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Buddhist teachings contain very precise descriptions on the process of dying, death and the stages between death and rebirth.
During his lecture in New York, Lama Ole explained the foundations of the "Tibetan Book of Death" and the "Meditation on Conscious Dying" (tib. Phowa). Through the meditation on “conscious dying” you get the opportunity to work intensively with the process of your own death.
Lama Ole Nydahl received the transmission of the Phowa teachings from different Tibetan Lamas and is today the most significant teacher of this practice in the Western world. More than 80,000 people learned the "Meditation on Conscious Dying" (tib. Phowa) through him.
More about his work: www.lama-ole-nydahl.org/his-work/
In 1996, an archaeological dig unearthed a "flawless stone" placed there by the Indian Emperor Ashoka in 249 BC to mark the precise location of the Buddha's birth more than 2,600 years ago, if authenticated, the find will put Lumbini even more prominently on the map for millions of religious pilgrims.
“A Little Tale”…
He was not of this earthly plane. To be precise, he was trapped here…unable to find the portal or open it, on those occasions when it became visible to him, between this earthly plane and his home on the Other side deep down in the fiery dark hot smelly bowels of hell.
He had been trapped on this side for so long, at least 250-300 earthly years, which to him was far too long. He hungered for his dark hot smelly cesspool of a home. Each new day he didn’t think he could endure even for one more second the singing of those creatures called birds, the bright colors of the flowers, the intensity of the sun, and oh, all that horrible lush green foliage, as well as the sound of human laughter, especially the young ones.
So, to avoid all that horror, he slept during the time of the light and was awake when darkness fell and that hot bright sun set. He was a denizen of the night. A creature of darkness.
He kept completely to himself, for the most part, when it came to interacting with those “in body” beings called humans. Although he was forced on occasion to interact with these humans, he found them repulsive. Well, truth be told, not all were repulsive to him. Being a creature from the Other side, he possessed many abilities that these repulsive humans did not. Their bodies and minds limited them and they, unaware or uncaring, didn’t know or attempt to find out that they could have at least some of the same abilities he possessed if they just opened their minds. But, they were content to be thick blocks of cement going through their pathetic daily rituals as if they were something of importance.
One of his abilities, and the one that alerted him to the humans that were not repulsive to him, was that he could see inside of each and every one of them… right to their very souls. He could weed through them and find the ones with the black evil hearts. Now, those were his kind of beings for he knew when they left their clumsy earthly bodies and passed through that elusive portal, separating this world from the next, they would reside in the bowels of hell, where he belonged and should be, and be like him.
Now, with these humans, he developed a false relationship with them. Evil as he was, he wanted no relationships, attachments or the like. No, he did this because he needed them and wanted to use them or rather their souls, when their human hearts stopped beating, indicating the body had died and their souls were released, as a means to either push their souls aside and leave them stranded and earthbound and slip through the portal to reach his home or to attach himself to their black souls as they passed through the portal to hell.
For two years he tried to “tag along” on the black hearts souls’ passage from his world through the portal to hell, but each time his efforts failed. When he was with them when they died, their death being a result of his actions, he saw the portal, which appeared at each black hearted human’s death, but he could not pass through it with them. Their souls, screaming in horror and terror, passed through the portal and left this world for their new residence in hell, and he remained behind.
When he first got trapped on this side 250-300 human years ago due to a stupid mistake on his part, he spent the first 50-100 of these human earth rotation years looking for the portal to home, but to no avail. Then, he became aware of these humans and realized he could see into them and find those with black hearts. That is when the idea came to him to either tag along or push their dark souls aside after their human hearts stopped beating and pass through the portal to home, leaving them behind.
But, waiting years for them to die was excruciating on top of the fact that when they did die, he was still left behind. He had to wait for their death and then he remained here…still trapped. So, he became obsessed to find a quicker way to get back to his hell. Using all his black magic and spells, as well as any tool or instrument at hand, he began to kill black hearted humans…one after another. He would go to prisons where the crop of evil hearts was more than plentiful and kill and kill and kill, tagging along or trying to push their screaming horror filled black souls aside. But, he failed each and every time. He could not understand why.
When he saw the portal to hell, he would get a glimpse of his home… all fiery, hot, dank, and dark and he could hear the screams of those damned to live there for eternity. His hunger to get there increased even more.
He held back some black hearted souls, who were grateful not to be damned and allowed to remain on this earthly plane, as his slaves to do his bidding. He would command them to kill human after human along with him and help him try to use any way possible as a means to get through that portal, but he could not. For….The Angel of Death would not let him pass through and return home to hell. He was trapped here. Trapped.
Each day when he slept, his mind relived the day he made that stupid blunder which caused him to remain on this side. He tried to figure out how to reverse what he had done. Day after day, earth rotation after earth rotation, he thought while he slept, but nothing came to him. No idea, no discovery, no answer, no sign…nothing.
But, what did come to him was the realization that because he enjoyed, no reveled, in his damnation and loved the smelly fiery bowels of hell with all the screaming and crying black hearted souls, it was deemed that was not punishment for his evil. The punishment of damnation meant he should suffer, not enjoy his fate. So, he was tricked into making that stupid error and lost access to the portal to hell, thus preventing him from going home forever. He was now, truly damned and punished.”
~ Marsha J West, Author*
* The “A Little Tale” is my original idea and story. I am the author of that story and it is my property. Thus, it cannot be copied, reproduced, reprinted or used in any way or any medium. Also, this hutch is my original idea, creation and design. It is also my creative property. It is not to be copied, resold or reproduced.
©2013 Julia Forsyth, Pilot Precise Rolling Ball pen on paper, 4"x4" #art #arts #drawing #sketch #sketching #texas #texasart #mockingbird #statebird #birdart #hatching
This drawing is based on Bruce Tuten's Creative Commons photo of a mockingbird: bit.ly/11g5ZA2
The kit and its assembly:
This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!
Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.
The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…
Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.
The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.
The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!
The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.
Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…
Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.
The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.
As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.
Buddhist teachings contain very precise descriptions on the process of dying, death and the stages between death and rebirth.
During his lecture at the Berlin University of Arts, Lama Ole explained the foundations of the "Tibetan Book of Death" and the "Meditation on Conscious Dying" (tib. Phowa). Through the meditation on “conscious dying” you get the opportunity to work intensively with the process of your own death.
Lama Ole Nydahl received the transmission of the Phowa teachings from different Tibetan Lamas and is today the most significant teacher of this practice in the Western world. More than 80,000 people learned the "Meditation on Conscious Dying" (tib. Phowa) through him.
The precise location of that first church has been lost. The present building dates from the time of Pope Sixtus III (432 - 440) and contains many ancient mosaics from this period. Its form so exactly follows the conventions of an imperial basilica it has at times been taken for one.[9] The Athenian marble columns supporting the nave are even older, and either come from the first basilica, or from another antique Roman building; thirty-six are marble and four granite, pared down, or shortened to make them identical by Ferdinando Fuga, who provided them with identical gilt-bronze capitals.[10] The 14th century campanile, or bell tower, is the highest in Rome, at 240 feet, (about 75 m.). The basilica's 16th-century coffered ceiling, to a design by Giuliano da Sangallo, is said to be gilded with Inca gold presented by Ferdinand and Isabella to the Spanish pope, initially brought by Christopher Columbus[citation needed], Alexander VI (something which factually is erroneous, since the Inca empire was conquered during the reign of Charles V). The apse mosaic, the Coronation of the Virgin, is from 1295, signed by the Franciscan friar, Jacopo Torriti. The Basilica also contains frescoes by Giovanni Baglione, in the Cappella Borghese.
The Piazza dell'Esquilino with the apse area of Santa Maria Maggiore.
The Borghese (or Pauline) Chapel
The 12th-century façade has been masked by a reconstruction, with a screening loggia, that were added by Pope Benedict XIV in 1743, to designs by Ferdinando Fuga that did not damage the mosaics of the façade. The wing of the canonica (sacristy to its left and a matching wing to the right (designed by Flaminio Ponzio) give the basilica's front the aspect of a palace facing Piazza Santa Maria Maggiore. To the right of the Basilica's façade is a memorial representing a column in the form of an up-ended cannon barrel topped with a cross: it was erected by Pope Clement VIII immediately after the St. Bartholomew's Day massacre of Protestants, though today it is reputed to celebrate the end of the French Wars of Religion [1].
The Marian column erected in 1614, to designs of Carlo Maderno is the model for numerous Marian columns erected in Catholic countries in thanksgiving for remission of the plague during the Baroque era. (An example is the Holy Trinity Column in Olomouc, the Czech Republic). The column itself is the sole remaining from Constantine's Basilica of Maxentius and Constantine in Campo Vaccino, as the Roman Forum was called until the 18th century [2]; Maderno's fountain at the base combines the armorial eagles and dragons of Paul V.
on the vintage subway ride.
84 is a pretty precise number....
For the past few Decembers the MTA has run a special "nostalgia train" 4 or 5 times each Sunday. The train consists of a variety of vintage cars built between the 1930's and 1970's- primarily R1 or R9 models built beginning in 1930. This year, it runs on the 6th Avenue line, between Queens Plaza and 2nd Avenue. www.mta.info/nyct/service/events/vintage.html
The ride is great fun. Lacking the insulated walls and suspension systems of the modern subway, these trains roar and teeter as they blast through the tunnels with their distinctive electric motor whirr. There is no climate control, and it must have been hell during the summer, with only open windows and ceiling fans to alleviate the notorious oven steambath of the subway in July or August.
I believe these trains are preserved by the New York Transit Museum, who have kept the original signage and advertising intact. Running them like this is one of the best ideas the Transit Authority has had in a long long long time.
With so much to look at, it was one of the quickest rides I can remember having. The train was full of transit nerds (like myself) and there was a bit of a party atmosphere. There were also a number of older people who rode these cars back when they were in full service. The best part, however, was to observe the shock of regular commuters who had no idea that this was going to be the train that was going to take them to work, or whereever. And, of course, it's also amazing how many were just completely indifferent to it all- having lunch, reading the paper, doing crosswords...
December 12, 2010
These trains ran on the IND lines, which were built in the 1930's as the city's third separate subway system. "IND" indicated its independence from the IRT (Interborough Rapid Transit- the original 1904 system covering Manhattan and the Bronx) and the BMT (Brooklyn-Manhattan Transit, the second system built) In 1940, the City unified the three systems into one.
Today the IND portion of the subway includes, among others, the E and F lines through Queens, Manhattan, and into Brooklyn, the Crosstown G line, and the famous "A" train.
Since the IND, there has been little new construction on the subway. It's frustrating that nearly the entire system used today was built in less time (35 years or so, and through a World War and the Great Depression...) than it will take to finally finish one lousy line- the much-need 2nd Avenue line, which began in 1972 and whose first phase (only a few stations) is slated to be completed in 2016. All while fares rise and services are cut. Obviously, there's something very wrong with the MTA.
Tank Infantry Mark III, Valentine IX (E2000.577)
The precise identity of this tank is not clear, all identification marks having been removed many years ago. It stood outside the Army Base at Long Kesh in Northern Ireland for many years, subsequently moving to the Maze Prison and Lisanelly Camp, Omagh.
It was subsequently acquired by Vickers Defence Systems and restored to running order in Newcastle using the engine from our Valentine Archer (E1969.43). In due course it was offered to the Tank Museum on loan and ultimately, in March 2002 was gifted to the Museum.
The Valentine Mark IX was upgunned to fit a 57mm (six-pounder) gun into the turret although this did not leave enough room for a co-axial machine gun and in any case, with just a two-man turret crew the tank was very difficult to fight.
Our tank carried the number T123358 on the turret which is correct for the type but not necessarily for this actual vehicle. Mark IX Valentines saw service in North Africa and some may have been suppplied to Russia but by 1943 the Valentine had been replaced in front line service by more modern vehicles and was either being relegated to secondary roles or supplied to other countries such as Portugal.
The Valentine development started without a specification from the War Office (hence the absence of an army designation), as a private design by Sir John Carden, and was submitted on February, 10, 1938, to the authorities. By then, the Matilda II had been chosen for production, but the Valentine was something different.
Vickers engineers basically tried to enhance their A10 Cruiser tank design, with a dramatic increase in protection (up to 60 mm/2.36 in). This choice allowed the use most components and parts of the already produced Cruiser I and II, therefore creating an efficient and cheap solution to the need of new infantry tank models. By then, the Matilda II was found to be far costlier than the Matilda I, and not suitable for mass-production. Comparatively, the Valentine seemed a good compromise. The name itself still is a mystery. It could have originated either from Sir John Carden’s middle name, or the date of its first submission (St. Valentine day), or a composed Vickers factory codename, though most historians agree that Valentine was just a simple codename during development.
The Mark I set the tone for the entire series of eleven main variants, with many sub-variants, and a staggering total of 8300 units. The main armament and turret design, as well as the engine and protection, were continuously improved while keeping roughly the same general appearance until 1945. The Mk.I was recognizable by its original two-man turret and 2-pdr (40 mm/1.575 in) gun. From the start, a coaxial Besa machine-gun constitued the secondary armament. The crew consisted of only three men due to the cramped interior, and the commander was also busy as gun loader, machine-gunner and radio operator. The production was rushed to such point that many problems were later detected and fixed with the next Mk.II. The main engine was the AEG A189 petrol delivering only 135 hp, and the hull was riveted. 350 were delivered in all, most seeing action in Libya, while others stayed at home for training.
Tankfest by World of Tanks - 24.-25.6.2016
The Tank Museum - Bovington, UK
Worlds biggest and best live display of historic armour, living history, and much more at the Home of the Tank - The Tank Museum, Bovington, United Kingdom.
More from Tankfest:
www.flickr.com/photos/jukkaokauppinen2/albums/72157670621...
More from me:
www.flickr.com/photos/jukkaokauppinen
Tankfest videos:
www.youtube.com/playlist?list=PLIGRHBJyGQb3PpXwFlOKve2OUJ...
My Imgur galleries:
Hendrick Ter Brugghen (1588-1629), actif à Utrecht
Joueuse de luth, 1626
Personnes en faisant de la musique, individuellement ou en groupes, sont populaires dès les premières représentations du sujet de Caravage, en particulier chez ses successeurs néerlandais. C'est précisément dans la musique néerlandais que musique souvent est pourvu de l'importance emblématique: peut-être le peintre voulait ainsi que son modèle, qui commence tout juste à faire de la musique et se mit à chanter et à jouer quelques notes de musiqe sur son instrument, soit compris comme une allégorie de l'ouïe.
Hendrick Terbrugghen (1588-1629), tätig in Utrecht
Lautenspielerin, um 1626
Musizierende, einzeln oder in Gruppen, sind seit Caravaggios frühen Darstellungen des Themas vor allem bei seinen holländischen Nachfolgern beliebt. Gerade in der niederländischen Malerei wird Musik gerne mit sinnbildhafter Bedeutung versehen: möglicherweise wollte der Maler also sein Modell, das gerade zu musizierend beginnt, sich und die Laute einstimmt, als Allegorie des Gehörsins verstanden wissen.
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
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
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: 10
Capacity - Weight: 1,400 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
The precise location of that first church has been lost. The present building dates from the time of Pope Sixtus III (432 - 440) and contains many ancient mosaics from this period. Its form so exactly follows the conventions of an imperial basilica it has at times been taken for one.[9] The Athenian marble columns supporting the nave are even older, and either come from the first basilica, or from another antique Roman building; thirty-six are marble and four granite, pared down, or shortened to make them identical by Ferdinando Fuga, who provided them with identical gilt-bronze capitals.[10] The 14th century campanile, or bell tower, is the highest in Rome, at 240 feet, (about 75 m.). The basilica's 16th-century coffered ceiling, to a design by Giuliano da Sangallo, is said to be gilded with Inca gold presented by Ferdinand and Isabella to the Spanish pope, initially brought by Christopher Columbus[citation needed], Alexander VI (something which factually is erroneous, since the Inca empire was conquered during the reign of Charles V). The apse mosaic, the Coronation of the Virgin, is from 1295, signed by the Franciscan friar, Jacopo Torriti. The Basilica also contains frescoes by Giovanni Baglione, in the Cappella Borghese.
The Piazza dell'Esquilino with the apse area of Santa Maria Maggiore.
The Borghese (or Pauline) Chapel
The 12th-century façade has been masked by a reconstruction, with a screening loggia, that were added by Pope Benedict XIV in 1743, to designs by Ferdinando Fuga that did not damage the mosaics of the façade. The wing of the canonica (sacristy to its left and a matching wing to the right (designed by Flaminio Ponzio) give the basilica's front the aspect of a palace facing Piazza Santa Maria Maggiore. To the right of the Basilica's façade is a memorial representing a column in the form of an up-ended cannon barrel topped with a cross: it was erected by Pope Clement VIII immediately after the St. Bartholomew's Day massacre of Protestants, though today it is reputed to celebrate the end of the French Wars of Religion [1].
The Marian column erected in 1614, to designs of Carlo Maderno is the model for numerous Marian columns erected in Catholic countries in thanksgiving for remission of the plague during the Baroque era. (An example is the Holy Trinity Column in Olomouc, the Czech Republic). The column itself is the sole remaining from Constantine's Basilica of Maxentius and Constantine in Campo Vaccino, as the Roman Forum was called until the 18th century [2]; Maderno's fountain at the base combines the armorial eagles and dragons of Paul V.
Exercise PRECISE RESPONSE, is an annual chemical, biological, radiological, and nuclear (CBRN) exercise hosted by Defence Research and Development Canada at Canadian Forces Base Suffield where the Canadian Armed Forces along with NATO allies and partner Nations can practice essential CBRN defence skills in a multinational training environment.
The first Ford Capri to bear that precise name was introduced in January 1969 at the Brussels Motor Show, with sales starting the following month. The intention was to reproduce in Europe the success Ford had had with the North American Ford Mustang; to produce a European pony car. It was mechanically based on the Cortina and built in Europe at the Dagenham and Halewood plants in the United Kingdom, the Genk plant in Belgium, and the Saarlouis and Cologne plants in Germany.
(Wikipedia)
- - -
Der Capri wurde im Januar 1969 auf dem Brüsseler Autosalon offiziell präsentiert, der Verkauf begann im Februar. Mit dem Capri wollte Ford den Erfolg, den das Unternehmen mit dem Ford Mustang in den USA erzielt hatte, in Europa wiederholen und eine Art europäisches „Pony Car“ anbieten. Das Fahrwerk wurde vom englischen Ford Cortina übernommen, die Motoren zum Teil vom deutschen Ford Taunus. Hergestellt wurde er in den britischen Werken Dagenham und Halewood, im belgischen Genk und in den deutschen Ford-Fabriken Saarlouis und Köln.
(Wikipedia)
A staircase in the moated castle of Bad Rappenau in Germany
Some info (in german language) may be found here.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
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: 10
Capacity - Weight: 1,400 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
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
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: 10
Capacity - Weight: 1,400 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
3899. We don't have the precise date, but for some reason HMAS AUSTRALIA [II] only carried one camouflage pattern during WWII, applied, from memory, during her serviuce in British/North Atlantic waters at the end of 1940. In his 1982 book 'The Royal Australia Navy: Historic Naval Events Year by Year,' from which this pic is taken, the late Lew Lind says camouflage was dispensed with in 1943.*
The camouflage seen here is the same pattern, but much faded from that shown in the next image, taken in Scotland the year before.
One can see that the photograph above was before the outbreak of the Pacific War, and AUSTRALIA does not yet have the AA basins located on the top of 'B' and 'X' turrets. In any event, on June 8, 1943, AUSTRALIA was wearing A US Navy dark blue scheme when photographed by an RAAF 7th Squadron aircraft at Palm Island, off Townsville. We had a great photo of her there at pic NO. 165, which can be seen here:
www.flickr.com/photos/41311545@N05/3850881649/
*We're not sure how broadly Lew Lind's comment about camouflage being dispensed with in 1943 was intended, perhaps just HMAS AUSTRALIA. As we've seen. HMAS SHROPSHIRE arrived in Australia with a heavy Admiralty camouflage pattern in September 1943, and HMAS ADELAIDE had camouflage from 1941 to the end of her WWII service. It could still be seen as she was being broken up at Port Kembla in 1949.
Photo: Department of Information, it is held in the Naval Historical Collection, Australian War Memorial image ID NO. 007066, listed as copyright expired, public domain.It appears in the late Lew Lind's book 'The Royal Australian Navy: Historic Naval Events Year By Year' Reed Books, Sydney 1982] p94.
A three-part COMPENDIUM of links to more than 200 HMAS AUSTRALIA [II] images on this Photostream begins at Pic Entry NO 5412, here:
www.flickr.com/photos/41311545@N05/6627997309/in/photostream
Bob Behnken has always approached spaceflight as both a test pilot and an engineer—methodical, precise, and deeply aware of the risks involved. Over two decades at NASA, he played a critical role in human spaceflight, logging more than 60 days in space and performing 10 spacewalks. He was instrumental in the early years of the Commercial Crew Program, helping usher in a new era of private space travel.
Born in St. Ann, Missouri, Behnken followed a rigorous academic path, earning a Ph.D. in mechanical engineering from Caltech before becoming an Air Force flight test engineer. Selected as a NASA astronaut in 2000, he flew twice on the Space Shuttle Endeavour, in 2008 and 2010, conducting complex assembly work on the International Space Station. His most high-profile mission came in 2020, when he and fellow astronaut Doug Hurley became the first crew to fly aboard SpaceX’s Crew Dragon as part of the Demo-2 test flight. Their success marked the return of human spaceflight from U.S. soil after nearly a decade.
On February 22, 2022, I photographed Behnken and his wife, astronaut Megan McArthur, at Johnson Space Center. We worked in Building 9, the Space Vehicle Mockup Facility, where astronauts train in full-scale spacecraft replicas, and in Building 16, home to the Systems Engineering Simulator. Even in a training environment, Behnken’s deep familiarity with these tools was evident—his time at NASA had made these spaces as familiar to him as any home or cockpit.
Behnken retired from NASA in November 2022 but remains closely connected to aerospace, contributing his expertise to the next generation of engineers and astronauts. His career reflects a commitment to solving the hard problems of spaceflight—designing, testing, and flying the systems that will take humanity further.
On the night of the 16 february 1942 on the Netherlands Antilles , to more precises Aruba. The Esso Oilrefineries where attack by the U-boat ‘Gruppe Neuland’. These had as mission to attack this valuable asset delivering aircraft fuel for the RAF. Luckyly the crew of the U boat forget to remove the muzzelstop so the gun explodes firing the first shot! After that only the AAA 37 mm gun could be used against the oilrefinery. This gun was not abel to do that much damage.
As a answer the ‘Snip’ (Fokker 18) was quickly adabt to the task to counter attack the U-boat. As a maritiem patrol bomber. This task was original intended for the other Fokker 18 ‘Oriol’. But this aircraft was in maintenance that night.
No U-boat was ever spotted. Later only the burning tanker Monagas (attackt by the U boat) was spotted by the partly Royal Netherlands Naval (KM) and a Royal Netherlands Marine Corp member) and reserve KM personal . The tanker crew was later saved. Because the ’Snip’ transmitted here position to other Royal Netherlands Naval ships. Hera a artist impression of the 'Oriol' or the 'Snip' (militarised). It is not sure 9by me) of the ‘Snip’ also was militarised prior or later during this period.
Admiral Dönits later recall that the Netherlands Antilles defend was well organised! He was unaware ( and the attacking U-boat crew’s ) of the great panic and chaos during the first hours after the attack of his U-boat!
The Fokker F18’s where replaced by USAAC A-20 Havocs. A few Havocs where already on NAS HATO, but no one informed the crews and no Havocs start that night.
data from 'Luchtvaart Wereld "by Thijs Postma, sidevieuw by Lila Design Aviation.
Op 16 februari 1942 werd op Aruba de Esso olieraffinaderijen door de U-boten ’ Neuland Gruppe’ aangevallen. Deze waren naar de Antillen gestuurd om tankers en de Esso raffinaderijen in brand te schieten. Gelukkig vergat de crew van de Uboot de mondingsstop te verwjderen en explodeerde het kanon bij het eerste schot! Hierna had de Uboot nog alleen de beschikking over het 37MM luchtafweerkanon waardoor de tanks niet doorboord konden worden. Hierdoor werd Aruba voor een ramp behouden.
Als antwoord werd in allerijl de Snip omgebouwd tot maritieme bommenwerper voor de KM.
De passagierstoelen werden verwijderd de achterbuitendeur verwijderd en wat geleidings en beveiligings balken voor de dieptebommen aangebracht.
Eigenlijk was de door de Kon. Marine al eerder gevorderde KLM machine de Fokker FXVIII ‘Oriol’ omgebouwd voor deze taak. Maar deze stond in onderhoud op het moment van de aanval.
Als crew traden reservisten van KLM en KM personeel op. Als dieptebommenwerper ging Marinier Jan Kooijmans mee die bij de eerste vlucht onder operationele omstandigheden zijn luchtdoop kreeg! Hij had alleen grond instructie in het scherpstellen van de dieptebommen gehad!
Op een van de vluchten werd de brandende tanker Monagas gespot. Hiervan kon de crew gered worden door de positie die door de Snip werd doorgeseind naar de wal waardoor andere schepen uitvoeren om de bemanning te redden.
De Snip en Oriol werden door USAAC A-20 Havocs vervangen . Er waren tijdens hierboven genoemde aanval al 3 kisten aanwezig. Maar de crew’s werden te laat gealarmeerd.
Geen U boot werd ooit gezien tijdens deze periode.
Wel was de Admiraal Dönitz later de mening toegedaan dat de verdediging van de Dutch Antillen 'well organised was. Hij en zijn U boot bemanning was niet op de hoogte van de onstane paniek en chaos direct na de aanval van zijn U-boot. Data from 'Luchtvaart Wereld "by Thijs Postma, sidevieuw by Lila Design Aviation.
National Museum of the US Air Force
The Minuteman III Intercontinental Ballistic Missile (ICBM) is the United States' only current operational land-based strategic nuclear missile. It is one leg of the nuclear deterrent "triad" that also includes USAF bombers and U.S. Navy submarine-launched missiles. U.S. nuclear forces are on alert at all times, ensuring a swift response in the event of a nuclear attack.
Serving Since 1970
Minuteman III became operational in 1970, and is the most modern missile in the Minuteman family. The Minuteman series was the first in the U.S. ICBM arsenal to use solid fuel. This important feature allows the missile to be stored for long periods in its silo, requiring much less maintenance and fewer technicians than older liquid-fueled missiles like Titan and Atlas. It can also be launched almost instantly. Minuteman III was the world's first missile to carry more than one warhead, using a "Multiple Independently-targetable Re-entry Vehicle" (MIRV) system. Though Minuteman III can carry three warheads, each missile has been limited to one by international treaty since 2005.
The Minuteman system was designed in the 1950s. Minuteman I, the first of the family, became operational in 1962 during the Cuban Missile Crisis. Later, the retirement of the U.S. Air Force's Minuteman II missiles in 1995 and Peacekeeper missiles in 2005 left Minuteman III as the only American land-based ICBM. Today, Minuteman III missiles are located in widely-separated, hardened underground silos at three bases -- F.E. Warren AFB, Wyo., Malmstrom AFB, Mont., and Minot AFB, N.D.
Over the years, new technology has increased Minuteman III's reliability, accuracy and ability to survive nuclear attack. Advanced guidance systems, new solid rocket fuel, and improved electrical power are the most recent updates. The Air Force has also upgraded launch facilities and installed better communications gear with new command and control consoles. These improvements enable Minuteman III to serve well into the 21st century.
The Missile Crew
Two officers make up a Minuteman III launch crew. These highly-trained USAF teams are on alert at all times in deeply-buried underground launch facilities. Each team controls 10 widely-dispersed missiles. Missile squadrons consist of 50 missiles. Minuteman III crews can launch missiles only on authenticated orders from the President of the United States using complex, secure codes and procedures. A modern system of high- and low-frequency satellite, radio and land lines ensures secure, reliable communication for sending and receiving orders. Airborne command and control aircraft can also launch the missiles remotely if ground command is destroyed.
Launching a Minuteman III takes about 60 seconds. When a launch crew receives a valid "emergency action message," they take specific and well-practiced steps to make sure their actions are correct. If necessary, top-secret codes are sent to the missiles to enable them to launch at predetermined targets. Next, the crewmen simultaneously turn keys that give the missile a final readiness check and open huge silo doors at ground level. Finally, electric cables automatically disconnect to free the missile, the first stage ignites, and Minuteman III is on its way.
Reaching the Target
Minuteman III is a three-stage missile that can reach targets more than 6,000 miles away. As each stage burns out, it drops away and the next stage ignites. In flight, a sophisticated guidance system keeps Minuteman III on course by slightly adjusting rocket nozzles. At the proper time -- about three minutes after launch -- small rockets slow the third stage. The post-boost vehicle (or "warhead bus") carrying the nuclear payload then maneuvers to a pre-determined release point. With precise timing, it releases the warhead or "re-entry vehicle." Helped by penetration aids that disguise it on enemy radar, the warhead follows a ballistic trajectory to its target.
TECHNICAL NOTES:
Propulsion: Three-stage solid fuel rocket motors; post-boost stage for positioning re-entry vehicle is liquid-fueled
Weight: 76,000 lbs.
Range: 6,000+ miles
Maximum speed: Approx. 15,000 mph
Armament: One, two or three MK-12 or MK-12A warheads in the megaton range
On 13 januari 1942 during the invasion of Tarakan on Borneo, Bombers of the KNIL-ML , or to be more precise the( unit) 1-Vl.G.1, flew multiple missions. These had to stop the Imperial Japanees Navy with its amfibian operations on Tarakan that day. The missions where flown by a mix of Glenn Martins WH3 and WH3A’s. The Japanees Navy flew missions from Jolo in the form of Mitsubishi Zero’s from the Tainan Kokutai. To protect the fleet, they had a fighter permanece above there fleet of 3 Zero’s at any time. Six Glenn Martins where lost that day. One of the survivors Lt. Lukkien lost nearly his life and crew that day. Arriving above the Japanees fleet the’re patrouille of 3 Glenn Martins where attacked by 6 Zero’s . His plane took hits in the Left wing tank and the left engine, fuel was leaking in to the crews positions, also the cockpit was hit and he suffered wounds on his head and a leg. Because he lost a lot of blood and therefor lost his consciousness. Sergeant Vermey toke over the plane from the aft position, trying to reach the base. Because the plane had also a demaged rudder and stabilator he had difficulties to reach the base. Just in time Lt.Luttkien was abel to take over the controls again and landed save the cripled plane on Mangar. Just in time because from the emergengy stearing position you can only make a belly landing! Lt. Lukkien survived his wounds and the war. Tragically 24 man of the KNIL-ML lost there life that day. The Japanees had only a demaged Zero and a few demaged ships. Also Tarakan was lost.
Painting by Thijs Postma .
13 januari 1942
Tijdens de invasie van Tarakan op Borneo werden die dag mederer missies gevlogen tegen de amfibische landingen van de Japanse Imperiale strijdkrachten. Deze missies werden uitgevoerd met WH3 en WH3A’s van 1-Vl.G.1 vanaf Samarinda II. Vanaf Jolo werd die dag een Fighter permanence gevlogen door de Tainan Kokutai boven de Japanse landingsvloot om deze te beschermen . Op dit schilderij zien we een van de 6 vliegtuigen die deze dag verloren gingen . Zo ook bijna het vliegtuig van Lt. Lukkien. Zijn vliegtuig werd door een Mitsubishi Zero getroffen in de linker benzine tank. Hierna moest de linkermotor afgezet en de propeler in vaanstand worden gezet omdat deze motor beschadigd was . De benzine droop tot in de romp. De vlieger Lt. Lukkien werd hierbij gewond aan zijn hoofd en been, waarbij hij veel bloed verloor. Sergeant Vermey nam de besturing gedurende de retourvlucht over. Dit ging lastig en zwaar omdat het richtingsroer gedeeltelijk kapot was geschoten. Ook was een hoogteroer beschadigd geraakt in dit luchtgevecht. Het vliegtuig kon echter zwaar beschadigd op Mangar veilig aan de grond gezet worden. Lt. Lukkien herstelde van zijn verwondingen. Die dag verloor de KNIL -ML 6 bemanningen (24man) de Japanners leden ook verliezen deze dag deze bestonden uit een beschadigde Zero die naar zijn basis kon terugkeren . Tevens werden een aantal schepen licht beschadigd.
Schilderij door Thijs Postma.
Buddhist teachings contain very precise descriptions on the process of dying, death and the stages between death and rebirth.
During his lecture at the Berlin University of Arts, Lama Ole explained the foundations of the "Tibetan Book of Death" and the "Meditation on Conscious Dying" (tib. Phowa). Through the meditation on “conscious dying” you get the opportunity to work intensively with the process of your own death.
Lama Ole Nydahl received the transmission of the Phowa teachings from different Tibetan Lamas and is today the most significant teacher of this practice in the Western world. More than 80,000 people learned the "Meditation on Conscious Dying" (tib. Phowa) through him. More about his work: www.lama-ole-nydahl.org/his-work/
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
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: 10
Capacity - Weight: 1,400 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
Riverside Cemetery, Kalamazoo, Michigan
Argus Anastigmat 50mm f/4.5 on Sony A7RM2.
Argus-Ilex-Precise I.R.C. f/4.5 Anastigmat (from the early Argus A camera series) on Sony A7RM2.
Converted to black-and-white in Lightroom CC; distortion, vignette and edge softness come with the lens.
Want sharp optics, a precise German shutter and ability to take instant photos on a 3x4" film? Based on a standard Polaroid 420 Automatic Land Camera, this camera has been extensively modified to be able to shoot at professional standards.
The original f8.8 lens and automatic shutter have been replaced with a 1960's, Industar, multi-coated 110mm, f4.5 lens (based on a Zeiss Ikon design), which is mounted in a Pronto size 0 shutter. The shutter features full X-sync for flash, cable release socket, bulb mode and self timer, making it perfect for shooting in all scenarios. The mechanical nature of the shutter also means that the camera does not require batteries.
The new 110mm lens is not only faster than the original lens, but also much sharper, and delivers results on par with a Polaroid 180. It features a beautifully shallow depth of field when wide open, with lovely bokeh. Coverage is 100% full frame, with no vignetting. This makes the camera the perfect choice for anyone wanting manual control over their shots, on a totally unique camera.
Features:
- Industar, 110mm, f4.5 coated glass lens (based on a Zeiss Ikon design)
- Pronto size 0 shutter, with bulb mode, cable release and X-sync for flash, range from 1/200th to bulb mode. The shutter also features a countdown timer for timed shots.
- Aperture range from f4.5 to above f22
- Lens adapter to accept any 43mm filters
- Twin window rangefinder/viewfinder with projected framelines and automatic parallax compensation rangefinder/viewfinder
- Cold shoe mount for flash and other accessories
- Removable front cover
- Folding bellows design
- Neck strap
- Storage area at the back of the camera, for cleaning cloths etc
- Custom black accents
- Compatible with ALL Type 100 films, such as Fuji FP-100C and FP-3000B, as well as expired Polaroid brand films.
The 110mm Industar lens has been re-calibrated and mounted to focus optimally with the original 114mm rangefinder, with sharp portraits the number one priority. Infinity distance is also nice and sharp.
Lastly, the camera has had it's original light grey panels and doors replaced with some nice sleak black ones, giving the camera a stealthy look. The rear door also features a count-down timer, which counts down the seconds required for the film to develop.
No precise measurements - I just tossed in:
- limeaid
- non-fat vanilla yogurt
- two spoonfuls of full-fat strawberry yogurt (what was left and that had to get eaten)
- half of an avocado
- frozen blueberries
- frozen strawberries
- 2 small squeezes of honey
The avocado tones down the tartness of the fruit and adds a lovely velvety texture, but is otherwise not distinguishable.
First the precise fit, then the curve is cut and shaped.
RIPTIDE was built in 1927 by Frank E and William J Schertzer, owners of Schertzer Brothers Boat and Machine Company, which was then located at 1115 Northlake Avenue on the north end of Lake Union near the foot of Stone Way in Seattle. Tantalizing hints in her lines suggest she may have been designed by the Seattle firm of Lee, Brinton and Wayland. Her original owners are as yet unknown.
RIPTIDE is 47 feet 1-inch long with a beam of 11 feet 10-inches and a draft of four feet. She is planked in port orford cedar riveted to white oak frames over an apitong backbone with western red cedar houses. She displaces about 10 tons, relatively light for a boat this size.
A Coast Guard documented vessel, RIPTIDE carries documentation number 226242 carved into the interior face of both port and starboard bilge stringers.
RIPTIDE is powered by remanufactured Cummins B210 5.9 liter turbo-charged diesel of 210hp. While her top speed is over 14 knots at 2400 rpm, her cruising speed is a much more sedate 9 knots at 1500 rpm. She carries 300 gallons of diesel fuel.
She was overhauled by the Port Townsend Shipwright's Co-Op in Port Townsend WA in 2015, completely recaulked by John Zimmer of Palouse Boatworks, and painted and varnished by Diane Salguero of Salguero Marine Services. 2017 work included replacing the aft portion of the pilothouse and adding six new portlights forward and repainting the boat, in addition to her annual painting. 2018 Work included replacing the forward portion of the pilothouse, overhauling the transom seat area, and adding a water system and head. Shipwrights Jeff Galey and Paul Stoffer have done the majority of work on the boat. Salguero Marine will paint RIPTIDE after she emerges from the shipyard in early July, 2018.
RIPTIDE's hailing port is Port Ludlow WA. She is usually moored in Port Madison, on Bainbridge Island, WA.
Port Townsend Shipwright's Co-Op:
www.facebook.com/PortTownsendShipwrightsCoOp?fref=ts
Salguero Marine:
a href="http://salgueromarine.com/" rel="nofollow">salgueromarine.com/
www.facebook.com/marinefinishes
Mystery Bay Sails and Canvas:
Buddhist teachings contain very precise descriptions on the process of dying, death and the stages between death and rebirth.
During his lecture in New York, Lama Ole explained the foundations of the "Tibetan Book of Death" and the "Meditation on Conscious Dying" (tib. Phowa). Through the meditation on “conscious dying” you get the opportunity to work intensively with the process of your own death.
Lama Ole Nydahl received the transmission of the Phowa teachings from different Tibetan Lamas and is today the most significant teacher of this practice in the Western world. More than 80,000 people learned the "Meditation on Conscious Dying" (tib. Phowa) through him.
More about his work: www.lama-ole-nydahl.org/his-work/
Tank Infantry Mark III, Valentine IX (E2000.577)
The precise identity of this tank is not clear, all identification marks having been removed many years ago. It stood outside the Army Base at Long Kesh in Northern Ireland for many years, subsequently moving to the Maze Prison and Lisanelly Camp, Omagh.
It was subsequently acquired by Vickers Defence Systems and restored to running order in Newcastle using the engine from our Valentine Archer (E1969.43). In due course it was offered to the Tank Museum on loan and ultimately, in March 2002 was gifted to the Museum.
The Valentine Mark IX was upgunned to fit a 57mm (six-pounder) gun into the turret although this did not leave enough room for a co-axial machine gun and in any case, with just a two-man turret crew the tank was very difficult to fight.
Our tank carried the number T123358 on the turret which is correct for the type but not necessarily for this actual vehicle. Mark IX Valentines saw service in North Africa and some may have been suppplied to Russia but by 1943 the Valentine had been replaced in front line service by more modern vehicles and was either being relegated to secondary roles or supplied to other countries such as Portugal.
The Valentine development started without a specification from the War Office (hence the absence of an army designation), as a private design by Sir John Carden, and was submitted on February, 10, 1938, to the authorities. By then, the Matilda II had been chosen for production, but the Valentine was something different.
Vickers engineers basically tried to enhance their A10 Cruiser tank design, with a dramatic increase in protection (up to 60 mm/2.36 in). This choice allowed the use most components and parts of the already produced Cruiser I and II, therefore creating an efficient and cheap solution to the need of new infantry tank models. By then, the Matilda II was found to be far costlier than the Matilda I, and not suitable for mass-production. Comparatively, the Valentine seemed a good compromise. The name itself still is a mystery. It could have originated either from Sir John Carden’s middle name, or the date of its first submission (St. Valentine day), or a composed Vickers factory codename, though most historians agree that Valentine was just a simple codename during development.
The Mark I set the tone for the entire series of eleven main variants, with many sub-variants, and a staggering total of 8300 units. The main armament and turret design, as well as the engine and protection, were continuously improved while keeping roughly the same general appearance until 1945. The Mk.I was recognizable by its original two-man turret and 2-pdr (40 mm/1.575 in) gun. From the start, a coaxial Besa machine-gun constitued the secondary armament. The crew consisted of only three men due to the cramped interior, and the commander was also busy as gun loader, machine-gunner and radio operator. The production was rushed to such point that many problems were later detected and fixed with the next Mk.II. The main engine was the AEG A189 petrol delivering only 135 hp, and the hull was riveted. 350 were delivered in all, most seeing action in Libya, while others stayed at home for training.
Tankfest by World of Tanks - 24.-25.6.2016
The Tank Museum - Bovington, UK
Worlds biggest and best live display of historic armour, living history, and much more at the Home of the Tank - The Tank Museum, Bovington, United Kingdom.
More from Tankfest:
www.flickr.com/photos/jukkaokauppinen2/albums/72157670621...
More from me:
www.flickr.com/photos/jukkaokauppinen
Tankfest videos:
www.youtube.com/playlist?list=PLIGRHBJyGQb3PpXwFlOKve2OUJ...
My Imgur galleries:
“A Little Tale”…
He was not of this earthly plane. To be precise, he was trapped here…unable to find the portal or open it, on those occasions when it became visible to him, between this earthly plane and his home on the Other side deep down in the fiery dark hot smelly bowels of hell.
He had been trapped on this side for so long, at least 250-300 earthly years, which to him was far too long. He hungered for his dark hot smelly cesspool of a home. Each new day he didn’t think he could endure even for one more second the singing of those creatures called birds, the bright colors of the flowers, the intensity of the sun, and oh, all that horrible lush green foliage, as well as the sound of human laughter, especially the young ones.
So, to avoid all that horror, he slept during the time of the light and was awake when darkness fell and that hot bright sun set. He was a denizen of the night. A creature of darkness.
He kept completely to himself, for the most part, when it came to interacting with those “in body” beings called humans. Although he was forced on occasion to interact with these humans, he found them repulsive. Well, truth be told, not all were repulsive to him. Being a creature from the Other side, he possessed many abilities that these repulsive humans did not. Their bodies and minds limited them and they, unaware or uncaring, didn’t know or attempt to find out that they could have at least some of the same abilities he possessed if they just opened their minds. But, they were content to be thick blocks of cement going through their pathetic daily rituals as if they were something of importance.
One of his abilities, and the one that alerted him to the humans that were not repulsive to him, was that he could see inside of each and every one of them… right to their very souls. He could weed through them and find the ones with the black evil hearts. Now, those were his kind of beings for he knew when they left their clumsy earthly bodies and passed through that elusive portal, separating this world from the next, they would reside in the bowels of hell, where he belonged and should be, and be like him.
Now, with these humans, he developed a false relationship with them. Evil as he was, he wanted no relationships, attachments or the like. No, he did this because he needed them and wanted to use them or rather their souls, when their human hearts stopped beating, indicating the body had died and their souls were released, as a means to either push their souls aside and leave them stranded and earthbound and slip through the portal to reach his home or to attach himself to their black souls as they passed through the portal to hell.
For two years he tried to “tag along” on the black hearts souls’ passage from his world through the portal to hell, but each time his efforts failed. When he was with them when they died, their death being a result of his actions, he saw the portal, which appeared at each black hearted human’s death, but he could not pass through it with them. Their souls, screaming in horror and terror, passed through the portal and left this world for their new residence in hell, and he remained behind.
When he first got trapped on this side 250-300 human years ago due to a stupid mistake on his part, he spent the first 50-100 of these human earth rotation years looking for the portal to home, but to no avail. Then, he became aware of these humans and realized he could see into them and find those with black hearts. That is when the idea came to him to either tag along or push their dark souls aside after their human hearts stopped beating and pass through the portal to home, leaving them behind.
But, waiting years for them to die was excruciating on top of the fact that when they did die, he was still left behind. He had to wait for their death and then he remained here…still trapped. So, he became obsessed to find a quicker way to get back to his hell. Using all his black magic and spells, as well as any tool or instrument at hand, he began to kill black hearted humans…one after another. He would go to prisons where the crop of evil hearts was more than plentiful and kill and kill and kill, tagging along or trying to push their screaming horror filled black souls aside. But, he failed each and every time. He could not understand why.
When he saw the portal to hell, he would get a glimpse of his home… all fiery, hot, dank, and dark and he could hear the screams of those damned to live there for eternity. His hunger to get there increased even more.
He held back some black hearted souls, who were grateful not to be damned and allowed to remain on this earthly plane, as his slaves to do his bidding. He would command them to kill human after human along with him and help him try to use any way possible as a means to get through that portal, but he could not. For….The Angel of Death would not let him pass through and return home to hell. He was trapped here. Trapped.
Each day when he slept, his mind relived the day he made that stupid blunder which caused him to remain on this side. He tried to figure out how to reverse what he had done. Day after day, earth rotation after earth rotation, he thought while he slept, but nothing came to him. No idea, no discovery, no answer, no sign…nothing.
But, what did come to him was the realization that because he enjoyed, no reveled, in his damnation and loved the smelly fiery bowels of hell with all the screaming and crying black hearted souls, it was deemed that was not punishment for his evil. The punishment of damnation meant he should suffer, not enjoy his fate. So, he was tricked into making that stupid error and lost access to the portal to hell, thus preventing him from going home forever. He was now, truly damned and punished.”
~ Marsha J West, Author*
* The “A Little Tale” is my original idea and story. I am the author of that story and it is my property. Thus, it cannot be copied, reproduced, reprinted or used in any way or any medium. Also, this hutch is my original idea, creation and design. It is also my creative property. It is not to be copied, resold or reproduced.
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
This official Minnesota State Capitol Restoration Project photo is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images are used, the photographic credit line should read “Courtesy: MN Dept. of Admin. Cathy Klima.” These images may not be used in any way that would imply endorsement by the Minnesota State Capitol Restoration Project or the State of Minnesota of a product, service or point of view.
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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: 10
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Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
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This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
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: 10
Capacity - Weight: 1,400 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
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
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: 10
Capacity - Weight: 1,400 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
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- Custom black accents
- Compatible with ALL Type 100 films, such as Fuji FP-100C and FP-3000B, as well as expired Polaroid brand films.
The 110mm Industar lens has been re-calibrated and mounted to focus optimally with the original 114mm rangefinder, with sharp portraits the number one priority. Infinity distance is also nice and sharp.
Lastly, the camera has had it's original light grey panels and doors replaced with some nice sleak black ones, giving the camera a stealthy look. The rear door also features a count-down timer, which counts down the seconds required for the film to develop.
The kit and its assembly:
This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!
Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.
The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…
Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.
The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.
The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!
The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.
Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…
Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.
The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.
As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.
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.
No precise date on this but I suspect it is mid-1930s after the pub had been 'improved' - the fine brick building has been rendered and the pub seemingly extended into the cottage properties that formed part of the block. Several large John Smith's Magnet Ales adverts predominate. The Woodman is, still, I think there - but Halton is now a busy suburb that has surrounded this once countrified pub.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
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: 10
Capacity - Weight: 1,400 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
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
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: 10
Capacity - Weight: 1,400 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
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
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: 10
Capacity - Weight: 1,400 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
Presidential Candidate 總統候選人
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Tianliang Ma
~ a Taiwanese social reformer, philosopher, photographer and film director
“Touching Fairness and Justice”
馬天亮
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《感動的公平與正義》
TianLiang Maa, alternative spelling: Tianliang Ma, also known as Theophilus Raynsford Mann; Ma, Tianliang; Chinese: 馬天亮; 马天亮.
SUMMARY
TianLiang Maa is a naturalist, occultist, Buddhist and Taoist. In 1982, Maa developed a technique for abstract photography, applied “Rayonism” into photographic works. Maa staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Maa’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Maa’s works have been quoted by the scholars many times, making Maa one of the highly cited technological, artistic, and managing public administrators in the academia. Maa was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Early Life and Record of Genealogy
TianLiang Maa possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Maa about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Maa takes great pride in his roots, which go back 150 years (since 1864); Maa’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Maa obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Maa’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.
Backing to Maa’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.
Early Career
In 1989, Maa instituted Maa’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Maa studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Maa completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013
www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Maa immigrated into the United Kingdom in the early year of 2004.
PHILOSOPHICAL VIEWS
Maa is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand TianLiang Maa. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Maa just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Maa understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As TianLiang Maa’s (馬天亮) saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Maa ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Maa will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Maa’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Maa had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Maa studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Maa would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Maa really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Maa has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Maa settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Maa was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Maa had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Maa developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Maa was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Maa staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Maa was the first exhibitor around the country. All of the invited displays were by the Chinese Government, cultural and artistic organisations, and sponsors. Maa’s earliest exhibition took place in the National Taiwan Arts Education Institute (Museum) on 19 December 1983 when Maa was 25 years old; Maa was the youngest exhibitor in the history of the Institute in any solo exhibitions. The Institute that was opened in March 1957, kept a collection of Maa’s work. It is currently updating the Institute’s internal organisation and strengthening co-operation with leading institutes and museums around the world. Meanwhile, it widened the institute’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Maa’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Maa may sprout, grow and bloom. Maa aims to provide an educational stimulus for society by introducing his works - Maa can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Maa believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Maa should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, TianLiang Maa completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Maa was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Maa’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Maa was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Maa’s writings.
Authorship
Maa’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Maa was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Maa one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Maa’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Maa is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.
Director Works:
FILMS:
Experimental Film “New Image for the Spring” © 1982
Documentary Film “Rayonnisme” © 2011
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy London © 2012
Portrait at King's College London © 2013
BOOKS:
Scenario Original「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibitions of Rayonnisme” © May 1985
新聞出版之學術著作專輯「馬天亮『光影』“Rayonism” 攝影展」© May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」 “The Indomitable Spirit Was Brilliant to Upright” (individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Maa’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Maa’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Maa’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Maa promoted and founded the Consortium Juridical Person Mr. TianLiang Maa Social Benefit Foundation 財團法人馬天亮先生社會公益基金會 in Taiwan. near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Maa was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and film production.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和影片製作。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware & Networking Engineer at Maa Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director & Photographer at Photographer and Film Director (Shapely), 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
www.facebook.com/filmshapely/info
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
www.facebook.com/twreform/info
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。TianLiang Maa (Theophilus Raynsford Mann) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Maa was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
LINKS:
University of California, Berkeley
berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...
berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...
oskicat.berkeley.edu/record=b11283690~S1
University of Michigan
mirlyn.lib.umich.edu/Record/006237256
catalog.hathitrust.org/Record/006237256
WorldCat® Identities
www.worldcat.org/search?q=au%3AMa%2C+Tianliang%2C&dbl...
www.worldcat.org/wcidentities/np-ma,%20tianliang$1958
Google Books
books.google.co.uk/books?id=PkyaAAAAIAAJ&redir_esc=y
books.google.co.uk/books?id=JfxnMwEACAAJ&dq=editions:...
scholar.google.com/scholar?cluster=3569983911138966023&am...
National Bibliographic Information Network (NBINet)
nbinet3.ncl.edu.tw/search~S10?/a%7bu99AC%7d%7bu5929%7d%7b...
192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE
National Yang Ming University 國立陽明大學
library.ym.edu.tw/search~S7*cht?/tThe+Soul%27s+and+sentim...
National Taiwan University of Science and Technology 國立臺灣科技大學
millennium.lib.ntust.edu.tw/record=b1016706~S1
Wikimedia Commons 維基共享資源
commons.wikimedia.org/w/index.php?search=TianLiang+Maa+%E...
commons.wikimedia.org/wiki/File:TianLiang_Maa_馬天亮.jpg
commons.wikimedia.org/wiki/File:馬天亮_TianLiang_Maa.jpg
國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引
readopac3.ncl.edu.tw/nclJournal/search/search_result.jsp?...
聲音藝術的審美角度, 大學雜誌, 天然
readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...,
readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...
為文化中心把脈, 幼獅文藝
readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...,
科學家與守財奴, 中國地方自治
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Yahoo, Bing, Google Search
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Atomzone
atomzone.co.uk/images/search/馬天亮
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lurvely.com www.lurvely.com/photographer/77438197_N03/
www.flickriver.com/photos/mtltwp/
www.flickriver.com/photos/mtltwpprof/
Nature - National Library Board Singapore
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snap.nl.sg/searchflickr.aspx?q=TianLiang+Maa+&p=1&...
画像検索
flickr.akitomo.net/TianLiang+Maa/1
Japan Photos and Pictures
japan.pictures-photos.com/professor-tianliang-maa%E2%80%A6
summer.pictures-photos.com/professor-tianliang-maa%E2%80%A6
far-east-movement - Blogcu (Turkey)
far-east-movement.blogcu.com/professor-tianliang-maa/1226...
man fashion
spirehim.com/3454/professor-tianliang-maa-%E9%A6%AC%E5%A4...
Travel Splash
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Country profile Taiwan
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itpints
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AskJot
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Who is talking
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University of California, Berkeley period
atomzone.co.uk/scaffold/images/search/University%20of%20C...
University of Michigan period
atomzone.co.uk/scaffold/images/search/University%20of%20M...
University of Oxford period
atomzone.co.uk/scaffold/images/search/University%20of%20O...
www.wer-ist.org/person/Oxford_Archaeology
University of Glamorgan period
atomzone.co.uk/images/search/University+of+Glamorgan+period
www.worldofbuildings.worldofbuildings.org/flickr/wob_flic...
University of Huddersfield period
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art galleries uk
artgalleriesuk.blogspot.co.uk/2012/08/bigandtall-stores-s...
Mitrasites system
sites.google.com/site/mitrasites/system/app/pages/customS...
articles.whmsoft
articles.whmsoft.com/related_search.php?keyword=Tianliang...
pantieslace-forwomen.blogspot.co.uk/2012/08/motherhood-ma...
3piece-suits.blogspot.co.uk/2012/07/nursing-shawl-become-...
3piece-suits.blogspot.co.uk/2012/08/body-briefers-childre...
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German
www.wer-ist.org/person/Jin_Mann
www.pediatr.org.tw/DB/News/file/1913-1.pdf
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Time to get down to precise machining dimensions and a proper vetted drawing of the idea before moving on to a metal fabrication of the new system.
This drawing doesn't conform to the photos - it has further refinements after I made the new carriage stop. Specifically, I reduced the fine threaded portion of the micro adjust within the body to about 1/2-inch either side of the knurled knob position to reduce friction, and reduced the length of the precise fit inside the block body to the linear rods on the proximity stop to reduce friction. If I were to do this over again, I would flip the location of the Kipp lever handle and the recess for the knurled knob to ease the cable management to the proximity stop. If anyone wants a copy of that drawing, it's here: www.flickr.com/photos/davidpbest/34418649045/
Future warfare was possibly the single most frequent theme in science fiction between the years 1870 and 1914, and one of the most precise predictions concerning it was H. G. Wells' anticipation of tanks for warfare. Wells described them accurately from their caterpillar treads to their metal turret. His "Land Ironclads" first appeared in The Strand Magazine in January 1904 and reprinted in this November 1916 issue once the uncanny accuracy of his prediction had been established.