraordinary Gift, and not by any vulgar school, doctrine, or human invention. Enochian magic involves the evocation and commanding of various spirits.He subsequently began to turn energetically towards the supernatural as a means to acquire knowledge. He sought to contact spirits through the use of a scryer or crystal-gazer, which he thought would act as an intermediary between himself and the angels. Dee's first attempts with several scryers were unsatisfactory, but in 1582 he met Edward Kelley (1555–1597/8), then calling himself Edward Talbot to disguise his conviction for "coining" or forgery, who impressed him greatly with his abilities.Dee took Kelley into his service and began to devote all his energies to his supernatural pursuits. These "spiritual conferences" or "actions" were conducted with intense Christian piety, always after periods of purification, prayer and fasting. Dee was convinced of the benefits they could bring to mankind. The character of Kelley is harder to assess: some conclude that he acted with cynicism, but delusion or self-deception cannot be ruled out. Kelley's "output" is remarkable for its volume, intricacy and vividness. Through Kelley, the angels laboriously dictated several books in this way, some in a previously unknown language which Dee called Angelical — now more commonly known as Enochian.The two pillars of modern Enochian magic, as outlined in Liber Chanokh, are the Elemental Tablets (including the "Tablet of Union") and the Keys of the 30 Aethyrs. The Enochian model of the universe is depicted by Dee as a square called "The Great Table" (made up of the 4 Elemental Tablets and incorporating the Tablet of Union), surrounded by 30 concentric circles representing the 30 Aethyrs or Aires. The Angelical Keys:
The essence of Enochian magic involves the recitation of one or more of nineteen Angelical Keys, which are also referred to as Calls. These keys are a series of rhetorical exhortations which function as evocations when read in the Enochian language. They are used to effect the "opening of 'gates' into various mystical realms." The first eighteen keys are used to 'open' the realms of the elements and sub-elements, which are mapped onto the quadrants and sub-quadrants of the Great Tablet.[clarification needed][citation needed]. The nineteenth key is used to 'open' the Thirty Aethyrs. The Aethyrs are conceived of as forming a map of the entire universe in the form of concentric rings which expand outward from the innermost to the outermost Aethyr. The Great Table: The angels of the four quarters are symbolized by the Elemental Tablets — four large magical word-square Tables (collectively called "The Great Table"). Most of the well-known Enochian angels are drawn from the Elemenal Tablets of the Great Table. Each of the four tablets (representing the Elements of Earth, Air, Fire and Water), is collectively "governed" by a hierarchy of spiritual entities which runs (as explained in Crowley's Liber Chanokh) as the Three Holy Names, the Great Elemental King, the Six Seniors (aka Elders) (these make a total of 24 Elders as seen in the Revelation of St. John), the Two Divine Names of the Calvary Cross, the Kerubim, and the Sixteen Lesser Angels. Each tablet is further divided into four sub-quadrants (sometimes referred to as 'sub-angles') where we find the names of various Archangels and Angels who govern the quarters of the world. In this way, the entire universe, visible and invisible, is depicted as teeming with living intelligences. Each of the Elemental tablets is also divided into four sections by a figure known as the Great Central Cross. The Great Central cross consists of the two central vertical columns of the Elemental Tablet (the Linea Patris and Linea Filii) and the central horizontal line (known as the Linea Spiritus Sancti). In addition to the four Elemental Tablets, a twenty-square cell known as the Tablet of Union (aka The Black Cross, representing Spirit) completes the representation of the five traditional elemental attributes used in magic - Earth, Air, Water, Fire and Spirit. The Tablet of Union is derived from within the Great Central Cross of the Great Table. The Thirty Æthyrs : The 30 Aethyrs are numbered from 30 (TEX, the lowest and consequently the closest to the Great Table) to 1 (LIL, the highest, representing the Supreme Attainment. Magicians working the Enochian system record their impressions and visions within each of the successive Enochian Aethyrs. Each of the 30 Aethyrs is populated by "Governors" (3 for each Aethyr, except TEX which has four, thus a total of 91 Governors). Each of the governors has a sigil which can be traced onto the Great Tablet of Earth.
The Holy Table: a table with a top engraved with a Hexagram, a surrounding border of Enochian letters, and in the middle a Twelvefold table (cell) engraved with individual Enochian letters. According to Duquette and Hyatt, the Holy Table "does not directly concern Elemental or Aethyrical workings. Angels found on the Holy Table are not called forth in these operations."
The Seven Planetary Talismans: The names on these talismans (which are engraved on tin and placed on the surface of the Holy Table) are those of the Goetia. According to Duquette and Hyatt, "this indicates (or at least implies) Dee's familiarity with the Lemegeton and his attempt, at least early in his workings, to incorporate it in the Enochian system."] As with the Holy Table, Spirits found on these talismans are not called forth in these operations. The Sigillum dei Aemeth, Holy Sevenfold Table, or 'Seal of God's Truth': The symbol derives from Liber Juratus (aka The Sworn Book of Honorius or Grimoire of Honorius, of which Dee owned a copy). Five versions of this complex diagram are made from bee's wax, and engraved with the various lineal figures, letters and numbers. The four smaller ones are placed under the feet of the Holy Table. The fifth and larger one (about nine inches in diameter) is covered with a red cloth, placed on the Holy Table, and is used to support the "Shew-Stone" or "Speculum" (crystal or other device used for scrying). Scrying is an essential element of the magical system. Dee and Kelly's technique was to gaze into a concave obsidian mirror. Crowley habitually held a large topaz mounted upon a wooden cross to his forehead. Other methods include gazing into crystals, ink, fire or even a blank TV screen.Little else became of Dee's work until late in the nineteenth century,[citation needed] when it was incorporated by a brotherhood of adepts in England. The rediscovery of Dee and Kelley's material by Samuel Liddell MacGregor Mathers of the Hermetic Order of the Golden Dawn in the 1880s led to Mathers developing the material into a comprehensive system of ceremonial magic. Magicians invoked the Enochian deities whose names were written on the tablets. They also traveled in their bodies of light into these subtle regions and recorded their psychic experiences. The two major branches of the system were then grafted on to the Adeptus Minor curriculum of the Golden Dawn.
According to Aleister Crowley, the magician starts with the 30th aethyr and works up to the first, exploring only so far as his level of initiation will permit. According to Chris Zalewski's 1994 book, the Golden Dawn also invented the game of Enochian chess, in which aspects of the Enochian Tablets were used for divination. They used four chessboards without symbols on them, just sets of colored squares, and each board is associated with one of the four elements of magic. Florence Farr founded the Sphere Group which also experimented with Enochian magic.Aleister Crowley's work with Enochian magick generally follows the Golden Dawn system. He is known primarily for his explorations of the 30 Aethyrs, published in "The Vision and the Voice". This work established the idea that Aethyr might represent a means of initiation, and set a standard for methodical exploration, which few have equaled. It also fixed Crowley's particular perspective on the process of transcendence in the minds of many students of the occult. Crowley envisioned the Aethyr as being related to the sephiroth of the tree of life in groups of three. He also mentions that each Aethyr "bends" into the next Aethyr above it, in a way, so that in progressing through the Aethyrs from the last to the first, one also withdraws one's being from the lower levels and already experienced (this is parallel to the technique he describes in the Liber Yod, in which the magician achieves union with the deity by gradually banishing all other levels and powers.Under this conception the Aethyrs ZAX, whose parts have names formed from the cross of union, is the highest of the three attributed to Chesed. Thus, it is the last Aethyr encountered before entering the Supernal Triad and achieving transcendence. Crowley envisioned this movement as crossing an "abyss" or space, during which the magician encounters an Enochian devil named Choronzon dwelling therein. Crowley's other contribution to Enochian magick was adapting the pyramid system of the GD for use with the sex magick of the O.T.O. In this technique, physical representations of the pyramids are made for an angel's name, but inverted to form the square "cups". These serve as talismans, which are charged using the end product of the sex magick operation.
Paul Foster Case (1884–1954), an occultist who began his magical career with the Alpha et Omega, was critical of the Enochian system. According to Case, the system of Dee and Kelley was partial from the start, an incomplete system derived from an earlier and complete Qabalistic system, and lacked sufficient protection methods. Case believed he had witnessed the physical breakdown of a number of practitioners of Enochian magic, due to the lack of protective methods. When Case founded his own magical order, the Builders of the Adytum (B.O.T.A.), he removed the Enochian system and substituted elemental tablets based on Qabalistic formulae communicated to him by Master R.The first Enochian Key or Call is a recapitulation of the steps by which the creator of the system brought it into being. The Key follows the same macrocosmic-to-microcosmic progression used in the example consecration ritual, but then supplements this with a response from the microcosm directed at the macrocosm. Note that the description of the downward current contains seven significant phrases, suggesting the planets and sun, the macrocosm, while the description of the response contains five significant phrases, suggesting the four elements and elemental spirit, the microcosm."...and trussed you together as the palms of my hands." The magickal image continues by showing the god gathering the fibers of light into a bundle or cable. The god concentrates the energies within the area of work in preparation for shaping."Whose seats I garnished with the fire of gathering, which beautified your garments with admiration." Having generated the positive or spiritual pole of the creation, the god now looks to the anti-positive or material pole. The "seats" are the squares of the tablets in their two-dimensional form. The god embodies a part of his will in the Tablets, defining the order and place to which the spiritual energies will be attracted and attached. When the energies are attached to the Tablets, the pattern of will embodied in the Tablets extends back along their path to the positive pole, conditioning all the perceptible expressions (the "garments") of the energies.. The usual assumption of later magicians (which is not universally accepted) is that the remaining Calls refer to the "Minor Angles" within the Tablets.
The Golden Dawn method of associating the Callings with the tablets and Lesser Angles has become the accepted "standard". Donald Tyson recently proposed an alternative method which has received some attention
en.wikipedia.org/wiki/Enochian_magic
SUMMARY OF PATH POSITIONS IN ACHAD'S TREE OF LIFE
Path Trump Connects with:
Aleph The Fool Malkuth Yesod
Beth The Magician Malkuth Hod
Gimel The Priestess Yesod Hod
Daleth The Empress Malkuth Netzach
Heh The Emperor Tiphereth Geburah
Vav The Hierophant Hod Netzach
Zain The Lovers Hod Tiphereth
Cheth The Chariot Yesod Netzach
Teth Strength Netzach Tiphereth
YodT he Hermit Hod Geburah
Kaph The Wheel of Fortune Kether Chokmah
Lamed Justice Netzach Chesed
Mem The Hanged Man Yesod Tiphereth
Nun Death Geburah Chesed
Samek Temperance Chesed Chokmah
AyinThe DevilTiphereth Binah
PehThe Tower Geburah Binah
Tzaddi The Star Binah Chokmah
Qoph The Moon Tiphereth Chesed
Resh The Sun Tiphereth Chokmah
Shin Judgement Kether Tiphereth
TauT he Universe Kether Binah
"To whom I made a law to govern the holy ones," The word translated as "holy ones" appears to derive from the same root as the enochian words for "fire", suggesting that the holy ones are those who possess the spiritual will. The god specifies the manner in which his creation will respond to the mages and adepts."Moreover, you lifted up your voices and sware obedience and faith..."The connection between the two poles having been made, and the conditions of their interaction being set, the angels of the creation voice their response to the god, swearing to continue to follow the god's will. "...to him that liveth and triumpheth," The spirits of the Tablets affirm the existence of their creator by saying that he lives, and affirm the success of the act of creation by saying that he triumphs. The echoing of the god's statements by the spirits of the tablets also suggests that the conditions the god laid on the creation as a whole
are reflected in miniature within the creation. It shall be shown that this is the case with the Tablets as we proceed.In the remainder of the Key, the magician using it calls upon the
spirits to respond to him fully and openly. The word translated here as "servant" might be better rendered as "minister" or "representative". The magician asserts that he has a right to demand a response from the spirits because his acts are in accord with the will of their creator.
www.sacred-texts.com/eso/enoch/1stkey.txt
Angelic chatter, but very little solid information. Additionally, the reader must deal with forays into apocalyptic religion, Elizabethan politics, Dee's and Kelly's personal issues, and the various irrelevant issues Dee insisted on inserting into the work. Chronologically, Dee and Kelly's work falls into three highly productive periods separated by months when nothing of particular value was received. The material received in each period generally stands on its own, and is only loosely related to that of the other periods. but the term is often applied to all work. First Period: The Heptarchia Mystica. Equipment: Ring, Lamen, and Holy Table The angels claimed that the ring they designed for Dee was the same one used by Solomon to control demons. The ring had a full band, to which was attached a rectangular plate. The letters PELE (coming from Latin for "he will do miracles") were inscribed in the four corners. In the center was a circle crossed by a horizontal line, with the letter "V" inscribed above and the letter "L" below. Two different lamens were given to Dee. The first bears a generic resemblance to various sigils of goetia being an assortment of free-form lines and oddly placed letters. The giving being indicated that it was to be made of gold and worn every time and place for the purpose of protection. given by an evil spirit. During the spring session of 1583, the angels indicated that a session had been scheduled in which detailed instructions would be given for the use of Heptarchic magick. If this session took place, it is not in the records that have survived; but some idea of the general technique can be gathered from the comments in other parts of the recording. The magician would be seated at the Holy Table, wearing the ring and lamen. table in front of him. He would hold an appropriate Heptarchic king's talisman in one hand, with a talisman of the names of the king's ministers placed beneath his feet. The magician would then invite the king with petition and prayer, followed by petitions to his prince, and invocations of the six chief ministers. They would appear in the stone of clairvoyance, whereupon the magician would instruct them to accomplish the task he desired.The Liber Loagaeth is the most mysterious part of Dee and Kelly's work. It is also known by different names like
book of Enoch and the Liber Mysteriorum Sextus et Sanctus. So far no one has seriously attempted to use it, or to understand its nature, beyond what is found in the diaries. According to the angels, "loagaeth" means "speech of God", this book is supposed to be, literally, the words by which God created all things. It is supposed to be the language in which the "true names" of all things are known, giving power over them. As described in the Liber Mysteriorum Quintis, the book was to consist of 48 "leaves", of which each contains a 49x49 grid. Infact, the book actually presented to Kelly is somewhat different. It contains 49 "invocations" in an unknown language, 95 square tables filled with letters and numbers, 2 similar tables not filled, and 4 drawn tables twice the width of the others. 2 "leaves" are recorded, but these are not included in the final book, and apparently serve as an introduction or prologue to the work. this term. There is no translation by which this could be judged in detail, but the text lacks the logical repetitions and word placements which are characteristic of the 48 Enochian invocations given in later years. There is no apparent grammar in the text. Donald Laycock remarks that the language is strongly alliterative and repetitively rhyming, while Robert Turner calls it "glossolalic". many "languages", all being spoken immediately. The purpose of the Loagaeth has been said to be the unleashing/introduction of a new age on earth, the last age before the end of all things. Instructions for use for this purpose were never given; the angels continually put it off, saying that only God could decide when the time has come. During the presentation of the two leaves of the Liber Mysteriorum Quintis, in the stone of clairvoyance an angel moved successively towards letters, and Kelly pronounced the names of the angelic character. Dee transcribed a version using the Roman alphabet, apparently with the intention of redoing it in angelic characters at a later date. of Kelly; this light was seen by both of them. Once the light entered Kelly's head, his consciousness was transformed so that he could understand the text as he read it. He was strongly commanded not to provide a translation, explaining that God would choose the time for it to be revealed. He provided the translation of a few of the words, but it was insufficient to capture the meaning of the text as a whole. When the light withdrew from Kelly's head, he immediately ceased to understand the text, and could no longer see it in the stone. On a few occasions, the light continued to work within him for a short time after the session ended, and at those times Dee noticed that Kelly said many wonderful (and unrecorded) things about the nature of the texts. But the moment the light went out, Kelly couldn't understand it anymore, nor remember what he had said during the previous moment. The record indicates that the 23rd line of the first leaf was a preface to the creation and distinction of the angels, and the 24th line a pleasant invitation to the good angels. Nothing else is recorded concerning the purpose of this book.
Enochian Magic and the Apocalypse
There are 2 major threads of thought in Christian millennialism. One thread, called postmillennialism, is largely utopian in nature. He sees the millennium as the beginning of a period of progressive perfection of conditions on Earth; the basic principle is that the world must be perfected and the city of God built on earth before Christ returns, and only after Christ returns will the world end. Two decades after Dee, this form of millennialism was the driving force behind the religious groups shoeing the English colonization of America. Dee's own thought contains many post-millennial ideals in the search for Enochian magick, one of his goals was to gain means to bring earthly governments and societies to God's design, thereby bringing the return of Christ closer. quickly. The other thread, called premillennialism, is the more catastrophic variety. In this version, the typical scenario is the return of Christ, and then mankind's current "evil" societies will be destroyed in worldwide disasters, while the elect are preserved from evil. After the world is destroyed, Christ will join the faithful in a city built by God to rule over the earth for a thousand years. While there is a strong millennial flavor to the angel's statements, they are almost uniformly of the postmillennial variety. The angels divided the world into four ages. The first of these ages began with the creation and ended with the flood; the second ended with the appearance of Christ. The revelation of Liber Loagaeth ended the third age and triggered the final age, in which the world would be brought to perfection before Christ's return. . A particular passage makes this clear.
The Enochian Magical System of Golden Dawn
Regardie, Israel, The Golden Dawn, Llewellyn Publications, 1971, St Paul, MN. Reprinted at regular intervals. Contains detailed descriptions of the Enochian Magical System developed from GD. Zalewski, Pat. Golden Dawn Enochian Magic, Llewellyn Certainly there are influences of the Qabalah (the Sigillum Dei Aemeth, the communications of Uriel, Michael...) but this is not the originality and the strength of the system. Some practitioners of Enochian magic said that it was a Qabala (when I hear a Qabala I tend to write Kabbalah, like in the theater) that put into action the world of Atziluth, the highest of the four Qabalah classic. It's quite difficult to verify...even ! (See the introduction to the Necrono-micon at Belfond Editions).
But back to Enochian magick proper. The successors of the G.. D.. today reorganize its system and Schueler in his Enochian Magic) gives the material and the rituals "step by step" ("step by step"). Americans (and us too) like to practice if it is simple and impressive... The investigation by Enochian magic generally gives results, we cannot really say that they are controllable since they do not correspond to any standard of experiences already lived by the inventors of this practice.
Be that as it may, the Enochian, this language with its grammar and its syntax, this magical system and its original Theogony, remains a mystery that should not be taken for a simple variant of this or that traditional system already known. It is therefore useful when approaching it to master the fundamental elements which are used for its use without being subservient to the rituals of the pentagrams and hexagrams, to their signs, to the notions of Qabala of the G., D.., etc. This will make it possible to know what is original or what is borrowed in the Enochian, and what one can think of such or such contemporary development. A culture that will provide some points of reference in our consumer society where the practice of magic has much in common with video games or the daily television session.
In this, the most honorable goal (if it can be a question of honour) is the success of the experience known as the "Knowledge and Conversation of the Holy Guardian Angel", i.e. contact with one's true will, devoid of intention, in other words his heart. But it also applies to solving the various problems of life. After all, a magic is white or black only according to the use that is made of it... Let's say that we are still far from the religious John Dee. In fact not, for if Dee's conscious aims and methods were very far from those of our contemporaries, would ultimately the adventures and misadventures of his life, the problem of his relationship with Kelly evidently culminating in the ritually ordered exchange what they did with their wives would not be indications that this practice was beginning to ferment the elements of their consciences into a quintessential non-conformist?
MATTHEW LEON.
This text constitutes the introduction to the "Book of the gathering of forces" Editions RAMUEL 1994
Today we can no longer answer, lacking the benchmarks of a conventional morality no longer existing in the heart of the modern magician. But what is left? On what do we base ourselves if our practice has not yet allowed us an unambiguous contact with our heart, if our magical training lets us wander in the imagination that we have shaped? Publications 1990, St Paul, MN.
Synesthesia (American English) or synaesthesia (British English) is a perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to involuntary experiences in a second sensory or cognitive pathway. People who report a lifelong history of such experiences are known as synesthetes. Awareness of synesthetic perceptions varies from person to person. In one common form of synesthesia, known as grapheme–color synesthesia or color–graphemic synesthesia, letters or numbers are perceived as inherently colored.In spatial-sequence, or number form synesthesia, numbers, months of the year, or days of the week elicit precise locations in space (e.g., 1980 may be "farther away" than 1990), or may appear as a three-dimensional map (clockwise or counterclockwise). Synesthetic associations can occur in any combination and any number of senses or cognitive pathways. Little is known about how synesthesia develops. It has been suggested that synesthesia develops during childhood when children are intensively engaged with abstract concepts for the first time. This hypothesis—referred to as semantic vacuum hypothesis—could explain why the most common forms of synesthesia are grapheme-color, spatial sequence, and number form. These are usually the first abstract concepts that educational systems require children to learn. The earliest recorded case of synesthesia is attributed to the Oxford University academic and philosopher John Locke, who, in 1690, made a report about a blind man who said he experienced the color scarlet when he heard the sound of a trumpet. However, there is disagreement as to whether Locke described an actual instance of synesthesia or was using a metaphor. The first medical account came from German physician Georg Tobias Ludwig Sachs in 1812. The term is from the Ancient Greek σύν syn, 'together', and αἴσθησις aisthēsis, 'sensation'.
en.wikipedia.org/wiki/Synesthesia
When Pamela Coleman Smith was attending the Pratt Institute of Art, she realized that she possessed a high degree of sound-color synesthesia, i.e., she was able to visualize colors and forms while listening to music and could transmit those visualizations into tangible works of art. Modern psychologists define synesthesia as a crossing-over of sensory input. Depending upon the type of synesthesia, individuals are able to hear colors, see music, smell words, etc. Many people, particularly artists, possess this phenomenon to some extent; however, Pamela possessed sound-color synesthesia to an exceptionally high degree. She was able to create sound paintings just by unconsciously drawing while listening to passages of music. She embodied the Symbolist ideal in this area. Many examples of her work in this area have survived, including three watercolors in the possession of the Stieglitz/Georgia O'Keeffe Archive. In July 1908, an article appeared in The Strand Magazine entitled "Pictures in Music." The article included six black and white images of her music paintings (see below) and provided a long quotation by her which described how her art was created. A pertinent excerpt from that article is as follows: Do you see pictures in music? When you hear a Beethoven symphony or a sonata by Schumann, do mystic human figures and landscapes float before your eyes ? It is by no means new or uncommon for a composer to have a distinct picture in his mind when he sets himself to create a work. Schumann saw children at play in an embowered wood, dancing merrily until, lo ! the sudden advent of a satyr sent them shrieking to their homes. Few, however, have been able to delineate their hallucinations born of music.
Mendelssohn, who was no mean draughtsman, was often asked to do so, but always refused. "It is like asking a sculptor to paint a portrait of his statue," he once said. " All art is one, just as the human body is one, but each of the members has its functions. It is the function of music to hear, not to see." Nevertheless, it is highly interesting to see music translated in the terms of a sister art, and this is what a clever artist, Miss Pamela Colman Smith, has done, in pictures which are published now for the first time in The Strand Magazine. Many of the compositions selected by the artist will instantly be recognized as conveying, in quite a surprising way, a vivid idea of the music as a whole. Every reader can ascertain for himself whether he possesses this peculiar psychic gift—this power of conjuring up music pictures. When you next hear a famous sonata, close your eyes and see what, if any, "pictures" pass before the eye of your brain. Under the magical influence of music the soul has glimpses of wondrous shapes, lit by the light that never was on sea or land. "You ask me how these pictures are evolved," said Miss Colman Smith. "They are not pictures of the music theme — pictures of the flying notes—not conscious illustrations of the name given to a piece of music, but just what I see when I hear music—thoughts loosened and set free by the spell of sound. "When I take a brush in hand and the music begins, it is like unlocking the door into a beautiful country. There, stretched far away, are plains and mountains and the billowy sea, and as the music forms a net of sound the people who dwell there enter the scene; tall, slow-moving, stately queens, with jewelled crowns and garments gay or sad, who walk on mountain - tops or stand beside the shore, watching the water - people. These water-folk are passionless, and sway or fall with little heed of time; they toss the spray and, bending down, dive headlong through the deep. "There are the dwellers, too, of the great plain, who sit and brood, made of stone and motionless; the trees, which slumber till some elf goes by with magic spear and wakes the green to life ; towers, white and tall, standing against the darkening sky— Those tall white towers that one sees afar, Topping the mountain crests like crowns of snow. Their silence hangs so heavy in the air That thoughts are stifled. "Then huddling crowds, who carry spears, hasten across the changing scene. Sunsets fade from rose to grey, and clouds scud across the sky. "For a long time the land I saw when hearing Beethoven was unpeopled; hills, plains, ruined towers, churches by the sea. After a time I saw far off a little company of spearmen ride away across the plain. But now the clanging sea is strong with the salt of the lashing spray and full of elemental life; the riders of the waves, the Queen of Tides, who carries in her hand the pearl-like moon, and bubbles gleaming on the inky wave. "Often when hearing Bach I hear bells ringing in the sky, rung by whirling cords held in the hands of maidens dressed in brown. There is a rare freshness in the air, like morning on a mountain-top, with opal-coloured mists that chase each other fast across the scene. "Chopin brings night ; gardens where mystery and dread lurk under every bush, but joy and passion throb within the air, and the cold moon bewitches all the scene. There is a garden that I often see, with moonlight glistening on the vine-leaves, and drooping roses with pale petals fluttering down, tall, misty trees and purple sky, and lovers wandering there. A drawing of that garden I have shown to several people and asked them if they could play the music that I heard when I drew it. They have all, without any hesitation, played the same. I do not know the name, but— well, I know the music of that place."
medical practitioner prays between patients in the suburb of Ghouta. Ghouta's health sector has been devastated by the four year blockade, which restricts even basic medicines and supplies. Imagine taking your sick child to the hospital only to leave with no treatment.
Who is left for you to turn to but God?
鳳凰，亦稱丹鳥、火鳥、鶤雞、威鳳，是中國古代傳說中的百鳥之王，在中華文化中的地位和龍相同。其羽毛一般被描述為赤紅色，“鳳”為雄性，“凰”為雌性[1]。其圖徽常用來象徵祥瑞。
受中國文化的影響，鳳凰的形象在漢字文化圈各區域中普遍出現。英文稱之為Chinese Phoenix或簡稱Phoenix（實際上Phoenix指的是西方傳說裡的不死鳥）。
在甲骨文中，鳳與風為同字，皆寫為鳳凰之形，而後鳳加上凡聲，之後又將鳳形改為虫形創造出風字，由此可見鳳凰與風的關係
據《爾雅·釋鳥》郭璞注，鳳凰特徵是：「雞頭、燕頷、蛇頸、龜背、魚尾、五彩色，高六尺許」。
《山海經·圖贊》說有五種像字紋：「首文曰德，翼文曰順，背文曰義，腹文曰信，膺文曰仁。」[3]
《廣雅》：「鳳凰，雞頭燕頷，蛇頸鴻身，魚尾骿翼。五色：首文曰德，翼文曰順，背文義，腹文信，膺文仁。雄鳴曰卽卽，雌鳴曰足足，昬鳴曰固常，晨鳴曰發明，晝鳴曰保長，舉鳴曰上翔，集鳴曰歸昌。」
另，《說文》云：「鳳之象也，鴻前麟後，鸛顙鴛腮，龍文龜背，燕頷雞啄，五色備舉。」
鳳是人們心目中的瑞鳥，天下太平的象徵。古人認為時逢太平盛世，便有鳳凰飛來。
鳳凰也是中國皇權的象徵，常和龍一起使用，鳳從屬於龍，用於皇后嬪妃，龍鳳呈祥是最具中國特色的圖騰。民間美術中也有大量的類似造型。鳳也代表陰，儘管鳳凰也分雄雌，更一般的是將其看作陰性。「鳳」、「凰」常見於女性名。宋朝就常使用龍鳳旗，還使用龍鳳作為吉祥標記，使用在物品上，比如龍鳳團茶。
鳳凰被認為是百鳥中最尊貴者，為鳥中之王，有「百鳥朝鳳」之說。
按陰陽五行之說，鳳色赤，五行屬火，是南方七宿朱雀之象。另也為中國民間指的四靈之一（《禮運》，龍、鳳凰、麒麟、龜）。
而鳳凰亦有「愛情」、「夫妻」的意思；語本詩經大雅卷阿：『鳳皇於飛，翽翽其羽。』李白·早夏於將軍叔宅與諸昆季送傅八之江南序：「重傅侯玉潤之德，妻以其子，鳳凰于飛，潘楊之好，斯為睦矣」。因此鳳凰在中國文學中常比喻為「真摯的愛情。」[來源請求]
中華龍鳳文化研究中心主任龐進認為，在中國的象徵文化體系中，鳳凰是完美主義的化身，鳳凰文化的精髓是「和美」。通過研究，龐進發現鳳凰是「合」的神物，它的出現是中國古人對自然界各種生物理解、尊重、敬畏、愛戀、審美的結果，這與道家強調的「天道自然之和」即「天和」相一致。
而凰，古音與光相通，有的研究者[谁？]認為是一種與光有關的鳥，即太陽鳥。
鳳則同風相通，也可理解為「風神」。
鳳亦被視為火神。《初學記》卷三十引緯書《孔演圖》說：「鳳，火精」。
《鶡冠子·度萬第八》：「鳳凰者，鶉火之禽，陽之精也。」
《抱朴子》說：「夫木行為仁，為青。鳳頭上青，故曰戴仁也。金行為義，為白。鳳頸白，故曰纓義也。火行為禮，為赤。鳳嘴赤，故曰負禮也。水行為智，為黑，鳳胸黑，故曰尚知也。土行為信，為黃。鳳足下黃，故曰蹈信也。」——頭部呈青色，頸部呈白色，喙部呈赤色，胸、背部呈黑色，趾、爪呈黃色。
中華民國初期的國旗為五色旗，一說取自鳳凰五色，同時也代表仁，義，禮，智，信五德。[來源請求]
香港中文大學以鳳作為校徽。原因是自漢代以來，鳳即被視為「南方之鳥」，且素為高貴、美麗、忠耿及莊嚴之象徵。以紫與金為校色，取意在紫色象徵熱誠與忠耿，金色象徵堅毅與果敢
楚人尊鳳是由其遠祖拜日、尊鳳的原始信仰衍化而來的，迄今已逾七千多年有文物可考的歷史。楚人的祖先祝融是火神兼雷神。漢代《白虎通》說，祝融「其精為鳥，離為鸞。」《卞鴉·絳鳥》注曰：「鳳凰屬也」。可見，祝融也是鳳的化身。《山海經·大荒北經》中說：「大荒之中，有山名曰北極櫃。海水北注焉。有神九首，人面鳥身，句曰九鳳」。楚文化遺跡中除了龍以外還存在大量人首蛇身、人首鳥身和九頭神鳥的圖騰，開啟了中國傳說文化中「龍鳳呈祥」的文化淵源。從圖騰崇拜在氏族制時期所反映出的突出特點來看，鳳為楚人的祖先，故被楚人作為本氏族的圖騰加以崇拜、尊愛便是必然的事了。
鳳不僅是神鳥，也是楚人、楚國尊嚴的象徵。楚人尊鳳的影響便透到各個領域。如在楚國的文物中，鳳的圖像、繡像和雕像不勝枚舉，楚人衣服上的刺繡圖案也是以鳳為主要內容。此外，還有「鳳鳥雙連環」、「虎座鳳架鼓」、「鳳龍虎繡羅禪衣」等，楚國的鳳紋彩繪可謂千姿百態，無奇不有。
《論衡校釋》：「五鳥之記：『四方中央皆有大鳥，其出，眾鳥皆從，小大毛色類鳳皇。』」；《說文解字》：「五方神鳥：東方發明，南方焦明，西方鷫鷞，北方幽昌，中央鳳皇。」（注：焦明即鷦明。）[7]
《禽經》：「青鳳謂之鶡，赤鳳謂之鶉，黃鳳謂之焉，白鳳謂之肅，紫鳳謂之鷟。
天方國古有不死鳥「菲尼克司」（Phoenix，常見譯名為「鳳凰」），滿五百歲後，集香木自焚，復從死灰中更生，鮮美異常，不再死。郭沫若所作詩歌《鳳凰涅槃》中的鳳凰，即指西方傳說中的不死鳥。古埃及神話中也有一種稱為「貝努」的鳥。古埃及人認為，貝努和鷹一般大小，全身長有金色的羽毛，閃閃發光的翅膀、斑斕的外表、鳴聲悅耳，能給人降福添壽；同時認為世界上只有一隻貝努，而壽命為五百年。在臨死之時，貝努會採集芳香植物的樹枝、香草築成一個巢，然後點火自焚，在熊熊火燄中，一隻幼貝努誕生了。新生的幼貝努就將老貝努的骨灰裝進藥蛋中，在蛋上塗上防腐的香料油，帶著它飛到太陽神那裡，由太陽神將它放在太陽廟的神壇上。
以上所提及的「火鳥」，與中國傳說中的鳳凰有一定的差別，但華人在翻譯與認知上習慣把不死鳥當成鳳凰。然而西方傳說中的火鳥形象上比較像老鷹，東方傳說中的鳳凰在形象上則是較像雞、雉。此外，中國神話傳說並無鳳凰會浴火重生的說法，「凤凰涅槃」此詞是郭沫若所作詩歌《鳳凰涅槃》中歌頌不死鳥所創的詞，混淆了不死鳥與鳳凰。比較相近的是從佛教傳說中會因吞食那伽而自燃而死的迦樓羅（金翅鳥）。不過中國不會把鳳凰與迦樓羅混淆在一起，而且迦樓羅也不會重生。
zh.wikipedia.org/wiki/%E5%87%A4%E5%87%B0
Fenghuang:The fenghuang has very positive connotations. It is a symbol of high virtue and grace. The fenghuang also symbolizes the union of yin and yang. Shan Hai Jing's 1st chapter “Nanshang Jing” records each part of fenghuang's body symbolizes a word, the head represents virtue (德), the wing represents duty (義), the back represents propriety (禮), the abdomen says credibility (信) and the chest represents mercy (仁).[4]
Portrait of an empress, possibly Empress Xiaoxianchun, (wife of the Qianlong Emperor) sitting on a chair decorated with Phoenix
In ancient and modern Chinese culture, they can often be found in the decorations for weddings or royalty, along with dragons. This is because the Chinese considered the dragon and phoenix symbolic of blissful relations between husband and wife, another common yang and yin metaphor.
Bowl with dragons, phoenixes, gourds, and characters for happiness, used on Guangxu Emperor's wedding ceremony, from Peabody Essex Museum. In some traditions it appears in good times but hides during times of trouble, while in other traditions it appeared only to mark the beginning of a new era. In China and Japan it was a symbol of the imperial house, and it represented "fire, the sun, justice, obedience, and fidelity.When describing chinoiserie or authentic Asian ceramics and other artworks, English-speaking art historians and antique collectors sometimes refer to it as hoho bird,[6] a name derived from hō-ō, with a second extraneous h added. Hō-ō is simply the Japanese pronunciation of fenghuang. The seemingly vast difference between hō-ō and fenghuang is due to Chinese vowels with ng usually being converted to ō in Go-on reading. The Japanese also use the word fushichō for this image.
Phoenix talons (S:凤爪 T:鳳爪) is a Chinese term for chicken claws in any Chinese dish cooked with them.
Fèng or Fènghuáng is a common element in given names of Chinese women (likewise, "Dragon" is used for men's names).
"Dragon-and-phoenix infants" (S:龙凤胎 T:龍鳳胎) is an expression meaning a set of male and female fraternal twins.
Fenghuang is a common place name throughout China. The best known is Fenghuang county in western Hunan, southern China, formerly a sub-prefecture. Its name is written with the same Chinese characters as the mythological bird.
In Korea, this bird is known as Bong Hwang 봉황, this merely being the Korean pronunciation of fenghuang. An alternate term of Bul Sa Jo 불사조 (不死鳥), or "immortal bird" is used to refer to the type of phoenix that never dies (i.e. the Greek "phoenix"), with bong hwang being reserved for the Asian variety. Bong Hwang is often seen used within the royal emblem (especially for queens - the dragon being the emblem of the king) and appears twice in the current presidential emblem.[citation needed] North Jeolla's football club uses it as its symbol.
The Vermilion Bird, (Suzaku in Japanese) one of the Four Symbols of Chinese myth, sometimes confused with the fenghuang, from which it is a distinct entity.[7]
Phoenix Television (鳳凰衛星電視) is a Hong Kong-based media company
Typhoon Fung-wong has been a meteorological name for three tropical cyclones. The term was contributed by Hong Kong and is the Cantonese pronunciation of fenghuang.A common depiction of fenghuang was of it attacking snakes with its talons and its wings spread. According to the Erya's chapter 17 Shiniao, fenghuang is made up of the beak of a rooster, the face of a swallow, the forehead of a fowl, the neck of a snake, the breast of a goose, the back of a tortoise, the hindquarters of a stag and the tail of a fish.[1] Today, however, it is often described as a composite of many birds including the head of a golden pheasant, the body of a mandarin duck, the tail of a peacock, the legs of a crane, the mouth of a parrot, and the wings of a swallow.
The fenghuang's body symbolizes the celestial bodies: the head is the sky, the eyes are the sun, the back is the moon, the wings are the wind, the feet are the earth, and the tail is the planets.[2] The fenghuang is said to have originated in the sun.[2] Its body contain the five fundamental colors: black, white, red, yellow, and green.[2] It sometimes carries scrolls or a box with sacred books.[2] It is sometimes depicted with a fireball.[2] It is sometimes depicted as having three legs.[citation needed] It is believed that the bird only appears in areas or places that are blessed with utmost peace and prosperity or happiness.
Chinese tradition cites it as living atop the Kunlun Mountains in northern China.
en.wikipedia.org/wiki/Fenghuang
The bird is generally thought to be a symbol of freedom.
They can walk on the earth and swim in the sea as humans do but they also have the ability to soar into the sky.
Birds are free to roam to earth and the sky. Many cultures believe that they are a symbol of eternal life; the link between heaven and earth.A comprehensive guide to Peacock Symbol:
Meaning of Peacock symbol
Peacock symbol - Facts
Dream explanation, what is the significance of seeing a Peacock in a dream?Peacock SymbolThere is no exact definition for any symbol; each symbol is open to interpretation and birds are no exception to this. Their symbolism can vary greatly depending on different cultures and religion. The Peacock is a male peafowl and is generally thought to be a symbol of the sun.
It is believed that the round tail of the peacock symbolizes heaven and the markings or 'eyes' on the tail are the stars.
In Buddhism, the 'eyes' in the peacocks tail is a symbol of watchfulness.
Peacock Symbol - Meaning; The definition of a Peacock is a male peafowl; having a crested head and very large fanlike tail marked with iridescent eyes or spots. The peacock is the male of the species and has large colorful feathers which it uses to attract a mate. The female is known as a peahen and unlike the
Peacock feathers are considered to be unlucky, it is thought the 'evil' eye on the feather will be a symbol of bad luck for the owner... The peacock is often used as a symbol of vanity due to its beauty and the way it displays his tail feathers The Hindu god Murugan is a popular Hindu deity among Tamil Hindus. In Tolkāppiyam literature, Murugan, is described as being "the red god seated on the blue peacock, who is ever young and resplendent," as " the favoured god of the Tamils."Muruga rides a peacock and wields a bow in battle His peacock mount is a symbol of the destruction of the ego... Native Aborigines believed that birds carried stories..The Peacock's beautiful tail feathers are more than a metre in length... Peacocks are always males! The female of the species is called a peahen and lacks the beautiful coloring of the male (as shown in the image below)
Peacock Symbol - Seeing a peacock in your dream is a symbol of spring, birth, and new growth... A Peacock is a symbol of a good omen, signalling prestige and success and contentment with your career
It is also a symbol of your confidence and even arrogance over your success
Peacock Symbol - Christian Significance
The following definition of the peacock is taken from the Easton Bible Dictionary:(Heb. tuk, apparently borrowed from the Tamil tokei). This bird is indigenous to India. It was brought to Solomon by his ships from Tarshish (1 Kings 10:22; 2 Chr. 9:21), which in this case was probably a district on the Malabar coast of India, or in Ceylon. Dream Interpretation - Significance of Bird Symbol..The following explanation of dreams involving birds in general is taken from the book entitled 'Dream Dictionary (10,000 Dreams Interpreted - by Gustavus Hindman Miller)':
It is a favorable symbol in a dream to see birds of beautiful plumage. A wealthy and happy partner is near if a woman has dreams of this nature..Moulting and song less birds, could denote merciless and inhuman treatment of the outcast and fallen by people of wealth... To see a wounded bird, is a symbol of fateful of deep sadness caused by erring offspring
To see flying birds, is a symbol of prosperity to the dreamer. All disagreeable environments will vanish before the wave of prospective good...To catch birds, is not at all bad. To hear them speak, is owning one's inability to perform tasks that demand great clearness of perception.Peacock is a bird that has symbolized different things in different religions and cultures.
Christians associate it with immortality, ancient Mesopotamians associated a symbol of a tree flanked by two peacocks with the dualistic mind, while the bird and its feathers have been used in Hindu religion and mythology. In Buddhism, it represents wisdom.Peacocks are associated with bodhisattvas. Peacocks are capable of eating poisonous plants with out any harmful effect and similarly a Bodhisattva is able to transform ignorance into enlightenment, desire and hatred to positive feelings.
When a person comes across an enlightened thought or bodhichitta his mind opens just like an open tail of a peacock that exhibits all colors. Excatly how a peacock uses poison to nurture his body and become healthy a bodhisattva uses negativity to emerge more beautiful in all colors. They are considered to be a vehicle of Buddha amitabha representing desire and attachment.In Asia, the feathers of the peacock are considered auspicious and protective. However in the early part of the 20th-century in the West, it was considered very bad luck to keep them in the home. Lucky treasure pot from a home in Bhutan.One silly explanation for this superstition is that it was promoted intentionally to prevent people from eating this large, delicious member of the pheasant family. In that way, the bird would be protected from extinction, for many people thought it was rare -- a quintessential rara avis.The reason for the superstition has more to do with the eye-like markings at the tips of the feathers which, around the Mediterranean, recall the dreaded "evil eye"-- the ever watchful and envious glance of the she-demon, Lilith.
She was blamed for otherwise inexplicable deaths of infants, among other misfortunes.Only partly as a result of this association with the evil eye was it believed that the flesh of the peacock is poisonous. But in any case, that is nonsense.
At the height of both the Greek and Roman cultures, the bird was served at formal dinners with its feathers cunningly pasted back on, possibly with a honey mixture used as glue, so that the dramatic beauty concealed the roasted fowl. At the excessive and luxurious banquets of European kings and queens of the Renaissance, there was an epicurean delight consisting of stuffed roast birds one inside the other like the famous Russian wooden mamushka dolls. The outermost shell was the glorious peacock, its many-eyed train stretching the length of the middle of the "groaning board." As Margaret Visser, in Much Depends On Dinner points out: People have always thought that what looks amazing must certainly taste wonderful, too. From the time of Cicero until the Renaissance, no truly sumptuous European feast was held without a dish of peacock, often adorned with the bird's feathered head and fan of tail feathers.
(A dish of swan could also be similarly displayed, the impressive wings taking pride of place instead of the fan.)
According to "Food fashions of the Renaissance" in Food:
The History of Taste, where you can see illustrations of tables set with these extravagant dishes, it was the rapid rise in popularity of the meat of the North American turkey that ended the reign of "peacock supreme."Deities and Royalty..The peacock was associated with the Middle Eastern deity, Tammuz, consort of the goddess, Anat. In Greece, it was sacred to Hera, queen of heaven and lawful wife of Zeus -- a pair of them drew her chariot --, and they were kept at her temples. In the Roman Empire, peacocks were Juno's birds and on coins symbolized the females of the ruling houses, the lineage princesses. In both the Hindu and the Buddhist traditions, the peacock's influence is mainly in the realm of worldly appearance. (This is in contrast to the swan which is a symbol of the higher realms. ) Hence, the Mother-of-Buddhas, Mahamayuri-vidyarajni (Skt.) has a peacock as her vehicle. In Japan, she appears as Kujaku. Skanda (also called Murugan,) one of the two sons of Indian god, Shiva, has a peacock for his mount. Lord of the elements of form, he is also a war god. A standard made of peacock feathers used to indicate the presence of a 19th-century rajah, whose power is worldly.
In the old Chinese bureaucratic system, members of the third highest level displayed a peacock as the insignia of rank. These badges were in the form of large embroidered squares applied to the front of an official's formal gown. (A similar system for indicating status was used in the Byzantine Empire.) Peacocks are considered sacred in India, especially in the north where its feathers may be burnt to ward off disease, and even to cure snakebite. In a Buddhist tale about the travels of some Indian merchants to Baveru or Babylon, we learn that the inhabitants of that great city marvelled at the gorgeous bird which the merchants had brought with them.The motif of two peacocks, one on each side of the Tree of Life, is a well-known feature of Persian decorative arts. A pair of peacocks stands for the "psychic duality of man" similar to the role played by the Gemini in western astrology, says Cirlot (A Dictionary of Symbols.) However it must be said that the notion of two natures -- in man or in the world that surrounds him -- is certainly not a universal one.
Because of that, in the iconography of European alchemy and hermaneutics, the peacock represents the soul. In Christianity, it stands for immortality and the incorruptibility of the soul, as in this XIth-century Byzantine image.
It is an obvious solar symbol, too, because of the resemblance between the rays of the sun and the circular fan of the tail in full display.
J.E. Cirlot points out that in the Ars Symbolica of Hieronymus Bosch this blue-green bird represents the blending of all the colours of the spectrum (rainbow) and hence, the idea of totality. Tibetan culture among many others also views green as the mixture of all hues.
Among the Muslims of Java in Indonesia there is a myth about how the peacock guarding the gates to Paradise ate the devil, and that is how he managed to get inside.
This myth makes a unity of the duality of good and evil, and also explains the bird's mysterious iridescent colour. It also incorporates the Indian notion of the incorruptibility of the peacock.
Purification
As we have seen, in the Hindu tradition the peacock is the vehicle [Skt.: vahana) of, or animal associated with, Kartikkeya, a.k.a. Skanda the 6-armed, 6-headed god of war who is a son of Lord Shiva.
Kumari (Skanda/Subrahamanya's shakti) rides a peacock in the retinue of the Goddess Durga.
Its [[[Wikipedia:Latin|Latin]]] scientific name, pavo, derives from a Sanskrit epithet, Pavana (purity) that refers to the Hindu deity Vayu, the wind who is also the breath of life and the father of the hero Rama's friend, Hanuman.
It is said that at the time of Creation of the universe, when the primordial poison was churned out of the Sea of Milk and transmuted into the amrita of immortality, it was a peacock that absorbed the negative effects. Thus the bird is thought of as a protector, though its flesh is consequently considered to be poisonous.
Since a potentially deadly emotion such as anger is depicted as a serpent, and the peacock is immune, the peacock also symbolizes victory over poisonous tendencies in sentient beings. Hence the title of a well-known text for training the mind, Peacock in the Poison Grove by Dharmarakshita, a Tibetan classic in translation.
In the discourse, The Wheel of Sharp Weapons, another Buddhist treatise by Dharmarakshita, the peacock is credited with an ability to neutralize and use black aconite (aconitum ferox) as a nutriment. This highly toxic plant, also known as “'wolf-bane,” is an important ingredient in traditional Asian medicine including that of Tibet. Mixed with other ingredients, it was used in treatments for mental illness, among other complaints.
Goldenglow
Long ago, Brahmadutta was king of Benares, and he had wealth, treasure and possessions galore. He also had a most beautiful and elegant wife with a face that was lovely beyond compare, and her name was Peerless. This noblewoman was especially dear to the King, and he gladly satisfied her every whim.
At the time, on the southern slope of Kâilâsh, king of mountains, there lived a peacock whose name was Goldenglow, and he ruled a flock of five hundred followers. His limbs and body gleamed and his beak was like a jewel. Everywhere he went, he was acknowledged the grandest of all the peacocks.
One night, within the city of Benares, the call of the peacock-king rang out in the middle of the night and the following day, every one in the city was talking about it. The wife of Brahmadutta happened to be on the her terrace that night, so she asked the king, "Sire, whose stirring and mellifluous voice was that, last night?"
The King answered, "Princess, though I have never seen him, from its remarkable qualities, that voice must belong to Goldenglow, king of the peacocks, who lives on the southern slope of Kâilâsh.
Then the Queen said, "Sire, please have the king of peacocks brought here." The King replied, "But what good is it to see him going through the air?"
But the Queen said, "Sire, if you do not let me see this Suvar.naprabhâsa, I shall surely die."
So the King, who was very much in love with her, gave in saying, "All right, I will send for my huntsmen and fowlers." This he did, and he said to them, "They say that on the southern slope of Kâilâsh, chief of mountains, lives the peacock king, Suvarnaprabhâsa, whose limbs and body are glossy, and whose bill is like a jewel. Go, net or snare him, and bring him back. If you succeed, fine. But if you fail, I will have all of you put to death."
So the hunters and fowlers, in fear of losing their lives, took up their nets and snares and started off for Kâilâsh's southern slope. When they arrived at their destination, they set up their nets and set their traps all over the peacock- king's terrain, but though they waited seven days, they couldn't catch him, and they were all out of provisions, and very hungry.
Finally, out of compassion for them, the king of peacocks appeared and said, "You are hunters. Why do you stay here in this one place when you are starving?"
They replied, "This is the reason, Peacock-king: King Brahmadutta given us orders to 'Go, and with your nets and snares, catch me Suvarna-prabhâsa, the peacock king, whose limbs and body are glossy, whose bill is like a jewel, and who lives with five hundred followers on the southern slope of Kâilâsh, chief of mountains. If you bring him here, well and good, but if you do not, you shall all be put to death;' so in fear of our lives, we have come to try and capture you."
The king of peacocks responded, "Violent Ones, I cannot be taken by means of snares and nets, but if the King of Benares wants to see me, let him have the city swept, sprinkled with scented water, and decorated with flowers. And let him raise white awnings and banners, and burn incense. Let him prepare chariots bedecked with the seven jewels, and then, if in seven days he arrives in the company of his
entire army, I will go back to Benares with him, of my own free will."
So the hunters packed up their nets and snares, and returned to the King and told him everything that had happened, and what Suvarnaprabhâsa had proposed.
King Brahmadatta decided to take the King Peacock up on his offer, and he had the city of Benares prepared as the bird had instructed and then, his chariots ornamented with the seven kinds of precious stones, and surrounded by his cohorts he went off to the southern slope of Kâilâsh, chief of mountains.
The king of the peacocks, Suvarnaprabhâsa, also riding in a chariot decked with seven kinds of precious stones, uttered a cry which was heard by the whole army. King Brahmadatta was thrilled, and such joy filled his heart that he felt impelled to do homage to the bird. He prostrated to him and made offerings; and honouring him, they all went back together to Benares.
When they arrived at the town gates, the peacock again uttered his cry, and it was heard throughout the whole city. From all quarters, men, women, boys and girls all rushed to the gates. Then King Brahmadatta again honoured the peacock king, paying homage, making offerings, and bowing to him.
Once at the palace, he went to get the queen, and said to her, "Princess, the king of the peacocks, Suvarnaprabhâsa, has arrived at your dwelling."
Now King Brahmadatta had undertaken to make daily offerings of fruits and flowers to the great Peacock, but it so happened that there came a day that the King was very busy, and so he thought, "Who can make the proper offerings to Suvarnaprabhâsa?" and it occurred to him that Princess Peerless was both knowledgeable and skillful, and that she could certainly do it.
So King Brahmadatta sent for her and said, "Princess, please make the offerings to the king of the peacocks exactly as I have done," and the King's consort did so.
Time passed, and it so happened that the peerless queen had an affair and found out that she was pregnant. She realized that if she did not want the King to find out her adultery and have her put to death, she would have to silence the bird. So this
woman tried to poison the king of the peacocks by feeding him poisoned food and drink, but the more she gave him, the healthier he appeared -- he became even more lovely and resplendent, and the Queen was amazed.
Then Suvarnaprabhâsa called out, "Shame, shame on you! I know your kind. Because you are carrying another man's child, and this bird knows about it , you think that you can poison me so that the King will not find out from me and put you to death. But you never kill me with poison!
On hearing that, the Queen fainted and lost a great deal of bright blood. She wasted away, and when she finally died, she was born in hell.
"The King of Benares is now Shariputra, and I (Buddha) was Goldenglow, king of the peacocks."
~ Edited from the "Shariputra Sutra" as translated by Wm. Woodville Rockhill (1897.)
Protector and Preserver
One of Green Tara's many epithets is The Peahen ( Skt. Mayuri.)
Mahamayuri is green with 8 arms and 3 heads. Her faces are white, green and blue. Her eight hands display: Right side -- varadamudra, a sword, vajra and jewel; left side -- a bowl, a treasure jar, a bell and a flower. Seated on a lotus throne, she wears all the ornaments and celestial garments of a bodhisattva.
According to the Mahamayuri Sutra of Pancharaksha, there was a bhikshu in the Buddha's sangha called Svati, who was newly ordained. He was unfortunately bitten by a poisonous snake and fainted. Seeing his condition, Ananda reported this incident to Buddha Shakyamuni. Out of compassion for the newly ordained monk and for the future ones, Lord Buddha disclosed a dharani capable of eliminating poisonous harm and malignant diseases. This is the dharani of Arya Mahamayuri.
Maha-Mayuri became in Japan, a male figure called Kujaku Myo-o. This Buddhist wisdom deity associated with the peacock (whose call is believed to herald the rain) protects against calamity, especially drought. Palden Lhamo, (pron. Penden Hamo, Skt. Shri Devi) the dark blue protector of all Tibetan Buddhist denominations who rides her mule through a burning [with wisdom) sea of blood (life in bodily form] is sheltered by a peacock-feather umbrella.
Lakshmi, wife of the Hindu god, Vishnu, sometimes is depicted with armbands in the form of peacocks. The birds are sacred to her since their cries are associated with the rainy season and hence, fertility. The hero of the Indian epic, Mahabharat is called Arjun, a name that refers to the peacock. Also, there is a north Indian/Nepali deity called Janguli who protects against snakebite and poisoning. Described as having 3 faces, 6 arms, her vehicle is, not surprisingly, a peacock.n Nepal, practitioners of Jhankrism, a shamanic tradition pre-dating both Buddhism and Hinduism, wear a tall head-dress of peacock feathers as an essential part of their regalia. Also notice the type of drum that is typical among shamans.
The peacock's beautiful and distinctive colouring is said to be a gift from the god, Indra. One day the King of Gods was doing battle with Ravana, the Demon King. The peacock, which in those days resembled his plain brown hen, took pity on Indra and raised its tail to form a blind or screen behind which Indra could hide himself. As a reward for this act of compassion, the bird was honored with the jewel-like blue-green plumage that it bears to this day.
Krishna, the avatar of Vishnu who is God-as-the-one-responding -to-devotion, is also depicted in the company of peacocks. One of Krishna's roles is as the irresistible divine suitor. Perhaps that is the link to the recommendation in The Kama Sutra that, if a man wishes to appear attractive to others, he can wear a peacock's bone covered in gold tied to his right hand.
Amitabha
The association of this jewel-tone bird with its sun-like fan of a tail evocative of the Wheel of Dharma -- the Buddha's teachings; its connection to the ideas of immortality and compassion, and the unification of views or opposites, as well as the correspondence with the Garden which is the Pure Land, demonstrates in Mahayana Buddhism the archetypical nature of the relationship between the peacock and Amitabha.
In the depiction of this Buddha of Eternal Light, he is seated under a tree; we see its flowers and leaves peeking through the pavilion. Tenga Rinpoche says, " . . . birds, in particular, have strong desire and craving, so, as a symbol of craving transformed into discriminating wisdom, Amitabha's throne is supported by peacocks."
There are actually eight peacocks that support his throne, one at each corner of the base. They stand for the idea that no matter the misdeeds committed during one's lifetime[s], rebirth is possible in Sukhavati, the Pure Land of Great Bliss that is the Western Paradise of Opameh (Tibetan for Amitabha). Any and all evil-doing is eventually absorbed.
Six peacock feathers arranged as a fan ornament the vase (bumpa) and sprinkling utensil used for distributing the blessing or purifying water in Tibetan Buddhist empowerments and other rituals. In this role they are not only a symbol of compassion, but also a symbol of immortality by virtue of their capacity to absorb and neutralize, and to act as a universal antidote against poisons including the kleshas [imperfections or obscurations) such as anger, greed and ignorance that are inherently human.
Natural History
The peacock is the male of a variety of the pheasant species, pavo cristatus. The female is a peahen; both are known as peafowl. It is native to India and Shri Lanka. A green variety, p. muticus, is found in neighbouring countries of south Asia. The Phoenicians introduced the peafowl to the pharaohs of Egypt, then it made its way to Europe among the spoils of Alexander of Macedon's returning army.
Each mature male may keep a harem of around 5 hens which it wins in fierce competition with other males. Screeching, preening, displaying [strutting and raising and lowering the "fan"] and a vigorous rustling of the tail-feathers are some elements in the courtship competitions. After the mating, the female lays a clutch of 4 to 6 spotted eggs in a hidden nest.
Peafowl spend most of the day on the ground pecking for food but as evening falls, they roost in the trees. In the spring, and when disturbed, the male can produce a sound very like that of a diesel truck's air horn. These birds are fairly intelligent, and can be trained to come when called. They are very hardy, adapting to fairly extreme temperatures. They are sometimes kept on estates not only as decorative birds, but as reliable "watchdogs."
3rd domestic bird on page is the peafowl. Hear its usual cry.
The peacock flies beautifully, but requires at least a 5-metre "runway" in order to get the lift required for take off. A surreal sequence of a white peacock in flight through lightly falling snow at the beginning of the 1973 Fellini film Amarcord is reason alone to get the dvd.
Two important writers who featured the peacock are Flannery O'Connor (1925-1964) who knew them well, and Raymond Carver (1938-1988) in Feathers.
Treasure pot: Buried or kept to attract prosperity or otherwise benefit a dwelling. Read about the Peace Vase Project for the types of contents.rara avis: A Latin expression used to emphasize, often ironically, the exotic singularity of an individual. Of course the peacock is not rare at all and should not be confused with Birds of Paradise, the paradisidae species that are rapidly disappearing from New Guinea due to loss of habitat as well as the demand for gorgeous feathers. Dharmarakshita: Known as Serlingpa in Tibetan, for having come from Sumatra, "the land of gold," he was Atisha's teacher (11th century.) He is the author of Wheel of Sharp Weapons. An earlier monk (ca. 261 BCE) of that name, who some say was a Greek, was invited to India by King Ashoka.Goldenglow: Skt. Suvarnaprabhasa or Suparna, for short. Rockhill calls him "Golden-Sheen." At the time of the Churning: An alternate view is that Lord Shiva's throat is dark because it was He who drank the poison, thus his epithet, Neelakantha. Shiva is also Mahakala, meaning both "Great Dark One" and "Great Time," the embodiment of Impermanence.
www.chinabuddhismencyclopedia.com/en/index.php/Peacock_Sy...