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Against the grim backdrop of the COVID-19 pandemic, chief executives of 110 companies in Thailand have pledged to advance gender equality in business by implementing the Women’s Empowerment Principles (WEPs). The event was hosted by WeEmpowerAsia, a UN Women programme funded by and in partnership with the European Union. Read the full press release: unwo.men/tGyn50BFura
Date: September 30, 2020
Location: Bangkok, Thailand
Photo: UN Women/Siraphob Werakijpanich & Tanasin Pheankusol
George Brinton McClellan (December 3, 1826 – October 29, 1885) was a major general during the American Civil War and the Democratic Party candidate for President in 1864. He organized the famous Army of the Potomac and served briefly (November 1861 to March 1862) as the general-in-chief of the Union Army.
Early in the war, McClellan played an important role in raising a well-trained and organized army for the Union. Although McClellan was meticulous in his planning and preparations, these characteristics may have hampered his ability to challenge aggressive opponents in a fast-moving battlefield environment. He chronically overestimated the strength of enemy units and was reluctant to apply principles of mass, frequently leaving large portions of his army unengaged at decisive points.
McClellan was born in Philadelphia, the son of a prominent surgical ophthalmologist, Dr. George McClellan (1796–1847), the founder of Jefferson Medical College. His father's family had Scottish heritage. His mother was Elizabeth Sophia Steinmetz Brinton McClellan (1800–1889), daughter of a leading Pennsylvania family, a woman noted for her "considerable grace and refinement". The couple produced five children: a daughter, Frederica; then three sons, John, George, and Arthur; and a second daughter, Mary. McClellan was the grandson of Revolutionary War general Samuel McClellan of Woodstock, Connecticut. He first attended the University of Pennsylvania in 1840 at age 13, resigning himself to the study of law. After two years, he changed his goal to military service. With the assistance of his father's letter to President John Tyler, young George was accepted at the United States Military Academy in 1842, the academy having waived its normal minimum age of 16. He graduated in 1846, second in his class of 59 cadets, losing the top position (to Charles Seaforth Stewart) only because of poor drawing skills. He was commissioned a brevet second lieutenant in the U.S. Army Corps of Engineers.
McClellan began courting his future wife, Ellen Mary Marcy (1836–1915), the daughter of his former commander. Ellen, or Nelly, refused McClellan's first proposal of marriage, one of nine that she received from a variety of suitors, including his West Point friend, A. P. Hill. Ellen accepted Hill's proposal in 1856, but her family did not approve and he withdrew.
McClellan resigned his commission January 16, 1857, and, capitalizing on his experience with railroad assessment, became chief engineer and vice president of the Illinois Central Railroad and also president of the Ohio and Mississippi Railroad in 1860. He performed well in both jobs, expanding the Illinois Central toward New Orleans and helping the Ohio and Mississippi recover from the Panic of 1857. But despite his successes and lucrative salary ($10,000 per year), he was frustrated with civilian employment and continued to study classical military strategy assiduously. During the Utah War against the Mormons, he considered rejoining the Army. He also considered service as a filibuster in support of Benito Juárez in Mexico.
In October 1859 McClellan was able to resume his courtship of Ellen Mary, and they were married in Calvary Church, New York City, on May 22, 1860.
At the start of the Civil War, McClellan's knowledge of what was called "big war science" and his railroad experience suggested he might excel at military logistics. This placed him in great demand as the Union mobilized. The governors of Ohio, Pennsylvania, and New York, the three largest states of the Union, actively pursued him to command their states' militia. Ohio Governor William Dennison was the most persistent, so McClellan was commissioned a major general of volunteers and took command of the Ohio militia on April 23, 1861. Unlike some of his fellow Union officers who came from abolitionist families, he was opposed to federal interference with slavery. So some of his Southern colleagues approached him informally about siding with the Confederacy, but he could not accept the concept of secession.
On May 3 McClellan re-entered federal service by being named commander of the Department of the Ohio, responsible for the states of Ohio, Indiana, Illinois, and, later, western Pennsylvania, western Virginia, and Missouri. On May 14, he was commissioned a major general in the regular army. At age 34 he now outranked everyone in the Army other than Lt. Gen. Winfield Scott, the general-in-chief. McClellan's rapid promotion was partly because of his acquaintance with Salmon P. Chase, Treasury Secretary and former Ohio governor and senator.
After the defeat of the Union forces at Bull Run on July 21, 1861, Lincoln summoned McClellan from West Virginia, where McClellan had given the North the only actions thus far having a semblance of military victories. He traveled by special train on the main Pennsylvania line from Wheeling through Pittsburgh, Philadelphia, and Baltimore, and on to Washington, D.C., and was overwhelmed by enthusiastic crowds that met his train along the way.
During the summer and fall, McClellan brought a high degree of organization to his new army, and greatly improved its morale by his frequent trips to review and encourage his units. It was a remarkable achievement, in which he came to personify the Army of the Potomac and reaped the adulation of his men. He created defenses for Washington that were almost impregnable, consisting of 48 forts and strong points, with 480 guns manned by 7,200 artillerists. The Army of the Potomac grew in number from 50,000 in July to 168,000 in November and was considered by far the most colossal military unit the world had seen in modern historical times. But this was also a time of tension in the high command, as he continued to quarrel frequently with the government and the general-in-chief, Lt. Gen. Scott, on matters of strategy. McClellan rejected the tenets of Scott's Anaconda Plan, favoring instead an overwhelming grand battle, in the Napoleonic style. He proposed that his army should be expanded to 273,000 men and 600 guns and "crush the rebels in one campaign." He favored a war that would impose little impact on civilian populations and require no emancipation of slaves.
McClellan's antipathy to emancipation added to the pressure on him, as he received bitter criticism from Radical Republicans in the government. He viewed slavery as an institution recognized in the Constitution, and entitled to federal protection wherever it existed (Lincoln held the same public position until August 1862). McClellan's writings after the war were typical of many Northerners: "I confess to a prejudice in favor of my own race, & can't learn to like the odor of either Billy goats or niggers." But in November 1861, he wrote to his wife, "I will, if successful, throw my sword onto the scale to force an improvement in the condition of those poor blacks." He later wrote that had it been his place to arrange the terms of peace, he would have insisted on gradual emancipation, guarding the rights of both slaves and masters, as part of any settlement. But he made no secret of his opposition to the radical Republicans. He told Ellen, "I will not fight for the abolitionists." This placed him at an obvious handicap because many politicians running the government believed that he was attempting to implement the policies of the opposition party.
The immediate problem with McClellan's war strategy was that he was convinced the Confederates were ready to attack him with overwhelming numbers. On August 8, believing that the Confederates had over 100,000 troops facing him (in contrast to the 35,000 they actually deployed at Bull Run a few weeks earlier), he declared a state of emergency in the capital. By August 19, he estimated 150,000 enemy to his front. McClellan's future campaigns would be strongly influenced by the overblown enemy strength estimates of his secret service chief, detective Allan Pinkerton, but in August 1861, these estimates were entirely McClellan's own. The result was a level of extreme caution that sapped the initiative of McClellan's army and caused great condemnation by his government. Historian and biographer Stephen W. Sears has called McClellan's actions "essentially sound" if he had been as outnumbered as he believed, but McClellan in fact rarely had less than a two-to-one advantage over his opponents in 1861 and 1862. That fall, for example, Confederate forces ranged from 35,000 to 60,000, whereas the Army of the Potomac in September numbered 122,000 men; in early December 170,000; by year end, 192,000.
On November 1, 1861, Winfield Scott retired and McClellan became general-in-chief of all the Union armies. The president expressed his concern about the "vast labor" involved in the dual role of army commander and general-in-chief, but McClellan responded, "I can do it all."
McClellan further damaged his reputation by his insulting insubordination to his commander-in-chief. He privately referred to Lincoln, whom he had known before the war as a lawyer for the Illinois Central, as "nothing more than a well-meaning baboon", a "gorilla", and "ever unworthy of ... his high position." On November 13, he snubbed the president, visiting at McClellan's house, by making him wait for 30 minutes, only to be told that the general had gone to bed and could not see him.
On March 11, 1862, Lincoln removed McClellan as general-in-chief, leaving him in command of only the Army of the Potomac, ostensibly so that McClellan would be free to devote all his attention to the move on Richmond. Lincoln's order was ambiguous as to whether McClellan might be restored following a successful campaign. In fact, his position was not filled by another officer. Lincoln, Stanton, and a group of officers called the "War Board" directed the strategic actions of the Union armies that spring. Although McClellan was assuaged by supportive comments Lincoln made to him, in time he saw the change of command very differently, describing it as a part of an intrigue "to secure the failure of the approaching campaign."
The Battle of Antietam on September 17, 1862, was the single bloodiest day in American military history. The outnumbered Confederate forces fought desperately and well. Despite significant advantages in manpower, McClellan was unable to concentrate his forces effectively, which meant that Lee was able to shift his defenders to parry each of three Union thrusts, launched separately and sequentially against the Confederate left, center, and finally the right. And McClellan was unwilling to employ his ample reserve forces to capitalize on localized successes. Historian James M. McPherson has pointed out that the two corps McClellan kept in reserve were in fact larger than Lee's entire force. The reason for McClellan's reluctance was that, as in previous battles, he was convinced he was outnumbered.
The battle was tactically inconclusive, although Lee technically was defeated because he withdrew first from the battlefield and retreated back to Virginia. McClellan wired to Washington, "Our victory was complete. The enemy is driven back into Virginia." Despite being a tactical draw, Antietam is considered a turning point of the war and a victory for the Union because it ended Lee's strategic campaign (his first invasion of the North) and it allowed President Lincoln to issue the Emancipation Proclamation on September 22, taking effect on January 1, 1863. Although Lincoln had intended to issue the proclamation earlier, he was advised by his Cabinet to wait until a Union victory to avoid the perception that it was issued out of desperation. The Union victory and Lincoln's proclamation played a considerable role in dissuading the governments of France and Britain from recognizing the Confederacy; some suspected they were planning to do so in the aftermath of another Union defeat. McClellan had no prior knowledge that the plans for emancipation rested on his battle performance.
When McClellan failed to pursue Lee aggressively after Antietam, Lincoln ordered that he be removed from command on November 5. Maj. Gen. Ambrose Burnside assumed command of the Army of the Potomac on November 7.[73] McClellan wrote to his wife, "Those in whose judgment I rely tell me that I fought the battle splendidly and that it was a masterpiece of art. ... I feel I have done all that can be asked in twice saving the country. ... I feel some little pride in having, with a beaten & demoralized army, defeated Lee so utterly. ... Well, one of these days history will I trust do me justice."
McClellan was nominated by the Democrats to run against Abraham Lincoln in the 1864 U.S. presidential election. Following the example of Winfield Scott, he ran as a U.S. Army general still on active duty; he did not resign his commission until election day, November 8, 1864. He supported continuation of the war and restoration of the Union (though not the abolition of slavery), but the party platform, written by Copperhead Clement Vallandigham of Ohio, was opposed to this position. The platform called for an immediate cessation of hostilities and a negotiated settlement with the Confederacy. McClellan was forced to repudiate the platform, which made his campaign inconsistent and difficult. He also was not helped by the party's choice for vice president, George H. Pendleton, a peace candidate from Ohio.
The deep division in the party, the unity of the Republicans (running under the label "National Union Party"), and the military successes by Union forces in the fall of 1864 doomed McClellan's candidacy. Lincoln won the election handily, with 212 Electoral College votes to 21 and a popular vote of 403,000, or 55%. For all his popularity with the troops, McClellan failed to secure their support and the military vote went to Lincoln nearly 3-1. Lincoln's share of the vote in the Army of the Potomac was 70%.
At the conclusion of the war, McClellan and his family went to Europe (not returning until 1868), during which he did not participate in politics.[79] When he returned, the Democratic Party expressed some interest in nominating him for president again, but when it became clear that Ulysses S. Grant would be the Republican candidate, this interest died. McClellan's final years were devoted to traveling and writing, including his memoirs McClellan's Own Story (published posthumously in 1887) in which he stridently defended his conduct during the war. He died unexpectedly of a heart attack at age 58 at Orange, New Jersey, after having suffered from chest pains for a few weeks.
Top left is a conception balance with the thought of corporation(like McDonald) is everywhere and taking over nature.Top right is a display of harmony the color blend of the sky leading to bright sun and the darken trees bring a good look of harmony. Upper left middle is a demonstration of movement it was a 30 shot burst and me doing a one handed handstand really fast.Upper right middle is a display of Rhythm its a old picture of my dance crew in Arizona and its repetition of the girls holding down the guys in a row. Middle photo was my input on Unity as a dancer its a connection to make a dance and me and my best friend were one to make the dance and i feel that's how it demonstrates Unity.Bottom left middle is illustration of Emphasis everything is the same color but the distortion of the graffiti on the wall draws the viewers eyes(no I did not do the graffiti) . Bottom right shows the principle of variety , as everyone was admiring the beautiful cloudy sunset i took the chance to get a shot of multiple people and a shot of variety. Lastly the Bottom photo is my input on contrast I found a beautiful purple flower and bloomed out the contrast than lowered the saturation of the surrounding to make it pop even more.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Objective 3: Elements and Principles of Design
The principles of design demonstrated (describe the use):
Emphasis: the brightness of the graffiti makes you focus on the graffiti.
Conrast: The “Help” is brighter than the rest of the photo which makes the eye focus on the help.
The elements of design demonstrated (describe the use):
Colour: The background is black and white, making it an edgier and more scary looking background, while the “help” is bright bringing the whole image together.
Line: The lines in the word “help” in the photo lead the eye to interesting areas in the photo. They also direct the viewers’ attention to the main point in the photo.
Light: The very soft lighting creates a slight shadow of the person on the wall.
Texture: The wall near the person has a rougher texture creating an edgier image whereas where the orange part of the wall it is a smoother texture.
Objective 4: Lighting
Type of lighting and why:
A soft natural outdoor lighting that is focused on one side (side lighting) which creates a soft shadow of the person on the wall.
Objective 5: Post Production (ex. dust/spot removal, resize, contrast, white balance, sharpening, borders, etc.)
Corrections/adjustments made AND/OR techniques applied:
Contrast made the image darker.
Used Black and white and brought back some of the image.
Objective 6: Critique
Analyse your photograph for strengths and areas for improvement (consider elements and principles of design, lighting, exposure, overall feel, etc.)
Strengths: The picture was colourful and had different effects to it.
Growths: I didn’t have a main focal point to the picture.
Session 2: Regulatory principles for security, privacy and trust, 24 October 2016, Hammamet, Tunisia.
© ITU/ A. Mhadhbi
Against the grim backdrop of the COVID-19 pandemic, chief executives of 110 companies in Thailand have pledged to advance gender equality in business by implementing the Women’s Empowerment Principles (WEPs). The event was hosted by WeEmpowerAsia, a UN Women programme funded by and in partnership with the European Union. Read the full press release: unwo.men/tGyn50BFura
Date: September 30, 2020
Location: Bangkok, Thailand
Photo: UN Women/Siraphob Werakijpanich & Tanasin Pheankusol
Coyote Portrait Winter Lamar Valley Landscape Snow Yellowstone National Park Sony A7RIV & Prime Sony FE 600mm f/4 GM OSS Lens Beautiful Wildlife Photography! West Yellowstone Montana Dr. Elliot McGucken 45EPIC Fine Art Nature Wildlife Photographer !
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4/dt=ic:
Epic Fine Art Photography Prints & Luxury Wall Art:
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
Single page cheatsheet attempting to capture Edward Tufte's 6 (or 7) principles of presenting information as evidence. Based on how he articulated them at a an IQ2 talk held on the 19th of May 2010 at the RGS.
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Meenakshi Amman Temple is a historic Hindu temple located on the southern bank of the Vaigai River in the temple city of Madurai, Tamil Nadu, India. It is dedicated to Parvati, known as Meenakshi, and her consort, Shiva, here named Sundareswarar. The temple forms the heart and lifeline of the 2,500-year-old city of Madurai and is a significant symbol for the Tamil people, mentioned since antiquity in Tamil literature though the present structure was built between 1623 and 1655 CE. It houses 14 gopurams (gateway towers), ranging from 45–50m in height. The tallest is the southern tower, 51.9 metres high, and two golden sculptured vimanas, the shrines over the garbhagrihas (sanctums) of the main deities. The temple attracts 15,000 visitors a day, around 25,000 on Fridays, and receives an annual revenue of ₹ 60 million. There are an estimated 33,000 sculptures in the temple. It was on the list of top 30 nominees for the "New Seven Wonders of the World". The temple is the most prominent landmark and most visited tourist attraction in the city. The annual 10-day Meenakshi Tirukalyanam festival, celebrated during April and May, attracts 1 million visitors.
LEGEND
Meenakshi (IAST Mīnākṣī Tamil மீனாட்சி) is an avatar of the Hindu goddess Parvati - the consort of Shiva, one of the few Hindu female deities to have a major temple devoted to her. The name "Mīnachchi" means fish-eyed and is derived from the words "mīna" meaning fish and "akṣi" meaning eyes. The lady goddess Meenakshi is the principal deity of the temple, not Sundareswarar, unlike most Shiva temples in South India where Shiva is the principal deity. According to Hindu legend, in order to answer the prayers of the second Pandya king Malayadwaja Pandya and his wife Kanchanamalai, Parvati appeared out of the holy fire of the Putra Kameshti Yagna (sacrifice for childhood) performed by the king. According to another legend, the goddess herself gave notice to Kanchanamalai in one of her previous births that Kanchanamalai would have the privilege of mothering the goddess. The girl who came out of the holy fire had three breasts. A voice from the heavens told the king not to worry about the abnormality and added that the third breast would vanish as soon as the girl met her future husband. The happy king named the girl "Tadaatagai" and as the heir to the throne, Tadaatagai was trained carefully in all the 64 sastras, the fields of science .
As the time came for Tadaatagai's coronation, she had to wage war in three worlds encompassing eight directions. After conquering Brahma's Abode, Sathyaloka, Vishnu's Abode, Vaikunta, and Devas' abode Amaravati, she advanced to Shiva's Abode Kailasha. She very easily defeated the bhoota ganas (IAST: Bhūtagana, meaning Shiva's army) and Nandi, the celestial bull of Shiva, and headed to attack and conquer Shiva. The moment she looked at Shiva, she was unable to fight and bowed her head down due to shyness, and the third breast vanished immediately. Tadaatagai realized that Shiva was her destined husband. She also realized that she was the incarnation of Parvati. Both Shiva and Tadaatagai returned to Madurai and the king arranged the coronation ceremony of his daughter, followed by her marriage with Shiva.
The marriage was to be the biggest event on earth, with the whole earth gathering near Madurai. Vishnu, the brother of Meenakshi, prepared to travel from his holy abode at Vaikuntam to preside over the marriage. Due to a divine play, he was tricked by the Deva, Indra and was delayed on the way. After the marriage, the pair ruled over Madurai for a long time and then assumed divine forms as Sundareswarar and Meenakshi, the presiding deities of the temple. Following the tradition, every evening, before closing the temple, a ritual procession led by drummers and a brass ensemble carries the image of Sundareswarar to Meenakshi's bedroom to consummate the union, to be taken back the next morning in dawn. The marriage is celebrated annually as Chithirai Thiruvizha in Madurai. During the period of Nayakar rule in Madurai, the ruler Thirumalai Nayakar linked the festival Azhakar Thiruvizha and the Meenakshi wedding ceremony.
HISTORY
The Meenakshi temple is believed to have been founded by Indra (king of Deva celestial deities). While he was on a pilgrimage to atone for his misdeeds. He felt his burden lifting as he neared the swayambu lingam (self formed lingam, a representation of Shiva used for worship in temples) of Madurai. He ascribed this miracle to the lingam and constructed the temple to enshrine it. Indra worshipped Shiva, who caused golden lotuses to appear in the nearby pool. Tamil literature speaks of the temple over the last two millennia. Thirugnanasambandar, the famous Hindu saint of Saiva philosophy, mentioned this temple as early as the 7th century, and described the deity as Aalavai Iraivan. The temple is believed to have been sacked by the infamous Muslim invader Malik Kafur in 1310 and all the ancient elements were destroyed. The initiative to rebuild the structure was taken by first Nayak king of Madurai, Viswanatha Nayak (1559–1600) under the supervision of Ariyanatha Mudaliar, the prime minister of the Nayak Dynasty and the founder of the Poligar System. The original design by Vishwanatha Nayak in 1560 was substantially expanded to the current structure during the reign of Thirumalai Nayak (1623–55). He took considerable interest in erecting many complexes inside the temple. His major contributions are the Vasantha Mandapam for celebrating vasanthorsavam (spring festival) and Kilikoondu Mandapam (corridor of parrots). The corridors of the temple tank and Meenatchi Nayakar Mandapam were built by Rani Mangammal.
Rous Peter (1786–1828), the Collector of Madurai in 1812, was nicknamed 'Peter Pandian’ as he respected and treated people of all faiths equally. He donated a set of golden stirrups studded with diamonds and red stones to the temple. Goddess Meenatchi is believed to have saved Rous Peter from a fatal incident. He also wished that after his death, his body be buried in a position that would enable his eyes to face the temple.
During the period of early pandian kings, the king taxed the people for constructing this temple. People paid taxes and donations in the form of gold and silver. But the king wanted contribution as low as a bag of rice which would help in feeding the masans who constructed the temple. so the kings collected one handful of rice daily from every house. This would make few bags of rice in the month end. Thus people from all sectors of life contributed in building the temple. Thus, every family has an emotional attachment towards the temple.
THE TEMPLE
ARCHITECTURE
The temple is the geographic and ritual center of the ancient city of Madurai and one of the largest temple complexes in Tamil Nadu. The temple complex is divided into a number of concentric quadrangular enclosures contained by high masonry walls. It is one of the few temples in Tamil Nadu to have four entrances facing four directions. Vishwantha Nayaka allegedly redesigned the city of Madurai in accordance with the principles laid down by Shilpa Shastras (Sanskrit: śilpa śāstra, also anglicized as silpa sastra meaning rules of architecture) relevant to urban planning. The city was laid out in the shape of square with a series of concentric streets culminating from the temple. These squares continue to retain their traditional names, Aadi, Chittirai, Avani-moola and Masi streets, corresponding to Tamil month names. Ancient Tamil classics mention that the temple was the center of the city and the streets happened to be radiating out like lotus and its petals. The temple prakarams (outer precincts of a temple) and streets accommodate an elobrate festival calendar in which dramatic processions circumabulate the shrines at varying distances from the centre. The vehicles used in processions are progressively more massive the further they travel from the centre. The complex is in around 180,000 m2.
GOPURAMS
The temple is surrounded by gopurams (gateway tower), - There are 14 gopuram the tallest of which, the famous southern tower, rises to over 52 m and was built in 1559. The oldest gopuram is the eastern one, built by Maravarman Sundara Pandyan during 1216-1238 Each gopuram is a multi-storeyed structure, covered with thousands of stone figures of animals, gods and demons painted in bright hues. The outer gopuram presents steeply pyramidal tower encrusted with plaster figures, while the inner gopuram serves as the entrance to the inner enclosure of Sundareswarar shrine.
SHRINES
The central shrine of Meenakshi Amman temple and her consort Sundareswarar are surrounded by three enclosures and each of these are protected by four minor towers at the four points of the compass, the outer tower growing larger and reaching higher to the corresponding inner one. The Meenakshi shrine has the emerald-hued black stone image of Meenakshi. The Sundareswarar shrine lies at the centre of the complex, suggesting that the ritual dominance of the goddess developed later. Both the Meenakshi and Sundareswarar shrines have gold plated Vimanam (tower over sanctum). The golden top can be seen from a great distance in the west through the apertures of two successive towers. The area covered by the shrine of Sundareswarar is exactly one fourth of the area of the temple and that of Meenakshi is one fourth that of Sundareswarar.
The tall sculpture of Ganesh carved of single stone located outside the Sundareswarar shrine in the path from Meenashi shrine is called the Mukuruny Vinayakar. A large measure of rice measuring 3 kurini (a measure) is shaped into a big ball of sacrifice and hence the Ganesh is called Mukkurni Vinayagar (three kurinis). This deity is believed to be found during a 17th-century excavation process to dig the Mariamman temple tank.
TEMPLE TANK AND SURROUNDING PORTICO
The sacred temple tank Porthamarai Kulam ("Pond with the golden lotus"), is 50 m by 37 m in size. In the Tamil legends, the lake is supposed to judge the worth of a new piece of literature. Authors place their works here and the poorly written works are supposed to sink and the scholastic ones are supposed to float, Tirukkural by Tiruvalluvar was one such work.
Only a fraction of 17th and 18th century paintings of Nayak period survives and one such portion is found in the small portico on the western side of the tank. It depicts the marriage of Sundareswarar and Meenkashi attended by Vijayaranga Chokkanatha and Rani Mangammal. The painting is executed on a vivid red background, with delicate black linework and large areas of white, green and ochre. The celestial couple is seated inside an architectural frame with a flowering tree in the background.
HALLS
The corridor surrounding the sanctum the Meenakshi is called kilikoondu Mandapam ("bird cage corridor"). The space was once used to keep green parrots that were trained to utter the name of Meenakshi. There are two large cages full of squawking green parrots.
The Kambatadi Mandapam ("Hall of temple tree") with its seated Nandi (sacred bull) has various manifestations of Shiva carved and also contains the famous "Marriage of Meenakshi" sculpture. Sculptures of Shiva and Kali trying to out-dance one another are pelted with balls of ghee by devotees. A golden flagstaff with 32 sections symbolizes the human backbone and is surrounded by various gods, including Durga and Siddar.
The Puthu Mandapam ("new hall") constructed by Tirumala Nayak contains large number of sculptures. It is situated opposite to the east gopuram.
The Ashta Shakthi Mandapam ("Hall of eight goddess") is the first hall in the entrance of Meenakshi shrine tower near to East Tower. Ashta indicates eight and Shakthi refers to goddess - the hall has statues of eight goddesses. The gopurams (towers) can be viewed from this hall. The passage was named for eight forms of goddess Shakti carved on its pillars. Other sculptures and paintings depict the Tiruvilayadal (holy games of Shiva). The sculptures of heroes of Mahabharata, the Pancha pandavas can be seen in the Pancha Pandava Mandapam (Hall of Pandavas).
The Viravasantharaya Mandapam is a large hall with huge corridors. To the south of this hall is the kalyana mandapam, to the south of the pillared hall, is where the marriage of Shiva and Parvati is celebrated every year during the Chithirai Festival in mid-April. The golden images of Meenakshi and Sundareswarar are carried into the 16th century oonjal mandapam (swing corridor) and placed on the swing every Friday at 5:30 p.m. The shrine has a 3-storied gopuram guarded by two stern dwarapalakas (guardians) and supported by golden, rectangular columns that bear lotus markings. Along the perimeter of the chamber, granite panels of the divine couple are present. The hall is situated in the western bank of the temple tank.
The Mudali Pillai Mandapam or Iruttu Mandapam (Dark hall) is a wide and long hall built by Muthu Pillai during 1613. On the pillars of the halls, there are fine sculptures depicting the story of Shiva taking the form of Bikshadanar to teach the sages a lesson.
The Mangayarkarasi mandapam is a newly built hall situated opposite to the marriage halls and bears the name of saindy queen, Mangayarkarasi who contributed to Saivism and Tamil language. To the south of Mangayarkarasi mandapam lies the Servaikarar Mandapam, a hall built by Marudu brothers in 1795. The Nagara mandapam (Hall of beating drums) lies opposite to Sundareswarar shrine was built by Achaya Rayar, the minister of Rani Mangammal in 1635. The Kolu Mandapam is a hall for displaying dolls during the Navarathri festival celebrated during September–October. This hall is situated in the second corridor of the Meenakshi shrine at the western side.
HALL OF THOUSAND PILLARS
The Meenakshi Nayakkar Mandapam ("Hall of 1000 pillars") has two rows of pillars carved with images of yali (mythological beast with body of lion and head of an elephant), commonly used as the symbol of Nayak power. It is situated to the north of Sundareswarar flag staff hall. The Thousand Pillar Hall contains 985 (instead of 1000) carved pillars. The hall was built by Ariyanatha Mudaliar in 1569 and blends engineering skill and artistic vision. Ariyanatha Mudaliar was prime minister and general of Viswanatha Nayak, the first Nayaka of Madurai (1559–1600). He was also the founder of Poligar System, the quasi-feudal organization of the country dividing it into multiple palayams or small provinces in which each palayam was ruled by a palayakkarar or a petty chief. At the entrance of the hall is the statue of Ariyanatha Mudaliar seated on a horse-back, flanking one side of the entrance to the temple. The statue is periodically garlanded by worshippers. Each pillar in the hall is a carved monument of the Dravidian sculpture. The more prominent among the carved figures are those of Rati (wife of Kama), Karthikeya, Ganesha, Shiva as a wandering mendicant and endless number of yalis (mythical figures of lions). There is a Temple Art Museum in the hall where icons, photographs, drawings, and other exhibits of the 1200 years old history of the temple are displayed. Just outside this hall, towards the west, are the Musical Pillars. Each pillar, when struck, produces a different musical note.
RELIGIOUS SIGNIFICANCE OF THE TEMPLE
A distinct feature of Meenakshi in terms of iconography is the presence of parrot in her right hand. The parrot is generally associated with the Vaishnava azhwar saint Andal. "Pancha Sabhai" refers to the five royal courts of Nataraja (dancing form of Shiva) where he performed cosmic dance. The Tamil word velli means silver and ambalam means stage or altar. This massive Nataraja sculpture is enclosed in a huge silver altar and hence called "Velli Ambalam" (silver abode). This is a special figure of Natarja which usually differs from Chola bronzes; in the Chola images, Nataraja is shown dancing with his left leg raised, but this sculpture has the right leg raised. According to the Tiruvilayaadal Puranam (Shiva's sacred games), this is on the request of Rajasekara Pandya, who was a sincere devotee of Shiva. He requested the deity to change his position, as he felt that keeping the same foot raised would put enormous strain and got a graceful acquiescence from the divine master.
RITUALS
WORSHIP
There are close to 50 priests in the temple who perform the puja (rituals) during festivals and on a daily basis. Like other Shiva temples of Tamil Nadu, the priests belong to Shivaite to the Adishaivas, a Brahmin sub-caste. The priests live in a closed area north of the temple. The temple has a six time pooja calendar everyday, each comprising four rituals namely abhisheka (sacred bath), alangaram (decoration), neivethanam (food offerings) and deepa aradanai (waving of lamps) for both Meenakshi and Sundareswarar. The puja (worship) ceremonies are held amidst music with nadhaswaram (pipe instrument) and tavil (percussion instrument), religious instructions in the Vedas by priests and prostration by worshippers in front of the temple mast. The common practise is to worship Meenakshi before Sundareswarar. Margazhi (December–January) ritual is prominent one for winning a perfect, god-like husband - it is Meenakshi's ennai kappu festival. Aligned with the cardinal points, the street plans forms a giant mandala (group) whose sacred properties are believed to be activated during the mass clockwise circumambulation of the central temple.
FESTIVALS
The most important festival associated with the temple is the "Meenakshi Thirukalyanam" (the divine marriage of Meenakshi) that is celebrated in April every year. The wedding of the divine couple is regarded as a classic instance of south Indian female-dominated marriage, an arrangement referred as "Madurai marriage". The male dominated marriage is called "Chidambaram marriage", referring to Shiva's uncontested dominance, ritual and mythic, at the famous Shiva temple of Chidhambaram. The marriage brings together rural and urban people, deities and mortals, Saivas (those who worship Shiva) and Vaishnavas (those who worship Vishnu) in order to celebrate Meenakshi as the royal monarch. During the one-month period, there are a number of events including the "Ther Thiruvizhah" (chariot festival) and "Theppa Thiruvizhah" (float festival). Major Hindu festivals like Navrathri and Shivrathri are celebrated in the temple. Like most Shakti temples in Tamil Nadu, the Fridays during the Tamil months of Aadi (July–August) and Thai (January–February) are celebrated in the temple by thousands of devotees. "Avani Moola Utsavam" is a 10-day festival mainly devoted to Sundareswarar describes his various Thiruvilayadal meaning Shiva's sacred games.
LITERARY MENTION
Down the centuries, the temple has been a centre of education of Tamil culture, literature, art, music and dance. All three assemblies of Tamil language, the Tamil Sangam (about the 3rd century BCE to the 3rd century CE), were held at Madurai. Tamil poets of different epochs participated in these assemblies and their composition is called Sangam literature. During the third Tamil sangam, the comparative merit of the poets was decided by letting the works float in the lotus tank of the temple. It was believed that a divine force would cause the work of superior merit to float on the surface while the inferior literary work would sink. Tevaram, the 7th-8th century Tamil canonoical work on Shiva, are works by the three prominent Nayanars (Saivites) namely Appar, Sundarar and Thirugnanasambandar. The temple has been glorified by the hymns of Tevaram by all the three poets. Different hymns of Sambandar on the temple mention the queen of Pandya Nadu, his desire to defeat Jains in debate, the miracles performed by him curing the king's fever, the Jains' provocation of Sambandar by burning his house and challenging him to debate, and Sambandar's eventual victory over them. A poem from the Third Tirumurai by Sambandar is as under –
"Lady who has eyes that are comparable to the startled eyes of the deer!
the great chief queen of the Vaḻuti! listen to what I say. Do not feel distressed that I am such a young boy from whose mouth milk is flowing. when the god in Tiruvālavāy stands by my side as help, I can not be easily defeated by the low people who inflict many sufferings on others and who live in hills beginning with great Āṉaimalai."
There are few poets in Tamil history who sang about goddess Parvati. The notable among them is Kumaraguruparar, a 17th-century Tamil poet, who composed Meenakshi Pillaitamil on Meenakshi of this temple. King Tirumalai Nayak's patronage of Kumaraguruparar has an important place in the history of pillaitamil (a genre of Tamil literature). Kumaraguruparar visited a lot of temples and when he visited this temple, he composed Meenakshi pillaitamil on Meenakshi. Legend has it that goddess appeared in the dreams of Nayak directing him to arrange the recital of Kumaraguruparar before a learned assembly. The king made elobrate arrangements for the event. Meenakshi impersonated herself in the form of a small girl and enjoyed the recital. As Kumaraguruparar was explaining the 61st verse, the goddess appreciated by garlanding the poet with a string of pearls and disappeared.
WIKIPEDIA
I had the honour to shoot Aleks, Tina and Hanna while doing some areal acro on a beautiful sandy beach in Thailand's little paradise called Koh Phangan.
Principles of Mechanics by T.M. Goodeve, 1889.
Goodeve was a Professor of Mechanics and a Barrister-at-Law.
For students of engineering.
This copy signed, A.G. Ambrose [Alexander George Ambrose was a gasworks engineer and manager in New South Wales.]
Published by Longman Green, London. Brown cloth boards 357 pages 19cm x 13cm.
Born in Victoria, BC, Canada in July of 1965, Warren is a pioneer of highly detailed comic art.
He has adhered to fine art sculpting principles throughout his long career and is considered the most consistently representative comic sculpture in the world.
As a youth in the Fairfield area of Victoria, Warren was encouraged by a number of mentors and teachers to sculpt in the free-standing form, a practice he has never strayed from. One of his funniest memories was when he was a young and impressionable teenager in an advanced sculpting class. Warren was enthusiastic when the teacher said they were going to sculpt a live model one evening. He was not quite prepared as the beautiful woman completely disrobed on the stage in front of the students. Being the shy, youngest member of the class he quickly turned around and sculptured a very long haired woman rising out of a rock at the waist. The model was not pleased with his work but the teacher loved it!
warren stratfordWarren soon began to concern himself with his lifelong objective: portraying the variations of humor and atmosphere brought on by comical things he thinks about. Rather than copy others as was the traditional practice of young artists, Warren learned from people around him, from the landscape itself, and from the works of his older contemporaries. Warren’s representation of humor are based on his observations of people he meets and interviews.
He often shows natural color by breaking it down into its different components as a prism does. Eliminating dull and boring from his palette, Warren rejected entirely the academic approach to comic sculpting.
Warren gIn the Signature Series Warren allows his vision of light to dissolve the real structures of his subjects. To do this he chose simple subjects, making several humorous studies of the same subject at different occupations or activities.
Warren shares his time between Asia and his home town Victoria. Look for more Signature Series as Warren is always finding humor wherever he goes.
Warren’s work is particularly well represented in shops around the world. It is also included in many famous private collections.
German postcard by Netter's Starverlag, Berlin, no. F 307. Lisa Lesco in Ein Mann mit Gründsätzen?/A Man with Principles (Géza von Bolváry, 1943).
German actress and singer Lisa Lesco (1915-2003) was a popular stage performer and also appeared in a few German films from the 1930s till the 1950s. She appeared in successful operettas in Berlin theatres, opposite Johannes Heesters and Rudolf Platte.
Lisa Lesco or Lia Lesco was born Lisa Körschner in 1915 in Berlin, Germany. She was already on stage at six in Berlin's ‘Neue Welt’ theatre. Her talent was recognised in school performances. She took piano lessons and was trained in singing, acting and ballet. She made her film debut with a bit part in Der Herrscher/The Ruler (Veit Harlan, 1937) starring Emil Jannings. After an engagement at the Deutsches Landestheater in Bucharest, she appeared at Berlin's Theater am Nollendorfplatz, for example in ‘Opernball’ and ‘Wiener Blut’. She was then engaged at the Metropol and Admiralspalast theatres. There she appeared more than 800 times on stage with Johannes Heesters in ‘Hochzeitsnacht im Paradies’, a play that also toured Germany. While shooting the film Das Herz einer Königin/The Heart of a Queen (Carl Froelich, 1940) with Zarah Leander, Lisa Lesco met the actor Willy Birgel. They entered into a two-year love affair. In 1943, she appeared as a singer in the film Ein Mann mit Grundsätzen?/A Man with Principles (Géza von Bolváry, 1943) with Hans Söhnker and Elfie Mayerhofer.
As a Schlager singer, Lisa Lesco sang songs such as ‘’s ist Frühling‘, 'Schade, dass wir auseinander gehen' and 'Ich lass meinen Peter nicht allein’. After 1945, she performed in Berlin's Kabarett der Komiker and the Corso Theatre. Lisa Lesco appeared around 250 times in the comedy ‘Herzkönig’ (King of Hearts) with Rudolf Platte at the Schiffbauerdamm theatre. She played the female lead opposite Hans Nielsen in the film version, Herzkönig/King of Hearts (Helmut Weiss, 1947). Later she appeared as a singer in the film Spion für Deutschland/Spy for Germany (Werner Klingler, 1956) with Martin Held and Nadja Tiller and played a role in Mir hat es immer Spaß gemacht/How Did a Nice Girl Like You Get Into This Business? (Will Tremper, 1970) with Barbi Benton. In 1961, the actress emigrated to the USA. The Deutsche Operettentheater in New York City offered her a contract, which she later turned down. From then on, she performed in clubs and presented German-language radio programmes. At the beginning of the 1970s, Lesco started a second career as the manager of a confectionery chain in Los Angeles. She died in 2003 in Los Angeles, California, USA. She found her final resting place on the ‘Green Lawn’ in Los Angeles.
Sources: Wikipedia (German), Rocknroll Schallplatten Forum (German) and IMDb.
And, please check out our blog European Film Star Postcards.
This book belongs to a man.
Methods and Principles of Systematic Zoology by Ernst Mayr, E. Gorton Linsley, and Robert L. Usinger. 1953, McGraw-Hill Book Company, Inc., New York. 3rd? printing.
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Great American West Landscapes by California Fine Art Landscape Photographer Elliot McGucken! Fine Art Landscape & Nature Photography
Great American West Landscapes by California Fine Art Landscape Photographer Elliot McGucken! Fine Art Landscape & Nature Photography
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The UN Global Compact, UN Women, and the Inter-American Development Bank Group are collaborating to develop a diagnostic tool to support implementation of the Women's Empowerment Principles (WEPs) and help companies advance gender equality policies, strategies and programmes.
سيدنا،
كم أتشرف بتقديرك السامي، وما من تشريف يضاهي وجودي الى جانبك، ولا مسؤولية أعظم من ثقتك بي.
لقد أكرمني الله حين كَتب لي أن أقضي حياتي معك، أن أكون أم أولادك ورفيقة دربك يا أعظم الرجال وأنبلهم. قائد جريء في طموحه للوطن، راسخة مبادئه، ثابتة مواقفه، وملهم إيمانه بالأمل.
محظوظة أنا بثقتك، ممتنة لدعمك، وسأظل جنديةً مخلصةً في صفوفك أبا الحسين.
#على_العهد25
Your Majesty,
I am honored to receive this recognition, but there is no greater honor than being by your side, and no responsibility greater than your trust.
I have been blessed to spend my life with you, to be the mother of our children and your lifelong partner. You are a leader with a brave vision for his country, firm in your principles, and inspiring in your faith.
I am fortunate to have your trust and support, and will forever remain a faithful soldier in your ranks, Abu Al Hussein.
© Royal Hashemite Court
WASHINGTON - Secretary of Homeland Security Jeh Johnson and China Customs Minister Yu Guangzhou discuss progress on a number of customs and law enforcement issues since Secretary Johnson visited Beijing in April 2015 in a meeting in Washington D.C., June 23, 2015. During the meeting, Secretary Johnson and Minister Yu signed a Declaration of Principles that will expand the Container Security Initiative in China to better adapt to and prioritize threats and customs violations, including intellectual property enforcement, narcotics, and precursor chemicals. Official DHS photo by Barry Bahler.