Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

Precise numbers are not known but various craftsmen have probably built more Grunau Babies and Baby derivatives than any other sailplane. Thousands were constructed in Western Europe between 1931 and 1945. During World War II, factory records show that 4,104 rolled from workshops in Germany and the occupied countries. After the war, thousands more were built in Czechoslovakia, Spain, Sweden, Great Britain, and Australia. The Grunau Baby also influenced the development of other sailplanes such as the Slingsby Kirby Kite, Slingsby Cambridge 1 and 2, and the Slingsby Type 21 two-seat trainer.

 

Edmund Schneider designed the Grunau Baby and built the first examples at his factory near the village of Grunau, in the Silesia region of eastern Germany. Today, this area is part of western Poland and Grunau is called Jesow. Schneider built the first Baby in 1931. It was a smaller version of the ESG 31 Stanavo, a sailplane designed during the same year for American pilot Jack O'Meara. Schneider used an innovative wing design patterned after the elliptical wings used on the high-performance sailplanes designed by the Academic Flying Group of the Darmstadt Technical University, the Akaflieg Darmstadt. Schneider's wing held a constant chord from the root to the aileron, and then the leading and trailing edges tapered to a rounded wingtip. To maintain control during a stall, Schneider designed the outboard wing and aileron with washout, or twist. On a wing with positive washout, the trailing edge of the wing curves up near the tips when viewed from the rear.

 

The German glider champion, Wolf Hirth, had nothing to do with designing the Grunau Baby. However, he lent his name to the Baby sales campaign and for some time, many thought he was the designer. This was easier to believe because the glider handled well in the air and exhibited good performance. The factory at Grunau began to hum steadily to fill a stream of new orders. The fatal crash of another Schneider sailplane at the 1932 German national soaring contest in Bavaria compelled Schneider to hire a professional aeronautical engineer, Emile Rolle who redesigned the Baby from nose to tail. This new version was called the Grunau Baby II. Among its many improvements, the Baby II had a longer wing, reshaped rear fuselage, and a shorter rudder. On April 3, 1933, Kurt Schmidt soared a Baby II all day, all night, and into the next day without landing. He had remained aloft for 36 hours and 36 minutes, a new world endurance record for motorless airplanes. The news electrified the world and for the next ten years, Grunau Baby II production continued without pause.

 

Schneider continued to refine the airplane and introduced the Baby II A and the definitive II B. The II A introduced a wing of slightly greater span to accommodate spoilers for glidepath control, ailerons with a narrower chord, and for the first time, a canopy and windscreen for the cockpit. When the Baby first appeared, it was accepted wisdom that the pilot should feel as much unimpeded airflow as possible, the better to sense rising and falling currents of air, temperature changes and the like. On the II B, Schneider changed the spoilers to the more powerful Schempp-Hirth, 'parallelogram' configuration and added a wheeled launch dolly that the pilot jettisoned immediately after takeoff. Other versions followed but more Grunau Baby II B gliders were built than all other variants combined.

 

The Baby II B was nearly a perfect club sailplane. It was relatively easy to build from plans, it flew well, and the aircraft was strong enough to handle mild aerobatics and the occasional hard landing. Novice pilots could attempt their first real soaring, flying high and far, using updrafts generated by slopes and mountain ridges, and spiraling columns of warm air called thermals. Many Grunau Baby II B pilots achieved the coveted Silver-C soaring badge introduced in 1930. This required a pilot to remain aloft at least five hours, gain a minimum of 1,000 m (3,280 ft) after takeoff, and cover a horizontal distance of 50 km (31 miles).

 

Fleets of Grunau Baby II B sailplanes served as primary flight trainers operated by the Deutsche Luftsport Verband (German Sport Flying Organization, the DLV) created in 1933. The DLV became the Nationalsozialistiche Fliegerkorps (NSFK) in 1937. The Nazi political machine operated both organizations to train military pilots without appearing to violate the post-World War I Versailles Treaty that outlawed such remilitarization. Many of the Luftwaffe (German Air Force) pilots that flew during World War II first trained in Grunau Babies.

 

May 1, 1949, marks the date when the U. S. Air Force officially transferred the Grunau Baby IIb to the custody of the National Air Museum. Very little is known of the glider's operational history. According to the data plates secured to the bulkhead behind the pilot's seat, technicians built this glider in 1944 at the Petera Hohenelbe l/Rsgb. workshop factory. The airframe serial number is 031.016 and the Stammkenzeichen, or registration code, LZ-NC is painted on both sides of the fuselage. Details about how the U. S. Army Air Forces (AAF) recovered the glider are also unknown. For tracking purposes, the AAF assigned the inventory control number T2-2600. T2 signified the Technical Intelligence branch of the AAF and 2600 refers to the number of this particular item. Beginning in the final months of the war, teams of Technical Intelligence personnel scoured Germany and recovered aircraft and pieces of equipment for study and evaluation.

 

Wingspan: 13.6 m (45 ft)

Length: 5.9 m (20 ft)

Height: 1.5 m (4 ft 11 in)

Weight: Empty, 160 kg (353 lb)

Gross, 250 kg (553 lb)

 

References and Further Reading:

Simons, Martin. "The World's Vintage Sailplanes, 1908-45." Melbourne, Australia: Kookaburra Technical Publications Pty., Ltd.: 1986.

----. "Sling's Sailplanes," "Aeroplane Monthly," December 1992, 25.

Grunau Baby II B-2 curatorial file, Aeronautics Division, NASM.

 

Russell Lee, 9-3-04

 

The display reads:

 

AAA Searchlight Battalion

 

Searchlights became the third level of American Air Defense in World War I and were a significant factor in US anti-aircraft successes of the Great War. By the outbreak of World War II, the standard searchlights in service were Sperry and General Electric 60” carbon arc 800 million candlepower lights.

 

Searchlight battalions were usually teamed with AAA gun battalions, since the two systems worked exceptionally well together against nighttime air attack.

 

In the late 1930s, searchlight target acquisition relied on huge sound locators to detect the engine noise of an incoming aircraft. These were simply large funnels focused toward the sky that an operator would strap into and listen for the drone of propellers for hours on end. However, with the adoption of radar, the searchlight battery now had a far more precise method of acquiring and tracking a target with significant increase in the time between initial acquisition and visual confirmation.

 

This interval would allow searchlight units to bring their lights on target without switching them on. Once a targeted aircraft was within range, the light operators would simply turn their lights on, blinding the enemy pilot and signaling to the 90mm gun battery to commence firing.

 

At the outset of the war, three radar sets were available to the US Army, the SCR-268, SCR-270, and SCR-271. The SCR-270 was a portable radar and was made famous on 7 December 1941 when the SCR-270 at Opana Point, Hawaii detected the Japanese air armada headed to Pearl Harbor less than an hour before the attack began. The SCR-271 was similar to the -270, but was a fixed-position radar. Of the three, only the -268 was specifically designed as a gun or searchlight-laying radar.

 

Searchlight units also were tasked with coordinating with friendly Night Fighter units in-theater. In August 1944, while providing searchlight defense for the port of Cherbourg, B Battery of the 225th AAA Searchlight Battalion was attached directly to the 442nd Night Fighter Squadron in order to assist with both nighttime interception of German attack aircraft and successful guidance of friendly P-61 Night Fighters back to base.

 

By the end of World War II, eighty-seven AAA searchlight battalions had been fielded and they saw service defending US and Allied positions in all theaters of war.

 

Like their gun battalion brethren, AAA searchlight battalions had a significant amount of support equipment needed to maintain operational capability. A multitude of trucks, trailers and generators were all integral to the searchlight battery’s success.

 

Prior to the introduction of gun-laying radars in 1942, the primary method of acquiring incoming airborne targets was by acoustic location. Sound locators like the M2 could detect approaching aircraft and bring both guns and searchlights to bear with surprising effectiveness, but were obsolete by the beginning of WWII.

 

The searchlight control station was operated by three men and was used to aim searchlight by hard-wired remote control. One operator would maintain visual contact with the target and adjust the searchlight’s aim, while the other two would keep the control station on azimuth by adjusting the hand wheels. The control station was placed several hundred feet away from a searchlight so that the controllers could see the illuminated aircraft.

 

The SCR-268 radar was the Army’s first gun-laying radar system. It has been designed to work in concert with both heavy guns and searchlights. As the newer SCR-584 gun radar came into use, -268 radars continued to serve with AAA searchlight battalions and performed admirably in the searchlight direction role.

 

With the lessons learned from World War I and the advances in gun and searchlight directors, the US entered World War II with some of the most advanced anti-aircraft techniques in the world. With the addition of new radar acquisition and tracking, searchlight battalions would have the azimuth and range to their targets almost instantly, requiring them simply to turn on their lights once enemy aircraft were in range so that the 90mm gun portion of the team could bring the enemy airplane down.

 

Citation:

 

The President of the United States of America, authorized by Act of Congress, July 9, 1918, takes pleasure in presenting the Distinguished Service Cross to First Lieutenant (Coast Artillery Corps) William J. Rodgers (ASN: 0-1048550), United States Army, for extraordinary heroism in connection with military operations against an armed enemy while serving with Battery B, 222nd Anti-Aircraft Battalion (Searchlight), in action against enemy forces in the Southwest Pacific Area, on 18 June 1945. When heavy crossfire from enemy machine guns, mortars, and automatic rifles on dominating terrain pinned down Lieutenant Rodgers’ platoon near Mount Blit, Cotabato, Mindanao, Philippine Islands, the platoon was ordered to withdraw. Electing to provide covering fire for his men, Lieutenant Rodgers manned a .30 caliber machine gun and, despite the hail of enemy fire, delivered a devastating concentration against the hostile force. A mortar shell burst seven feet from his position and knocked him away from the gun but he crawled back and resumed his telling fire while his platoon continued to withdraw. With bullets strking all about him, some hitting the machine gun while he operated it and one passing through the canteen on his belt, he remained until he saw that his men had safely evacuated and then dismantled the gun and carried it with him to the rear, stopping from time to time to fire at the enemy. Through his inspiring actions at the risk of his life, Lieutenant Rodgers enabled the complete, orderly withdrawal of his men and upheld the finest traditions of the military service.

 

Citation:

 

The President of the United States of America, authorized by Act of Congress, July 9, 1918 takes pride in presenting the Distinguished Service Cross (Posthumously) to Sergeant Robert L. Miller (ASN: 17068190), United States Army, for extraordinary heroism in action while serving with Battery B, 222nd Anti-Aircraft Battalion (Searchlight), in the Southwest Pacific Area, on 18 June 1945. During military operation which culminated in the clearing of Japanese forces from Mindanao, Philippine Islands, friendly troops were advancing on an enemy-held objective when devastating fire emanating from a machine gun nest located on a hill dominating the approach halted the attack. Sergeant Miller volunteered to lead a squad in a diversionary action on the flank of the enemy position in order to facilitate the withdrawal of forces which were pinned to the ground by hostile resistance. He had maneuvered his squad to a position within 50 yards of the stronghold when the enemy opened fire with such intensity that further progress became impossible. Armed with only a carbine, Sergeant Miller, completely disregarding his own safety, crept through the brush and cogon grass to within 20 yards of the emplacement. Leaping to his feet in full view of the enemy, he charged the position, deliberately exposing himself to draw the enemy’s fire so that his squad could assault the objective. He was struck immediately and mortally wounded, but, still attempting to advance, fell to the ground within a few yards of the stronghold. His heroic action distracted the enemy long enough for his squad to eliminate the machine gun nest, thus relieving hostile pressure and enabling a withdrawal to a more favorable location from which to resume the attack. Through his indomitable fighting spirit and unremitting determination in the face of overwhelming odds, Sergeant Miller made possible the successful completion of an important mission and his brilliant performance of duty was in keeping with the highest traditions of the military service.

 

Taken December 13th, 2013.

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

Gentle

Quiet

Intelligent

Sharp

Precise

Witty

A precise Europe manufactured 3D printer in cool stylish and practical design. See more here:

 

beeverycreative.creativetools.se/

Mixing up some Wimpy Red on a precise scale, with the recipe on the wall of the RocketMavericks propellant lab. It should make for a brilliant red night launch at BALLS this summer.

 

The red Fe2O3 in the tupperware is a burn rate catalyst, making it a bit less wimpy, and coloring the propellant red. This is unrelated to the red flame that it will produce. That comes from the Strontium Nitrate, a metal salt that becomes SrCl during the burn, and after the Sr ions become excited in the plasma, they drop to the ground state emitting a photon of a precise wavelength, in this case, a brilliant red.

 

(I wrote a beginner’s primer on propellant chemistry for ScienceBlogs)

 

The rocket fuel is a traditional powdered aluminum mixed with Ammonium Perchlorate for the oxidizer.

 

The binder is combination of Hydroxy-terminated Polybutadiene (HTPB) with Isodecyl Pelargonate as the plasticizer, and a little CAO-5 Antioxidant to extend the shelf life.

 

Mixed as a thixotropic fluid in a paint can shaker under vacuum (photo of that setup below).

 

If this wasn’t wild enough, Toma has four tons of graphite for turning custom nozzles for the high-ISP propellant under development. And after helping us with this last night, he then drove 6 hours to BlackRock, and is testing an P motor with some purple woodie propellant this morning (here's a video of the M motor test... 1/8 the size of a P motor and 1/16 the ultimate Q... and Clotho will have four of these special Q motors... so 64x that test in total impulse)

The furious Fury, a name that rocked the American automotive industry for the best part of 20 years, powerful and precise, and a true car of evolution.

 

Originally when it was launched in 1956, the Plymouth Fury was a contemporary space-age looking runaround, similar in fashion to the Cadillacs and Chryslers of the time. It was a very pretty car, as were pretty much all cars from back then, but the change of style didn't do the Plymouth any favours. The fins and space lines of the 50's gave way to the angles of the early-60's, and many Chrysler products of this period were maligned heavily for it, the 3rd Generation Fury being no exception. A comeback however was made with the 4th Generation, which presented us with the symbolic vertical headlight layout that would be iconised in the Dukes of Hazzard, as a slew of Police Vehicles.

 

The 1969 models featured Chrysler's new round-sided "Fuselage" styling. The Fury was again available as a 2-door coupe, 2-door convertible, 4-door hardtop, 4-door sedan, and 4-door station wagon. For 1970, the VIP was discontinued and a 4-door hardtop was added to the Sport Fury range, which also gained a new hardtop coupe. This was available in "GT" trim; 1970–71 Sport Fury GT models were powered by the 7.2L engine, which in 1970 could be ordered "6-barrel" carburetion consisting of three 2-barrel carburetors.

 

With the introduction of the 1969 body style, trim lines once again included the fleet-intended Fury I, volume models Fury II and Fury III, the sport-model Sport Fury and the top-line VIP. For 1970, the VIP was dropped, with the Sport Fury line expanded to include a four-door hardtop sedan. An optional Brougham package, which included individually-adjustable split bench seats with passenger recliner and luxurious trim comparable to the former VIP series, was available on Sport Furys; a Sport Fury GT and S/23 models took over the sport model space in the lineup. The S/23 was dropped for 1971, with new options including an electric sunroof (for top-line models) and a stereo tape player with a microphone, to allow drivers to record off the radio or take dictation.

 

For 1972, the Fury was facelifted with a large chrome twin-loop bumper design with a small insignia space between the loops and hidden headlamps as standard equipment on the Sport Suburban, and the newly introduced Fury Gran Coupe and Gran Sedan, which eventually would become the Plymouth Gran Fury; the Sport Fury and GT models were dropped, with the new Fury Gran series having the Brougham package available. Later in the year, hidden headlamps became an option on all models.[citation needed] For 1973, the front end was redesigned again with a new grille and headlamp setup, along with federally mandated 5mph bumpers.

 

When the new bodystyle was introduced in 1969, the 225 cubic-inch six-cylinder engine continued as standard on the Fury I, II and select III models, with the 318 cubic-inch V8 standard on the Sport Fury, some Fury III models and all VIP models plus the station wagon; a three-speed manual transmission was standard, with TorqueFlite transmission optional. The six-cylinder engine/three-speed manual transmission power team, along with the three-speed manual transmission on the 318 cubic-inch V8, continued to be available until midway through the 1971 model year, after which all full-sized Plymouths were built with a V8 engine and TorqueFlite transmission. Unlike its Chevrolet and Ford full-sized rivals, it does not appear that any full-sized Plymouths had a six-cylinder/manual transmission power team available in 1972.

 

The Plymouth Fury would soldier on for another two generations before being killed off in 1978. The name was revived briefly in the 1980's as the Gran Fury, variants of the Dodge Diplomat four-door saloon. The Plymouth Fury however is most famously recognised in its first generation as Christine, the sentient and murderous car from Stephen King's novel and movie of the same name.

Just off busy Westgate Circle in Annapolis there lies a peaceful bucolic hillside. Almost 3,000 of our nation's heroes - for heroes they all are - lie here in eternal slumber beneath precise rows of nearly identical marble gravestones. This is the Annapolis National Cemetery. For over 150 years the seasons have alternately blanketed the well-kept grounds with the frosty wind-driven snow of winter, the cheerful melodies of spring songbirds, the emerald carpet of summer grass, and the colorful hues of autumn leaves.

The National Cemetery includes veterans' graves from every major conflict from the 1860s through the late 20th century. Yet, more than 85% of the graves are from the Civil War, and by far the vast majority of these are of men from all over the country who died during that conflict, rather than local veterans who passed away later. And of the Civil War dead, almost 10% are unknown -- a very high percentage considering that no battles were fought anywhere near the city. Yet in spite of the lack of battles nearby, Annapolis saw more of the horrors of war than many of the distant fields of conflict. The remaining 15% are graves of veterans of later wars; primarily local veterans of the two World Wars, Korea and Vietnam.

The U.S. Naval Academy abandoned the city for a less turbulent academic atmosphere in Rhode Island during the Civil War. Annapolis then became an army town as tens of thousands of Union troops occupied the city for the duration of the war. The army established at least four major hospitals in the city. The largest of these, Division Number 1 Hospital, was located on the Naval Academy campus; another, Division Number 2 Hospital, was on the campus of St. John's College. In fact, Division Number 1 Hospital, or the Naval School Hospital as it was often called, was one of the largest U.S. Army General Hospitals in the entire country during the Civil War.

At first the hospitals treated the sick from regiments stationed in the immediate vicinity. Later they accommodated battlefield wounded brought in for treatment from such places as Gettysburg and Petersburg. Understandably, some of these men were beyond recovery. But by far the most tragic cases were the emaciated forms returning north as paroled prisoners of war from Confederate prisons in Richmond and Andersonville. One of the reasons for the large number of unknown graves is the fact that so many of these wretched former prisoners arrived devoid of reason or so close to death that they were unable to identify themselves to hospital staff.

The National Cemetery got its beginning in 1862 when it became clear that the city's civilian cemetery could not accommodate the ever increasing number of military dead. The U.S. Army leased 4 acres of land originally known as Ash Grove Cemetery from Judge Nicholas Brewer for period of 99 years. Nine years later the Government purchased the land outright. Sometime in the interim its name was changed from Ash Grove to the Annapolis National Cemetery. Annapolis was one of the 14 original national cemeteries established by President Abraham Lincoln in 1862.

Each grave in the cemetery represents a unique individual with a unique story of how he, or she, came to rest in the peaceful confines off West Street. There are, of course, soldiers felled in battle, as well as those who succumbed to wounds or various camp diseases, notably pneumonia, dysentery, typhoid, and small pox. There are those whose constitutions were so weakened by their experiences as prisoners of war that they could not rally their health even though returned to the tender care of dedicated surgeons and nurses in their own army. And those same dedicated nurses are represented here too. On July 11, 1863, Mary J. Dukeshire was the first to give her life in the care of others. She was followed within months by Mrs. J. Broad, Rachel Spittle, and Hannah Henderson, all of whom contracted an illness form the men they so selflessly cared for.

Because of their long stay in Annapolis as the provost regiment, and later when many of their number returned as former prisoners of war, the men of the Sixty-seventh Pennsylvania Infantry would earn the unhappy distinction of burying more men at Annapolis than any other single regiment during the entire war. Nineteen of their number died in Annapolis in 1862. Sixteen more were buried there in 1863.

There is no doubt that prisoners on both sides suffered extreme hardship and many died under regrettable circumstances. It is hard to imagine the scale of the tragic fate of so many former prisoners of war. Speaking of the influx of paroled prisoners, a nurse said, "The hospital was crowded to its utmost capacity. Many lived only a few minutes or hours after reaching the wards; others survived but a day or two, breathing their last in peace and comfort. An elderly man, quite pulseless when brought in, was resuscitated with brandy sufficiently to express his gratitude. 'God has been very good in bringing me here,' he said, as a beam of joy irradiated his wan face; 'I can die willingly here, and lay my bones under the old flag, but I didn't want to die down there.'...His name was John Buttery; he did not live long enough to hear from his wife and six children, in Connecticut."

On December 6, 1864 a total of 43 paroled prisoners were buried in a single day. The hospital newspaper declared it was "The largest funeral known in any hospital in this country, and the saddest spectacle ever presented." However, it was apparently repeated, and possibly with larger numbers. In spite of the newspaper’s claim that this was the largest funeral, one nurse remembered another time, without giving a specific date, when "Sixty men were buried at one time, and several times over forty were borne in a long train of ambulances to the cemetery. The martial dirge, with the sound of its muffled drum, was daily mingled with the groans of the dying."

Among the former POWs arriving in Annapolis from southern prisons, many were literally not much more than skin and bones by the time they were released from captivity. Two of these former POWs, John Q. Rose and L. H. Parham, had their pictures printed on the front page of Harpers Weekly in June 1864 and became poster boys for the wretched conditions of so many returning prisoners. Rose died the day after his picture was taken. Parham managed to last another week. Both were buried in the Nation Cemetery. The deaths of starved prisoners did not end with Rose and Parham. Before he was captured, Miletus McGowan was described as "remarkable for his muscular strength, and possessing a distinguishing trait of generosity, always ready to assume the burdens of others." As first sergeant of Co. A, 29th Indiana, he was captured at Chicamauga in September 1863 and paroled in May 1864 after being held at the infamous Andersonville prison camp. Like so many of the returning POWs, McGowan was emaciated. He reached Annapolis totally “weak and exhausted [and] unable to walk.” He lasted more than a month, but died on June 11, 1864 as a consequence of chronic diarrhea and starvation while in prison.

Then there was John Buckshot, a Native American with the 56th Massachusetts Infantry. A full-blooded Mohawk from upstate New York, he was described as a “brave Indian boy” and a "good shot." Buckshot was wounded and captured at the Wilderness in May 1864. He died January 13, 1865, of typhoid fever after being paroled in December 1864. He is perhaps the only Native American buried in the national cemetery.

All during the war, but especially after a big battle, wounded men would come pouring into Annapolis. Shortly after the first ill-fated attack against Petersburg in June 1864, a soldier assigned to duty in one of the Annapolis hospitals wrote, "We are having a pretty busy time here now as a boat arrived last evening with 530 badly wounded from Petersburg. Oh it was a sad sight to see them bringing the poor fellows off on stretchers some with arms off others with both legs gone and some struggling with death. It was a sad sight I can assure you, quite a number have already died and others in death’s embrace." Many of the soldiers were suffering from multiple wounds as a result of being caught in a crossfire. To make matters worse, Annapolis was in the midst of a heat wave with temperatures reported as high as 105 in the shade. Private Herman Mehwaldt of the 8th N. Y. Heavy Artillery died along with 11 others within a few days of arriving in Annapolis. More than 20 others would die the following week; and even more the week after that.

The vast majority of Civil War dead buried in the Annapolis National Cemetery are enlisted men. Typically officers’ bodies were embalmed and shipped home. However, at least three Union officers who died during the war are buried here; Lieutenant Harrison Y. Clifton of Pennsylvania, David D. Smith a captain in the First Alabama Cavalry (USA), and Lieutenant Samuel J. Varney of Illinois. There are also about half a dozen Confederates buried here including Lieutenant William S. Slater from Virginia and Corporal Aaron A. Bennett of Tennessee. The Confederates were wounded and picked up on the battlefield along with Union wounded and brought here for medical care.

Perhaps no one had a bigger stake in the outcome of the Civil War than the former slaves who enlisted in the Union Army to fight for their freedom. These men served in segregated units designated as United States Colored Troops, or USCT. By the end of the war, nearly 10% of the Union army was comprised of black soldiers. Although segregated in life, in death black soldiers were buried side-by-side with their white brothers in arms. The Annapolis National Cemetery has nearly two dozen graves of black soldiers. Many of these were veterans who died years later, but some of them, including Alexander Brown, Henry Clark, and Alexander Robinson, died in Annapolis during the war.

While Annapolis may have been an army town in the 1860s, it is nonetheless hard to image the city without a naval presence. And the same is true for the National Cemetery. Although few sailors came through the Annapolis hospitals to be treated for wounds or after being released as a former POW, there is at least one grave here representing the Civil War Navy. John Robinson, a U.S. sailor, died March 2, 1865 after being released as a POW.

And finally, there is the case of Nicolai Demidoff, a Russian sailor who met a tragic end while his ship was here in port. During the winter of 1863-1864, the Russian Tsar sent his fleet to American waters in response to a tense political situation in Europe at that time. Three Russian warships ships visited Annapolis in February 1864. Unfortunately for the Russians, there was one big difference in Annapolis not encountered in other cities. Because of the large numbers of Union troops camped in and around the city, the provost marshal had forbidden the sale of hard liquor to the soldiers. It is not clear whether this restriction applied to foreign sailors but in all probability it was interpreted as applicable. Within days of their arrival confusion over this prohibition had dire consequences for one of the Russians.

On February 4, 1864, Nicholas Demidoff and one or more companions entered a restaurant looking for something to drink. One account of the event simply states that “a citizen & a Russian Sailor in a drinking house. . . had words, then blows which resulted in a pistol shot.” Whatever the circumstances however, there is no dispute that a shot rang out and Demidoff collapsed dead on the floor with a bullet through his heart. The murder nearly created an international incident. In addition to criminal charges brought against the barkeeper, the American government evidently issued an official apology to the visiting Russians. These conciliatory efforts, together with a satisfactory explanation of the tragic circumstances that led to the shooting, seem to have calmed the Russian ire. Meanwhile, although Demidoff had been only a common sailor, the Russians nonetheless gave the fallen seaman a send off that had all the dignity of a state funeral with delegations of politicians from Washington and representatives of the Russian government in attendance. The Americans, undoubtedly seeking to appease the Russian delegation following the murder, took great pains to assure the memorial service was conducted in the most solemn and imposing manner possible.

Except for the letters RSN carved under his name on the otherwise plain white stone, his grave is nearly indistinguishable from those of the thousands of American soldiers that surround it – and yet how much more effort was put into his burial than those of the American boys who were dying daily at the Annapolis hospitals! Nicholas Demidoff remains the only active-duty foreign serviceman to be buried in the Annapolis National Cemetery.

Finally, there is at least one grave of a Civil War civilian with an unknown affiliation to the military. His tantalizing gravestone is simply marked, "Spencer Tibbets, Civilian." It is known that the Federal Government employed civilians in a variety of contract positions with the army, including doctor, telegraphist, railroad engineer, and teamster among many others. In addition there were various volunteer organizations that worked closely with the army, such as the United States Sanitary Commission and the United States Christian Commission. What is not known, however, is what, if any, association Tibbets had with the military to warrant his burial in the National Cemetery.

 

EGYPT, Alexandria. Julio-Claudian period, perhaps under Gaius (Caligula). Circa mid-1st Century AD. Æ Dichalkon (16mm, 2.10 gm). Dated year 2, but precise date uncertain. Apis bull standing right; L B (date) above / Ibis standing left; palm before. Köln 3444; RPC I 5112; Dattari 112; cf. Milne 5246-5248. For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com

 

Related Articles of Caligula from American Numismatic Society Library Search

 

Library Catalog Search (Preliminary Version)

Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)

Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)

Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)

Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.

Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)

Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)

Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)

Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)

Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)

Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.

Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)

Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)

Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)

Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)

Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.

Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.

Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)

Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)

Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)

Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)

Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)

Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)

Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)

Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)

Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)

Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)

Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.

Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).

Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.

Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)

Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)

Full Record: Julian, R. W. The coins of Caligula. (1994)

Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)

Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)

Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)

Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)

Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)

Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)

Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)

Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)

Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)

Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)

Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)

Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)

Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)

Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)

Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)

Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)

Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)

Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)

Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)

Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)

Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)

Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)

Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)

Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)

Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)

Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)

Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)

Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)

Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)

Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)

Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)

Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)

Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)

Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)

Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)

Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)

Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)

Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)

Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)

Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)

Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)

 

Precise and impressive...as it should be! There is little else to describe it or to say.

Beneath the precise geometry of light and skin, Lucy becomes the constant in a field of heat and stillness. The Scarlet Equation is a meditation on symmetry — how beauty, when distilled to its essential vectors, becomes an act of control. Every shadow resolves an emotion; every line holds a temperature.

Taken 06/12/20 in Westover Road:

 

Precising from the Wikipedia entry the Volvo B7TL is a low-floor double-decker bus which was launched in 1999 and replaced the 2-axle version of the Volvo Olympian. It was initially built in Irvine, North Ayrshire, Scotland. In 2000, production was gradually transferred to Sweden. In mid-2004, production of the MkII version of the B7TL was started. Like the Olympian, the B7TL features a transversely-mounted rear engine and a shorter rear overhang, but the radiator was mounted on the right side of the engine compartment. It was equipped with Volvo D7C engine and ZF or Voith gearbox. The B7TL was initially available with Alexander ALX400 and Plaxton President bodywork, later followed by East Lancs Vyking (as seen here), Myllennium Vyking bodies and Wright Eclipse Gemini.

 

Note; Based in Bournemouth Yellow Buses was a subsidiary of the RATP Group until 2 July 2019, when it was sold to a management buy out.

 

Precise numbers are not known but various craftsmen have probably built more Grunau Babies and Baby derivatives than any other sailplane. Thousands were constructed in Western Europe between 1931 and 1945. During World War II, factory records show that 4,104 rolled from workshops in Germany and the occupied countries. After the war, thousands more were built in Czechoslovakia, Spain, Sweden, Great Britain, and Australia. The Grunau Baby also influenced the development of other sailplanes such as the Slingsby Kirby Kite, Slingsby Cambridge 1 and 2, and the Slingsby Type 21 two-seat trainer.

 

Edmund Schneider designed the Grunau Baby and built the first examples at his factory near the village of Grunau, in the Silesia region of eastern Germany. Today, this area is part of western Poland and Grunau is called Jesow. Schneider built the first Baby in 1931. It was a smaller version of the ESG 31 Stanavo, a sailplane designed during the same year for American pilot Jack O'Meara. Schneider used an innovative wing design patterned after the elliptical wings used on the high-performance sailplanes designed by the Academic Flying Group of the Darmstadt Technical University, the Akaflieg Darmstadt. Schneider's wing held a constant chord from the root to the aileron, and then the leading and trailing edges tapered to a rounded wingtip. To maintain control during a stall, Schneider designed the outboard wing and aileron with washout, or twist. On a wing with positive washout, the trailing edge of the wing curves up near the tips when viewed from the rear.

 

The German glider champion, Wolf Hirth, had nothing to do with designing the Grunau Baby. However, he lent his name to the Baby sales campaign and for some time, many thought he was the designer. This was easier to believe because the glider handled well in the air and exhibited good performance. The factory at Grunau began to hum steadily to fill a stream of new orders. The fatal crash of another Schneider sailplane at the 1932 German national soaring contest in Bavaria compelled Schneider to hire a professional aeronautical engineer, Emile Rolle who redesigned the Baby from nose to tail. This new version was called the Grunau Baby II. Among its many improvements, the Baby II had a longer wing, reshaped rear fuselage, and a shorter rudder. On April 3, 1933, Kurt Schmidt soared a Baby II all day, all night, and into the next day without landing. He had remained aloft for 36 hours and 36 minutes, a new world endurance record for motorless airplanes. The news electrified the world and for the next ten years, Grunau Baby II production continued without pause.

 

Schneider continued to refine the airplane and introduced the Baby II A and the definitive II B. The II A introduced a wing of slightly greater span to accommodate spoilers for glidepath control, ailerons with a narrower chord, and for the first time, a canopy and windscreen for the cockpit. When the Baby first appeared, it was accepted wisdom that the pilot should feel as much unimpeded airflow as possible, the better to sense rising and falling currents of air, temperature changes and the like. On the II B, Schneider changed the spoilers to the more powerful Schempp-Hirth, 'parallelogram' configuration and added a wheeled launch dolly that the pilot jettisoned immediately after takeoff. Other versions followed but more Grunau Baby II B gliders were built than all other variants combined.

 

The Baby II B was nearly a perfect club sailplane. It was relatively easy to build from plans, it flew well, and the aircraft was strong enough to handle mild aerobatics and the occasional hard landing. Novice pilots could attempt their first real soaring, flying high and far, using updrafts generated by slopes and mountain ridges, and spiraling columns of warm air called thermals. Many Grunau Baby II B pilots achieved the coveted Silver-C soaring badge introduced in 1930. This required a pilot to remain aloft at least five hours, gain a minimum of 1,000 m (3,280 ft) after takeoff, and cover a horizontal distance of 50 km (31 miles).

 

Fleets of Grunau Baby II B sailplanes served as primary flight trainers operated by the Deutsche Luftsport Verband (German Sport Flying Organization, the DLV) created in 1933. The DLV became the Nationalsozialistiche Fliegerkorps (NSFK) in 1937. The Nazi political machine operated both organizations to train military pilots without appearing to violate the post-World War I Versailles Treaty that outlawed such remilitarization. Many of the Luftwaffe (German Air Force) pilots that flew during World War II first trained in Grunau Babies.

 

May 1, 1949, marks the date when the U. S. Air Force officially transferred the Grunau Baby IIb to the custody of the National Air Museum. Very little is known of the glider's operational history. According to the data plates secured to the bulkhead behind the pilot's seat, technicians built this glider in 1944 at the Petera Hohenelbe l/Rsgb. workshop factory. The airframe serial number is 031.016 and the Stammkenzeichen, or registration code, LZ-NC is painted on both sides of the fuselage. Details about how the U. S. Army Air Forces (AAF) recovered the glider are also unknown. For tracking purposes, the AAF assigned the inventory control number T2-2600. T2 signified the Technical Intelligence branch of the AAF and 2600 refers to the number of this particular item. Beginning in the final months of the war, teams of Technical Intelligence personnel scoured Germany and recovered aircraft and pieces of equipment for study and evaluation.

 

Wingspan: 13.6 m (45 ft)

Length: 5.9 m (20 ft)

Height: 1.5 m (4 ft 11 in)

Weight: Empty, 160 kg (353 lb)

Gross, 250 kg (553 lb)

 

References and Further Reading:

Simons, Martin. "The World's Vintage Sailplanes, 1908-45." Melbourne, Australia: Kookaburra Technical Publications Pty., Ltd.: 1986.

----. "Sling's Sailplanes," "Aeroplane Monthly," December 1992, 25.

Grunau Baby II B-2 curatorial file, Aeronautics Division, NASM.

 

Russell Lee, 9-3-04

 

BALOURS :

  

Les Balours sont de minuscules ursitacés.

  

Le terme balours vient du latin ballaenŭrsus,. Il est très important de préciser que ce mot latin est à rapprocher du grec ancien [phalainŭrsus] signifiant « phallus », quelque chose qui « se gonfle.

Malgré leur faible corpulence et une nage maladroite, ils peuvent se déplacer rapidement (jusqu'à 150 km/h

Les balours sont des semi hibernants. L'hivernation, contrairement à l'hibernation, n’entraîne pas une interruption de toutes les activités physiologiques. La température de leur corps montent relativement haut, ainsi ils se gonflent tel des montgolfières et Pendant cette période, ils flottent … ils flottent tous …. [Réf. : ça]

Mais ils peuvent se réveiller facilement pour réagir en cas de danger et à ce moment précis la température de leur corps revenant à la normale, ils se dégonflent tel des ballons de baudruches que l’on lâche soudainement dans l’air, entraînant une réaction en chaîne entre tous les balours surpris dans leur hivernation.

Pendant cette période d’hivernation ils sont donc en suspension dans le ciel de Zorg, donnant lieu à des rencontres Zorgaunautiennes afin de l’ y chasser au filet. De là est né l’expression :

« Ils ne faut pas vendre la peau du balours avant de l’avoir dégonflé ! «

WHALEAR :

  

The whalear are tiny ursitacés.

  

The term whalear comes from the Latin ballaenŭrsus,. It is very important to note that the Latin word similarities to the ancient Greek [phalainŭrsus] meaning "phallus", something that "swells.

Despite their small body size and an awkward swim, they can move quickly up to 150 km / h

The whalear are semi hibernating. Overwintering, unlike hibernation, does not cause an interruption of all physiological activities. The body temperature rise relatively high, and they swell like balloons and during this period they float ... they all float .... [Ref. : It]

But they can easily wake up to respond in an emergency and at this point the body temperature returned to normal, they deflate like balloons we suddenly loose in the air, causing a reaction chain between all whalear surprised in their overwintering.

During this period of hibernation so they are suspended in the Zorg sky, resulting in Zorgaunauts meetings to the hunt with nets. From this came the expression:

" do not sell the skin before whalear deflated! "

 

Violoncello, Johann Anton Stauffer, Vienna, about 1840. Johann Georg Stauffer has moved with numerous improvements in Saiteninstrumentenbau (string-instrument building) into the limelight. Several of these innovations were taken over by his son Johann Anton, such as a patent tuning gadget that would allow precise rotation of the vertebrae, and a screw in the bottom of the cello neck. Thus the inclination of the neck and thus also the height of the strings could be adjusted on the fingerboard.

Violoncello, Johann Anton Stauffer, Wien, ca. 1840. Johann Georg Stauffer trat mit zahlreichen Verbesserungen im Saiteninstrumentenbau an die Öffentlichkeit. Mehrere dieser Innovationen wurden von seinem Sohn Johann Anton übernommen, so beispielsweise eine Patentstimmvorrichtung, die ein präzises Drehen der Wirbel ermöglichen sollte, und eine Justierschraube im Fuß des Violoncellohalses. Damit konnte die Halsneigung und somit auch die Höhe der Saiten über dem Griffbrett verstellt werden.

Austria Kunsthistorisches Museum

Federal Museum

Logo KHM

Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture

Founded 17 October 1891

Headquartered Castle Ring (Burgring), Vienna 1, Austria

Management Sabine Haag

www.khm.at website

Main building of the Kunsthistorisches Museum at Maria-Theresa-Square

The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.

The museum

The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.

History

Archduke Leopold Wilhelm in his Gallery

The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .

Architectural History

The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).

From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.

Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.

Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.

The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .

Kuppelhalle

Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)

Grand staircase

Hall

Empire

The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.

189, the farm museum was organized in seven collections with three directorates:

Directorate of coins, medals and antiquities collection

The Egyptian Collection

The Antique Collection

The coins and medals collection

Management of the collection of weapons, art and industrial objects

Weapons collection

Collection of industrial art objects

Directorate of Art Gallery and Restaurieranstalt (Restoration Office)

Collection of watercolors, drawings, sketches, etc.

Restoration Office

Library

Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.

1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.

The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.

Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.

First Republic

The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.

It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.

On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.

Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.

With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the

Egyptian and Near Eastern Collection (with the Oriental coins)

Collection of Classical Antiquities

Collection of ancient coins

Collection of modern coins and medals

Weapons collection

Collection of sculptures and crafts with the Collection of Ancient Musical Instruments

Picture Gallery

The Museum 1938-1945

Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.

With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.

After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.

The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.

The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.

The museum today

Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).

The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.

In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.

Management

1919-1923: Gustav Glück as the first chairman of the College of science officials

1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director

1933: Arpad Weixlgärtner first director

1934-1938: Alfred Stix first director

1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director

1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation

1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation

1949-1950: Hans Demel as administrative director

1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation

1951-1952: Fritz Eichler as administrative director

1953-1954: Ernst H. Buschbeck as administrative director

1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director

1967: Edward Holzmair as managing director

1968-1972: Erwin Auer first director

1973-1981: Friderike Klauner first director

1982-1990: Hermann Fillitz first director

1990: George Kugler as interim first director

1990-2008: Wilfried Seipel as general director

Since 2009: Sabine Haag as general director

Collections

To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.

Kunsthistorisches Museum (main building)

Picture Gallery

Egyptian and Near Eastern Collection

Collection of Classical Antiquities

Vienna Chamber of Art

Numismatic Collection

Library

New Castle

Ephesus Museum

Collection of Ancient Musical Instruments

Arms and Armour

Archive

Hofburg

The imperial crown in the Treasury

Imperial Treasury of Vienna

Insignia of the Austrian Hereditary Homage

Insignia of imperial Austria

Insignia of the Holy Roman Empire

Burgundian Inheritance and the Order of the Golden Fleece

Habsburg-Lorraine Household Treasure

Ecclesiastical Treasury

Schönbrunn Palace

Imperial Carriage Museum Vienna

Armory in Ambras Castle

Ambras Castle

Collections of Ambras Castle

Major exhibits

Among the most important exhibits of the Art Gallery rank inter alia:

Jan van Eyck: Cardinal Niccolò Albergati, 1438

Martin Schongauer: Holy Family, 1475-80

Albrecht Dürer : Trinity Altar, 1509-16

Portrait Johann Kleeberger, 1526

Parmigianino: Self Portrait in Convex Mirror, 1523/24

Giuseppe Arcimboldo: Summer 1563

Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07

Caravaggio: Madonna of the Rosary (1606-1607)

Titian: Nymph and Shepherd to 1570-75

Portrait of Jacopo de Strada, 1567/68

Raffaello Santi: Madonna of the Meadow, 1505 /06

Lorenzo Lotto: Portrait of a young man against white curtain, 1508

Peter Paul Rubens: The altar of St. Ildefonso, 1630-32

The Little Fur, about 1638

Jan Vermeer: The Art of Painting, 1665/66

Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559

Kids, 1560

Tower of Babel, 1563

Christ Carrying the Cross, 1564

Gloomy Day (Early Spring), 1565

Return of the Herd (Autumn), 1565

Hunters in the Snow (Winter) 1565

Bauer and bird thief, 1568

Peasant Wedding, 1568/69

Peasant Dance, 1568/69

Paul's conversion (Conversion of St Paul), 1567

Cabinet of Curiosities:

Saliera from Benvenuto Cellini 1539-1543

Egyptian-Oriental Collection:

Mastaba of Ka Ni Nisut

Collection of Classical Antiquities:

Gemma Augustea

Treasure of Nagyszentmiklós

Gallery: Major exhibits

de.wikipedia.org/wiki/Kunsthistorisches_Museum

Well, to be precise, there are three Ios in the three Jupiter images as well as three Io shadows but the third Io in the top image is harder to spot as it was away from the edge of Jupiter by then. If you look closely at the same angle to the shadow as the two lower images you can just make out the brown spot that is Io.

 

All three images were part of an experiment on a reasonably good night of seeing. They are all taken in 8bit format. The lower left image was taken with a Celestron Skyris USB3 colour CCD camera with a 618 chip. The other two images were taken with a Basler Ace USB3 mono CCD also with a 618 chip. The lower two images were both take through my 5inch/130mm refractor with a 5x PowerMate and ADC. The top image was taken through my 12inch SCT with a 2.5x PowerMate and no ADC. Remarkably by using the component chain for the Skyris in the order back from the refractor focuser of extension tube, 5x Powermate, ADC and finally the Skyris or Basler, the image size recorded is almost identical to that of using the 2.5x Powermate through the 12inch SCT with 2.5x Powermate attached to the focuser and then just a filter wheel in front of the Basler.

 

The Basler Ace was used with RGB filters. The Skyris was fitted with an IR blocker, the Basler Ace wasn't. The Skyris image was taken at around 30fps, the Basler Ace image on the lower right at 40fps and top at around 75fps.

 

Both the lower images are derotated stacks, for the Skyris 7x60secs, for the Basler Ace 4x Red, 4x Green and 4x Blue each colour at 45-50 seconds. The top image with Europa to the right and Io and shadow crossing is a single stack of 1x R, 1xG and 1xB at 55 seconds per colour.

 

At first glance there is little between the images but a close inspection shows the Basler RGB image through the refractor is fractionally more detailed than the Skyris colour image. The top Basler image, which is a far shorter sequence, holds up well in comparison. While it is a little smoother as it was taken through a SCT, it also has more depth to the colours even if it doesn't have the sharpness of the refractor. It also reveals slightly more detail although the refractor images may look more detailed at frst glance.

 

What the little experiment above does show is that there is really little to choose in end image quality between them although I had a better chance with the greater light gathering ability of the 12inch SCT to run the camera faster and capture more detail in the best seeing. The only drawback with the Skyris is that because it is capturing in RGB32 mode, it eats up the transmission even with USB3, meaning that if I operate at above 40fps it starts to drop frames at an alarming rate. No such problem with the raw files captured with the Basler Ace, which can happly run at full speed without dropping frames.

 

It is possible to capture direct RAW images with the Skyris, which is much faster and enables faster speeds above 40fps, but I have tried and failed to find a way to get the raw captures to debayer, so can only conclude there is something else that I need to do to ensure a RAW capture can be processed as colour. If anyone out there knows what, please let me know!

 

Peter

A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.

 

ETYMOLOGY

The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.

 

WEAVING

Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".

 

The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.

 

THESE ARE THE PRINCIPAL MOTIONS

SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.

 

PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.

 

BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.

 

There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.

 

TYPES OF LOOMS

BACK STRAP LOOM

A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.

 

WARP-WEIGHTED LOOMS

The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.

 

DRAWLOOM

A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.

 

HANDLOOMS

A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.

 

FLYING SHUTTLE

Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.

 

HAUTE-LISSE AND BASSE-LISSE LOOMS

Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.

______________________________

 

A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.

 

Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.

 

ETYMOLOGY AND USAGE

The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.

 

TYPES

WOVEN

The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.

 

NEEDLE FELT

These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.

 

KNOTTED

On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.

 

TUFTED

These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.

 

OTHERS

A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).

 

A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.

 

PRODUCTION OF KNOTTED PILE CARPET

Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.

 

The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.

 

There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).

 

Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.

 

The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).

 

Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.

 

Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.

 

HISTORY

The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.

 

The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.

 

Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.

 

INDIAN CARPETS

Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.

 

Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.

 

During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.

 

The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.

 

Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.

 

Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.

 

TIBETAN RUG

Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.

 

The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.

 

HISTORY

The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.

 

From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.

 

When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.

 

During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.

 

WIKIPEDIA

Kamera: Zenza Bronica SQ-Ai

Linse: Zenzanon PS 50mm + extension tube

Film: Rollei Retro 400S @ ISO 400

Kjemi: Rodinal (1:25 / 10:30 min. @ 20°C)

 

-Monday 19 February 2024: I have just watched the whole proceedings of today’s opening statements by Palestine in the International Court of Justice in Den Haag, where in this new case the legality, policies and practices of Israel in the Occupied Palestinian Territories are in question.

 

This is truly an historic moment. And the presentation today was immensely powerful. I was so impressed by the whole legal team and the entire presentation of the case. In particular, I was blown away by the sharp and precise presentation by the lawyer Paul Reichler and the emotional appeal of Riyad Mansour. This was monumental.

 

Together with South Africa’s separate genocide case against Israel, I am certain we are finally witnessing the beginning of the end of the Zionist regime and justice at last for the Palestinian people. Today Palestine had 3 hours of presentation. In the next few days, more than 50 additional countries will also present their statements.

 

Here is history in the making.

 

International Court of Justice: Opening hearing on the legal consequences of Israel's occupation of Palestinian territories (publ. 19 February 2024) [Video]

 

International Court of Justice: Legal Consequences arising from the Policies and Practices of Israel in the Occupied Palestinian Territory, including East Jerusalem [Transcripts and Documents]

  

Mr REICHLER:

 

3. THE ILLEGALITY OF ISRAEL’S PROLONGED OCCUPATION, ANNEXATION AND SETTLEMENT OF THE OCCUPIED PALESTINIAN TERRITORY

 

1. Mr President, Members of the Court, it is an honour for me to appear before you, and a privilege to speak on behalf of the State of Palestine.

 

2. I will address the legality of Israel’s prolonged occupation, annexation and settlement of the Occupied Palestinian Territory. In so doing, I will identify the elements that determine whether, and in what circumstances, a belligerent occupation is, or becomes, unlawful under international law; I will then review the evidence to assess whether those elements are present here; and I will show that, based on the applicable law and the well-established and undisputed facts, Israel’s 56-year occupation of Palestinian territory is manifestly and gravely unlawful, and that international law requires that it be brought to an end, completely and unconditionally.

 

I. The applicable rule of law

 

3. The applicable rule of law is straightforward. As Pictet wrote in 1958, “occupation . . . is essentially a temporary . . . situation”. This remains the law. In December 2022, the General Assembly, in resolution 77/126, recognized that “the occupation of a territory is to be a temporary, de facto situation, whereby the occupying Power can neither claim possession nor exert its sovereignty over the territory it occupies”. This rule is neatly explained in the Written Statement of Switzerland:

 

“The laws of occupation are built on the idea that occupation is only a temporary situation. They are based on four fundamental principles . . .: 1) the occupying power does not acquire sovereignty over the territory it occupies . . . 2) the occupying power must maintain the status quo ante and must not take any measures which might bring about permanent changes”.

 

The law is thus crystal clear: occupation can only be a temporary state of affairs. A permanent occupation is a legal oxymoron.

 

II. The permanent character of the Israeli occupation

 

4. Mr President, what makes Israel’s ongoing occupation of the Palestinian territory unlawful is precisely its permanent character, and what demonstrates its permanence are:

 

(i) Israel’s de jure and de facto annexation of Jerusalem and the West Bank;

 

(ii) its claims of sovereignty over these areas, which it refers to by their biblical names, Judea and Samaria, and considers integral parts of the State of Israel;

 

(iii) its establishment of hundreds of permanent Israeli settlements, with over 700,000 Israeli settlers, who have been promised by successive Israeli governments that they will never be removed; and

 

(iv) the multitude of official statements and documents that openly declare Israel’s intention to incorporate all of the occupied territory east of the Green Line into the State of Israel as a permanent part of a single Jewish State extending from the Jordan River to the Mediterranean Sea.

 

A. Declarations of permanence by Israel’s highest authorities

 

5. As I will show you, the evidence is overwhelming and leaves no room for serious dispute about Israel’s actions or its intentions. As Israel’s Cabinet Secretary wrote in June of last year:

 

“Judea and Samaria were not seized from a sovereign state recognized by international law, and the State of Israel has a right to impose its sovereignty over these areas as they comprise the cradle of history of the Jewish people and are an inseparable part of the Land of Israel.”

 

As purported legal authority, the Cabinet Secretary invoked the First Book of Maccabees, written in the year 100 BC, chapter 15, verse 33:

 

“It is not a foreign land we have taken nor have we seized the property of foreigners, but only our ancestral heritage, which for a time had been unjustly occupied by our enemies.”

 

6. This was followed in August of last year by a message broadcast on Israel’s Army Radio by Israel’s Heritage Minister:

 

“Sovereignty must be extended within the borders of the West

Bank . . . and in the most prudent way, to create international recognition that this place is ours . . . There is no Green Line, it is a fictitious line that creates a distorted reality and must be erased.”

 

7. In September 2023, Israel’s Prime Minister literally erased the Green Line, in his presentation to the United Nations General Assembly. As you saw earlier, he depicted the State of Israel as extending from the Jordan River to the Mediterranean Sea, eliminating not only the Green Line but all traces of Palestine. This was no oversight; it was an act of the Head of Government, with all the attribution that it implies. The same message was delivered by Israel’s Finance Minister in Paris, six months earlier, when he denied the existence of Palestine and declared that Palestinians do not constitute a people. Previously, he said:

 

“We are here to stay. We will make it clear that our national ambition for a Jewish State from the river to the sea is an accomplished fact, a fact not open to discussion or negotiation.”

 

This has been Israel’s consistent position. Here is the map of Israel produced by its armed forces and published by the Government in 2021. One State, Israel, from the river to the sea. There is no Green Line; there is no Palestine. Instead, Palestine has been replaced by “Judea” and “Samaria”, which, according to Israel’s highest officials, are now integral parts of the State of Israel.

 

B. Annexation and settlement of Jerusalem

 

8. As these official statements and maps demonstrate, Israel makes no secret of its intention to retain permanently the entire area east of the Green Line. Its annexation of occupied Palestinian territory began in 1967 with legislation annexing East Jerusalem, which Israel increased eleven-fold in size to incorporate not only the Holy City but also vast areas of the West Bank surrounding the City. Its Defence Minister, Moshe Dayan, declared at the time:

 

“The Israel Defence Forces have liberated Jerusalem . . . We have returned to this most sacred shrine, never to part from it again.”

 

In 1990, the Israeli Cabinet instructed the Foreign Minister to notify the Secretary-General of the United Nations that

 

“Jerusalem is not, in any part, ‘occupied territory’; it is the sovereign capital of Israel”.

 

In June 1996, the Guidelines of the incoming Israeli Government stated:

 

“Jerusalem, the capital of Israel, is one city, whole and undivided, and will remain forever under Israel’s sovereignty.”

 

More recently, in assuming office in December 2022, the current Prime Minister declared that

 

“[t]he Jewish people are not occupiers in their own land nor occupiers in our eternal capital Jerusalem”.

 

As these official statements make clear, Israel’s dominion over Jerusalem and the incorporated area of the West Bank is not intended to be temporary. It has been repeatedly proclaimed by Israel’s highest authorities to be “eternal”.

 

9. In furtherance of this end, more than 230,000 Israeli Jewish settlers - encouraged, subsidized and protected by the Israeli Government and occupation forces - have been installed in East Jerusalem, dramatically altering the demographic composition of the Holy City by creating an Israeli Jewish majority.

 

C. Annexation and settlement of the West Bank

 

10. Israel has been equally clear in declaring its permanence in the West Bank, where more than 465,000 Israeli Jewish settlers have been implanted with the support of every Israeli government since 1967, in over 270 ever-expanding settlements, spread throughout this territory, in what can only be described as a vast colonial enterprise. These settlements, whose accelerated growth and distribution over the years are illustrated on your screens now, are a key instrument of Israel’s annexation of the West Bank; this is both their purpose and their effect.

 

11. As the Secretary-General reported to the General Assembly in 2015:

 

“Occupation is supposed to be temporary because the annexation or acquisition of territory by force is strictly prohibited under international law . . . In the West Bank, including East Jerusalem, the establishment and maintenance of the settlements amount to a slow, but steady annexation of the occupied Palestinian territory.”

 

12. Israel has made no secret of the intended permanence of these settlements. In 2010, Prime Minister Netanyahu told Israeli settlers in the West Bank:

 

“Our message is clear. ‘We are planting here, we will stay here, we will build here. This place will be an inseparable part of the State of Israel for eternity.’”

 

In August 2019, the Prime Minister announced that:

 

“The time has come to apply Israeli sovereignty over the Jordan Valley and to also arrange the status of all Jewish communities in Judea and Samaria . . . They will be part of the State of Israel.”

 

In January 2020, Israel’s Defence Minister, Naftali Bennett, declared:

 

“Our objective is that within a short amount of time . . . we will apply sovereignty to all of Area C, not just the settlements, not just this bloc or another.”

 

13. This area, which is depicted in red on your screens now, comprises over 61 per cent of the West Bank. The Defence Minister proclaimed:

 

“I solemnly declare that Area C belongs to Israel.”

 

This area includes the Jordan Valley, which is the water reservoir, the breadbasket and the source of life for the entire West Bank.

 

14. In December 2022, the Guiding Principles of the incoming Israeli Government declared:

 

“The Jewish people have an exclusive and indisputable right to all parts of the Land of Israel. The Government will promote and develop the settlement of all parts of the Land of Israel - the Galilee, the Negev, the Golan and Judea and Samaria.”

 

The coalition agreement between the political parties that formed the Government included this pledge:

 

“[T]he Prime Minister will lead the formulation and promotion of policy in which sovereignty will be applied in Judea and Samaria, while choosing the timing and weighing all the national and international interests of the State of Israel.”

 

III. Israel’s defiance of the Security Council, the General Assembly and the Court

 

15. General Assembly resolution 77/126 was adopted on 12 December 2022, just as the current Israeli Government was assuming office. The resolution pointedly recalled:

 

“[T]he principle of the inadmissibility of the acquisition of land by force and therefore the illegality of the annexation of any part of the Occupied Palestinian Territory, including East Jerusalem, which constitutes a breach of international law” and the resolution condemned Israel’s “annexation of land, whether de facto or through national legislation”.

 

16. Israel has thoroughly disregarded resolution 77/126, just as it disregarded all prior General Assembly and Security Council resolutions declaring illegal the annexation of any part of the Occupied Palestinian Territory and the establishment of Israeli settlements there. These include but are by no means limited to:

 

* - Security Council resolution 252 of 1968, declaring Israel’s acquisition of territory by military conquest “inadmissible”;

 

* - resolution 476 of 1980, which “[r]eaffirm[ed] the overriding necessity for ending the prolonged occupation of Arab territories” in 1980 and “[s]trongly deplore[d] the refusal of Israel . . . to comply with the relevant resolutions of the Security Council and the General Assembly”;

 

* - resolution 478 of 1980, which “determine[d] that all legislative and administrative measures and actions taken by Israel . . . to alter the character and status of the Holy City of Jerusalem, and in particular the ‘basic law’ on Jerusalem, are null and void and must be rescinded forthwith”;

 

* - resolution 2334 of 2016, which “reaffirm[ed] . . . the inadmissibility of the acquisition of territory by force”, and condemned “all measures aimed at altering the demographic composition, character and status of the Palestinian Territory occupied since 1967 . . . including, inter alia, the construction and expansion of settlements, transfer of Israeli settlers, confiscation of land, demolition of homes and displacement of Palestinian civilians”; and

 

* - at least 28 General Assembly resolutions, which expressly condemned Israel’s “annexation” of Jerusalem and the West Bank.

 

* 17. Israel has also blatantly disregarded the obligations reflected in the Court’s 2004 Advisory Opinion in the Wall case. Since then, instead of dismantling the wall, Israel has extended it from a length of 190 km to more than 460 km38, encompassing hundreds of additional square kilometres of Palestinian land, and incorporating it into the State of Israel. In its Advisory Opinion, the Court expressed concern lest

 

“the construction of the wall and its associated régime create a ‘fait accompli’ on the ground that could well become permanent, in which case, and notwithstanding the formal characterization of the wall by Israel, it would be tantamount to de facto annexation”

 

18. And that is precisely what has happened over the past 20 years, not only within the expanded confines of the wall, but all across the West Bank, most of which has now been annexed de facto by Israel. In 2022, the report of the United Nations International Commission of Inquiry concluded:

 

“Israel treats the occupation as a permanent fixture and has - for all intents and purposes - annexed parts of the West Bank . . . The International Court of Justice anticipated such a scenario in its 2004 advisory opinion . . . This has now become the reality.”

 

19. The Special Rapporteur on human rights in the Occupied Palestinian Territory reached the same conclusion:

 

“The occupation by Israel has been conducted in profound defiance of international law . . . Its 55-year-old occupation burst through the restraints of temporariness long ago. Israel has progressively engaged in the de jure and de facto annexation of occupied territory.”

 

IV. Recent acceleration of Israel’s annexation of the Occupied Palestinian Territory

 

20. Mr President, Israel’s ongoing annexation of the West Bank accelerated in 2023, with the largest ever expansion of settlements in the territory. Twenty-two new settlements were authorized and more than 16,000 new housing units were built, funded or planned by Israeli authorities. As explained by Israel’s Finance Minister:

 

“The construction boom in Judea and Samaria and all over our country continues . . . We will continue to develop the settlement[s] and strengthen the Israeli hold on the territory.”

 

21. In developing its settlements, Israel has invested heavily in the infrastructure needed to supply them with water and electric power, as well as a network of roads and highways to connect them to one another and to Israel itself. These investments, in the hundreds of millions of dollars, attest to the intended permanent character of the settlements. The roads, which Palestinians are forbidden to use, and a pervasive system of roadblocks and checkpoints, prevent Palestinians - but not Israeli settlers - from moving from place to place in the West Bank, and they isolate Palestinian communities by cutting them off from one another. Israel’s settlement expansion has thus both uprooted Palestinians from their homes to make room for new settlements, and forced them to live in disconnected and non-contiguous enclaves, which the Special Rapporteur has called

 

“a fragmented archipelago of 165 disparate patches of land”. This achieves the fundamental objective of the occupation: permanent acquisition of the maximum amount of Palestinian territory, with the minimum number of Palestinians in it.

 

22. In furtherance of this objective, and with increasing frequency, armed groups of settlers, supported by Israel’s occupation forces and encouraged by government ministers, have violently expelled thousands of peaceful Palestinian civilians from their ancestral villages and lands. A United Nations Fact Finding Mission confirmed:

 

“[T]he motivation behind this violence and the intimidation against the Palestinians and their properties is to drive the local populations away from their lands and allow the settlements to expand.”

 

The United Nations High Commissioner for Human Rights reported in March 2023:

 

“[S]ettler violence further intensified, reaching the highest levels ever recorded by the United Nations.”

 

In November 2023, the High Commissioner warned that the situation had further deteriorated with “a sharp increase in settler violence and takeover of land across the West Bank. Since 7 October,” he continued, “nearly 1,000 Palestinians from at least 15 herding communities have been forced from their homes”.

 

23. The Secretary-General, in his most recent report, issued on 25 October 2023, expressly linked the expansion of Israeli settlements to the permanent acquisition of Palestinian territory:

 

“[S]uccessive Israeli Governments have consistently advanced and implemented policies of settlement expansion and takeover of Palestinian land.

 

The policies of the current Government in this regard are aligned, to an unprecedented extent, with the goals of the Israeli settler movement to expand long- term control over the occupied West Bank, including East Jerusalem, and, in practice, to further integrate those areas within the territory of the State of Israel.”

 

V. Application of the law to the facts

 

24. Mr President, Members of the Court, taking account of this evidence, as well as that described in the State of Palestine’s two written submissions, I turn to the law and how it applies to this occupation. The Written Statement of Switzerland is, once again, directly on point. It highlights the distinction between the law of occupation and the legality of a particular occupation:

 

“The law of occupation and the legality of occupation are two different questions. The law of occupation applies independently of the question of the legality of the occupation. Occupation is a situation subject to international humanitarian law, whereas its legality is covered by the United Nations Charter.”

 

25. In relation to the legality of the occupation under the Charter, Switzerland observes:

 

“The United Nations has consistently reaffirmed the principle of the inadmissibility of the acquisition of territory by force, and condemned Israeli measures aimed at modifying the demographic composition, the character and the status of Jerusalem and the Occupied Palestinian Territory as a whole, notably the construction and extension of settlements, the transfer of Israeli settlers, the confiscation of land, the demolition of homes and the displacement of Palestinian civilians.”

 

In Switzerland’s view:

 

“The measures taken by Israel in the Occupied Palestinian Territory lead to fundamental changes, particularly demographic changes, that can have a permanent character.” In such circumstances, Switzerland expressly invites the Court “to rule on the consequences of the permanent character of the measures taken by Israel in the Occupied Palestinian Territory as to the status of the occupation under general international law, in particular the Charter of the United Nations”.

 

26. Many States agree with this approach. France, too, underscores the temporary character of lawful occupation. This is a requirement that Israel’s occupation of Palestinian territory plainly fails to meet. As France states:

 

“[I]f the restrictions authorised by a regime of occupation were justifiable in the period following the military operations, they are not any more today. These points have been reiterated by the Security Council and the General Assembly on numerous occasions concerning Israel’s obligation to withdraw from the ‘occupied’ territories.”

 

27. France calls out, in particular, Israel’s annexation of occupied territory:

 

“The status of occupying power does not confer any legal title justifying annexation . . . The passage of time is not sufficient, as regards the acquisition of territory by force, to render lawful a situation that is gravely unlawful.”

 

On Israel’s vast network of settlements and hundreds of thousands of settlers in the occupied territory, France states:

 

“These permanent establishments are obviously incompatible with the necessarily temporary character of the occupation.”

 

28. Thirty-five of the States and international organizations that submitted written statements have addressed the legality of Israel’s occupation of Palestinian territory. Only two of these 35, to which I will come, argued that the occupation is not unlawful. Key excerpts reflecting the views expressed by the overwhelming majority - that the occupation is unlawful as a whole and must be brought to an end - are collected in Chapter 2 of the State of Palestine’s Written Comments. Here are three brief but emblematic examples:

 

29. The African Union

 

“invites the Court to conclude that the prolonged Israeli occupation of the Palestinian territories is, in itself, unlawful . . . [T]he policies and practices associated with it amount to de facto and de jure annexation of the Palestinian territories, which violates the prohibition on the acquisition of territory by force.”

 

30. Brazil observes that:

 

“Occupation is inherently temporary. This is the basic distinction between occupation and annexation.”

 

Brazil, here, hits the nail right on the head: unlike occupation, annexation is intended to be permanent, and it makes the occupation itself unlawful. In Brazil’s words, Israel’s policies and practices

 

“render the occupation unlawful as a whole, inasmuch as it would be tantamount to the acquisition of territory by force”.

 

31. Japan, too, emphasizes that the annexation of occupied territory is unlawful, referring to Article 2 (4) of the United Nations Charter:

 

“As the ICJ clarified in the Wall Advisory Opinion, the illegality of the acquisition of territory by force is a corollary of the prohibition of use of force incorporated in the UN Charter”,

 

which Japan calls

 

“the most fundamental rule of the post-war regime for peace based on the rule of law among nations”.

 

VI. The indefensibility of Israel’s ongoing occupation of Palestinian territory

 

32. The two outliers are Fiji and the United States. Of all the States that submitted written statements to the Court, only Fiji attempted to defend the occupation as lawful. But even Fiji conceded that Israel has annexed East Jerusalem de jure and that the application of an occupying Power’s laws to the occupied territory, which is the case in the West Bank, constitutes an annexation de facto. Nor did Israel itself deny its annexations of Jerusalem and the West Bank. Its abbreviated written statement is mainly an attack on the General Assembly for its alleged bias. It makes no attempt to defend the legality of its occupation under international law.

 

33. The only State besides Fiji to defend Israel is the United States. This is not surprising. Whatever offences against international law Israel commits, the United States comes forward to shield it from accountability. Here, the United States attempts to defend Israel, not by arguing that the occupation is lawful, but that it is neither lawful nor unlawful. To reach this conclusion, the United States argues that belligerent occupation is governed exclusively by international humanitarian law and not by the United Nations Charter or general international law. In its own words:

 

“Although international humanitarian law imposes obligations on belligerents in their conduct of an occupation, it does not provide for the legal status of an occupation to be lawful or unlawful.”

 

34. Even assuming, arguendo, that this is a correct reading of international humanitarian law, which we dispute, it does not lead to the conclusion that an occupation cannot be unlawful under international law. What about Article 2 (4) of the United Nations Charter, and general international law, including the prohibition on acquisition of territory by force? For the United States, apparently, this peremptory norm does not exist when it comes to Israel’s annexation and settlement of the Occupied Palestinian Territory. Only in such a lawless - and United Nations Charter-less - world could the Israeli occupation be described as “not unlawful”.

 

35. Notably, the United States ignores the part of the General Assembly’s request that the Court determine the legal status of the occupation under the United Nations Charter, in addition to international humanitarian law and other sources of law; and the United States fails to mention, let alone respond to, Switzerland’s Written Statement, asserting that belligerent occupation is covered both by international humanitarian law and by the United Nations Charter and general international law; and that the legality of the occupation itself is governed by the latter. The United States also ignores the written statements of the many other States which conclude that the Israeli occupation is unlawful as a whole, precisely because its annexation and settlement of the occupied territory constitute a permanent acquisition of territory by force in violation of Article 2 (4) and general international law.

 

36. Instead, in a single footnote, the United States responds only to those States which submitted that the Israeli occupation is unlawful under Articles 40 and 41 of the Draft Articles on Responsibility of States for Internationally Wrongful Acts. Remarkably, the United States contends that neither of those two articles reflects general international law. This is truly stunning! A persistent failure of a State to fulfil an obligation arising under a peremptory norm is not unlawful under general international law, as provided in Article 40? The injunction in Article 41 - that no State shall recognize as lawful a situation created by a serious breach of a peremptory norm - is not part of general international law? Just how far in disregarding the international legal order will the United States go to exempt Israel from the consequences of its ongoing violation of peremptory norms, including the prohibition on acquisition of territory by force?

 

37. Apparently, very far indeed. According to former US President Barack Obama, in the

memoir he published in 2020:

 

“[J]ust about every country in the world considered Israel’s continued occupation of the Palestinian territories to be a violation of international law. As a result, our diplomats found themselves in the awkward position of having to defend Israel for actions that we ourselves opposed.”

 

This is exactly what the United States is doing - again - in these proceedings.

 

VII. The occupation is unlawful and must be brought to an end

 

38. Mr President, Members of the Court, the evidence is before you - in the written submissions of the State of Palestine and dozens of other States and international organizations, and in the voluminous materials supplied to you by the Secretary-General - and it is indisputable. Under the umbrella of its prolonged military occupation, Israel has been steadily annexing the Occupied Palestinian Territory, and it continues to do so. Its undisguised objective is the permanent acquisition of this territory, and the exercise of sovereignty over it, in defiance of the prohibition on acquisition of territory by force.

 

39. The evidence is not only indisputable, it is of the highest probative value: investigative reports of authoritative United Nations agencies; reports of the Secretary-General; resolutions of the Security Council and the General Assembly; legislative and administrative acts by the Israeli Government; and public statements against interest by the most senior government officials admitting that Israel’s objective is sovereignty over all the territory east of the Green Line and its incorporation into a single Jewish State from the river to the sea. In this case, there is no reason not to take them at their word, because their deeds have been entirely consistent with it.

 

40. For Israel, as its successive governments have made clear, there is no Palestine. It simply does not exist. In November 2023, Prime Minister Netanyahu declared that his Government would never agree to a Palestinian State in the occupied territory. He later declared:

 

“I will not compromise on full security control over all the territory west of Jordan - and this is contrary to a Palestinian state.”

 

Israel’s intransigence was confirmed by its staunchest ally in December 2023, when US President Joe Biden publicly lamented that Israel’s leaders “don’t want anything remotely approaching a two-state solution”.

 

41. That is the very solution demanded by the Security Council, the General Assembly, the overwhelming majority of States and the State of Palestine itself. It is, in fact, the only solution that can lead to lasting peace and security for the Israeli people as well as the Palestinian people. And it is this very solution that has been frustrated by Israel’s defiant insistence on maintaining its dominion over Palestinian territory in perpetuity. This is why the Court’s advisory opinion is so critical and so urgent. The best, and possibly the last, hope for the two-State solution that is so vital to the needs of both peoples is for the Court to declare illegal the main obstacle to that solution - the ongoing Israeli occupation of Palestine - and for it to pronounce, in the clearest possible terms, that international law requires that this entire illegal enterprise be terminated: completely, unconditionally and immediately.

 

42. Mr President, the law is clear and it demands nothing less. A permanent occupation - one that is founded upon annexation and massive settlement of the occupied territory, and which aims to exercise sovereignty over it - is manifestly and gravely unlawful; it is an ongoing international wrong that must be brought to an immediate end. As the Court ruled in 1971:

 

“[T]he continued presence of South Africa in Namibia being illegal, South Africa is under obligation to withdraw its administration from Namibia immediately and thus put an end to its occupation of the Territory”.

 

43. The Secretary-General applied this principle directly to Palestine in his remarks to the Security Council one month ago:

 

“Palestinians must see their legitimate aspirations for a fully independent, viable and sovereign State realized, in line with United Nations resolutions, international law and previous agreements. Israel’s occupation must end.”

 

44. Mr President, the proverbial ball is now in your court. The General Assembly has asked you the critical questions. It is now your responsibility to answer them. Silence is not an option. As the immortal Palestinian poet, Mahmoud Darwish, wrote: “In silence we become accomplices.” But, he assured us, when we speak: “Every word has the power to change the world.”

 

45. Mr President, Members of the Court, your words have such power. In 2004, the Court affirmed the inalienable right of the Palestinian people to self-determination. In 2024, it is time for you to enable them finally to exercise that right, by freeing them from the unlawful Israeli occupation of their territory, so that they may live in a sovereign and fully independent State of their own, in peaceful and secure coexistence with all their neighbours, including Israel. By upholding international law, which is all the State of Palestine asks you to do, your powerful words will change the world.

 

46. I thank you Mr President, Members of the Court, for your kind courtesy and patient attention. We are in your hands, Mr President, whether you would like to take the mid-morning break now or call our next speaker.

 

The PRESIDENT: I thank Mr Reichler. I will invite the next speaker to take the floor after a coffee break of ten minutes. The sitting is suspended.

 

The Court adjourned from 11.25 a.m. to 11.45 a.m.

...Or *eye*, to be precise....

 

Karolina, This Expatriate Chicagoan took VERY special and intense notice of when we were in conversation....

 

I noticed when we talked...whilst she was listening to the other folk making conversation....her eyes would blink in the normal manner.

 

Eventually, her right eye would blink considerably earlier than her left..

 

And then....her right eye would blink...*whilst her left eye remained open!*.....for **several minutes!!**

 

Without my asking, she did later explain how, when she was horseback riding...at about the age of eleven...she took a spill, and fell on her head.

 

Apart from shock, the actual damage was minimal....or so everyone thought..

 

And it was soon discovered...albeit both of here eyes *do* see and otherwise function normally...the blinking went haywire..and remains so to this day..

 

She has no problem or issues with it...and, well, neither does This Expatriate Chicagoan.

 

I found myself VERY captivated when I was in conversation with her..

 

Apparently, the people who signed her up to do adverts for Cutie Sweety Gurl Mascara did, too

 

Reykjavik, Iceland (August 2015)

Posted via email from Bob Farrell's Photo Posterous. Blog. Thing. Doohickey.

Pilot V5 Precise Extra Fine Blue

Public Domain Book: The history of magic : including a clear and precise exposition of its procedure, its rites and its mysteries

by Lévi, Eliphas, 1810-1875

 

Published 1922

 

archive.org/details/historyofmagicin00lv

 

The Brihat Samrat Yantra (Greater Sundial) at the Jantar Mantar can tell the local time within 2 seconds of accuracy! What amazes me is the precise construction of all these instruments in the early 18th century!

 

The reason for the large size Brihat Samrat Yantra was accuracy. In the past, it was not possible to finely grade the time markings. Therefore the only way to get a finer resolution was to enlarge the dimension of the scale!

 

The Jantar Mantar is one of the oldest astronomical observatories in the world featuring multiple instruments to observe celestial objects with astonishing accuracy. The observatory was build by Maharaja Sawai Jai Singh II in the year 1727 in Jaipur. An earlier observatory was built by him in Delhi in 1724.

 

The Maharaja himself was an avid astronomer, having been educated in Persian, Indian and Western principles of astronomy and mathematics.

 

The word Jantar Mantar is a combination of Sanskrit words Yantra (यंत्र) and Mantra (मंत्र), which mean "Instrument" and "Formula". Instruments were constructed in accordance with mathematical formulae and astronomical principles.

 

Maharaja Sawai Jai Singh II established five observatories in India - at Delhi, Jaipur, Ujjain, Mathura and Varanasi.

 

Today, the Jantar Mantar complex in Jaipur is listed as a UNESCO World Heritage Site and attracts a large number of visitors every day. I first visited the Jantar Mantar in 1986, and have been fascinated every time I went there subsequently!

 

These pictures are a part of our journey through Northern Rajasthan and Agra. Sit back and view my Jaipur slideshow.

Field Trip - Roughdown Common - 13/06/17

 

I had an eventful trip to Roughdown Common whereby we planned to run as many traps as possible, conditions were absolutely perfect, warm and humid with some cloud cover.

We started the evening setting the first trap up in the field where there were three Cattle, Belted Galloways to be precise.

They greeted us and then seemed to leave us alone for a bit after cleaning the cars with their tongues and having a good old itch on Steve's rear bumper.

We left the field to set up a few more traps and then returned back to the car for more equipment, to our agony the trap had been thoroughly inspected by the cattle and there was slobber all over the trap and they did a mighty fine job of smashing the bulb but it could have been A LOT worse as the fragile plastic collar (the second most important part of the trap after the bulb) was still intact! How on earth it escaped being trodden on I do not know.

Luckily Ian said he would nip back home and grab his spare bulb and we moved the trap through the gate and shut the gate....but they had done their 'investigating' and moved off for the rest of the night down the bottom of the field.

 

After setting all the traps were set up, the battery operated one was low on juice..another minor set-back as we would only get possibly 2 hours life out of the tracer lithium ion battery.

 

Things come in three's and of course nothing could be worse than a generator stopping, yep that's what happened...trying to get it started again flooded the spark plug and luckily I could use the spare that I had brought with me.

 

Onto the moths and boy were we in for a night! The species just kept coming and coming and at one stage I couldn't keep typing the list.

 

There are a few to check but best species so far were singles of Obscure Wainscot, Anania perlucidalis, Anarsia innoxiella and two good plume species (one to be checked) Merrifieldia leucodactyla/baliodactylus and Gillmeria pallidactyla.

 

Thanks to Roger, Steve and Ian for helping out until the small hours, another successful trip with at least 160 species seen!

 

Catch Report - 13/06/17 - Roughdown Common - West Herts - 7 traps in total - 2x 125w MV Robinson Trap 1x 160w MBT Robinson Trap 1x 40w Actinic + 15w LED Trap 1x 80w Actinic Trap 2x 20w Wemlite Actinic Trap 1x 15w Actinic Portable Heath Trap

 

85 Macros & 75 Micros

 

160 species

 

Numbers approximate

 

Macro Moths

 

Alder Moth 2

Beautiful Hook-tip 6

Blue bordered Carpet 1

Brimstone 4

Broken-barred Carpet 2

Brown Rustic 5

Brown Scallop 2

Buff Ermine 1

Buff-tip 1

Cinnabar 1

Clay 1

Clouded Border 4

Clouded Brindle 1

Clouded Silver 8

Common Carpet 2

Common Marbled Carpet 4

Common Pug 1

Common Swift 3

Common White Wave 2

Coronet 12

Dark Arches 4

Double Square-spot 2

Double-striped Pug 1

Elephant Hawk-moth 2

Fern 3

Figure of Eighty 2

Flame 3

Flame Shoulder 2

Freyer's Pug 1

Garden Carpet 1

Ghost Moth 1

Green Carpet 5

Green Pug 5

Green Silver-lines 1

Grey Pug 5

Haworth's Pug 1

Heart & Club 1

Heart & Dart 10+

Ingrailed Clay 10

July Highflyer 1

Knot Grass 1

Large Nutmeg 4

Large Yellow Underwing 2

Lesser Yellow Underwing 1

Light Arches 1

Light Emerald 5

Lime-speck Pug 2

Maiden's Blush 1

Maple Prominent 2

Marbled White-spot 3

Middle-barred Minor 3

Miller 1

Mottled Beauty 5

Mottled Pug 1

Mottled Rustic 5

Obscure Wainscot 1

Orange Footman 1

Pale Prominent 1

Peppered Moth 2

Poplar Grey 1

Privet Hawk-moth 1

Purple Bar 2

Riband Wave 2

Rustic Shoulder-knot 2

Scorched Wing 2

Setaceous Hebrew Character 2

Shoulder-striped Wainscot 1

Shuttle-shaped Dart 2

Silver-ground Carpet 2

Small Angle Shades 1

Small Dusty Wave 1

Small Elephant Hawk-moth 1

Small Fan-foot 2

small Square-spot 1

Small Yellow Wave 1

Snout 2

Straw Dot 10

Swallow Prominent 1

Sycamore 2

Tawny Marbled Minor 2

Treble Lines 3

Turnip Moth 1

Uncertain 3

White Pinion-spotted 1

Wormwood Pug 1

 

Micro Moths

 

Agapeta hamana 4

Agapeta zoegana 10

Agonopterix arenella 2

Agonopterix purpurea 1

Aleimma loeflingiana 10

Anania hortulata 3

Anania perlucidalis 1

Anarsia innoxiella 1

Anthophila fabriciana 1

Aphomia sociella 1

Archips podana 2

Archips xylosteana 3

Argyresthia conjugella 2

Argyresthia curvella 2

Blastobasis lacticolella 3

Blastodacna hellerella 1

Bryotropha terrella 5

Caloptilia populetorum 1

Caloptilia robustella alchimiella 2

Caloptilia syringella 1

Celypha lacunana 15

Celypha striana 5

Chrysoteuchia culmella 5

Clepsis consimilana 5

Cnephasia sp 10

Cochylimorpha straminea 5

Cochylis dubitana 2

Cochylis molliculana 1

Crambus lathoniellus 5

Cydia fagiglandana 2

Dichrorampha sp 4

Ditula angustiorana 2

Emmetia marginea 1

Endothenia gentianaeana marginea 2

Epinotia bilunana 2

Epiphyas postvittana 1

Eucosma cana 10

Eudonia lacustrata 5

Eudonia pallida 3

Eulamprotes unicolorella 5

Eupoecilia angustana 15

Gillmeria pallidactyla 1

Grapholita funebrana 1

Gypsonoma sociana 1

Hedya nubiferana 5

Hedya pruniana 5

Homoeosoma sinuella 2

Merrifieldia leucodactyla or baliodactylus 1

Metzneria metzneriella 10+

Mompha ochraceella 1

Mompha subbistrigella 3

Nemophora degeerella 1

Nephopterix angustana 2

Notocelia trimaculana 15+

Notocelia uddmanniana 2

Pammene albuginana 1

Pandemis cerasana 10+

Pandemis cinnamomeana 1

Pandemis heparana 5

Paraswammerdamia albicapitella 1

Parornix sp 1

Phycita roborella 1

Prays fraxinella 2

Pseudargyrotoza conwagana 10+

Pseudoswammerdamia combinella 1

Scoparia ambigualis 5

Scoparia pyralella 10+

Scythropia crataegella 1

Stigmella sp 1

Strophedra weirana 1

Teleiodes luculella 5

Thiotricha subocellea 3

Tinea semifulvella 1

Tortrix viridana 10+

Udea olivalis 3

  

BIENNALIST @ Venice Biennale

 

www.emergencyrooms.org/biennalist.html

by www.colonel.dk and www.emergencyrooms.org

www.emergencyrooms.org/formats.html about other art format

  

------------about Venice Biennale history from wikipedia ---------

 

The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice

The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially

 

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

 

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]

 

----------

 

#art #artist #artistic #artists #arte #artwork

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

  

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

 

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

 

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

  

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

 

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

 

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

 

#biennalevenice

 

Institutional Critique

 

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

 

Culture, Collective History, Group of Portraits, Photographic Source

 

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

 

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

 

Personal Histories, Alter Egos and Avatars

 

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

, Photographic Source

 

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation

Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist

   

6979: We don't have a precise date for this image, but on June 8, 1929, around this time, HMAS ANZAC [I] and her squadron put to sea off Sydney and stood by as pioneer aviator Charles Kingsford Smith completed his epic first flight across the Pacific.

 

At different times during her RAN career, ANZAC [I] was commanded by twin brothers, LCDR Reginald Creer, RAN, and LCDR Herbert Creer, RAN. LCDR E.C. Rhodes, RAN, was also her CO for a time.

 

Photo: RAN Archives, it appears on the RAN Seapower Centres history webpage for HMAS ANZAC [I]. The page can be seen here: www.navy.gov.au/hmas-anzac-i

I got tagged by Fox ^^! A long long time ago, to be precise... I'm so sorry I haven't done this sooner T_T.

Pic taken in the woods near Vincennes~

 

~*~*~*~*~*~*~*~*

 

Colour : black, blue, purple

Fruit : grapes, bananas or kiwi fruits

Candy : I'm not much of a candy person ^^; ... but I like japanese sakura-flavored candies~

Chocolate : black, white, I love them all :)!

Cold drink : Cola, or lemonade

Hot drink : hot chocolate

Ice cream : chocolate, mint, cookie dough or strawberry cheesecake~

Crisps : just those with only salt, nothing more!

Soup : a mix of vegetables~

Car : Citroën C1

TV show : Doctor Who, Torchwood, Sherlock and Fringe :)

Movie : The Lord of the Rings, Star Wars, all Burton movies

Sport : hmm... swimming, I guess

Perfume : La Petite Robe Noire - Guerlain

Stock Pullips doll: Seimei, Rozelux, Bergamote, Nathaniel, Requiem, Amadeo... most of my dolls are still stock ^^;.

Custom Pullips Doll: Mirabelle, maybe? She got a new obitsu body and a new wig, so that makes her my top custom for now, lol.

Meat : beef~

Vegetable : carrots, leeks

Genre of music : rock and pop, especially from Japan~ (I freakin' love SiD *__*!!)

City to visit : Nara, Ôsaka, Edinburgh, London

Celebrity crush : Ben Barnes, Elijah Wood, and David Tennant <3~

Book : the Discworld serie - Terry Pratchett ; Salem's Lot - Stephen King

Sports team : none...

Pet : doggies!

Meal : sushi :)

Flower : orchids~

Dessert : cupcakes

Smell : herbs and the wonderful smell of the ocean~

Games : Final Fantasy, Skyrim, Pokémon, Disgaea... and lots more XD.

Piece of Jewelry : rings, earrings and necklaces~

Jeans : bootcut ^^

Electronics : my PC named Sbestian, I love him so much <3

Hair product : le Petit Marseillais

Sandwich : anything as long as there's cheese inside XD

Condiment : mustard, maybe...

Thing to collect : Pokémons ;-p ~

Time of day : I don't have a particular "time"... but I think I prefer morning, 'cause you still have the whole day ahead of you ^^.

Day of week: whatever, I'm unemployed right now -__-.

Actor : Johnny Depp, Elijah Wood, David Tennant ...

Actress : Angelina Jolie

Season: spring :)

Designer : Graniph!

Comfort food : chocolate XD

Piece of clothing : jeans and sweaters, currently; it's winter here!

His precise aim is unparalleled in all the U.S. Hired by the Special Operations group of the N.U.S.A. (New United States Army), he uses such old tactics that he baffles his enemies. You see, all old strategies were forgotten during the nuclear fallout, and now, 79 years later, they're having to re-invent all tactics. Special Sergeant McGill kept all books on strategy he could find, and hid them in his bunker. It paid off.

 

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

 

Inspired by Peppersalt.

 

Sorry about the quality of the photo, it was taken late at night.

 

-IronBricks

Pilot Precise V7

2018-07-25

Big C Prathumwan, Bangkok

VAN NUYS - Precise helicopter water drops that tapered the advance of flames, allowed 48 Los Angeles Fire Department responders on the ground to quickly contain and extinguish a non-injury grass fire in the Sepulveda Basin Recreation Area on the afternoon of June 18, 2021. The fire, near a homeless encampment northwest of Lake Balboa, was considered accidental, and attributed to careless cooking.

 

© Photo by Greg Doyle

 

LAFD Incident: 061821-0867

 

Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk

A precise European manufactured 3D printer in cool stylish and practical design. See more here:

 

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A precise Europe manufactured 3D printer in cool stylish and practical design. See more here:

 

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A precise Europe manufactured 3D printer in cool stylish and practical design. See more here:

 

beeverycreative.creativetools.se/

Just off busy Westgate Circle in Annapolis there lies a peaceful bucolic hillside. Almost 3,000 of our nation's heroes - for heroes they all are - lie here in eternal slumber beneath precise rows of nearly identical marble gravestones. This is the Annapolis National Cemetery. For over 150 years the seasons have alternately blanketed the well-kept grounds with the frosty wind-driven snow of winter, the cheerful melodies of spring songbirds, the emerald carpet of summer grass, and the colorful hues of autumn leaves.

The National Cemetery includes veterans' graves from every major conflict from the 1860s through the late 20th century. Yet, more than 85% of the graves are from the Civil War, and by far the vast majority of these are of men who died during that conflict, rather than veterans who passed away later. And of the Civil War dead, almost 10% are unknown -- a very high percentage considering that no battles were fought anywhere near the city. Yet in spite of the lack of battles nearby, Annapolis saw more of the horrors of war than many of the distant fields of conflict.

The U.S. Naval Academy abandoned the city for a less turbulent academic atmosphere in Rhode Island during the Civil War. Annapolis then became an army town as tens of thousands of Union troops occupied the city for the duration of the war. The army established at least four major hospitals in the city. The largest of these, Division Number 1 Hospital, was located on the Naval Academy campus; another, Division Number 2 Hospital, was on the campus of St. John's College. In fact, Division Number 1 Hospital, or the Naval School Hospital as it was often called, was one of the largest U.S. Army General Hospitals in the entire country during the Civil War.

At first the hospitals treated the sick from regiments stationed in the immediate vicinity. Later they accommodated battlefield wounded brought in for treatment from such places as Gettysburg and Petersburg. Understandably, some of these men were beyond recovery. But by far the most tragic cases were the emaciated forms returning north as paroled prisoners of war from Confederate prisons in Richmond and Andersonville. One of the reasons for the large number of unknown graves is the fact that so many of these wretched former prisoners arrived devoid of reason or so close to death that they were unable to identify themselves to hospital staff.

The National Cemetery got its beginning in 1862 when it became clear that the city's civilian cemetery could not accommodate the ever increasing number of military dead. The U.S. Army leased 4 acres of land originally known as Ash Grove Cemetery from Judge Nicholas Brewer for period of 99 years. Nine years later the Government purchased the land outright. Sometime in the interim its name was changed from Ash Grove to the Annapolis National Cemetery. Annapolis was one of the 14 original national cemeteries established by President Abraham Lincoln in 1862.

Each grave in the cemetery represents a unique individual with a unique story of how he, or she, came to rest in the peaceful confines off West Street. There are, of course, soldiers felled in battle, as well as those who succumbed to wounds or various camp diseases, notably dysentery, typhoid, and small pox. There are those whose constitutions were so weakened by their experiences as prisoners of war that they could not rally their health even though returned to the tender care of dedicated surgeons and nurses in their own army. And those same dedicated nurses are represented here too. On July 11, 1863, Mary J. Dukeshire was the first to give her life in the care of others. She was followed within months by Mrs. J. Broad, Rachel Spittle, and Hannah Henderson, all of whom contracted an illness form the men they so selflessly cared for.

There is no doubt that prisoners on both sides suffered extreme hardship and many died under regrettable circumstances. Among the former POWs arriving in Annapolis, many were literally not much more than skin and bones by the time they were released from captivity. Two of these former POWs, John Q. Rose and L. H. Parham, had their pictures printed on the front page of Harpers Weekly in June 1864 and became poster boys for the wretched conditions of so many returning prisoners. Rose died the day after his picture was taken. Parham managed to last another week. Both were buried in the Nation Cemetery. The deaths of starved prisoners did not end with Rose and Parham. Before he was captured, Miletus McGowan was described as "remarkable for his muscular strength, and possessing a distinguishing trait of generosity, always ready to assume the burdens of others." As first sergeant of Co. A, 29th Indiana, he was captured at Chicamauga in September 1863 and paroled in May 1864. Like so many of the returning POWs, McGowan was emaciated. He reached Annapolis totally “weak and exhausted [and] unable to walk.” He lasted more than a month, but died on June 11, 1864 as a consequence of chronic diarrhea and starvation while in prison.

Then there was John Buckshot, a Native American with the 56th Massachusetts Infantry. A full-blooded Mohawk from upstate New York, he was described as a “brave Indian boy” and a "good shot." Buckshot was wounded and captured at the Wilderness in May 1864. He died January 13, 1865, of typhoid fever after being paroled in December 1864.

All during the war, but especially after a big battle, wounded men would come pouring into Annapolis. Shortly after the first ill-fated attack against Petersburg in June 1864, a soldier assigned to duty in one of the Annapolis hospitals wrote, "We are having a pretty busy time here now as a boat arrived last evening with 530 badly wounded from Petersburg. Oh it was a sad sight to see them bringing the poor fellows off on stretchers some with arms off others with both legs gone and some struggling with death. It was a sad sight I can assure you, quite a number have already died and others in death’s embrace." Many of the soldiers were suffering from multiple wounds as a result of being caught in a crossfire. To make matters worse, Annapolis was in the midst of a heat wave with temperatures reported as high as 105 in the shade. Private Herman Mehwaldt of the 8th N. Y. Heavy Artillery died along with 11 others within a few days of arriving in Annapolis. More than 20 others would die the following week; and even more the week after that.

The vast majority of Civil War dead buried in the Annapolis National Cemetery are enlisted men. Typically officers’ bodies were embalmed and shipped home. However, at least three Union officers are buried here; Lieutenant Harrison Y. Clifton of Pennsylvania, David D. Smith a captain in the First Alabama Cavalry (USA), and Lieutenant Samuel J. Varney of Illinois. There are also about half a dozen Confederates buried here including Lieutenant William S. Slater from Virginia and Corporal Aaron A. Bennett of Tennessee. The Confederates were wounded and picked up on the battlefield along with Union wounded and brought here for medical care.

Perhaps no one had a bigger stake in the outcome of the Civil War than the former slaves who enlisted in the Union Army to fight for their freedom. These men served in segregated units designated as United States Colored Troops, or USCT. By the end of the war, nearly 10% of the Union army was comprised of black soldiers. Although segregated in life, in death black soldiers were buried side-by-side with their white brothers in arms. The Annapolis National Cemetery has nearly two dozen graves of black soldiers. Many of these were veterans who died years later, but some of them, including Alexander Brown, Henry Clark, and Alexander Robinson, died in Annapolis during the war.

While Annapolis may have been an army town in the 1860s, it is nonetheless hard to image the city without a naval presence. And the same is true for the National Cemetery. Although few sailors came through the Annapolis hospitals to be treated for wounds or after being released as a former POW, there is at least one grave here representing the Civil War Navy. John Robinson, a U.S. sailor, died March 2, 1865 after being released as a POW.

And finally, there is the case of Nicolai Demidoff, a Russian sailor who met a tragic end while his ship was here in port. During the winter of 1863-1864, the Russian Tsar sent his fleet to American waters in response to a tense political situation in Europe at that time. Three Russian warships ships visited Annapolis in February 1864. Unfortunately for the Russians, there was one big difference in Annapolis not encountered in other cities. Because of the large numbers of Union troops camped in and around the city, the provost marshal had forbidden the sale of hard liquor to the soldiers. It is not clear whether this restriction applied to foreign sailors but in all probability it was interpreted as applicable. Within days of their arrival confusion over this prohibition had dire consequences for one of the Russians.

On February 4, 1864, Nicholas Demidoff and one or more companion entered a restaurant looking for something to drink. One account of the event simply states that “a citizen & a Russian Sailor in a drinking house. . . had words, then blows which resulted in a pistol shot.” Whatever the circumstances however, there is no dispute that a shot rang out and Demidoff collapsed dead on the floor with a bullet through his heart. The murder nearly created an international incident. In addition to criminal charges brought against the barkeeper, the American government evidently issued an official apology to the visiting Russians. These conciliatory efforts, together with a satisfactory explanation of the tragic circumstances that led to the shooting, seem to have calmed the Russian ire. Meanwhile, although Demidoff had been only a common sailor, the Russians nonetheless gave the fallen seaman a send off that had all the dignity of a state funeral with delegations of politicians from Washington and representatives of the Russian government in attendance. The Americans, undoubtedly seeking to appease the Russian delegation following the murder, took great pains to assure the memorial service was conducted in the most solemn and imposing manner possible.

Except for the letters RSN carved under his name on the otherwise plain white stone, his grave is nearly indistinguishable from those of the thousands of American soldiers that surround it – and yet how much more effort was put into his burial than those of the American boys who were dying daily at the Annapolis hospitals! Nicholas Demidoff remains the only active-duty foreign serviceman to be buried in the Annapolis National Cemetery.

 

VAN NUYS - Precise helicopter water drops that tapered the advance of flames, allowed 48 Los Angeles Fire Department responders on the ground to quickly contain and extinguish a non-injury grass fire in the Sepulveda Basin Recreation Area on the afternoon of June 18, 2021. The fire, near a homeless encampment northwest of Lake Balboa, was considered accidental, and attributed to careless cooking.

 

© Photo by Greg Doyle

 

LAFD Incident: 061821-0867

 

Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk

Painting Cabinet 6

Rachel Ruysch (1664 - 1750), worked in Amsterdam

Fruit still life with stag beetle and chaffinch nest, 1717

Oil on canvas

Staatliche Kunsthalle Karlsruhe

Rachel Ruysch was from 1708 to 1717 court painter of the Elector Johann Wilhelm of the Palatinate. A year later, arose this still life with fruits, insects and reptiles. Extremely precise reproduced, it refers to a detailed study of nature and the cycle of growth and decay. Both the painter has likely first met through her father's profession. Frederick Ruysch was professor of anatomy and botany in Amsterdam.

 

Malereikabinett 6

Rachel Ruysch (1664 - 1750), tätig in Amsterdam

Fruchtstillleben mit Hirschkäfer und Buchfinkennest, 1717

Öl auf Leinwand

Staatliche Kunsthalle Karlsruhe

Rachel Ruysch war von 1708 bis 1717 Hofmalerin des Kurfürsten Johann Wilhelm von der Pfalz. Ein Jahr später entstand dieses Stillleben mit Früchten, Insekten und Reptilien. Äußerst präzise wiedergegeben, verweist es auf ein genaues Studium der Natur und auf den Kreislauf von Werden und Vergehen. Beides dürfte die Malerin zuerst durch den Beruf ihres Vaters kennengelernt haben. Frederick Ruysch war Professor für Anatomie und Botanik in Amsterdam.

 

Collection

The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.

A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.

The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).

In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.

Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.

One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.

For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.

Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.

In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.

 

Sammlung

Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.

Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.

Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).

In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.

Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.

Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.

Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.

Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.

Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.

de.wikipedia.org/wiki/Staatliche_Kunsthalle_Karlsruhe

Sitzende Frau mit hochgeschobenem Kleid/Seated Woman with Dress Pushed up, 1914 (Bleistift, Aquarell und Deckfarben/Pencil, watercolor and gouache), Albertina

 

Spraying her legs, Schiele's Seated Woman exposes her genitalia, framed by her thinly painted thighs and the folds of the pleated dress, in a seemingly unintentional and yet precisely calculated pose. The dark lap corresponds formally with the dark hair on her head. The precise foreshortening of the legs and face complicate the rhombic shape of the figure. The hombus opens from the tips of both shoes to the knees, before it converges along the contours of the arms and shoulders to the top of her head.

 

Die Sitzende Frau zeigt ihr Genital wie unbeabsichtigt und doch wohlkalkuliert zwischen den abgespreizten Beinen: gerahmt von den kaum aquarellierten Oberschenkeln und dem gefältelten, gerafften Kleid. Dem dunkle Schoß entspricht formal das dunkle Haupthaar. Die präzise Verkürzung der Beine und des Gesichts verkomplizieren im Inneren die rautenförmige Gestalt der Figur. Der Geometrie steigt von der Spitze der beiden Schuhe zu den Knien an, eh sie sich wieder über den Umriss der Arme und Schultern zum Kopf hin verjüngt.

 

The Albertina

The architectural history of the Palais

(Pictures you can see by clicking on the link at the end of page!)

Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869

"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

Image: The Old Albertina after 1920

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990

The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.

Image: The palace after the demolition of the entrance facade, 1948-52

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

Image: The restored suburb facade of the Palais Albertina suburb

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

 

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

 

www.wien-vienna.at/albertinabaugeschichte.php

 

Mes chères petites mains là se sont lâchées !

Je suppose que les cartes étaient peintes suivant des indications détaillées, précises. Qui a eu l'idée pour la chemise blanche du vieil homme a la jambe cassée de cette explosion de taches rouges et vertes ?

Un peu comme le détourage des tableaux au centre qui finit dans un mélange de fleurs et d'une horloge que l'on a bien du mal à apprécier les formes dans ce cafouillis.

Cela nous donne l'effet d'une troisième fenêtre, centrale de plus ! Et cela gêne, détonne de l'ensemble qui avec les robes très sobres des deux jeunes femmes et de celle qui sert un bon remède chaud à notre blessé !

L'horloge donne le top départ du chaos, plus on s'en éloigne plus la simplicité visuelle gagne... Même pas de tapis à motif géométrique sur le sol. J'ai dû dissimuler les motifs de la chemise, car en anaglyphe cela donnait le vertige...

J'aimerais bien voir en diorama, si les couleurs n'ont pas été un peu plus accommodées.

 

Attribué à Alexis et Charles Gaudin, studio Anglais.

  

On the other hand my dear little hands there have let loose! I suppose the maps were painted according to detailed, precise indications. Whose idea was it for the old man’s white shirt with the broken leg of that explosion of red and green spots?

A bit like the clipping of the paintings in the center that ends in a mixture of flowers and a clock that one has a hard time appreciating the shapes in this mess. This gives us the effect of a third window, central more!

And it bothers, detonates from the whole that with the very sober dresses of the two young women and of the one that serves a good hot remedy to our wounded!

The clock gives the start of chaos, the further away you get from it the more visual simplicity wins...

Even no geometric carpet on the floor . I had to hide the patterns of the shirt because in anaglyph it gave vertigo... I would like to see in diorama, if the colors have not been a little more accommodated.

American Reunion Premiere In Melbourne: Australia Loves Latest Pie Flick

 

Earlier in the week 'American Reunion' enjoyed its Australian premiere in Sin City Sydney - outside the famous Harry's Cafe de Wheels to be precise, and tonight they held their Melbourne Premiere at Hoyts Melbourne Central.

  

The cast of 'American Reunion' (better known as 'American Pie') walked the red carpet to help promote the Australian release of the latest instalment of their movie.

 

Some of the Pie cast has been "down under" before. Pie actress Tara Reid has experienced Australia before and got to know Australian advertising industry legend John Singleton quite well a few years ago thanks to Singo's Magic Millions racing carnival on Australia's Gold Coast.

  

'Pie' stars including Jason Biggs, Seann William Scott, Tara Reid, Mena Suvari, Chris Klein and Eugene Levy did the red carpet playing to a large media pack.

  

'American Reunion' has been described by a number of media agencies and film critics as the "raunchiest" since the the original 1990s flick. Mums and dads.

  

Public thank you to the great folks at Universal Pictures who were so helpful.

  

We look forward to our next bit of pie, be it Australian or Americans - whatever comes first.

   

The tag line is 'Save the best piece for last', and we are tending to agree. Thumbs up.

  

Storyline...

  

Over a decade has passed and the gang return to East Great Falls, Michigan, for the weekend. They will discover how their lives have developed as they gather for their high school reunion. How has life treated Michelle, Jim, Heather, Oz, Kevin, Vicky, Finch, Stiffler, and Stiffler's mom? In the summer of 1999, it was four boys on a quest to lose their virginity. Now Kara is a cute high school senior looking for the perfect guy to lose her virginity to.

 

Websites

  

American Reunion official website

www.americanreunionmovie.com

  

Universal Pictures

www.universalpictures.com

  

NBC Universal

www.nbcuni.com

  

Hoyts

www.hoyts.com.au

  

Music News Australia

www.musicnewsaustralia.com

The thing about a recipe is that it is just a guide. I don't generally bother with them unless I'm working with something I've never seen before. Understanding why the recipe is the way it is, what the ingredients bring to the dish, the cooking sequence, and all that, is more important than the precise ingredients. If you get the technique, the why a thing is done and how to carry it off, then you can always work your way backwards, from the ingredients you have, to get the results you want.

 

With soups it's all about building flavors layer by layer. If you have looked at a lot of recipes you may have detected a pattern- with soups and sauces you start by extracting flavors from various aromatic vegetables. The classic combination here in the west is carrots, celery, and onion, but other vegetables like shallots, sweet peppers, fennel, celeriac, leeks, parsnips, or parsley root can be used too.

 

That base layer is then modified with pungent vegetables and herbs- a little something to kick everything in the ass- fresh herbs like rosemary, thyme, and bay, tied in a bundle so you can fish it out later easily, and garlic or ginger, and crushed red pepper flakes.

 

Then when everything is sweated a little in hot fat (with salt to help release moisture), so you can smell the flavors combining, and there's maybe a bit of brown stuff in the pan, you deglaze the pan with a splash of wine, water, or stock to pull that brown stuff up into solution, and your soup is on it's way. At this point you add whatever it is that will make up the bulky foody part of your soup, like beans in the recipe below (I'm getting to it) and top the pan off with enough liquid to make up your portions, plus enough for evaporation. Once your ingredients are all tender (you should be tasting every few minutes), then you can make any final additions like pasta or tender herbs and greens, which will only take about 10 minutes to cook (pasta turns into glue if you cook it too long). When the time is up, taste and add salt/pepper/vinegar as needed, pull out that herb bundle, garnish with some reserved pretty herbs and shredded cheese, and do what comes naturally...

  

...........................................

   

The Minestrone in the picture recipe.

 

1 small onion, chopped fine

 

1 rib celery, chopped fine

 

1 medium carrot, chopped fine (if you have one of those giant horse penis carrots, break a half or a third off and use that)

 

1 or 2 garlic cloves, crushed, sliced, or minced, as you like it. And for fucks sake only use the stuff in the jars if you have no choice.

 

1 big tomato chopped (no need to be neat here, it will break down as it cooks)

 

1 tablespoon of tomato paste (the stuff in the tube is more economical in the long run for singletons or small fluid family units)

 

1 herb bundle (or at least a bay leaf or two) composed of rosemary, thyme, and bay (use the parsley stems that you stripped the leaves off of too, come to think) The bay leaf is mandatory, fresh or dry. If you don't have fresh herbs, a good pinch of italian seasoning or herbs de provence will do too.

 

1/2 loose cup flat leaf or curly parsley, stripped off their stems and rough chopped.

 

kosher salt to taste- remember to just add a pinch at a time- you can always add salt but you can't take it away. i like kosher because it comes in bigger chunks than table salt, giving it a lot less volume and making it a lot harder to overseason.

 

5 cups liquid. Like half water and half stock, though the stock isn't strictly necessary. You might want to deglaze with a splash of wine too. Whatever you like to drink, though a heavy tannic red is probably a bad idea.

 

crushed red pepper- a pinch

 

1/2- 2/3 cup cooked beans*

 

1/2- 2/3 cup fun pasta shapes (i used Trottole)

 

vinegar (what you got, or even lemon juice) to taste.

 

a good grind of your favorite hard cheese to finish and garnish to taste as necessary

 

olive oil. enough. a good glug. a couple tablespoons. eyeball that shit.

 

...........................................

 

put a 4-5 quart heavy bottomed saucepan (with a tight fitting lid) on medium heat.

 

pour in your oil, and toss the bundle and crushed red pepper in. as the oil warms, the flavors infuse.

 

add the onion and a pinch of salt, when you just smell it, add the garlic (always add the garlic after- you don't want to burn it).

 

dump the celery and the carrots in, and stir that around and let that soften.

 

when the pan seems like it's getting dry, add the chopped tomato, and get that reducing.

 

when the pan is getting dry again, deglaze with a splash of wine or a bit of the liquid you have standing by and the tomato paste. Admire how glossy the sauce looks as the brown stuff goes into solution.

 

Add your beans, stir to warm through, then pour the rest of your liquid in. Turn the heat to high, and when it comes to a hard boil, cover it and turn the heat down to medium low.

 

Go hang out to about 20 minutes.

 

when you come back, give the mixture a taste, making sure your carrots are tender, add the pasta and most of the parsley, stir it in, cover, go hang out for 10 more minutes.

 

uncover and check your mixture- if it seems too thick, add a little liquid, if it's too thin, let it reduce a few minutes uncovered. adjust the seasoning, get rid of the herb bundle or the bay leaf, and serve it up, topping the bowl with a little cheese and the reserved parsley. This recipe should produce enough for two largish servings or 4 wimpy little cups sized ones.

 

...........................................

  

* What? Sure, you can buy cooked beans, but fuck that- dried beans are cheaper and you get more variety that way- in this recipe I used a mixture of christmas lima, goats-eye, and great northern beans. Usually I make a few cups worth every week, then they are ready to use in sides or in soups or whatever.

 

Measure out your beans- keep in mind that the cooked beans get 2-4 times bigger than dry, so plan for that, pick them over, looking for rocks and sticks, give them a rinse, then place them in a non reactive vessel and cover them with plenty of water. let them hang out all night. in the morning, add/pour off enough liquid so that the beans are covered under an inch of water, add a sacrificial carrot, celery rib, and herb bundle, bring it to a hard boil, and back off the heat to medium low and cook for an hour. Do NOT add any salt or acid to the uncooked beans- it will prevent them from absorbing liquid and they will never get soft. Alternately, if you have a pressure cooker, do all the above and pressure cook it for 10 minutes or whatever the manual suggests. Drain off the liquid (or save that for the soup) and throw away the vegetables (or put them in the soup too).

 

Easy.

   

Precise location anyone ?

Welcome to the most precise heart rate monitor available for Windows Phone 8.

Connect your HxM heart rate Monitor to your device, and track your heart rate over time!

 

Do you need one?

 

United states: www.amazon.com/Zephyr-Bluetooth-Wireless-Android-Windows/...

International: www.zephyranywhere.com/products/hxm-bluetooth-heart-rate-...

 

if you want to try the app

www.windowsphone.com/s?appid=91963007-5a66-4a48-974b-bd87...

Designed by North 1998

 

The somewhat mythological RAC guidelines. These intensely detailed and precise guidelines outline the new RAC identity (also by North) established in 1997.

 

Things I've come to know or stories I've heard:

 

— 250 copies were produced

— Printed four colour process with six spot colours and two varnishes

— The guidelines took one year to design and produce

— Without substantial experience in large corporate identity programmes (at the time), North simply 'winged it' throughout the identity development. Although:

— A copy of the BMW corporate design guidelines by Zintzmeyer & Lux acted as a primary design reference

— As an example of the rigour undertaken for the programme, tests of the hi-vis clothing designs were conducted by North on a hard shoulder of a highway in wet and windy, low visibility conditions

AMPLIFIED SHOCK AND AWE

The 2014 Supra SA350, SA450 and SA550 combine shocking wakes, precise handling and an awesome interior, but in true Supra style this wake boat has upped its shock value. The Supra SA shines with new metal flake gel coat colors, Blacked-out and Verge hull graphic as well as new Pro Edge Tower Contrast color options. The SA has gone soft, but durable on the inside with the abrasion resistant stain protected SupraSkin vinyl from Spradling; bringing together new colors and textures for an even more luxurious look and feel. A new aggressive windshield lifts the eyes of the boat to the level of refinement shared by the lofty attitude of the Barrage Front End and powerfully calming Battle Prep Transom. The SA still attacks the water with 350-550 horses of Indmar power, depending on your engine choice, pro hull design and precision underwater gear. Snap-out carpet covers a fiberglass floor for a quiet convenient base to a plush interior. 900 pounds of hard tank sub structural floor Liquid Lead ballast, a loaded Roswell Pro Edge Tower, Zero Off GPS speed control, the SmartPlate, VISION Touch Rider Profiles and 1,300-pounds of available Flex ballast will wake-up dreams of going pro. The Supra SA is shock and awe.

 

Overall Length w/o Platform: 22' 6"

Overall Length w/ Platform: 24' 6"

Overall Length w/ Platform & Trailer: 27' 2"

Width (Beam): 100"

Overall Width w/ Trailer: 102"

Draft: 26"

Weight - Boat only: 4,300 lbs

Weight - Boat and Trailer: 5,600 lbs

Capacity - Passenger: 13

Capacity - Weight: 1,900 lbs

Capacity - Fuel: 50 gals

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

An abandoned slate quarry somewhere in the Argentina Valley (Imperia, Liguria - Italy): I prefer to avoid to give a more precise localization for safety reasons.

An abandoned quarry is a very dangerous place, because it is possible to be hit by a falling block. They are no more checked for their stability and they are pretty heavy: the specific weight of slate is 2.6 tons for a cubic meter (168 pounds for a cubic feet, if you prefer) and they can fall from many meters, so it would be like to be hit by a very concentrate Mercedes and you camera could be damaged, too.

If you want to visit these places don't forget to wear safety steeltoe shoes (it is dark and you can easily hit a stone on the ground), a helmet (for falling cobbles or in case you scare the bats on the ceiling, to avoid their drops) and a high visibility jacket.

A flashlight torch is mandatory for a good focusing, even if you disable the autofocus.

Before to go deeper into a cave wait until your eyes will become used to darkness (your eyes pupils must reach f/1.2 or so). This lapse of time will also bring the camera to a better temperature to avoid condensation, because very often the air of these places is pretty damp.

Have a tripod with you because the right stone to leave the camera for a long exposure shot is always in the wrong place, or it has too much dust, or there is a bat sleeping just over it.

If you can find a retired miner who can guide you in the visit it would be a lot better.

 

Una cava di ardesia abbandonata da qualche parte in Valle Argentina (IM): non fornisco una localizzazione precisa per motivi di sicurezza.

Una cava abbandonata è un luogo molto pericoloso, perché è possibile essere travolti da un blocco di pietra. La stabilità dei blocchi non è più soggetta a controlli, e si tratta di blocchi molto pesanti: il peso specifico dell'ardesia è di 2600 kg/m³ e possono cadere da un'altezza considerevole, quindi sarebbe come essere investiti da un Mercedes molto concentrato e anche la vostra macchina foto potrebbe danneggiarsi.

Se volete visitare uno di questi posti non dimenticate di indossare calzature antinfortunistiche con la punta in acciaio (è buio ed è facile colpire una pietra al suolo), un elmetto (per la caduta di piccoli sassi o, in caso spaventiate i pipistrelli sul soffitto, per evitare le loro deiezioni) e un giubbotto ad alta visibilità (quello che tenete sotto il sedile dell'auto va bene).

Una torcia elettrica è praticamente obbligatoria per la messa a fuoco, anche se disabilitate l'autofocus.

Prima di avventurarsi più in profondità in una cava aspettate fino a quando i vostri occhi siano abituati all'oscurità (le pupille arriveranno a f/1.2 più o meno). Questo intervallo di tempo serve anche per portare la macchina a una migliore temperatura per evitare condensazioni, perché molto spesso l'aria di questi posti è decisamente umida.

Portatevi un cavalletto perché la pietra giusta dove lasciare la macchina per una posa lunga è sempre nel posto sbagliato, o c'è troppa polvere sopra, oppure c'è un pipistrello che dorme proprio sulla verticale.

Se trovate un minatore in pensione che vi possa guidare nella visita sarebbe molto meglio.

In the quiet woods, nature’s most efficient handyman gets to work. A determined woodpecker grips a heavy cordless drill like a seasoned carpenter, boring a perfect round entryway into the tree. Wood chips scatter, echoing his rhythm of precise craftsmanship. Today’s project: a custom luxury penthouse nest, complete with reinforced walls and impeccable design. With safety goggles unseen but spirit strong, the forest’s tiniest contractor proves—sometimes, power tools make nest-building a whole lot easier.