View allAll Photos Tagged represent
Kailasa Temple represents Siva's heaven on a Himalayan glacier, a place no mortal can reach.
Ellora (Marathi: वेरूळ Vērūḷa) is an archaeological site, 30 km (19 mi) from the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty (Kannada: ರಾಷ್ಟ್ರಕೂಟ). Well-known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" – actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history.
I don't like parts of the plane in photos, but its the best photo I have of the southwest side of Hubbard
geology info see notes on image www.flickr.com/photos/wanderflechten/49040375266/in/photo...
my lichen photos by genus - www.flickr.com/photos/29750062@N06/collections/7215762439...
my photos arranged by subject, e.g. mountains - www.flickr.com/photos/29750062@N06/collections
Steam locomotives represented a significant advance in human achievement. They were the first man-made objects that could move under their own power and they played a huge role in the success of the industrial revolution in the 1800s and 1900s. Unfortunately, with only about 150 operable examples left, it's a good bet that many Americans have never seen one run. It seems that a father and son from Indiana have made it their life's work to change all of that. John and Byron Gramling restored the 40-ton saddle tanker that you see here and over the past 10 years, have taken her on the road to tourist railroads and museums around the country, becoming very visible ambassadors for the preservation these historic machines. Not only do they provide the public with a chance to see and ride behind steam, they also provide the crews at each stop with actual, hands-on experience. When Flagg Coal #75 visited the Railroad Museum of New England in Thomaston, CT, most of the actual running and firing was done by museum volunteers, with training and supervision provided by the Gramlings. Virtually all couldn't say enough about how educational and motivating this experience was. The Gramlings are already at work expanding their operation. Their displays at Thomaston indicated that they are in the process of restoring two more saddle tankers. Here's wishing them a bright future in their very worthwhile endeavour.
Chenggong (chinesisch 成功鎮, Pinyin Chénggōng Zhèn) ist eine Stadtgemeinde im Landkreis Taitung auf Taiwan (Republik China).
Inhaltsverzeichnis
1 Name
2 Lage, Klima
3 Bevölkerung
4 Wirtschaft
5 Sehenswürdigkeiten
6 Weblinks
7 Einzelnachweise
Name
Am Ort des heutigen Chenggong befand sich ursprünglich eine Siedlung der Amis, eines der indigenen Völker Taiwans. Der Ami-Name der Ansiedlung wurde chinesisch 麻荖漏, Moalaulau transkribiert. Während der japanischen Herrschaft über Taiwan 1895 bis 1945 wurde ein Fischereihafen erbaut und die Siedlung erhielt den Namen 新港街 (Shinkō machi, „Neue Hafenstadt“).[1] Nach der Übergabe Taiwans an die Republik China 1945 hieß der Ort Xingang (新港, „Neuer Hafen“, die chinesische Aussprache bei identischen Schriftzeichen). Da es noch zwei weitere Orte dieses Namens auf Taiwan gab (Xingang im Landkreis Chiayi sowie Sinkang - heute als Sinshih ein Stadtdistrikt von Tainan), wurde die Gemeinde nach 1945 umbenannt. Sie erhielt zu Ehren des chinesischen Eroberers Zheng Chenggong (Koxinga) den Namen Chenggong (成功). Wörtlich bedeutet dies „Erfolg“. Chenggong Zhèn (成功鎮) ist damit gewissermaßen die „Stadt des Erfolges“ oder die „Erfolgreiche Stadt“.
Lage, Klima
Die Gemeinde besteht aus einem langgestreckten Küstenstreifen, der zum Landesinneren hin durch das parallel zur Küste verlaufende Haian-Gebirge getrennt wird. Das Klima ist feucht-warm und wie das des ganzen übrigen Landkreises Taitung durch den Monsun geprägt. Die Regenzeit beginnt im Mai und endet im Oktober.[2]
ChenggongKlimadiagr
Nachbargemeinden sind Changbin im Norden, Fuli (Landkreis Hualien) im Westen, und Donghe im Südwesten und Süden. Chenggong ist in die folgenden acht Stadtteile unterteilt: Xinyi (信義里), Heping (和平里), Zhongren (忠仁里), Zhongzhi (忠智里), Sanmin (三民里), Sanxian (三仙里), Zhongxiao (忠孝里), Boai (博愛里).
Gliederung von Chenggong
Chenggong villages.svg
Boai
博愛里
Zhongxiao
忠孝里
Sanxian
三仙里
Sanmin
三民里
Zhongzhi
忠智里
Zhongren
忠仁里
Heping
和平里
Xinyi
信義里
Bevölkerung
Archäologische Funde weisen auf eine menschliche Besiedlung seit einigen Jahrtausenden hin. An einigen Orten finden sich Relikte der jungsteinzeitlichen Changbin-Kultur. Die Örtlichkeit Xiaoma gehört neben Baxiandong in der Nachbargemeinde Changbin zu den wichtigsten Fundstätten.[3][4] Die Mehrheit (etwa 50-60 %) der heutigen Bevölkerung gehört der Ethnie der Amis an. Die traditionelle Ami-Volkskunst und Folklore spielt dementsprechend eine bedeutende Rolle.[5] Die nach offiziellen Erhebungen in Chenggong im Jahr 2010 zu Hause gesprochenen Sprachen waren: 82 % Hochchinesisch, 55 % Hokkien, 42 % indigene Sprachen, 2 % Hakka und 2 % andere. Ein Großteil der Bevölkerung war mehrsprachig.[6] Die Bevölkerung nimmt seit mindestens den 1980er Jahren aufgrund von Abwanderung und Überalterung ab.[7]
Wirtschaft
Chenggong ist der bedeutendste Fischereihafen an der Ostküste Taiwans.[8] Hauptsächlich werden Echter Bonito, Schwertfisch, Goldmakrelen (Mahi mahi), Thunfische und Dorsche gefangen.[5] Durch langdauernde Überfischung sind die Fangerträge in der Vergangenheit kontinuierlich zurückgegangen. Landwirtschaftliche Produkte der Region sind Jackfrucht, Orangen, Pflaumen und Mandarinen.[9]
Die Hauptverkehrsader bildet die Provinz-Schnellstraße 11, die die Gemeinde in Nord-Süd-Richtung durchquert.
Sehenswürdigkeiten
In Chenggong gibt es unter anderen die folgenden Sehenswürdigkeiten:
Ami-Volk-Museum, ein Freilandmuseum zur Volkskultur der Amis[10] (Welt-Icon)
Chengguangao Mazu-Tempel, der älteste Mazu-Tempel des Landkreises[11] (Welt-Icon)
Taitung-Museum für Meeresbiologie mit Aquarium[12] (Welt-Icon)
Naturhistorisches Museum[13] (Welt-Icon)
Shiyusan (石雨傘), der „Steinerne Regenschirm“, eine Felsformation[14] (Welt-Icon)
Sanxiantai (三仙台), kleine vorgelagerte Felsinsel, die durch eine pittoreske Rundbogenbrücke vom Festland aus erreichbar ist[15] (Welt-Icon)
Chenggong Township (Chinese: 成功鎮; pinyin: Chénggōng Zhèn; Wade–Giles: Ch'eng2-kung1 Chen4; Pe̍h-ōe-jī: Sêng-kong-tìn) is an urban township in Taitung County, Taiwan. It is a coastal town facing the Pacific Ocean. Fishery Harbor is just west of downtown.
History
Chenggong was originally an Amis settlement from which came the Hokkien name Moalaulau (Chinese: 麻荖漏; Pe̍h-ōe-jī: Môa-láu-lāu).[1] During Japanese rule, it was renamed to Shinkō Town (Japanese: 新港街) of Taitō Prefecture. After 1945, to avoid confusion with Xingang Township of Chiayi County and to distinguish it from Tainan's Sinckan (now called Xinshi), it was changed to Chenggong, which commemorates Zheng Chenggong who expelled the Dutch.
Geography
The township has 14,943 inhabitants and its total area is 144.9938 km². The majority inhabitants of the township are the Amis people which makes up to 53% of the population.[2]
Taiwan (/ˌtaɪˈwɑːn/ (About this sound listen)), officially the Republic of China (ROC), is a state in East Asia. Its neighbors include the People's Republic of China (PRC) to the west, Japan to the northeast, and the Philippines to the south. Taiwan is the most populous state and largest economy that is not a member of the United Nations.
The island of Taiwan, formerly known as Formosa, was inhabited by aborigines before the 17th century, when Dutch and Spanish colonies opened the island to mass Han immigration. After a brief rule by the Kingdom of Tungning, the island was annexed by the Qing dynasty, the last dynasty of China. The Qing ceded Taiwan to Japan in 1895 after the Sino-Japanese War. While Taiwan was under Japanese rule, the Republic of China (ROC) was established on the mainland in 1912 after the fall of the Qing dynasty. Following the Japanese surrender to the Allies in 1945, the ROC took control of Taiwan. However, the resumption of the Chinese Civil War led to the ROC's loss of the mainland to the Communists, and the flight of the ROC government to Taiwan in 1949. Although the ROC continued to claim to be the legitimate government of China, its effective jurisdiction had, since the loss of Hainan in 1950, been limited to Taiwan and its surrounding islands, with the main island making up 99% of its de facto territory. As a founding member of the United Nations, the ROC continued to represent China at the United Nations until 1971, when the PRC assumed China's seat, causing the ROC to lose its UN membership.
In the early 1960s, Taiwan entered a period of rapid economic growth and industrialization, creating a stable industrial economy. In the 1980s and early 1990s, it changed from a one-party military dictatorship dominated by the Kuomintang to a multi-party democracy with a semi-presidential system. Taiwan is the 22nd-largest economy in the world, and its high-tech industry plays a key role in the global economy. It is ranked highly in terms of freedom of the press, healthcare,[15] public education, economic freedom, and human development.[e][13][16] The country benefits from a highly skilled workforce and is among the most highly educated countries in the world with one of the highest percentages of its citizens holding a tertiary education degree.[17][18]
The PRC has consistently claimed sovereignty over Taiwan and asserted the ROC is no longer in legitimate existence. Under its One-China Policy the PRC refuses diplomatic relations with any country that recognizes the ROC. Today, 20 countries maintain official ties with the ROC but many other states maintain unofficial ties through representative offices and institutions that function as de facto embassies and consulates. Although Taiwan is fully self-governing, most international organizations in which the PRC participates either refuse to grant membership to Taiwan or allow it to participate only as a non-state actor. Internally, the major division in politics is between the aspirations of eventual Chinese unification or Taiwanese independence, though both sides have moderated their positions to broaden their appeal. The PRC has threatened the use of military force in response to any formal declaration of independence by Taiwan or if PRC leaders decide that peaceful unification is no longer possible.[19]
Etymology
There are various names for the island of Taiwan in use today, derived from explorers or rulers by each particular period. The former name Formosa (福爾摩沙) dates from 1542,[verification needed] when Portuguese sailors sighted the main island of Taiwan and named it Ilha Formosa, which means "beautiful island".[21] The name "Formosa" eventually "replaced all others in European literature"[22] and was in common use in English in the early 20th century.[23]
In the early 17th century, the Dutch East India Company established a commercial post at Fort Zeelandia (modern-day Anping, Tainan) on a coastal sandbar called "Tayouan",[24] after their ethnonym for a nearby Taiwanese aboriginal tribe, possibly Taivoan people, written by the Dutch and Portuguese variously as Taiouwang, Tayowan, Teijoan, etc.[25] This name was also adopted into the Chinese vernacular (in particular, Hokkien, as Pe̍h-ōe-jī: Tāi-oân/Tâi-oân) as the name of the sandbar and nearby area (Tainan). The modern word "Taiwan" is derived from this usage, which is seen in various forms (大員, 大圓, 大灣, 臺員, 臺圓 and 臺窩灣) in Chinese historical records. The area of modern-day Tainan was the first permanent settlement by Western colonists and Chinese immigrants, grew to be the most important trading centre, and served as the capital of the island until 1887. Use of the current Chinese name (臺灣) was formalized as early as 1684 with the establishment of Taiwan Prefecture. Through its rapid development, the entire Formosan mainland eventually became known as "Taiwan".[26][27][28][29]
In his Daoyi Zhilüe (1349), Wang Dayuan used "Liuqiu" as a name for the island of Taiwan, or the part of it near to Penghu.[30] Elsewhere, the name was used for the Ryukyu Islands in general or Okinawa, the largest of them; indeed the name Ryūkyū is the Japanese form of Liúqiú. The name also appears in the Book of Sui (636) and other early works, but scholars cannot agree on whether these references are to the Ryukyus, Taiwan or even Luzon.[31]
The official name of the state is the "Republic of China"; it has also been known under various names throughout its existence. Shortly after the ROC's establishment in 1912, while it was still located on the Chinese mainland, the government used the short form "China" Zhōngguó (中國), to refer to itself, which derives from zhōng ("central" or "middle") and guó ("state, nation-state"), [f] A term which also developed under the Zhou Dynasty in reference to its royal demesne[g] and the name was then applied to the area around Luoyi (present-day Luoyang) during the Eastern Zhou and then to China's Central Plain before being used as an occasional synonym for the state under the Qingera .[33] During the 1950s and 1960s, after the government had fled to Taiwan due to losing the Chinese Civil War, it was commonly referred to as "Nationalist China" (or "Free China") to differentiate it from "Communist China" (or "Red China").[35] It was a member of the United Nations representing "China" until 1971, when it lost its seat to the People's Republic of China. Over subsequent decades, the Republic of China has become commonly known as "Taiwan", after the island that comprises 99% of the territory under its control. In some contexts, especially official ones from the ROC government, the name is written as "Republic of China (Taiwan)", "Republic of China/Taiwan", or sometimes "Taiwan (ROC)."[36] The Republic of China participates in most international forums and organizations under the name "Chinese Taipei" due to diplomatic pressure from the People's Republic of China. For instance, it is the name under which it has competed at the Olympic Games since 1984, and its name as an observer at the World Health Organization.[37]
Prehistoric Taiwan
Taiwan was joined to the mainland in the Late Pleistocene, until sea levels rose about 10,000 years ago. Fragmentary human remains dated 20,000 to 30,000 years ago have been found on the island, as well as later artefacts of a Paleolithic culture.[38][39][40]
Around 6,000 years ago, Taiwan was settled by farmers, most likely from mainland China.[41] They are believed to be the ancestors of today's Taiwanese aborigines, whose languages belong to the Austronesian language family, but show much greater diversity than the rest of the family, which spans a huge area from Maritime Southeast Asia west to Madagascar and east as far as New Zealand, Hawaii and Easter Island. This has led linguists to propose Taiwan as the urheimat of the family, from which seafaring peoples dispersed across Southeast Asia and the Pacific and Indian Oceans.[42][43]
Han Chinese fishermen began settling in the Penghu islands in the 13th century.[44] Hostile tribes, and a lack of valuable trade products, meant that few outsiders visited the main island until the 16th century.[44] By the 1700's visits to the coast by fishermen from Fujian, as well as Chinese and Japanese pirates, became more frequent.[44]
Opening in the 17th century
Main articles: Dutch Formosa, Spanish Formosa, and Kingdom of Tungning
Fort Zeelandia, the Governor's residence in Dutch Formosa
The Dutch East India Company attempted to establish a trading outpost on the Penghu Islands (Pescadores) in 1622, but were militarily defeated and driven off by the Ming authorities.[45]
In 1624, the company established a stronghold called Fort Zeelandia on the coastal islet of Tayouan, which is now part of the main island at Anping, Tainan.[29] David Wright, a Scottish agent of the company who lived on the island in the 1650s, described the lowland areas of the island as being divided among 11 chiefdoms ranging in size from two settlements to 72. Some of these fell under Dutch control, while others remained independent.[29][46] The Company began to import labourers from Fujian and Penghu (Pescadores), many of whom settled.[45]
In 1626, the Spanish Empire landed on and occupied northern Taiwan, at the ports of Keelung and Tamsui, as a base to extend their trading. This colonial period lasted 16 years until 1642, when the last Spanish fortress fell to Dutch forces.
Following the fall of the Ming dynasty, Koxinga (Zheng Chenggong), a self-styled Ming loyalist, arrived on the island and captured Fort Zeelandia in 1662, expelling the Dutch Empire and military from the island. Koxinga established the Kingdom of Tungning (1662–1683), with his capital at Tainan. He and his heirs, Zheng Jing, who ruled from 1662 to 1682, and Zheng Keshuang, who ruled less than a year, continued to launch raids on the southeast coast of mainland China well into the Qing dynasty era.[45]
Qing rule
In 1683, following the defeat of Koxinga's grandson by an armada led by Admiral Shi Lang of southern Fujian, the Qing dynasty formally annexed Taiwan, placing it under the jurisdiction of Fujian province. The Qing imperial government tried to reduce piracy and vagrancy in the area, issuing a series of edicts to manage immigration and respect aboriginal land rights. Immigrants mostly from southern Fujian continued to enter Taiwan. The border between taxpaying lands and "savage" lands shifted eastward, with some aborigines becoming sinicized while others retreated into the mountains. During this time, there were a number of conflicts between groups of Han Chinese from different regions of southern Fujian, particularly between those from Quanzhou and Zhangzhou, and between southern Fujian Chinese and aborigines.
Northern Taiwan and the Penghu Islands were the scene of subsidiary campaigns in the Sino-French War (August 1884 to April 1885). The French occupied Keelung on 1 October 1884, but were repulsed from Tamsui a few days later. The French won some tactical victories but were unable to exploit them, and the Keelung Campaign ended in stalemate. The Pescadores Campaign, beginning on 31 March 1885, was a French victory, but had no long-term consequences. The French evacuated both Keelung and the Penghu archipelago after the end of the war.
In 1887, the Qing upgraded the island's administration from Taiwan Prefecture of Fujian to Fujian-Taiwan-Province (福建臺灣省), the twentieth in the empire, with its capital at Taipei. This was accompanied by a modernization drive that included building China's first railroad.[47]
Japanese rule
As the Qing dynasty was defeated in the First Sino-Japanese War (1894–1895), Taiwan, along with Penghu and Liaodong Peninsula, were ceded in full sovereignty to the Empire of Japan by the Treaty of Shimonoseki. Inhabitants on Taiwan and Penghu wishing to remain Qing subjects were given a two-year grace period to sell their property and move to mainland China. Very few Taiwanese saw this as feasible.[48] On 25 May 1895, a group of pro-Qing high officials proclaimed the Republic of Formosa to resist impending Japanese rule. Japanese forces entered the capital at Tainan and quelled this resistance on 21 October 1895.[49] Guerrilla fighting continued periodically until about 1902 and ultimately took the lives of 14,000 Taiwanese, or 0.5% of the population.[50] Several subsequent rebellions against the Japanese (the Beipu uprising of 1907, the Tapani incident of 1915, and the Musha incident of 1930) were all unsuccessful but demonstrated opposition to Japanese colonial rule.
Japanese colonial rule was instrumental in the industrialization of the island, extending the railroads and other transportation networks, building an extensive sanitation system, and establishing a formal education system.[51] Japanese rule ended the practice of headhunting.[52] During this period the human and natural resources of Taiwan were used to aid the development of Japan and the production of cash crops such as rice and sugar greatly increased. By 1939, Taiwan was the seventh greatest sugar producer in the world.[53] Still, the Taiwanese and aborigines were classified as second- and third-class citizens. After suppressing Chinese guerrillas in the first decade of their rule, Japanese authorities engaged in a series of bloody campaigns against the mountain aboriginals, culminating in the Musha Incident of 1930.[54] Intellectuals and laborers who participated in left-wing movements within Taiwan were also arrested and massacred (e.g. Chiang Wei-shui (蔣渭水) and Masanosuke Watanabe (渡辺政之輔)).[55]
Around 1935, the Japanese began an island-wide assimilation project to bind the island more firmly to the Japanese Empire and people were taught to see themselves as Japanese under the Kominka Movement, during which time Taiwanese culture and religion were outlawed and the citizens were encouraged to adopt Japanese surnames.[56] The "South Strike Group" was based at the Taihoku Imperial University in Taipei. During World War II, tens of thousands of Taiwanese served in the Japanese military.[57] For example, former ROC President Lee Teng-hui's elder brother served in the Japanese navy and was killed in action in the Philippines in February 1945. The Imperial Japanese Navy operated heavily out of Taiwanese ports. In October 1944, the Formosa Air Battle was fought between American carriers and Japanese forces based in Taiwan. Important Japanese military bases and industrial centres throughout Taiwan, like Kaohsiung, were targets of heavy American bombings.[58] Also during this time, over 2,000 women were forced into sexual slavery for Imperial Japanese troops, now euphemistically called "comfort women."[59]
In 1938, there were 309,000 Japanese settlers in Taiwan.[60] After World War II, most of the Japanese were expelled and sent to Japan.[61]
Republic of China
On 25 October 1945, the US Navy ferried ROC troops to Taiwan in order to accept the formal surrender of Japanese military forces in Taipei on behalf of the Allied Powers, as part of General Order No. 1 for temporary military occupation. General Rikichi Andō, governor-general of Taiwan and commander-in-chief of all Japanese forces on the island, signed the receipt and handed it over to General Chen Yi of the ROC military to complete the official turnover. Chen Yi proclaimed that day to be "Taiwan Retrocession Day", but the Allies considered Taiwan and the Penghu Islands to be under military occupation and still under Japanese sovereignty until 1952, when the Treaty of San Francisco took effect.[62][63] Although the 1943 Cairo Declaration had envisaged returning these territories to China, in the Treaty of San Francisco and Treaty of Taipei Japan has renounced all claim to them without specifying to what country they were to be surrendered. This introduced the problem of the legal status of Taiwan.
The ROC administration of Taiwan under Chen Yi was strained by increasing tensions between Taiwanese-born people and newly arrived mainlanders, which were compounded by economic woes, such as hyperinflation. Furthermore, cultural and linguistic conflicts between the two groups quickly led to the loss of popular support for the new government, while the mass movement led by the working committee of the Communist Party also aimed to bring down the Kuomintang government.[64][65] The shooting of a civilian on 28 February 1947 triggered island-wide unrest, which was suppressed with military force in what is now called the February 28 Incident. Mainstream estimates of the number killed range from 18,000 to 30,000. Those killed were mainly members of the Taiwanese elite.[66][67]
The Nationalists' retreat to Taipei: after the Nationalists lost Nanjing (Nanking) they next moved to Guangzhou (Canton), then to Chongqing (Chungking), Chengdu (Chengtu) and Xichang (Sichang) before arriving in Taipei.
After the end of World War II, the Chinese Civil War resumed between the Chinese Nationalists (Kuomintang), led by Chiang Kai-shek, and the Communist Party of China, led by Mao Zedong. Throughout the months of 1949, a series of Chinese Communist offensives led to the capture of its capital Nanjing on 23 April and the subsequent defeat of the Nationalist army on the mainland, and the Communists founded the People's Republic of China on 1 October.[68]
On 7 December 1949, after the loss of four capitals, Chiang evacuated his Nationalist government to Taiwan and made Taipei the temporary capital of the ROC (also called the "wartime capital" by Chiang Kai-shek).[69] Some 2 million people, consisting mainly of soldiers, members of the ruling Kuomintang and intellectual and business elites, were evacuated from mainland China to Taiwan at that time, adding to the earlier population of approximately six million. In addition, the ROC government took to Taipei many national treasures and much of China's gold reserves and foreign currency reserves.[70][71][72]
After losing most of the mainland, the Kuomintang held remaining control of Tibet, the portions of Qinghai, Xinjiang, and Yunnan provinces along with the Hainan Island until 1951 before the Communists subsequently captured both territories. From this point onwards, the Kuomintang's territory was reduced to Taiwan, Penghu, the portions of the Fujian province (Kinmen and Matsu Islands), and two major islands of Dongsha Islands and Nansha Islands. The Kuomintang continued to claim sovereignty over all "China", which it defined to include mainland China, Taiwan, Outer Mongolia and other areas. On mainland China, the victorious Communists claimed they ruled the sole and only China (which they claimed included Taiwan) and that the Republic of China no longer existed.[73]
A Chinese man in military uniform, smiling and looking towards the left. He holds a sword in his left hand and has a medal in shape of a sun on his chest.
Chinese Nationalist one-party rule
Martial law, declared on Taiwan in May 1949,[74] continued to be in effect after the central government relocated to Taiwan. It was not repealed until 1987,[74] and was used as a way to suppress the political opposition in the intervening years.[75] During the White Terror, as the period is known, 140,000 people were imprisoned or executed for being perceived as anti-KMT or pro-Communist.[76] Many citizens were arrested, tortured, imprisoned and executed for their real or perceived link to the Communists. Since these people were mainly from the intellectual and social elite, an entire generation of political and social leaders was decimated. In 1998 law was passed to create the "Compensation Foundation for Improper Verdicts" which oversaw compensation to White Terror victims and families. President Ma Ying-jeou made an official apology in 2008, expressing hope that there will never be a tragedy similar to White Terror.[77]
Initially, the United States abandoned the KMT and expected that Taiwan would fall to the Communists. However, in 1950 the conflict between North Korea and South Korea, which had been ongoing since the Japanese withdrawal in 1945, escalated into full-blown war, and in the context of the Cold War, US President Harry S. Truman intervened again and dispatched the US Navy's 7th Fleet into the Taiwan Strait to prevent hostilities between Taiwan and mainland China.[78] In the Treaty of San Francisco and the Treaty of Taipei, which came into force respectively on 28 April 1952 and 5 August 1952, Japan formally renounced all right, claim and title to Taiwan and Penghu, and renounced all treaties signed with China before 1942. Neither treaty specified to whom sovereignty over the islands should be transferred, because the United States and the United Kingdom disagreed on whether the ROC or the PRC was the legitimate government of China.[79] Continuing conflict of the Chinese Civil War through the 1950s, and intervention by the United States notably resulted in legislation such as the Sino-American Mutual Defense Treaty and the Formosa Resolution of 1955.
With President Chiang Kai-shek, the US President Dwight D. Eisenhower waved to crowds during his visit to Taipei in June 1960.
As the Chinese Civil War continued without truce, the government built up military fortifications throughout Taiwan. Within this effort, KMT veterans built the now famous Central Cross-Island Highway through the Taroko Gorge in the 1950s. The two sides would continue to engage in sporadic military clashes with seldom publicized details well into the 1960s on the China coastal islands with an unknown number of night raids. During the Second Taiwan Strait Crisis in September 1958, Taiwan's landscape saw Nike-Hercules missile batteries added, with the formation of the 1st Missile Battalion Chinese Army that would not be deactivated until 1997. Newer generations of missile batteries have since replaced the Nike Hercules systems throughout the island.
During the 1960s and 1970s, the ROC maintained an authoritarian, single-party government while its economy became industrialized and technology oriented. This rapid economic growth, known as the Taiwan Miracle, was the result of a fiscal regime independent from mainland China and backed up, among others, by the support of US funds and demand for Taiwanese products.[80][81] In the 1970s, Taiwan was economically the second fastest growing state in Asia after Japan.[82] Taiwan, along with Hong Kong, South Korea and Singapore, became known as one of the Four Asian Tigers. Because of the Cold War, most Western nations and the United Nations regarded the ROC as the sole legitimate government of China until the 1970s. Later, especially after the termination of the Sino-American Mutual Defense Treaty, most nations switched diplomatic recognition to the PRC (see United Nations General Assembly Resolution 2758).
Up until the 1970s, the government was regarded by Western critics as undemocratic for upholding martial law, for severely repressing any political opposition and for controlling media. The KMT did not allow the creation of new parties and those that existed did not seriously compete with the KMT. Thus, competitive democratic elections did not exist.[83][84][85][86][87] From the late 1970s to the 1990s, however, Taiwan went through reforms and social changes that transformed it from an authoritarian state to a democracy. In 1979, a pro-democracy protest known as the Kaohsiung Incident took place in Kaohsiung to celebrate Human Rights Day. Although the protest was rapidly crushed by the authorities, it is today considered as the main event that united Taiwan's opposition.[88]
Democratization
Chiang Ching-kuo, Chiang Kai-shek's son and successor as the president, began to liberalize the political system in the mid-1980s. In 1984, the younger Chiang selected Lee Teng-hui, a Taiwanese-born, US-educated technocrat, to be his vice-president. In 1986, the Democratic Progressive Party (DPP) was formed and inaugurated as the first opposition party in the ROC to counter the KMT. A year later, Chiang Ching-kuo lifted martial law on the main island of Taiwan (martial law was lifted on Penghu in 1979, Matsu island in 1992 and Kinmen island in 1993). With the advent of democratization, the issue of the political status of Taiwan gradually resurfaced as a controversial issue where, previously, the discussion of anything other than unification under the ROC was taboo.
After the death of Chiang Ching-kuo in January 1988, Lee Teng-hui succeeded him as president. Lee continued to democratize the government and decrease the concentration of government authority in the hands of mainland Chinese. Under Lee, Taiwan underwent a process of localization in which Taiwanese culture and history were promoted over a pan-China viewpoint in contrast to earlier KMT policies which had promoted a Chinese identity. Lee's reforms included printing banknotes from the Central Bank rather than the Provincial Bank of Taiwan, and streamlining the Taiwan Provincial Government with most of its functions transferred to the Executive Yuan. Under Lee, the original members of the Legislative Yuan and National Assembly(a former supreme legislative body defunct in 2005）,[89] elected in 1947 to represent mainland Chinese constituencies and having held the seats without re-election for more than four decades, were forced to resign in 1991. The previously nominal representation in the Legislative Yuan was brought to an end, reflecting the reality that the ROC had no jurisdiction over mainland China, and vice versa. Restrictions on the use of Taiwanese Hokkien in the broadcast media and in schools were also lifted.[citation needed]
US Secretary of State Hillary Clinton and Taiwan's special envoy to the APEC summit, Lien Chan, November 2011
Democratic reforms continued in the 1990s, with Lee Teng-hui re-elected in 1996, in the first direct presidential election in the history of the ROC.[90] During the later years of Lee's administration, he was involved in corruption controversies relating to government release of land and weapons purchase, although no legal proceedings commenced. In 1997,"To meet the requisites of the nation prior to national unification",[91] the Additional Articles of the Constitution of the Republic of China was passed and then the former "constitution of five powers" turns to be more tripartite. In 2000, Chen Shui-bian of the Democratic Progressive Party was elected as the first non-Kuomintang (KMT) President and was re-elected to serve his second and last term since 2004. Polarized politics has emerged in Taiwan with the formation of the Pan-Blue Coalition of parties led by the KMT, favouring eventual Chinese reunification, and the Pan-Green Coalition of parties led by the DPP, favouring an eventual and official declaration of Taiwanese independence.[92][clarification needed] In early 2006, President Chen Shui-bian remarked: “The National Unification Council will cease to function. No budget will be ear-marked for it and its personnel must return to their original posts...The National Unification Guidelines will cease to apply."[93]
The ruling DPP has traditionally leaned in favour of Taiwan independence and rejects the "One-China policy".
On 30 September 2007, the ruling DPP approved a resolution asserting a separate identity from China and called for the enactment of a new constitution for a "normal country". It also called for general use of "Taiwan" as the country's name, without abolishing its formal name, the Republic of China.[94] The Chen administration also pushed for referendums on national defence and UN entry in the 2004 and 2008 elections, which failed due to voter turnout below the required legal threshold of 50% of all registered voters.[95] The Chen administration was dogged by public concerns over reduced economic growth, legislative gridlock due to a pan-blue, opposition-controlled Legislative Yuan and corruption involving the First Family as well as government officials.[96][97]
The KMT increased its majority in the Legislative Yuan in the January 2008 legislative elections, while its nominee Ma Ying-jeou went on to win the presidency in March of the same year, campaigning on a platform of increased economic growth and better ties with the PRC under a policy of "mutual nondenial".[95] Ma took office on 20 May 2008, the same day that President Chen Shui-bian stepped down and was notified by prosecutors of possible corruption charges. Part of the rationale for campaigning for closer economic ties with the PRC stems from the strong economic growth China attained since joining the World Trade Organization. However, some analysts say that despite the election of Ma Ying-jeou, the diplomatic and military tensions with the PRC have not been reduced.[98]
On 24 May 2017, the Constitutional Court ruled that current marriage laws have been violating the Constitution by denying Taiwanese same-sex couples the right to marry. The Court ruled that if the Legislative Yuan does not pass adequate amendments to Taiwanese marriage laws within two years, same-sex marriages will automatically become legitimate in Taiwan.[99]
Here is a massive vacant cathedral in pristine condition. There is some water damage on the upper level in which this photo was taken from as well, parts of the exterior are crumbling. I really hope that this is only temporarily closed for repairs but at the same time, there are so many others that were closed for the same reason & have gone into disrepair.
American flags representing fallen servicemembers displayed on the National Mall during Rolling Thunder.
Washington, DC / May 29, 2016
Prefeitos e vereadores de MS e representantes da Assomasul em reunião no Ministério do Planejamento e Orçamento com a ministra Simone Tebet.
Participantes:
Dalmy Crisostomo da Silva - Prefeito de Alcinópolis/MS;
Edison Cassuci Ferreira - Prefeito de Angélica/MS;
Agnaldo Marcelo da Silva Oliveira- Prefeito de Antônio João/MS;
Jose Natan de Paula Dias – Prefeito de Aparecida Do Taboado/MS;
Alexandrino Arévalo Garcia - Prefeito de Aral Moreira/MS;
Edervan Gustavo Sprotte – Prefeito de Bandeirantes/MS;
Germino da Roz Silva - Prefeito de Batayporã/MS;
Reinaldo Miranda Benites - Prefeito de Bela Vista/MS;
Josmail Rodrigues - Prefeito de Bonito/MS;
Manoel Eugenio Nery - Prefeito de Camapuã/MS;
João Carlos Krug - Prefeito Chapadão Do Sul/MS;
Cleverson Alves dos Santos - Prefeito de Costa Rica/MS;
Edilson Magro - Prefeito de Coxim/MS;
Jean Sergio Clavisso Fogaça – Prefeito de Douradina/MS;
Alan Aquino Guedes De Mendonça - Prefeito de Dourados/MS;
Thales Henrique Tomazelli – Prefeito de Itaquiraí/MS;
Juliano Barros Donato – Prefeito de Ivinhema/MS;
Paulo Cesar Franjotti – Prefeito de Japorã/MS;
Jose Marcos Calderan- Prefeito de Maracaju/MS;
Fabio Santos Florença- Prefeito de Miranda/MS;
Rahiza Rejane Neme – Prefeita de Naviraí/MS;
Valdir Couto de Souza Junior - Prefeito de Nioaque/MS;
Jose Gilberto Garcia – Prefeito de Nova Andradina/MS;
Aldenir Barbosa do Nascimento – Prefeito de Novo Horizonte do Sul/MS;
Anizio Sobrinho de Andrade - Prefeito de Paraíso Das Águas/MS;
Maycol Henrique Queiroz Andrade – Prefeito de Paranaíba/MS;
Donizete Aparecido Viaro – Prefeito de Paranhos/MS;
William Luiz Fontoura - Prefeito de Pedro Gomes/MS
Eduardo Esgaib - Prefeito de Ponta Porã/MS;
Francisco de Paula Ribeiro Júnior – Prefeito de Rochedo/MS;
Lucio Roberto Calixto Costa – Prefeito de Santa Rita do Pardo/MS;
Jeferson Luiz Tomazoni - Prefeito de São Gabriel do Oeste/MS
Jose Fernando Barbosa dos Santos – Prefeito de Selvíria/MS;
Vanda Cristina Camilo - Prefeita de Sidrolândia/MS;
Enelto Ramos Da Silva – Prefeito de Sonora/MS
Clovis Jose Do Nascimento – Prefeito de Taquarussu/MS;
Henrique Wancura Budke – Prefeito de Terenos/MS;
Angelo Chaves Guerreiro – Prefeito de Três Lagoas/MS;
Sivaldo Moreira Da Silva – Assessor do Sr. Antônio João;
Vera Cruz – Primeira-Dama da Aral Moreira;
Cacildo Dias Paiao – Assessor da Bataypora;
Marcus Vinicios Silva Souza- Imprensa Dourados;
Victor Hugo E Jose Wilson – Assessor Ivinhema;
Walter Jose da Silva – Assessor Japorã/MS;
Michel Freddi- Assessor Miranda;
Cleber Valiente - Assessor Paranhos;
Donizete Viaro Filho (Filho) - Assessor Paranhos;
Marcos Augusto de Souza – Assessor Três Lagoas;
Rogério Rosalin - Diretor Assomasul;
Mariana Garrido – Assessora Assomasul;
Deliane Santos- Assessora Assomasul;
Edson Ribeiro - Imprensa Assomasul;
Guilherme Azambuja - Assessor Assomasul;
Fernando Jarzon - Imprensa Assomasul;
Roberto Dias Silva - Vereador Douradina;
Francisco Assis H. - Vereador Douradina;
Gercindo da Silva Goes - Vereador Douradina;
Marcelo Quevedo Pedro - Vereador Douradina;
Kaique Freire Reis - Vereador Douradina;
Lúcio Flavio Raulino Silva – Vereador Douradina;
Jose Nivalcir Pinto Lima Vereador - Douradina;
Anielle de Souza Ferreira Santi - Assessora de Sidrolândia/MS.
FOTOS: EDU ANDRADE/Ascom/MPO
Hmmm... this portrait represents her wicked personality. She has a really wicked side (I want to use a word 'crazy' but one shouldn't describe their parents this way) :) She's warm, loving, people, children and pets magnet! There's a vibe about her that many people approach her just to ask the time... No wonder my Klara loves her 'most of the most of the most', not to mention myself. I love her aura and sense of humour - oh how easily we can make each other laugh to tears! On top of that we are best friends; we just understand each other without words. Yup. That's my Mum.
Se trata en sí del símbolo que representa la flor seca del cardo silvestre Carlina acaulis. Símbolo tradicional que se coloca en la puerta de entrada de algunos caseríos y casas como una representación del astro diurno y que desempeña las mismas funciones místicas atribuidas al sol. Este ahuyenta a los malos espíritus, impide la entrada a las brujas, a los genios de las enfermedades, de la tempestad, del rayo, etc. Eguzkilore es la imagen de la paz y del desarrollo.
Cuenta la leyenda que hace miles y miles de años… cuando los hombres comenzaron a poblar la tierra, se encontraban inmersos en la gran oscuridad. Asustados por los numerosos genios que salían de las entrañas de la tierra en forma de toros de fuego, caballos voladores, enormes dragones… los hombres en su desesperación, decidieron pedir ayuda a la Tierra de forma constante. Ante esta insistencia, la Tierra les dijo: “Hijos míos, me pedís que os ayude y eso voy a hacer. Crearé un ser luminoso al que llamaréis Luna”.
Al comienzo, los hombres se asustaron mucho y permanecieron en sus cuevas sin atreverse a salir, pero, poco a poco, fueron acostumbrándose. Al igual que los genios y las brujas que también se acostumbraron y no tardaron en salir de sus simas y acosar de nuevo a los humanos. Así que los hombres, acudieron otra vez a la Tierra, pero esta vez para pedirle algo más poderoso. Esta, les respondió creando un ser todavía más luminoso al que le llamarían Sol. De esta forma, el Sol sería el día y la Luna la noche.
Era tan grande, luminoso y caliente que los hombres tuvieron que ir acostumbrándose poco a poco. Gracias a su calor y luz, crecieron las plantas… y aún más importante, los genios y las brujas no pudieron acostumbrarse a la gran claridad del día y desde entonces sólo pudieron salir de noche.
Los hombres, acudieron una vez más a la Tierra para pedirle protección durante la noche ya que los genios salían de sus simas y los acosaban. Y fue entonces cuando la Tierra les creó una flor tan hermosa que, al verla, los seres de la noche creerían que era el propio Sol. Esta es ‘Eguzkilore’ o Flor del sol. Y hasta hoy, defiende los hogares de los malos espíritus, los brujos, los genios de la enfermedad, las tempestades, rayos y demás enemigos del hombre.
Puente de Lusitania de Mérida (Badajoz). Estructura: Puente arco, estructura del tablero suspendida. Localización: Sobre el río Guadiana en Mérida, Extremadura (España). Construido: 1988-1991. Diseñador(es): Santiago Calatrava. Materiales: acero, hormigón pretensado. Dimensiones: Luz principal 189 m. Longitud total 465 m. Profundidad del arco 32 m. El deterioro al que el tráfico rodado sometía al Puente Romano llevó a sustituirlo por un nuevo puente. El proyecto de Calatrava dialoga con el puente romano con una figura de contraste, donde el gran arco único resalta sobre el cielo su perfil arquetípico y monumental. El reto que representaba la estructura romana, de 2000 años de antigüedad, es asumido mediante la repetición rítmica de elementos portantes. La superposición visual de ambos es impresionante, actuando el Puente Romano como basamento, masivo y rítmico, dominado por el gran arco propuesto por Calatrava. Los peatones cruzan el puente por medio de una larga pasarela de 500 m, situada a una altura de un metro y medio sobre la circulación rodada. Mérida (Badajoz) 15/11/2009
Here are three retired school buses that represent the way it used to be in a time when there were multiple chassis and body builders each seeking to sell to customers.
From left:
1969 Chevrolet w/ Superior body
1970 International w/ Ward body
1973-77 Ford w/ Wayne body
From my recollection the companies offering chassis to the body companies to build on and the years they quit were:
Chevrolet: (1991 everyone, 2003 Blue Bird)
GMC (1991 everyone, 2003 Blue Bird)
International (2006? everyone, still IC)
Freightliner (2003? everyone, still Thomas)
Ford (1998)
Dodge (1977)
Studebaker (1964)
Mack (1962?)
White (1961)
The body companies that built Type-C bodies and sold them in the Midwest that I am aware of are:
Blue Bird (current)
Thomas (current)
Ward/AmTran/IC (current)
Carpenter (2001)
Wayne (1995)
Superior (1981, or 1985 depending on what you consider a Superior)
Hackney (1966, still builds beverage truck bodies)
Oneida (1960, small number produced in Indianapolis by Marmon Herrington in early 1960's under Oneida name)
Union City (1957, still builds step vans)
As is evidenced by the number of builders and the fact that most of the body builders would build on any chassis, quite a wide variety of school buses were available back in the day!
Photo by Gavin Berwald
The Paramount represented a step-change in Plaxton coach design. The crisp body design incorporated flat glazing of shallower depth than its predecessor, the long-running Supreme; and the main bodyside panel was a single sheet of Zinc-coated steel stretched over the frame. It appealed equally to independent operators and the state-owned Nation al Bus Company (NBC) and Scottish Bus Group (SBG). Most NBC companies operated Paramounts at some time, in an increasingly varied selection of liveries; this Southdown scheme was an interesting variation of the corporate ‘venetian blinds’ design. Thanks to Keith McGillivray for the base image (24-Feb-19).
All rights reserved. For the avoidance of doubt, this means that it would be a criminal offence to post this image on Facebook or elsewhere (please post a link instead). Please follow the link below for further information about my Flickr collection:
www.flickr.com/photos/northernblue109/6046035749/in/set-7...
The Northwestern League was a professional, minor baseball league that lasted from 1905 to 1917. It was represented by teams based in Washington, Montana, Oregon and British Columbia. The league became the Pacific Coast International League in 1918 - Seattle Turks (1909), Seattle Giants (1910-1917),
The Seattle Turks were a minor league baseball team based in Seattle, Washington who played a single season (1909) in the Northwestern League. In their only year of existence, the team won a Northwestern League pennant with a record of 109-58.
The Seattle Giants were a minor league baseball team that played in various leagues from 1910 to 1920. Based in Seattle, Washington, United States, they played in the Northwestern League from 1910 to 1917, the Pacific Coast International League in 1918 and 1920, and the Northwest International League in 1919. Two of their ballparks were Yesler Way Park and Dugdale Field. In 1919, they were also known as the Seattle Drydockers.
------------------------------------------------------------------------------------
Rhoddy Hendrix
Position: Pitcher
Bats: Unknown • Throws: Right
Height: Tall
Weight: Medium
Born: January 28, 1887 in Detroit, Red River County, Texas
Died: January 29, 1939 (Aged 52-002d) in Seattle, WA
Full Name: Rhoddy Kirkman James Hendrix
NIckname or different spelling: Rhody (this spelling was used until the end of the 1909 season)
Rhoddy Kirkman Hendrix was born on January 28, 1887, in Detroit, Texas, USA, his father, James, was 26 and his mother, Frances, was 23. He married Alice Birk / Boyd and they had one son together. He then married Elsie L Johnson on October 3, 1924, in King, Washington, USA. He died on January 29, 1939, in Seattle, Washington, USA, at the age of 52.
Link to Rhoddy Hendrix' baseball stats - www.baseball-reference.com/register/player.fcgi?id=hendri...
(Not to be confused with another pitcher during this time period Claude Hendrix as some of the papers did)
Link to baseball stats for Claude Hendrix - www.baseball-reference.com/register/player.fcgi?id=hendri...
-------------------------------------------------------------------------------------
(The Daily Ardmoreite, June 23, 1907) - Hendrix to Joplin - Rhody Hendrix formerly of this city, who pitched winning ball for the Wichita Western association team last season, but has been out of the game for several weeks of the present season on account of ill health, has been loaned to the Joplin team by Wichita. It is stated that Wichita wants him for use again next year, being well fortified In the box at present.
(The Topeka State Journal, July 15, 1907) - Rhody Hendrix, the little Wichita pitcher who is with Wichita, did not make good with Joplin as he has just recovered from a severe spell of sickness. However, Holland will keep him with the Wichita team and attempt to make a winner out of him for next season.
(The Topeka State Journal, July 25, 1907) - Wichita Beacon: Pitcher Rhody Hendrix of the local baseball club arrived in the city this morning from Webb City. He has been released by the local management as he was unable to get into condition. Hendrix was popular with local fans, as he did great work for the locals last season in the pinches. Hendrix stated this morning that the fans of Webb City joined with Webb City players Saturday in their assault upon Umpire Guthrie, Hendrix said the umpire had been working In good style and the assault was entirely without cause. Hendrix left early this morning for his home In Oklahoma, where he will spend a few weeks in trying to get into condition. He has had offers from two Western association teams but does not think he can do himself justice at this time.
(The Topeka State Journal, May 16, 1908) - The Wichita team will probably sell Rhody Hendrix in a few days. Hutchinson, Enid and Dubuque have all made offers for him. Wichita has a number of good pitchers at the present time and Hendrix is not needed. He is a good pitcher, however. Wichita secured him from Tulsa in the fall of 1906. Last season he was out of the game most of the time on account of sickness.
(The Topeka State Journal, May 20, 1908) - Rhody Hendrix who has been with the Jobber twirler staff for the past two seasons has been signed up by Enid and yesterday succeeded, in winning the first game Enid has won during the past two phases of the moon. - Enid defeated Oklahoma City 4 to 3. in a ten-inning game. A wild throw by Kelsey over first brought in Bold when two men were out in the last half of the tenth and gave the Railroaders the game. Hendrix' pitching was the feature of the game.
(The Topeka State Journal, August 21, 1908) - Manager Cooley yesterday negotiated the purchase of Pitcher Rhody Hendrix from the Enid team, the same place from whence came Selby, the real star of the Topeka twirling staff. Hendrix should be In some time today, but it is not known whether he will be able to make connections or not.
(The Topeka State Journal., August 22, 1908) - Pitcher Rhody Hendrix, lately secured by Cooley from Enid, arrived here this
morning and will pitch against the Jobbers tomorrow afternoon.
(The Topeka State Journal, March 22, 1909) - Hendrix First to Report. - The locals are all due to be here Thursday. One of the players, Rhody Hendrix. is already here, having reported late Saturday night. He came from Texas but stopped off at Wichita for a few days en route. Rumor has it that Rhody is interested in Wichita to a certain extent, and the Wichita Beacon announced that his interest in Wichita would probably detain him right up to the time the train left and that his interests would be at the train to say goodby to him. Hendrix looks the picture of health and says he never felt better in his life. It's a cinch that he never looked better in his life. Hendrix has been pitching since about the first of the year. He lives in Texas where the weather is always warm. Hendrix is still a youngster and should do a lot for Mr. Cooley this season. Last season Hendrix was off color. He joined the team in mid season coming here from Enid where owing to trouble with the management he had been on the suspended list for some time. Then he was suffering from malaria, all of which is enough to take the stamina from any pitcher. He has had good records in the past and the dope looks pretty good on him. It's a safe bet that he will make some of them work hard for positions this season.
(The Topeka State Journal, June 18, 1909) - HENDRIX DID IT - Topeka Pitcher Batted in Winning Run in Fourteenth - Splendid Pitching in Pinches Won From Wichita. - Mr. Rhody Hendrix was pretty much the whole show at Association park yesterday afternoon, when the home talent piloted by his brilliant pitching took the opener from the Witches in a 14 inning struggle. The defeat of the Chesty Leaders was the result the cause was too much Hendrix. For R. H. was the pitching kiddo, the pinch bitter, the cool collected master of the situation and above all the Real Hero of the afternoon. His stock is ace high already and some of his friends are talking of him for Judge of the supreme court.
(The Topeka State Journal, August 14, 1909) - Rhody Hendrix is getting away good in the Central Association. Wednesday
on the Jacksonville grounds, he held the Jacksonville team to three scattered hits, easily securing a shutout. Burlington won by a score of 6 to 0. Hendrix copped two of the eleven hits secured by Burlington.
(The Topeka State Journal, September 02, 1909) - Rhody Hendrix In a game against Kewanee at Burlington Monday, fanned 14 men, the record for that league.
(The Topeka State Journal, September 25, 1909) - COOLEY SOLD HENDRIX - Big Pitcher Goes to Seattle for Five Hundred Dollars - Manager Dick Cooley last night announced the sale of Pitcher Rhoddy Hendrix to the Seattle club of the Northwest League for $500. Hendrix will probably leave within a day or two to join that club. Shortly after supper last night D. E. Dugdale, an old friend of Cooley, who is owner of the Seattle club, wired Cooley Inquiring for an extra pitcher. Cooley wired back that he would tell Hendrix for $500 and the deal was consummated within two hours after it had been started. Seattle is in first place and the chances are that the club will win the pennant, but Dugdale wished to fortify himself with some more pitchers. Cooley does not think that Hendrix is up to the Western League standard. He gave him a good trial extending over the first half of the season, but Hendrix fell a little shy. Later he was loaned to the Burlington club of the Central Association, and his record was so good that Cooley thought it wise to give him another chance, yesterday, Hendrix didn't make a good showing. Accordingly when Dugdale's wire came, Cooley thought it a good plan to sell. Hendrix was purchased from the Enid club in 1908 for $150.
(Morning Oregonian), November 10, 1909 - The draft of Pitcher Allen of the Seattle Northwestern League Club by Memphis has been allowed. Allen is the leading pitcher of the Northwestern League for the last season. To replace Allen, Manager Dugdale, of Seattle, has purchased Pitcher Rhoddy Hendrix from the Topeka Western League Club.
(The Topeka State Journal, February 08, 1910) - "Rhody" Hendrix is already in training and by a process of his own, he is removing about four pounds a day from his manly form.
(East Oregonian, April 27, 1910) - Tacoma - April 27. The Tacoma Tigers opened the season at home yesterday before 3500 people and were beaten by the Seattle Giants in an interesting game, 3 to 2. Schmutz for Tacoma and Rhoddy Hendrix for Seattle, pitched great ball and the hits were few. Errors played an important part in the scoring. Bennett drove in the winning run for Seattle in the sixth inning.
(The Sunday Oregonian, May 01, 1910) - TACOMA POUNDS HENDRIX - Seattle Goes Down to 9 to 3 Defeat; SEATTLE, April 30. Tacoma won from Seattle by a score of 9 to 3 in a game where heavy hitting was the feature. All Hendrix had was his fast straight ball and Tacoma hammered It all over the lot.
BOX DATE: 2017
MANUFACTURER: Play Along
BODY TYPE: 2010
HEAD MOLD: 2010; pierced ears
PERSONAL FUN FACT: Mosi is the kind of dolly that would have tickled my younger self. I absolutely adore Native American dolls...I always have. Maybe it's because my dad always talked about how my Pepere had a relative who was Native American (a great great grandmother I believe). I also spent hours upon hours watching "Free Wily" as a kid, and Randolph from that film is Native American. I was captivated by his stories about Orca whales, just as Jesse was in the movie. My American Girl Kaya, who is Native American, was so special to me because Dad could always pick her out of a line up. It didn't matter if she was redressed in something modern...Dad knew which ones she was. He even chose an outfit from the catalogue for Kaya as a surprise, for my fourteenth birthday. She was the only American Girl he ever picked an outfit for (when my mom was alive, that was her job). Mosi is kind of like Kaya's little sister...perfectly proportioned to a Wellie Wisher! Of course, she is from modern times, hence the less literal ensemble. I also don't know what tribe she represents (Kaya is Nez Perce). I love that Mosi has an updated look, but you can still see that she's Native American. Normally, she'd have been my favorite of the four Hearts for Hearts dolls I was given in 2023. But the person who gave us the "Wondrous Wellie Wishers Lot" had fabulous taste. Shola, the girl from Afghanistan, is without a doubt the one who stole my heart. But Mosi and Consuelo (from Mexico) interchange depending on my mood.
The German national football team (German: Die deutsche Fußballnationalmannschaft) is the football team representing the country of Germany in international competition since 1908. It is governed by the German Football Association DFB (Deutscher Fußball-Bund) which was founded in 1900.
From 1950 to 1990, the team was called West Germany in English, as since World War II, the DFB is based in the Federal Republic of Germany (FRG) which was commonly referred to as West Germany from 1949 to 1990. The DFB continues to field the German national team that had been fully reinstated by FIFA after the 1950 FIFA World Cup, retaining all records and traditions. Under Allied occupation and division, two other separate national teams had also been recognized by FIFA, the Saarland team (1950–1956), and the East German team (1952–1990). Both have been absorbed into the current national team, along with their records (caps and goal scorers). The official name and code "Germany FR (FRG)" was shortened again to "Germany (GER)" in 1990.
Germany is one of the three most successful national teams at international competitions, having won a total of three World Cups and three European championships. They are also one of the most consistent teams. Aside from winning three world and continental titles, they were also runners-up three times in the European Championships, four times in the World Cup and won 3rd place in the World Cup three times as well. East Germany won Olympic Gold in 1976. Germany is the only nation to have won both the men's and women's World Cups.
The current coaching staff of the national team include head coach Joachim Löw, assistant coach Hans-Dieter Flick, goalkeeper coach Andreas Köpke, athletic coach Shad Forsythe, athletic coach Oliver Bartlett, scout Urs Siegenthaler, technical director Matthias Sammer
instagram @hanoverianqatar
Represented by SL Talent.
© Copyright 2014 Barrie Spence. All rights reserved and moral rights asserted. Theses images are not in the public domain and may not be used without licence.
Comments are very welcome and very much appreciated, but any with linked/embedded images will be removed.
I love challenges.I have no idea what this was supposed to represent...there was no explanation to this abstract sculpture posted near by. It was an interesting object to try to capture a fun angle of with a 50mm lens standing under it...but the original image was nothing but plain to me once I could see it on the computer. I liked the comp on this just as it was shot, but the colors were dull silver metal and lifeless blue sky. After trying several things, I thought I'd just abandon whatever I thought might work and head to the filter gallery in photoshop for whatever seem to 'work' best. Here are the steps I took (if anyone is interested) to achieve this effect.
In the Layers Palette - I unlocked the background layer and made a duplicate of it to apply the filters to. (That way, if all else failed, I could toss that one and start again.) With the copy layer selected, I opened the Filter Gallery and applyed first a Bas Relief filter and then added a second filter onto that one - a Graphic Pen filter with a stroke of 15 and light/dark balance of 50. After applying those two filters the layer copy now appeared B&W.
Again, in the layers palette, the B&W layer sat above the original. I adjusted the blend mode of the B&W layer to Overlay with 93% Opacity and 86% Fill selected for this.
And with those simple adjustments this image took on a whole different appeal, changing vasting the original, giving it some character and punch with that gradient sky especially.
Thanks for visiting and for your comments!
114 picture in 2014
"Priest" (2011)
And yes, he was on his phone. lol
No offence, please. I'm just trying to represent the film title with my photo. Thank you.
Representing a uniform
A free strugglers extreme advertisement
Lifestyle and culture
Old-school visions
Streamlining my personal rat like ways
I am the way of the rat
A mad creature
Refusing to be smart
Providing equal vision
Representing project mind luck
A working agenda
My apex
My master in fine arts
Hello my name is alias
I feel beautiful in my decay
Prolific guerilla postering
Amongst my illegal art
My mind canvas digitized
Original or not
My text is my illustrator
Art for museums, galleries and traffic lights
Give the fucking frogs fucking space
Because robots do kill
Collecting my collectables
Heaping free waves
Listen now
Experience now
Rapid transit in lyrical art
Do you understand my message?
My life is my art.
Icône représentant Saint Marc (?) tenant le Livre des Évangiles
Égypte, VIè siècle
Bois de sycomore, peinture à l'encaustique
Paris, BNF, département des monnaies, médailles et antiques
L'inscription indique : "Notre père, Marc l'Évangéliste".
Marc a été évêque d'Alexandrie et a entrepris l'évangélisation de l'Égypte mais il n'est pas certain qu'il soit représenté sur l'icône.
Oeuvre présentée dans l'exposition "Chrétiens d'Orient" à l'IMA, Paris
Le site de l'exposition "Chrétiens d'Orient. Deux mille ans d'histoire" à l'Institut du monde arabe (IMA) à Paris
www.imarabe.org/fr/expositions/chretiens-d-orient-deux-mi...
Parvati (Devanagari: पार्वती, IAST: Pārvatī) is known as the motherly form of Mother Goddess Gauri Jagadamba, Parvati is another form of Shakti, the wife of Shiva and the gentle aspect of Maha Devi or Durga, the Great Goddess. Parvati is considered to be a complete incarnation of Adi Parashakti or Goddess Durga, with all other Goddesses being her incarnations or manifestations. Parvati is nominally the second consort of Shiva, the Hindu God of destruction and rejuvenation. However, she is not different from Sati, being the reincarnation of Shiva's first wife. Parvati is the mother of the Gods Ganesha, Kartikeya, Ashoka Sundari. Some communities also believe her to be the sister of Vishnu. She is also regarded as the daughter of King Himavan. Parvati, when depicted alongside Shiva, generally appears with two arms, but when alone, she is depicted having four, eight or ten arms, and is astride on a tiger or lion. Generally considered a benevolent Goddess, Parvati also has wrathful incarnations, such as Durga, Kali, Tara, Chandi, and the Dasha Mahavidyas (ten great wisdoms), Tripur Sundari (Shodashi), Bhuvaneshwari, Bhairavi, Chinnamasta, Dhumavati, Bagla Mukhi, Matangi and Kamala, as well as benevolent forms like Katyayani, Maha Gauri, Kamalatmika, Bhuvaneshwari and Lalita.
ETYMOLOGY
Parvata is one of the Sanskrit words for "mountain"; "Parvati" translates to "She of the mountains" and refers to Parvati being born the daughter of Himavan, lord of the mountains and the personification of the Himalayas. Other which associate her with mountains are Shailaja (Daughter of the mountains), Adrija or Nagajaa or Shailaputri (Daughter of Mountains), 'Haimavathi' (Daughter of Himavan) and 'Girija' or 'Girirajaputri' (Daughter of king of the mountains). Parvati's name is also sometimes considered a form of 'pavitra', meaning 'sinless' or 'holy' in Sanskrit. Her consort is Shiva and she is the sagun swaroop of the Supreme Being Adi Parashakti that is the material form of the supreme power.
She is also known by 108 names from the Durga Saptashati. These include Durga (invincible), Shakti (power), Ambika ('dear mother'), Gauri ('fair complexioned'), Bhairavi ('ferocious'), Kali ('dark'), Umā, Lalita, Mataji ('revered mother'), Sahana ('pure'), Maheshwari ('great goddess'). Bhavani, Shivaradni ('Queen of Shiva'), and many hundreds of others. The Lalita sahasranama contains an authoritative listing of 1,000 names of Parvati.
Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati in earlier texts, but in the Ramayana, it is used as synonym for Parvati. In the Harivamsa, Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who was dissuaded by her mother from severe austerity by saying u mā ('oh, don't').
The apparent contradiction that Parvati is addressed as the fair one, Gauri, as well as the dark one, Kali or Shyama is a philosophical matter. It suggests that the one calm and placid wife, Uma, in times of danger, can transfer back to her primal fierce and angry or (sometimes) Maternal nature as Kali, who stands uncloaked, with a foot on her husband's chest. The twin opposite colors, white and black represent the two opposing nature of the Goddess. Parvati is also the goddess of love and devotion, or Kamakshi.
GODDESS OF POWER
Parvati is the source of all the powers and weapons. She is the base of all kinds of powers that are used for doing any work. It is also believed that without her, Shiva remains as Shava or Corpse, for she is the ultimate source of power for all beings, gods and Devas. That is why she is considered as goddess of power. According to the Devi Bhagavatam, she is the most powerful of all. When her anger reaches its peak, she can destroy the whole universe in just seconds. Even Trinity i.e. Brahma, Vishnu and Shiva, never try to make her angry at any cost.
Sarvarupe Sarveshe Sarvashakti Samanvite Bhayebhyastrahi no devi durge devi namostute
It translates to: We bow down to Devi Durga, who is source of all forms (sarvarupe), who is the goddess of all beings (sarveshe), in whom all power exists (Sarvashakti samanvite) and who destroys all fear (bhaye bhyastrai no devi).
RISE TO PROMINENCE
Parvati herself does not explicitly appear in Vedic literature, though the Kena Upanishad (3.12) contains a goddess called Uma-Haimavati. She appears as the shakti, or essential power, of the Supreme Brahman. Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic trinity of Agni, Vayu, and Indra, who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell the episode in such a way to leave no doubt that it was Śiva's spouse.." Both textual and archaeological evidence suggests Sati-Parvati appears in the epic period (400 BC–400 AD), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th-6th centuries) and the Puranas (4th through the 13th centuries) that the myths of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non-aryan goddesses that lived in mountains.
Prof. Weber suggests that like Shiva is combination of various Vedic gods Rudra and Agni, the Puranic Parvati is a combination of Uma, Haimavati, Ambika and earlier Parvati, identified as wives of Rudra; of others like Kali, who could be a wife of Agni and of Gauri and others inspired by Nirriti. Tate suggests Parvati is a mixture of the Vedic goddess Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions.
BIRTH AND MARRIAGE
The Puranas repeatedly tell the tale of Sati's marriage to Shiva against her father Daksha's wishes and her subsequent self-immolation at Daksha's sacrifice, leaving Shiva grief-stricken and having lost interest in worldly affairs. In the Brahma Vaivarta Purana, Sati appears before Shiva, in her divine form, and reassures him that she will return as the daughter of Himavan. Sati is reborn as Parvati, the daughter of Himavat and Minavati, and is named Parvati, 'daughter of Himavant '. Sati, as well as Parvati, are considered manifestations of Mahadevi, the great Goddess. In the Ramayana, the river goddess Ganga is depicted as the elder sister of Parvati. In the Harivamsa, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagawata Purana and Shiva Purana mount Himalaya and his wife Mena perform extreme austerities to appease the goddess Adi Shakti. Pleased with their penance the Adi Shakti agrees to be born as their daughter. When born goddess Parvati has four arms and manifests a divine light which pervades the entire Himalaya region on the auspicious tritiya day. Mena implores to the child to withdraw its four armed form and make herself visible as a two armed normal child to which the goddess agrees and becomes a normal girl child.
Parvati is depicted as interested in Shiva's tales and appearance from her very birth and eventually remembering her previous life as Sati. As Parvati grows into a young woman, she begins tapas (austerities) to please Shiva to grant her wish to reunite with him. She is portrayed as surpassing all other ascetics in austerity, undergoing severe mortifications and fasting. Finally, Shiva tests her devotion by appearing himself in disguise to criticize Shiva. Untouched by the act, Parvati retains her desire for Shiva, compelling him to marry her. After the marriage, Parvati moves to Mount Kailash, the residence of Shiva.
Kalidasa's epic Kumarasambhavam ("Birth of Kumara") details with matchlessly lyrical beauty the story of the maiden Parvati: her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, the subsequent marriage of Parvati and Shiva, the birth of Kumara, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.
MAIN FORMS OF PARVATI
As per devi bhagwata Purana, Goddess Parvati is lineal progenitor of all other goddesses. She is one who is source of all forms of goddesses. She is worshiped as one with many forms and name. Her different mood brings different forms or incarnation.
- Durga is demon fighting form of this Goddess, and some texts suggest Parvati took the form of Goddess Durga to kill Demon Durgam.
- Kali is another aspect that was assisted by Goddess Chandi while fighting with rakta bija. She was born from the forehead of the goddess. But many interpretations of scriptures suggests that it was Goddess Chamunda who has gotten same iconography as goddess Kali who is nobody but an aspect of Kali, even Parvati is considered to be Goddess Kali herself in her ferocious form.
- Goddess Chandi is the epithet of Maa Durga, who is created by the collection of all demigods and trimurti power, and then considered to be power of sagun parashakti (Parvati), She is black in color and rides on lion, she is known as the original slayer of Demon Mahishasura, considered to be a form taken by Durga herself.
- Ten Mahavidyas are the ten aspects of Shakti, in tantra all have great importance in majority, they all took birth from Goddess Sati, previous Incarnation of Shakti before Goddess Parvati. There is no difference between Sati and Parvati.
- 52 Shakti Peethas of Sati, proves that all Goddesses are expansions of the Goddess Parvati.
- Nava Durga nine forms of goddess Parvati.
SEVERAL INCARNATIONS OF THE GODDESS
- Goddess Meenakshi
- Goddess Kamakshi
- Goddess Lalita, the Original Goddess of Universe, Parvati is referred as her complete incarnation.
- Goddess Akhilandeshwari.
- Goddess Annapurna the representation of all that is complete and of food is Parvati Herself.
- and many others . . .
ASSOCIATION WITH SHIVA
Parvati's legends are intrinsically related to Shiva. In the goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolise at once both the power of renunciation and asceticism and the blessings of marital felicity.
Parvati thus symbolises many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, represented by Shiva. In classical Hindu mythology, the "raison d’être" of Parvati, and before that of Sati, is to lure Shiva into marriage and thus into a wider circle of worldly affairs.
Parvati tames Shiva, the "great unpredictable madman" with her presence. When Shiva does his violent, destructive Tandava dance, Parvati is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices.
Three images are central to the mythology, iconography and philosophy of Parvati:
- The theme of Shiva-Shakti
- The image of Shiva as Ardhanarishvara (the Lord who is half-woman)
- The image of the linga and the yoni
These images that combine the two deities, Shiva and Parvati, yield a vision of reconciliation, interdependence and harmony between the way of the ascetic and that of a householder.
The couple are often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash or discussing abstract concepts in Hindu theology. Occasionally, they are depicted as quarrelling. In stories of the birth of Kartikeya, the couple are described as love-making generating the seed of Shiva. Parvati's union with Shiva symbolises the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri) or as Annapurna (the goddess of grain) giving alms to Shiva.
Shaiva approaches tend to look upon Parvati primarily as the Shiva's submissive and obedient wife and helpmate. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism. This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage manifests in the form of ten terrifying goddesses who block Shiva's every exit.
As the scholar David Kinsley explains:
- The fact that [Parvati] is able to physically restrain Shiva dramatically makes the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become a part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own.
Aum Girijayai cha vidmahe Shivapriyayai cha dhimahi tanno durgah prachodayat
May the goddess Durga, who is the daughter of the mountains and the beloved of lord Shiva illumine me with spiritual wisdom
Sarvamangala mangalye shive sarvardha sadhike sharanye tryambake gouri narayani namostute
I bow down to and take the refuge of the three eyed Mother Gouri(Parvati) of fair countenance,who is the embodiment of supreme auspiciousness, the giver of all the benedictions,the beloved of Lord Shiva and the power of lord Narayana.
RELATIONSHIP TO VISHNU
During the initial stages when Parvathi was performing intense puja to Shiva to obtain Shiva as her husband, Shiva kept testing her by destroying the Shiva lingam she constructed to perform puja. Vishnu then helped in constructing a Shiva lingam for Parvati which was not destroyed by Shiva because of the respect Shiva had towards Vishnu. Thus Vishnu helped Paravthi in continuing her puja for Shiva. This is when Parvathi tied a knot to Vishnu's hand and claimed him as her brother. This is the reason during the marriage of Shiva and Parvathi, Vishnu got involved in all the ceremonies that are supposed to be done by the bride’s brother. This is how Parvati is related to Vishnu as a sister.
The interesting story about the relationship between Vishnu and Parvati is more clearly depicted in Markandeya Purana where it is said that Mahalakshmi or Durga was the only one. Then she transforms into Mahakali and Mahasarasvati. After which she ask them to evolve pair. Here Mahalakshmi gives rise to brahma and lakshmi, Mahakali evolved Shiv and Saraswati while Mahasarsvati gave rise to Vishnu and parvati. Then Mahalakshmi ordered rest to interchange pairs for marriage and Shiv was provided with parvati, vishnu with lakshmi and brahma with saraswati. Its quite interesting that Mahasarsvati who is goddess of education gives birth to parvati and vishnu and both of them in future tells Geeta to Himalaya and Arjun respectively.
MOTHER OF GANESHA
Though Ganesha considered to be son of Shiva and Parvati, the Matsya Purana, Shiva Purana, and Skanda Purana ascribe the birth of Ganesha to Parvati only, without any form of participation of Shiva in Ganesha's birth.
Once, while Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body, and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned and tried to enter the house, Ganesha stopped him. Shiva was infuriated and it started a chain of events leading to war of the entire heavenly kingdom and the lone child. Midst the war, Shiva lost his temper and severed the boy's head with his trident. When Parvati came out and saw her son's lifeless body, she was very angry. She immediately revealed her true self as Adi Shakti, the primodial power. She called upon the nine forms within her, the nine forms surrounded her. She ordered them to destroy the whole world and if her son does not get back to life, then everyone and everything will be destroyed and demanded that Shiva restore Ganesha's life at once. The Gods prostrated at her feet and an elephant's head was attached to Ganesha's body, bringing him back to life. To appease Parvati further, Shiva declared that the child be made head of the ghost-followers (Gana's)of Shiva and worshipped by everyone before beginning any activity, and gods accepted this condition.
Ganesha is identified as a god named after his mother. He is called Umaputra, Parvatisuta, Gaurisuta meaning son of Parvati and Heramba, "mother's beloved (son)".
ICONOGRAPHY
Naturally, Parvati’s unique characteristics have become more and more obscured, as she absorbed more and more goddesses into her iconography. Therefore, her depictions have become rather generic today. When shown with Shiva, she carries a blue lotus in full bloom, shows the abhaya mudra (hand gesture of fearlessness) and usually has one of her children on her knee. The only hint of her former occult status is the somewhat languid appearance of her eyes, as one who has recently emerged from deep meditation. Other goddesses are usually shown with large staring eyes as this is considered a mark of beauty. The consorts of the other two Gods of the trinity, Saraswati and Lakshmi, may be depicted alone, but Parvati hasn’t been depicted this way for many centuries.
The goddess is usually represented as a fair and beautiful. The colour of her vestments is milk-white, the colour of enlightenment and knowledge. Since white is a combination of all hues it shows that She has all the qualities or Gunas. Since white also depicts huelesness, it indicates that She is devoid of all Gunas. Hence, She is referred to as Trigunatmika (having the three gunas - Sattva, Rajas, and Tamas) - and at the same time being Nirguna (without any gunas). She has three eyes. Her accoutrements tend to be those of a Rishi (seer). She is also usually depicted with jatamukuta or a crown of matted hair, as Shiva is usually depicted. She is also shown as having a crescent moon bound in her locks, like Shiva.
Images of Parvati, wearing a sacred thread something not many women are associated with and as this marks the second-birth or dwija it is seems an advanced concept far beyond early pashupatas, and with her hair styled in a top knot like a Rishi (seer) survive into the Chola period (approximately ninth century A.D.). In fact, these two particularities were the only means of distinguishing her statuary from the images of the Goddess Shri of the time.
Her Mudras (symbolic hand gestures) are Kataka-fascination and enchantment, Hirana - the antelope, the powers of nature and the elusive, Tarjani - gesture of menace, and Chandrakal - the moon, a symbol of intelligence. Kataka must be affected by one of the foremost hands as it is a means of drawing the worshiper closer. Tarjani must be described with the left hand, which symbolises contempt, and usually in the back set of hands. If Parvati is depicted with two hands, then Tarjani and Chandrakal may be dropped but Hirana and Kataka are signature except in very modern representations, where Abhaya (fearlessness), and Varada, (beneficence), are used.
ASSOCIATION WITH OTHER GODDESSES
In several myths, the presence of a dark, violent side of this otherwise benign Parvati is suggested. When approached by the gods to defeat demons, Parvati morphs back to her true self, shakti, which is pure energy, untamed, unchecked and chaotic. Her wrath crystallizes into a dark, blood thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible mahakali or Kali. In Linga Purana, Parvati summons Kali on the request of Shiva, to destroy a female asura (demoness) Daruka. Even after destroying the demoness, Kali's wrath could not be controlled. She ran around the three worlds in her mad, blind fury and creation was endangered. To lower Kali's rage, Shiva appeared as a crying baby in the middle of a battlefield. The cries of the baby raised the maternal instinct of Kali who started breast-feeding Shiva and resorted back to her benign form as Parvati. Kali is associated and identified with Parvati as Shiva's consort.
In Skanda Purana, Parvati is said to have assumed a form of a warrior-goddess and defeated a demon called Durg who assumes the form of a buffalo. Thereafter, she is by the name Durga. In myths relating to her defeat of demons Sumbha and Nisumbha, Durga emerges from Parvati when Parvati sheds her outer sheath, which takes an identity of its own as a warrior goddess.
Although Parvati is considered to be synonymous with Kali, Durga, Kamakshi, Meenakshi, Gauri and many others in modern day Hinduism, many of these “forms” or incarnations originated from different sects, or traditions, and the distinctions from Parvati are pertinent.
The Shastras (sanctioned works of religious doctrine) attribute the golden colour of goddess Gauri’s skin and ornaments to the story of Parvati casting off her unwanted dark complexion after Shiva teased her, but the cult of Gauri tells a different story. Gauri is in essence a fertility Goddess, and is venerated as a corn mother which would seem to suggest that she owes her colouring to the hues of ripening grain, for which she is propitiated.
So whatever be said, Goddess Parvati has two main forms, what actually shaktas says out of which one is Lalita who is Supreme in Srikula family of shaktism and second one is Durga or kali who is supreme in kalikula family.
WORSHIP AND FESTIVALS
The Gowri Habba, or Gauri Festival, is celebrated on the seventh, eighth, ninth of Bhadrapada Shukla paksha. She is worshipped as the goddess of harvest and protectress of women. Her festival, chiefly observed by women, is closely associated with the festival of her son Ganesha (Ganesh Chaturthi). The festival is popular in Maharashtra and Karnataka.
In Rajasthan the worship of Gauri happens during the Gangaur festival. The festival starts on the first day of Chaitra the day after Holi and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival.
Another very popular festival in regard to the Mother Parvati is Navratri, in which all her manfestations are worshiped for nine days. Actually the festival is associated with Her warrior appearance is Mother Durga, with her nine forms i.e. Shailputri, Brahmacharini, Chandraghanta, Kashmunda, Skandmata, Katyani, Kalratri, Mahagauri, Siddhidaatri.
Another festival Gauri tritiya is celebrated from Chaitra shukla third to Vaishakha shukla third. It is believed that Parvati spends a month at her parent's home now. This festival is popular in Maharashtra and Karnataka, less observed in North India and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and collection of ornaments, images of other Hindu deities, pictures, shells etc. below. Neighbours are invited and presented with turmeric, fruits, flowers etc. as gifts. At night, prayers are held by singing and dancing. Down south in Tamil Nadu and Andhra The Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and the unwidowed women of the family fast for the whole day and prepare sweets and worship the goddess for the well-being of the family.
FAMOUS TEMPLES
Annapurneshwari Temple, Cherukunnu, Kannur, Kerala is dedicated to an aspect of Parvati.
WIKIPEDIA
The object represent what we see and understand. The shadow represents what we hide or what we can't articulate with words (good or bad).
I like to think in the shadows and thus find myself isolated most of the time. Isolated only in the sense of what I like to talk about. One way, I check myself and my ideas is through theological reading of authors from a variety of sources...not just Catholic. Not only do I receive comfort from the many authors I read, I find that most of their ideas were challenged by their peers...only in a future time were they considered seriously and their ideas vindicated.
On a personal level, I have made assumptions about some who I thought were in an equal place...talking about this spiritual frontier...only to find them retreat back into the rigidness of the solid or stepping back to the safety of a treasured mask. I do not judge them, for most take comfort in the known, but I did judge them incorrectly, when I felt a comfort in talking to them about deeper things.
But, I know that I'm not alone on this mysterious journey within these shadows...for my friends are those who have articulated with beautiful and poetic words, similar experiences that I am or have had. Each book I crack open, sheds some light within the darkness, and provides me the growth to keep dancing in the shadows.
Now for a lunch walk with my favorite dance partner...my G7X...
-rc
/*********************************************
To convey these insights, man must use a language which is compatible with his sense of the ineffable, the terms of which do not pretend to describe, but to indicate; to point to, rather than to capture. These terms are not always imaginative; they are often paradoxical, radical, or negative. The chief danger to philosophy of religion lies in the temptation to generalize what is essentially unique, to explicate what is intrinsically inexplicable, to adjust the uncommon to our common sense.
-Insecurity of Freedom by Abraham Joshua Heschel
Depth theology warns us against intellectual self-righteousness, against self-certainty and smugness. It insists upon the inadequacy of our faith, upon the incongruity of dogma and mystery.
-Insecurity of Freedom by Abraham Joshua Heschel
☠ ☠
-->> Representing another interesting turning point in the 2003 series as the actually, somewhat short-lived, "futuristic" and lighter TMNT: FAST FORWARD line marked the start of a shift in the Toys and animated worlds of the Turtles. All of this was both praised and shunned by many fans of the show. Cut off by the TMNT 2007 film toy line, a whole wave of unreleased characters and fun Turtle variants never made it past TOY FAIR.
Another "alright" reproduction - this one was kind of hard to remove from the base. But it may have just been mine. Small paint apps are missing such as below the knee. Leo's futuristic katanas were partly made of a translucent blue plastic with a painted metallic handle ( representing the lazer-like, lightsabre-ish weapons of the show ). Here they are cast in solid silver. The scabbard on his back is completely blue, the original's scabbard is silver-metallic. While it may just be MY particular figure, it does appear that the head on my repro FF Leo is just a tad off-mold. ~ t
Pavel Srníček (10 March 1968 – 29 December 2015) was a Czech football coach and former professional player who played as a goalkeeper.
In a career that lasted from 1990 to 2007, he notably played in the Premier League mainly for Newcastle United. In addition, he represented Sheffield Wednesday, Portsmouth and West Ham United in England's top flight, and also played in Serie A for Brescia, Serie B with Cosenza, in Portugal for Beira-Mar, and in his native country for Baník Ostrava. After retiring, he worked as a goalkeeping coach for his own private school and for AC Sparta Prague.
Srníček played internationally for the Czech Republic from 1994 to 2001, earning a total of 49 caps. He was part of their squad that came runners-up at UEFA Euro 96, and was their first-choice goalkeeper when they came third at the 1997 FIFA Confederations Cup and contested UEFA Euro 2000.
Srníček made 30 appearances in the Czechoslovak First League for Baník Ostrava spanning the 1989–90 and 1990–91 seasons. He was signed for English side Newcastle United in January 1991 by manager Jim Smith for a fee of £350,000, being one of 23 players signed by Smith in a 2+1⁄2-year period as manager. Smith left just two months after Srníček's arrival. Under manager Ossie Ardiles, Srníček established himself as Newcastle's first-choice goalkeeper ahead of John Burridge and Tommy Wright. Srníček experienced difficulty in the first 15 games of the 1991–92 season, conceding 32 goals in that period including six in a single match against Tranmere Rovers. Ardiles replaced Srníček as goalkeeper with Wright and by February 1992, the club was merely one place from last in the Second Division. This led to Kevin Keegan replacing Ardiles as manager, with the club winning seven of their remaining 16 games, only managing to confirm their future status in the division with an away win against Leicester City on the last day of the season. The club started the 1992–93 season in the new Football League First Division, winning all of their first 11 matches. Wright lost his place as goalkeeper to Srníček after 14 games of the season. At the end of the season, Keegan's first full one as manager, the club was promoted to the Premier League with 96 points. 1993 saw the arrival of Mike Hooper from Liverpool, who competed with Srníček for the position of goalkeeper.
Srníček marked the opening of the 1994–95 season, a 3–1 away victory against Leicester City, by being sent off. A "terrible error" by Srníček in a September 1994 match against Liverpool resulted in a goal for Liverpool striker Ian Rush, ending Newcastle's perfect start to the season and leading Glenn Moore of The Independent to question how much longer the goalkeeper would remain in the first team.
During Srníček's league suspension in 1995, former Reading man Shaka Hislop assumed position as the team's goalkeeper. Later an injury to Hislop enabled Srníček to return to the first team, upon which he entered into an impressive run of form. He was named man of the match in a December 1995 match against Everton, his team winning 1–0. During the 1990s, Srníček became the longest-serving foreign Newcastle player, passing the time spent at the club by Chilean brothers George and Ted Robledo.
Srníček played in the UEFA Cup, making a "vital save" from Amara Traoré and keeping a clean sheet as Newcastle beat Metz 2–0 in a December 1996 match in Newcastle, to qualify for the quarter finals of the competition.
Newcastle United Football Club is a professional association football club based in Newcastle upon Tyne, Tyne and Wear, England. The team compete in the Premier League, the first level of the English football league system, as of the 2023–24 season. Since the formation of the club in 1892, when Newcastle East End absorbed the assets of Newcastle West End to become Newcastle United, the club has played its home matches at St James' Park. Located in the centre of Newcastle, it currently has a capacity of 52,305.
The club has been a member of the Premier League for all but three years of the competition's history, spending 91 seasons in the top flight as of May 2023, and has never dropped below English football's second tier since joining the Football League in 1893. Newcastle have won four League titles, six FA Cups and an FA Charity Shield, as well as the 1968–69 Inter-Cities Fairs Cup, the ninth-highest total of trophies won by an English club. The club's most successful period was between 1904 and 1910, when they won an FA Cup and three of their League titles. Their last major domestic trophy was in 1955. More recently the club have been League or FA Cup runners-up on four occasions in the 1990s. Newcastle were relegated in 2009, and again in 2016. The club won promotion at the first time of asking each time, returning to the Premier League, as Championship winners, in 2010 and 2017. In October 2021, a consortium led by the Public Investment Fund, the sovereign wealth fund of Saudi Arabia, became majority owners of Newcastle United.
The team's traditional kit colours are black-and-white striped shirts, black shorts and black or white socks. Their crest has elements of the city coat of arms, which features two grey hippocamps. Before each home game, the team enters the field to "Going Home", with "Blaydon Races" also being sung during games. The 2005 film Goal! featured Newcastle United, and many signings mentioned the influence the film had on them.
The history of Newcastle United Football Club, an English professional association football club based in Newcastle upon Tyne, North East England, covers the club's entire history from its formation to the present day. Formed by a merger between Newcastle East End and Newcastle West End to become 'United' in 1892, the club was elected to the Football League, which they entered in 1893.
Newcastle are England's 9th most successful club of all time. They have been English champions four times (in 1905, 1907, 1909, 1927) and FA Cup winners six times (in 1910, 1924, 1932, 1951, 1952, 1955). The club have also won the 1909 Charity Shield, the 1968–69 Inter-Cities Fairs Cup, and the 2006 Intertoto Cup. Newcastle have reached the League Cup final twice, finishing runners-up in both years ( 1976 and 2023). They have played in England's top league from 1898–1934, 1948–61, 1965–78, 1984–89, 1993–2009, 2010–2016, and 2017–present, playing in the second tier at all other times.
The first record of football being played on Tyneside dates from 3 March 1877 at Elswick Rugby Club. Later that year, Newcastle's first association football club, Tyne Association, was formed. The origins of Newcastle United Football Club itself can be traced back to the formation of a football club by the Stanley Cricket Club of Byker in November 1881. They won their first match 5–0 against Elswick Leather Works 2nd XI. The team was renamed Newcastle East End F.C. in October 1882, to avoid confusion with the cricket club in Stanley, County Durham.
Shortly after this, another Byker side, Rosewood FC, merged with East End to form an even stronger side. Meanwhile, across the city, West End Cricket Club began to take an interest in football and in August 1882, they formed Newcastle West End F.C. West End played their early football on their cricket pitch, but in May 1886, the club moved into St James' Park. The two clubs became rivals in the Northern League. In 1889, Newcastle East End became a professional team, before becoming a limited company the following March.
West End soon became the city's premier club. East End were anxious not to be left behind and lured Tom Watson into becoming the club secretary/manager in the close season of 1888 and from that point, never looked back; Watson made several good signings, especially from Scotland, and the Heaton club went from strength to strength, while West End's fortunes slipped dramatically.
The region's first league competition was formed in 1889 and the FA Cup began to cause interest. Ambitious East End turned professional in 1889, a huge step for a local club, and in March 1890, they made an even more adventurous move by becoming a limited company with capital of 1,000 pounds in ten shilling notes. During the spring of 1892, in a season during which their results were at an all-time low, and in which they had lost to their bitter rivals, East End, five times, West End found themselves in serious trouble. They approached East End with a view to a take over, the directors having decided that the club could no longer continue.
What actually happened was that West End wound up, while some of its players and most of its backroom staff joined East End. East End also took over the lease on St. James' Park in May 1892.
With only one senior club in the city for fans to support, development of the club was much more rapid. Despite being refused entry to the Football League's First Division at the start of the 1892–93 season, they were invited to play in their new Second Division. However, with no big names playing in the Second Division, they turned down the offer and remained in the Northern League, stating "gates would not meet the heavy expenses incurred for travelling". In a bid to start drawing larger crowds, Newcastle East End decided to adopt a new name in recognition of the merger. Suggested names included Newcastle F.C., Newcastle Rangers, Newcastle City and City of Newcastle, but Newcastle United was decided upon on 9 December 1892, to signify the unification of the two teams. The name change was accepted by the Football Association on 22 December, but the club was not legally constituted as Newcastle United Football Club Co. Ltd. until 6 September 1895. At the start of the 1893–94 season, Newcastle United were once again refused entry to the First Division and so joined the Second Division, along with Liverpool and Woolwich Arsenal. They played their first competitive match in the division that September against Woolwich Arsenal, with a score of 2–2.
Turnstile numbers were still low, and the incensed club published a statement claiming "The Newcastle public do not deserve to be catered for as far as professional football is concerned". However, eventually figures picked up by 1895–96, when 14,000 fans watched the team play Bury. That season Frank Watt became secretary of the club, and he was instrumental in promotion to the First Division for the 1898–99 season. However, they lost their first game 4–2 at home to Wolves and finished their first season in thirteenth place.
In 1903–04, the club built up a promising squad of players, and went on to dominate English football for almost a decade, the team known for their "artistic play, combining team-work and quick, short passing". Newcastle started to purchase talented players, especially from Scotland, and soon had a squad to rival all of England. With players like Colin Veitch, Jackie Rutherford, Jimmy Lawrence and Albert Shepherd, Newcastle had a team of international talent. Bill McCracken, Jimmy Howie, Peter McWilliam and Andy Aitken were also household names in their day. Long after his retirement, defender Peter McWilliam said "The Newcastle team of the 1900s would give any modern side a two goal start and beat them, and further more, beat them at a trot".
Newcastle United went on to win the League on three occasions during the 1900s: in 1904–05, 1906–07 and 1908–09. Newcastle reached five FA Cup finals in the years leading up to World War I. In 1904–05, they nearly did the double, losing to Aston Villa in the 1905 FA Cup Final. They were beaten again the following year by Everton in the 1906 FA Cup Final. They reached the final again in 1908 where they lost to Wolves. In 1908 the team suffered a record 9–1 home defeat to local rivals Sunderland in the league but still won that season's league title. They finally won the FA Cup in 1910 when they beat Barnsley in the final. They lost again the following year in the final against Bradford City.
The team returned to the FA Cup final in 1924, in the second final held at the then new Wembley Stadium. They defeated Aston Villa, winning the club's second FA Cup.Three years later they won the First Division championship a fourth time in 1926–27. Record signing & Scottish international centre-forward Hughie Gallacher, one of the most prolific goal scorers in the club's history, captained the championship-winning team. Other key players in this period were Neil Harris, Stan Seymour and Frank Hudspeth. Seymour was to become an influential figure for the next 40 years as player, manager and director.
In 1930, Newcastle United came close to relegation, and at the end of the season Gallacher left the club for Chelsea, and at the same time Andy Cunningham became the club's first team manager. In 1931–32, the club won the FA Cup a third time in the infamous 'Over the Line' final. United won the game 2–1 after scoring a goal following a cross from Jimmy Richardson which appeared to be hit from out of play - over the line. There were no action replays then and the referee allowed the goal, a controversial talking point in FA Cup history.
Newcastle boasted master players like Sam Weaver and Jack Allen, as well as the first player-manager in the top division in Scottish international Andy Cunningham. But at the end of the 1933–34 season, the team were relegated to the Second Division after 32 seasons in the First. Cunningham left as manager and Tom Mather took over. Amazingly in the same season as they fell into the Second Division, United defeated Liverpool 9–2 and Everton 7–3 within the space of a week.
The club found it difficult to adjust to the Second Division and were nearly further relegated in the 1937–38 season, when they were spared on goal averages.
When World War II broke in 1939, Newcastle had a chance to regroup, and in the War period, they brought in Jackie Milburn, Tommy Walker and Bobby Cowell.
Newcastle United won no Wartime League trophies, but Jackie Milburn made his debut in 1943 in a "Stripes vs Blues" match. Milburn's side was losing at half-time 3–0, but following a switch from midfielder to centre forward, he scored 6 goals to help them win the match 9–3. Jackie went on to score 38 goals in the next 3 years of the league's life.
By the time peace was restored in 1945, Seymour was at the forefront of Newcastle's affairs, manager in all but name. He ensured that the Magpies possessed an entertaining eleven full of stars, a mix of home-grown talent like Jackie Milburn, Bobby Cowell and Ernie Taylor, as well as big signings in the shape of George Robledo, Bobby Mitchell, Joe Harvey, Len Shackleton and Frank Brennan.
Newcastle spent the first couple of years post-war in the Second Division. Crowds were extremely high after the return to football, and in 1946 Newcastle recorded the joint-highest victory in English League Football history, defeating Newport County 13–0. Len Shackleton, playing his debut in that match, scored 6 goals in the match, another record for Newcastle United.
Newcastle returned to the First Division in double of the time. Promotion was achieved in 1948 in front of vast crowds. An average of almost 57,000 at every home game saw United's fixtures that year, a national record for years to come. That was just the start of another period of success.
During the Fifties decade United lifted the FA Cup trophy on three occasions within a five-year period. In 1951 they defeated Blackpool 2–0, a year later Arsenal were beaten 1–0 and in 1955 United crushed Manchester City 3–1. The Magpies were known in every corner of the country, and so were their players; 'Wor Jackie' Milburn and Bobby 'Dazzler' Mitchell the pick of a side that was renowned the nation over. Other players of this time were Frank Brennan (like Mitchell a Scot), Ivor Broadis, Len White and Welshman Ivor Allchurch.
Despite having quality players throughout the era, stars like Allchurch, White and George Eastham during the latter years of the decade, United slipped from the First Division in 1961 under the controversial management of ex-Manchester United star, Charlie Mitten. It was a huge blow to the club.
An old war-horse returned to revitalise the Magpies in the shape of Joe Harvey, who had skippered the club to much of their post-war success. He teamed up with Stan Seymour to rebuild United and the Black'n'Whites returned to the elite as Second Division Champions in 1965. United then became very much an unpredictable side, always capable of defeating the best, but never quite realising their huge potential until very recently.
Joe Harvey's side qualified for Europe for the first time in 1968 and stunned everyone the following year by lifting the Inter Cities Fairs Cup; the forerunner of the UEFA Cup. United possessed a solid eleven and Newcastle's tradition of fielding a famous Number 9 at centre-forward since earliest years continued as big Welshman Wyn Davies was prominent along with the likes of Pop Robson, Bobby Moncur and Frank Clark.
In the years that followed European success, manager Harvey brought in a string of talented entertainers who thrilled the Gallowgate crowd. Pleasers like Jimmy Smith, Tony Green and Terry Hibbitt. And especially a new centre-forward by the name of Malcolm Macdonald.
Nicknamed 'Supermac', Macdonald was one of United's greatest hero figures. Brash, arrogant and devastating in front of goal, he led United's attack to Wembley in 1974, against Liverpool in the FA Cup. But the Magpies failed to bring the trophy back to Tyneside, and a complete lack of success in any of the competitions the next season resulted in Joe Harvey being sacked in mid-1975.
Blackburn manager Gordon Lee was appointed to replace Harvey, and despite a mediocre league campaign in 1975–76, led the club to its first League Cup final, which ended in defeat by Manchester City. Despite Macdonald controversially being sold to Arsenal for a cut price deal, the following season saw United's best League campaign for years, and by Christmas the club looked to have an outside chance of winning the title. However, Lee walked out on the club to take over at Everton at the start of 1977, and inexperienced coach Richard Dinnis was put in charge of the team after the players demanded that he be given the job. United's form initially remained quite consistent under Dinnis, and they secured 5th place and a UEFA Cup spot at the end of the season. However, the team totally fell apart the following season, and Dinnis was sacked after a run of ten straight League defeats and a thumping UEFA Cup exit at the hands of French team SC Bastia. Bill McGarry took over as manager, but was powerless to prevent United from being relegated in statistically their worst season ever. The only mercy they had was Leicester City's terrible goal difference preventing United from finishing bottom of the table.
McGarry remained in charge of the club, but only managed two midtable finishes before being sacked in the wake of an uninspiring start to the 1980–81 season, and it was his successor Arthur Cox who steered United back again to the First Division with ex England captain Kevin Keegan leading the attack, having joined the Magpies in a sensational deal in 1982.
The football inspired by Keegan captivated Tyneside and United stormed into the top division in a style only bettered by Kevin's own brand of football when he returned to the club as manager a decade later. Cox had also signed young winger Chris Waddle out of non-league football, as well as young striker Peter Beardsley, Liverpool midfielder Terry McDermott and former Manchester United midfielder David McCreery. The club was rocked however when Cox resigned after the board refused to offer him an improved contract in the aftermath of promotion, and, surprisingly, accepted an offer to take charge of Derby County - who had been relegated from the Second Division.
One of English footballs greatest talents, Paul Gascoigne or 'Gazza', emerged as an exciting 18-year-old midfielder in 1985-86, under Newcastle's next manager Jack Charlton, who left after only one season despite Newcastle achieving a secure mid-table finish on their return to the First Division. His successor was former player Willie McFaul. Newcastle consolidated their place in Division One but then a period of selling their best players (Beardsley to Liverpool, and Waddle and eventually Gascoigne both to Tottenham), rocked the club and led to supporter unrest, as did a share-war for control of the boardroom. The effect of this on the pitch soon proved evident, as McFaul was sacked after a dismal start to the 1988–89 season, and new boss Jim Smith was unable to turn Newcastle around, resulting in them finishing at the foot of the First Division in 1989 and dropping back into the Second Division.
Smith then signed Portsmouth striker Mick Quinn and Newcastle began the 1989–90 season on a high note, beating promotion favourites Leeds United 5–2 on the opening day with Quinn scoring four goals, and Newcastle appeared to be on the path to a revival. However, they missed out on automatic promotion by one place, before enduring a humiliating play-off exit at the hands of local rivals Sunderland. The intensifying boardroom battle soon took its toll on the club, and Smith resigned early in the following season with the side stuck in mid-table. Ossie Ardiles became the club's new manager, and despite being initially being the club's most popular manager since Joe Harvey, Newcastle dropped to the bottom of the Second Division in October 1991. Results failed to improve, despite the acquisition of a new striker in David Kelly and the efforts of promising young players including Steve Howey, Steve Watson and Gavin Peacock, and in February 1992 Ardiles was sacked. Despite being the best-supported side in the division and frequently still managing to pull in crowds of more than 20,000, Newcastle were also millions of pounds in debt and faced with the real prospect of third-tier football for the first time ever. A saviour was needed, and in came new chairman John Hall, who offered the manager's job to Kevin Keegan. Despite having vowed never to enter management following his retirement as a player, Keegan accepted the offer to manage Newcastle. His first task was to deliver Second Division survival.
Kevin Keegan returned as manager in the 1991–92 season, and survived relegation from the Second Division. The club's finances were transformed, with Hall aiming to put Newcastle among Europe's biggest clubs, and signings like Rob Lee and Andy Cole helped Newcastle to promotion the following season, 1992–93, as champions of the new First Division. The finish also secured qualification for the 1993–94 UEFA Cup upon return to the top flight in the 1993–94 Premier League season.
St James' Park was redeveloped during this time into an all-seated stadium with a capacity of 36,000. This increased to 52,000 in the late 1990s, after the rejection of Hall's proposal to build a larger stadium at Castle Leazes.
Keegan stunned fans and critics alike in 1995 when prolific striker Andy Cole was sold to Manchester United in exchange for £6 million and midfielder Keith Gillespie, leaving many to blame the sale to have affected Newcastle's title chances for the 1994–95 season, in which they finished sixth. The club, however, continued to build up a reputation for playing attacking football under Keegan. In the 1995–96 season, high-profile foreign stars David Ginola and Faustino Asprilla, in addition to British players Peter Beardsley and striker Les Ferdinand, guided the team to a second-place finish. During the 1996–97 season, Keegan made one signing, securing the services of England striker Alan Shearer for a then-world record transfer fee of £15 million to produce a shrewd partnership with Les Ferdinand, and claim a 5–0 victory over title rivals Manchester United. whilst remaining in contention to win the league.
With the team having failed to win any trophies under his reign, Keegan resigned as manager on 8 January 1997, saying, "I feel that I have taken the club as far as I can."
Kenny Dalglish replaced Keegan as manager, and maintained the club's good form through to the end of the season, finishing second. In the 1997–98 season, Les Ferdinand and David Ginola both left the club, whilst Alan Shearer broke his ankle in a pre-season friendly, keeping him out for the first half of the season. Dalglish signed Ian Rush, John Barnes, Duncan Ferguson and Stuart Pearce to bolster the squad, and achieved a 3–2 victory over Barcelona in the UEFA Champions League through a Faustino Asprilla hat-trick, but Dalglish's cautious brand of football, as opposed to the attacking style played under Keegan, did not prove successful—the club failed to progress beyond the Champions League group stage, finished 13th in the Premier League, and lost the FA Cup final to Arsenal. Dalglish began the 1998–99 season signing Nolberto Solano and Dietmar Hamann, but was soon dismissed following the club's declining form.
Ruud Gullit replaced him, however the club again finished the league in 13th place and again lost in the FA Cup final, this time to Manchester United F.C. Gullit resigned early in the 1999–2000 season, having fallen out with several senior players, including Alan Shearer and captain Rob Lee. Keith Gillespie later blamed Gullit's arrogance for his failure as manager of the club.
Ex-England manager Bobby Robson was brought in to replace Gullit in September 1999. He ensured Newcastle's survival in the Premiership, but the club remained in the bottom half of the table, finishing 11th in 1999–2000 and 2000–01. Robson, however, built up an exciting young squad, and an unlikely top four challenge emerged in 2001–02 season—Newcastle finished in fourth place.
Playing in the Champions League in 2002–03, Newcastle progressed to the second group stage in unlikely circumstances, beating Italian squad Juventus 1–0 along the way. United finished the 2002–03 season third in the Premier League, but lost their Champions League qualifier and played in the 2003–04 UEFA Cup instead, reaching the semi-final. In 2003–04, Newcastle finished fifth in the Premiership, lower than in previous seasons, and outside of Champions League contention.
Robson was then sacked following a poor start to the 2004–05 season and alleged discontent in the dressing room. In his autobiography, Robson was critical of Shepherd, claiming that while manager he was denied information regarding the players' contracts and transfer negotiations. He had previously publicly criticised the club's highly financed offer for Wayne Rooney, which the club later claimed they could not afford, stating young players were making excessive demands without first proving themselves on the pitch. He also criticised Shepherd and the club's deputy chairman Douglas Hall for their focus on the first team and St James' Park, causing them to neglect less glamorous issues, such as the training ground, youth development and talent scouts.
Graeme Souness replaced Robson and finished the season 14th in the league. Souness' arrival, however, was met with mixed reactions, with many expecting Robson being a hard task to improve upon, despite insisting he was aware of Sir Bobby's admiration and was ready for the role. In the January transfer window, Souness caused controversy in securing an £8 million bid for France international Jean-Alain Boumsong, who had joined Rangers for free just months before, prior to which Sir Bobby had travelled to France to review Boumsong but declined to sign him. The Stevens inquiry in 2007 documented that in this purchase Souness was accused of lack of consistency and was reviewed over the large media speculation the transfer received, but was eventually exonerated from any illegal participations. Going into 2005–06 season, despite signing several new players, including the return of Nolberto Solano from Aston Villa as well as Albert Luque from Deportivo de La Coruña for £10 million, Souness struggled with the opening games. He later blamed the state of the club's training ground for injuries suffered to players. The signing of Michael Owen (for a club record £17 million from Real Madrid) and his strike partnership with Alan Shearer produced goals at the end of 2005, but an injury caused Owen to miss the rest of the season and following a poor start to the new year, Souness was sacked in February 2006. Robbie Elliiot and Shay Given announced regret over his exit in the club's Season Review DVD but acknowledged his seeming favouritism of players and the amounting pressure on him damaged morale, whilst Alan Shearer blamed the injury crisis to first-team players.
Caretaker manager Glenn Roeder was issued the role of temporary first-team manager, seeing his first game against Portsmouth secure Alan Shearer's 201st goal for Newcastle United, becoming the club's all-time highest-scoring player. Roeder guided Newcastle from 15th to seventh place securing 32 league points from a possible 45 by the end of 2005–06, as well as securing a place in the UEFA Intertoto Cup and was given a two-year contract by chairman Freddy Shepherd. His appointment caused controversy, as at the time he did not hold the necessary UEFA Pro Licence to manage in the UEFA leagues and cup tournaments His role, however, was approved by UEFA who acknowledged that Roeder's diagnosis with a brain tumour in 2003 prevented him from developing his career, whilst Chairman Freddy Shepherd also fulfilled UEFA's request that he gain backing from all 19 other Premier League clubs to appoint him as manager. Alan Shearer retired at the end of the 2005–06 season scoring a record 206 goals.
Roeder encountered a difficult 2006–07 season, losing many players to injury, in particular Michael Owen, who had severely damaged his ligaments during the 2006 FIFA World Cup seeing him only play the final two games of the season. Newcastle won the 2006 Intertoto Cup, but a 5–1 exit to Birmingham City in the FA Cup, a round of 16 exit in the UEFA Cup and poor league results seeing a 13th-place finish led Roeder to resign in May 2007.
As the 2007 season drew to a close, St James Holdings Limited, the bid vehicle of billionaire businessman Mike Ashley, was reported to be in the process of buying the club. Ashley successfully acquired Sir John Hall's majority stake in the club in May 2007, leaving many to believe chairman Freddie Shepherd was set to depart after stepping down as chairman, should Ashley acquire more than 50 percent, which would see Shepherd no longer in control of the club and Ashley able to replace the board. Shepherd dismissed all speculation and proceeded to appoint ex-Bolton Wanderers boss Sam Allardyce as Newcastle manager, but eventually met with Mike Ashley and the board on 29 May. On 7 June 2007, Shepherd ended his 11 years with the club after Mike Ashley accepted his bid to buy his shares and in his role as chairman of the board, also having Shepherd advise the remaining shareholders to sell to Ashley. Ashley then announced he would be delisting the club from the London Stock Exchange upon completion of the takeover. The club officially ceased trading on the Stock Exchange as of 8 am on 18 July 2007 at 5p a share. Ashley brought in lawyer Chris Mort as the new club "deputy chairman".
Despite signing and building a seemingly strong squad, Sam Allardyce soon became widely unpopular with fans and players alike, and was surprisingly sacked by Ashley halfway through his first season after underwhelming results and pressure from the fans. Ashley, however, defended his decision to sack Allardyce, stating he made a mistake in not appointing his own choice of manager before the season started.
Kevin Keegan then made a sensational surprise return as manager. His return had an instant impact on club ticket sales as he sat with the fans, Mike Ashley and Chris Mort for the FA Cup replay 4–1 win against Stoke City. Following his return, Keegan had a disappointing first ten games back, with the club not winning a single game until his decision to include strikers Obafemi Martins, Michael Owen and Mark Viduka into a 4–3–3 formation, which saw the club back on goal-scoring and winning form and eventually finishing 12th in 2007–08. In May Keegan met with Mike Ashley and Director of Football Dennis Wise after he had suggested Champions League qualification was out of Newcastle United's reach and expressed dissatisfaction with the board's financial backing. Ashley was battling reports that he had lost hundreds of millions of pounds in a disastrous attempt to rescue bank HBOS. The morning following, after the club's 3–0 defeat to Arsenal, rumours were circulating that Keegan had either been sacked or resigned as Newcastle boss, citing board interference and his lack of control over transfers. Keegan confirmed the reports the same week, and reportedly held unsuccessful resolution talks with Mike Ashley the following week, leading to fan fury and protests around St James' Park, and marring the club's home defeat to Hull City, with fans accusing Ashley and club executives Dennis Wise, Tony Jimenez and Derek Llambias of forcing Keegan out.
Following mass media coverage of Keegan's departure, the club struggled to find a replacement, with the majority of managers showing no interest in the role. Ashley released a statement to the club's fans that in fear of his and his families reputation and safety, he was placing the club for sale. It was then announced that former Nottingham Forest manager Joe Kinnear was appointed temporary manager His appointment, however, saw a backlash from fans, prompting a verbal tirade from Kinnear at the media, who questioned his decision to take the job at such a time. By the end of the year, Ashley took the club off the market claiming he was unable to find a suitable buyer.
In the remainder of 2008–09, Kinnear won four out of 18 matches before stepping down due to reported heart problems. Chris Hughton then took temporary charge before Alan Shearer returned to Newcastle United as manager in April with Iain Dowie as his assistant. After winning only one out of eight games, the club was relegated to the Championship for the first time since 1992. Mike Ashley then re-issued his desire to sell the club once again and issued a £100 million sale price tag.
Prior to the start of the 2009–10 season, Keegan's dispute with the club was resolved after a Premier League Arbitration Panel ruled that he had been misled to believe he had the final word on the club's transfer policy when in fact Director of Football Dennis Wise had been handed such control. The signings of Xisco and Nacho González were ruled to have been made without the manager's approval; with González, Dennis Wise signed him only after viewing him off of YouTube. Wise and Derek Llambias were ruled to have deliberately misled the media to believe Keegan had the final say, which amounted to constructive dismissal. Keegan was awarded £2 million in compensation and re-offered his job as Newcastle United manager under fresh new terms, though in response to the offer, he stated the fans had "had enough" for the time being and declined. He stated in 2013 he would consider a return should Mike Ashley leave the club.
Chris Hughton was appointed full-time manager early in the 2009–10 season. The club dominated the Championship, winning 30 games, drawing 12 and losing only four, scoring a total of 90 goals and finishing top of the league with 102 points, thus re-gaining Premier League status at the first attempt.
Beginning 2010–11, Hughton remained on course to secure survival from relegation with the club's first win at the Emirates over Arsenal, and a memorable 5–1 defeat over Sunderland. However, fury once again was caused by the board, as the club controversially sacked Chris Hughton after a 3–1 defeat to West Bromwich Albion on 6 December 2010. Critics players and fans alike were shocked by Hughton's dismissal, leading to protests prior to the club's game against Liverpool in a bid to thank him for his work and support. Alan Pardew was then announced as being appointed manager on a five-and-a-half-year contract, with the club announcing they wanted a manager with more experience. Pardew stated he had nothing but respect for Chris Hughton and acknowledged the fact that other managers questioned his appointment. He secured his first win on his debut as manager with a 3–1 win over Liverpool On 31 January 2011, Newcastle sold striker Andy Carroll to Liverpool for a club record of £35 million. The sale of a young player at a high value proved controversial for Liverpool, with Alan Shearer ridiculing the price Liverpool paid as well as expressing sorrow at Newcastle for losing Carroll. Carroll himself stated that he did not want to leave the club but was forced out by the club's directors after Liverpool's final offer of £35 million; the board responded that Carroll had previously handed in a transfer request. Pardew said he was disappointed to lose Carroll, but pledged to invest in the club's summer transfer window. The remainder of the season saw Leon Best score a hat-trick on his debut in a 5–0 defeat of West Ham United, a memorable 4–4 comeback against Arsenal, and a 4–1 defeat of Wolverhampton Wanderers, eventually finishing 12th in the league.
Entering 2011–12, Pardew was reportedly denied the £35 million from the sale of Andy Carroll for transfers and told to sell players to raise funds, having claimed he had been assured the finances upon Carroll's departure. Kevin Keegan had previously stated Alan Pardew should not have expected the money following his issues with the board in 2008. The club signed many French-speaking players in the transfer window, including Yohan Cabaye, Mathieu Debuchy, Sylvain Marveaux and Demba Ba. and with impressive results throughout the season, Newcastle finished fifth.
In the 2012–13 UEFA Europa League, Newcastle reached the quarter-finals, and in the January transfer window, the French revolution continued into the new year, with Moussa Sissoko and Yoan Gouffran joining the squad. The team, however, had a poor 2012–13 Premier League and finished 16th in the Premier League.
Beginning the 2013–14 season, in a surprise move Joe Kinnear returned to the club as Director of Football, instantly causing fan fury following his outburst that he was "more intelligent" than the fans and critics, as well as mispronouncing various players names during a radio interview. However, he resigned after just eight months on the job following further critique for managing to sign only two players on loan—Loïc Rémy and Luuk de Jong—throughout the season's summer and January transfer windows, as well selling Yohan Cabaye to Paris Saint-Germain for £20 million, considered to be one of the most influential players at the time. Following the lack of transfer activity, Mike Ashley once again faced a fan revolt, with protests being launched at him to sell the club, and entered a dispute with several media titles whom the club banned from Newcastle United media facilities, press conferences and player interviews, declaring stories reported were intensely exaggerated and aimed only to damage Ashley's image further. Throughout the season, the club remained on course to ensure a top half finish, notably defeating Manchester United at Old Trafford for the first time since 1972. Nonetheless, the team struggled for goals following the sale of Cabaye. Further dismay upon the season was caused when Pardew was banned for seven matches and fined £100,000 for an assault on Hull City midfielder David Meyler. The club then encountered a poor run of form, losing eight out of ten games and finishing the season tenth in the league, though the club confirmed Alan Pardew would stay on.
The opening eight games of the 2014–15 season proved disappointing, with the club failing to secure a win. After the dip in form, however, the club had an emphatic resurgence, seeing a five-game unbeaten run whilst also surprising League Cup holders Manchester City with a 2–0 win and progressing to the quarter-finals of the tournament. Pardew, however, resigned from the club on 30 December 2014 following immense pressure from fans calling for his departure, with many posters at games designed with the Sports Direct logo advertising a website demanding his resignation. Pardew admitted in the months leading up to his departure that protests from the fans were affecting his family and was subsequently feeling unhappy at the club. He was replaced by his assistant manager John Carver, though the team subsequently earned just 13 points out of a possible 50, surviving relegation on the final day of the season with a victory over West Ham, Carver was dismissed before the club's pre-season for 2016 began. The club paid tribute to player Jonás Gutiérrez following his successful recovery from testicular cancer to resume his playing career.
Beginning the 2015–16 season, former England F.C. Manager Steve McClaren was appointed manager, signing Georginio Wijnaldum, Aleksandar Mitrovic, Chancel Mbemba, Florian Thauvin, Henri Saivet, Jonjo Shelvey, Andros Townsend and Ivan Toney. McClaren however struggled to produce results winning 6 and drawing 6 out of 28 games, whilst exiting both the FA Cup and League Cup in the Third Round. McClaren was subsequently sacked on 11 March 2016 with critics and former players voicing their favour of the decision. Rafael Benítez was announced as McClaren's successor the same day, signing a three-year deal. Benítez recorded his first victory in 3–0 defeat of Swansea City in the Premier League on 17 April 2016 after 5 games in charge, and maintained an emphatic 5-game unbeaten streak to the end of the season. Newcastle were however relegated from the Premier League along with Aston Villa and Norwich finishing 18th place, 2 points below safety. Betting websites confirmed after the final game that the club's 5–1 defeat of Tottenham Hotspur matched the initial odds of Leicester City's 5000/1 win of the 2015–16 Premier League season.
Starting the 2016-17 season, Rafa Benítez signed 12 new players full-time and also acquired 5 players on loan, whilst 8 players left the club and another 12 on loan. New signings Dwight Gayle and Matt Ritchie proved popular scoring a combined total of 39 goals, finishing among the top goalscorers that season. Despite failing to improve on their dominant success in the 2009/10 championship season, the club remained in contention for the trophy throughout; threatened only by Brighton & Hove Albion Newcastle enjoyed a 3-game winning streak to the final day of the season and lifted the Football League Championship trophy on 8 May 2017 following a 3–0 win over Barnsley. Rafa Benítez denied speculation that he would leave the club following promotion to the Premier League and confirmed his commitment to the club for the foreseeable future. Shortly prior to the season's finish, the club was subject to raids by HMRC following suspicions of tax evasion. Managing Director Lee Charnley was arrested during the raid, but was later released without charge.
Ending the 2017-18 season, the club finished 10th in the Premier League defeating the current champions Chelsea on the final day of the season, the highest finish achieved within 4 years. Beginning the 2018–19 season, Mike Ashley again came under scrutiny following lack of major signings in the summer transfer window, with many fans accusing him of lacking interest in the club following his purchase of troubled retail chain House of Fraser for £90m. Despite the January signing of Miguel Almirón from Atlanta United FC for £21 million surpassing the club's transfer record fee of £16.8 million for Michael Owen in 2005, the club struggled throughout the season with 12 wins, 9 draws and 17 losses seeing a 13th place league table finish, whilst exiting the League Cup at the 2nd round in a 3–1 defeat of Nottingham Forest F.C and a 4th round exit of the FA Cup in a 2–0 defeat to Watford F.C. The season also saw heavy speculation regarding Rafa Benítez remaining at the club following reports he was still in negotiations following the end of the season.
Following fresh reports of Ashley's intention to sell the club, Sheikh Khaled Bin Zayed Al Nahyan, Founder and Chairman of The Bin Zayed Group of Companies, a member of the Al Nahyan royal family of Abu Dhabi, confirmed he had agreed terms to purchase the club for £350 million. On 5 June 2019 a company named Monochrome Acquisitions Limited was registered in Nahyan's name, whilst managing director Lee Charnley applied to have four companies linked to Ashley's company St James Holdings Ltd struck off, leaving many to believe the club was on course to be sold. Talks of a takeover however stalled throughout the summer transfer window, whilst Ashley confirmed he had not received an official bid from any prospective buyer.
Benítez rejected a new contract offer and departed the club on 30 June 2019, accepting a move to Chinese Super League side Dalian Yifang in a £12 million deal. Ashley criticised Benítez stating unfair demands were made making it impossible for him to remain as manager. Notable player departures saw Salomón Rondón join Benitez at Dalian Yifang after returning to West Bromwich Albion F.C. from loan, whilst Ayoze Perez joined Leicester City for £30 million and Mohamed Diamé was released by Newcastle upon the expiry of his contract at the end of the 2018–19 season.
BBC Sport reported in July 2019 that Steve Bruce had resigned from his managerial position at Sheffield Wednesday after he earlier admitted that he had held talks with Newcastle United over their managerial vacancy. His appointment was confirmed on 17 July. Sheffield Wednesday however stated there were still outstanding legal issues with Bruce having resigned just 48 hours before, leading a report being filed to the Premier League alleging misconduct in his appointment. Newcastle United denied any wrongdoing and stated they were confident no case could be escalated. Reaction from the fans was mixed, with some feeling Bruce would not achieve the standard set by Benítez, whilst his recent lack of Premier League football and management of rival club Sunderland proved controversial. Bruce later acknowledged Benítez's popularity and stated he hoped the fans would not rush to judgement and give him time to prove himself and manager of Newcastle. Due to visa problems in China, Bruce watched his first match as manager from the stands which saw Newcastle achieve a third-place finish in the pre-season 2019 Premier League Asia Trophy following a 1–0 victory over West Ham United F.C. Bruce quickly made his first transfer, signing Joelinton from TSG 1899 Hoffenheim for £40 million, breaking the club's transfer fee record previously held by Miguel Almirón at £21 million just 6 months before, before signing French international winger Allan Saint-Maximin from OGC Nice on a permanent deal for £16.5 million, Sweden international defender Emil Krafth for £5 million, central midfielder Kyle Scott on a free signing following his departure from Chelsea, and Netherlands international defender Jetro Willems on loan from Frankfurt F.C until the end of the 2019–20 season. Bruce made his final transfer of the pre-season on deadline day by re-signing striker Andy Carroll, who had left the club over 7 years earlier. On 4 February 2020, Steve Bruce's side ended a 14-year drought by reaching the 5th round of the FA Cup they beat League One side Oxford United 2–3 in a replay thanks to a late winner from Allan Saint-Maximin in extra time.
From March 2020, the season was affected by the COVID-19 pandemic. On 13 March, following an emergency meeting between the Premier League, The Football Association (FA), the English Football League and the FA Women's Super League, it was unanimously decided to suspend professional football in England. On 19 March, the suspension was extended indefinitely, with a restart date of 17 June announced in late May with all remaining games to be played without crowd attendance.
Newcastle finished the season in 13th place. Defender Danny Rose was an outspoken critic of the decision to continue the season, citing the virus was still in major circulation and accused the FA of having no concern for footballers' health. Karl Darlow has since urged players at the club to get vaccinated following his hospitalisation from complications of Covid, whilst manager Steve Bruce admitted some players had voluntarily declined the vaccination.
The 2020-21 season saw all matches played without crowd attendance until May 2021, in light of the COVID-19 pandemic. Newcastle failed to improve on the previous season, finishing 12th in the premier league and were knocked out of the FA Cup in the third round added time to Arsenal and exited the EFL Cup in the quarter-finals losing 1–0 to Brentford.
In April 2020, it was widely reported that a consortium consisting of Public Investment Fund, PCP Capital Partners and the Reuben Brothers, was finalising an offer to acquire Newcastle United. The proposed sale prompted concerns and criticism, such as arguments considering it sportwashing of the country's human rights record, as well as ongoing large-scale piracy of sports broadcasts in the region. However the consortium announced its withdrawal from the Newcastle deal on July 30, 2020, after multiple media reports highlighted realm as the staunch violator of human rights, and the WTO ruled that it was behind the piracy campaign using pirate-pay-service beoutQ. "With a deep appreciation for the Newcastle community and the significance of its football club, we have come to the decision to withdraw our interest in acquiring Newcastle United Football Club," the group said in its statement upon withdrawal. The group also stated that the "prolonged process" was a major factor in them pulling out. The collapse of the takeover was met with widespread criticism from Newcastle fans, with Newcastle MP Chi Onwurah accusing the Premier League of treating fans of the club with "contempt" and subsequently wrote to Masters for an explanation. Despite the consortium's withdrawal, disputes over the takeover continued. On 9 September 2020, Newcastle United released a statement claiming that the Premier League had officially rejected the takeover by the consortium and accused Masters and the Premier League board of " acting appropriately in relation to [the takeover]", while stating that the club would be considering any relevant legal action. The Premier League strongly denied this in a statement released the next day, expressing "surprise" and "disappointment" at Newcastle's statement.
On October 7, 2021, the Public Investment Fund, PCP Capital Partners and RB Sports & Media confirmed that they had officially completed the acquisition of Newcastle United. Governor of the investment fund Yasir bin Othman Al-Rumayyan was appointed non-executive chairman, whilst Amanda Staveley and Jamie Reuben were both appointed as directors and each held a 10% shareholding in the club.
The takeover led to widespread speculation that manager Steve Bruce was expected to leave the club. Although not denying the speculation that the club was keen to appoint a new manager, Staveley stated Bruce was to remain for the new owners first game against Tottenham Hotspur; his 1000th match as a football manager. However following Newcastle losing the game 3-2 and alleged discontent among the players, Bruce left the club by mutual consent. Bruce stated his sadness at leaving the club and felt Newcastle fans launched unnecessary verbal abuse at him during his time there. Interim manager Graeme Jones as well as Arsenal manager Mikel Arteta supported Bruce's claims stating the abuse he received was off putting for other managers to take the role.
Eddie Howe was appointed as manager on 8 November 2021. The announcement was made following reports that the club had discussed the role with him the previous week and confirmed following his attendance at the away draw to Brighton & Hove Albion. On 19 November 2021, Newcastle announced that Howe had tested positive for COVID-19 and would miss his first game in charge, which instead forced him to watch his first game as manager from a hotel room as Newcastle drew 3–3 with Brentford on 20 November.
Lee Charnley, who acted as Managing Director under Ashley's ownership, left the club on 19 November 2021 following a six-week handover period. His departure was the final of Mike Ashley's hierarchy, with Staveley stating the club was undergoing a "formal process" to appoint a new figure to replace the role.
Eddie Howe had to wait until 4 December 2021 for his first win as Newcastle manager in a 1–0 win against Burnley, which was also the first win since the takeover happened. Howe then made five signings in the first January transfer window under the new ownership which included a marquee singing in Brazilian midfielder Bruno Guimarães from Olympique Lyonnais. The transfer window and the players that were already there that Howe improved helped Newcastle to go on a 9-game unbeaten run in the Premier League to get them 10 points clear from the relegation zone and increasing the chance of guaranteeing survival. After Newcastle's 1–0 win against Crystal Palace, this was the first time the club had managed to win 6 home games in a row since 2004 when Sir Bobby Robson was in charge. Newcastle finished in 11th place after a run of 12 wins in their final 18 games, and became the first team in Premier League history to avoid relegation after not winning any of the first 14 games they played.
On 30 May 2022, the club announced they had reached an agreement of a compensation fee with Brighton & Hove Albion to appoint Dan Ashworth as the new Sporting Director, the appointment was confirmed on 6 June 2022. On 15 July 2022, the club brought in Darren Eales, from MLS side Atlanta United, as the club's new Chief Executive Officer - acting as a "key member of the club's leadership structure".
Newcastle United was set up as a private company limited by shares on 6 September 1895. However, by the 1930s, ownership of the company was dominated by a small number of individuals: Alderman William McKeag, George and Robert Rutherford, and William Westwood, 1st Baron Westwood. George Stanley Seymour was allocated some shares when he joined the board in 1938.
By the second half of the 20th century, these shareholdings had passed to the next generation: Gordon McKeag, Robert James Rutherford, Stan Seymour Jr. and William Westwood, 2nd Baron Westwood. The Magpie Group led by Sir John Hall built up a large shareholding in the club and then took control in 1992. In 2007, St James Holdings Limited, the bid vehicle of billionaire businessman Mike Ashley, secured control of the club and in 2021, the Public Investment Fund of Saudi Arabia, PCP Capital Partners and RB Sports & Media confirmed that they had acquired ownership of the club.
Nos encontramos ante una pintura de caballete de formato rectangular que muestra a varias figuras de cuerpo entero representadas al aire libre, en concreto en un bosque o huerto de árboles frutales, en concreto naranjos. Parece que se trata de una alegoría protagonizada por personajes mitológicos.
De izquierda a derecha se distinguen:
- Un joven vestido con una túnica roja que parece remover unas nubes con un bastón. Aparece calzado, en concreto con una especie de borceguíes.
- Tres doncellas descalzas y ataviadas con ropajes transparentes en actitud de baile.
- Otra mujer que lleva sandalias y que va vestida con túnica y manto rojo con forro azul. Esta figura parece presidir la escena.
- Un niño alado con los ojos cubiertos por una venda y que dispara una flecha en dirección a las doncellas. El pintor lo ubicó por encima de la mujer que se acaba de describir.
- Otra dama que avanza hacia el espectador y que destaca por su sonrisa, por su corona de flores y por su vestido estampado con motivos vegetales. Atrae nuestra atención por que es la única figura que mira hacia el espectador. Pisa el prado con sus pies desnudos.
- Por último un grupo que rompe la quietud de la escena. Está formado por otra joven descalza y vestida con túnica transparente que sufre el asalto de un personaje singular: un joven pintado enteramente de azul y que parece flotar o volar. Entre el ramaje de los árboles apenas se distinguen sus alas con alguna dificultad.
Pasando a la organización de la escena, el pintor integra la mayor parte de las figuras en un esquema triangular que tiene un vértice en el amorcillo, otro en las doncellas que bailan y el tercero en la figura acosada. Los dos varones quedan a un lado y a otro de este esquema, equilibrando la composición
En cuanto a la organización del espacio, todas las figuras se hallan en un mismo plano, menos la mujer que preside la escena, que se halla en un segundo plano, más retirada. Lógicamente, el niño alado se sitúa en otro nivel completamente distinto. De hecho se halla sobrevolando la escena.
La línea del horizonte, que apenas si se distingue, se halla algo más elevada de lo normal, en concreto al nivel de la cintura de los personajes situados en primer plano. La perspectiva que emplea el artista resulta puramente intuitiva: los personajes parecen flotar sobre un prado que a lo que más se parece es a un tapiz y el bosque del fondo se dispone como un telón. Esta relativa torpeza se revela muy útil para datar la obra, pues resulta habitual encontrar en los pintores del siglo XV, esta construcción del espacio realizada de forma más o menos espontánea y, sobre todo, la elección de ese punto de vista algo elevado, que permite representar el suelo con más altura de la conveniente, recurso que recuerda a la perspectiva caballera. Estos rasgos se encuentran tanto en los pintores renacentistas, como en los seguidores del gótico flamenco.
Las figuras y la vegetación se encuentran perfectamente delimitadas con un trazo fino, de tal forma que la línea predomina sobre la policromía. Los colores son nítidos, existiendo un claro contraste entre el de los personajes, más vivos y los de la vegetación, más apagados. Existe un cuidado equilibrio entre los tonos cálidos y los fríos. Parece que el artista pintó la escena con minuciosidad, usando una pincelada muy fina. Es de destacar lo bien conseguidas que están las veladuras en las vestiduras transparentes.
El uso de veladuras es típico de la pintura al óleo, pero este cuadro debe tratarse más bien de una pintura al temple, porque los colores parecen planos y relativamente apagados, predominando ese acabado de brillo mate típico de esta técnica.
El temple o témpera es un tipo de pintura de origen muy antiguo que emplea como disolvente el agua y como aglutinante una emulsión de yema de huevo, cola u otras materias orgánicas. Con frecuencia, la aplicación de esta técnica se combina con fondos de oro, en el que el metal era dispuesto en láminas extremadamente finas. En el caso de una pintura de caballete, como la que nos ocupa, el soporte habitual del temple es la tabla.
Volviendo al análisis del cuadro, señalemos que la luz está aplicada de forma uniforme, como conviene a una escena desarrollada al aire libre.
El volumen de las figuras se expresa mediante el plegado de los ropajes y la gradación tonal, esto es indicando la musculatura y las distintas texturas con ligeras variaciones de color, reflejando con un ligero claroscuro la musculatura o el plegado de las vestiduras. Estos recursos no se emplean en el prado y los árboles que, como queda dicho, parecen planos como si se tratase de un decorado.
Respecto a la plasmación de la figura humana, el artista representa a los personajes con corrección anatómica, bien que buscando la armonía y la idealización. El canon empleado alarga a los protagonistas de la escena haciéndoles parecer altos y esbeltos.
Menos la dama que centra la composición, todas las figuras se hallan en movimiento, bien que con actitudes reposadas y lánguidas. Un dinamismo particular expresan las tres doncellas y la dama de las flores, personajes que parecen encontrarse en la ejecución de los pasos de una danza. Hay que señalar que estas actitudes calmosas no se pueden aplicar al grupo de la izquierda que sorprende por lo brusco de las actitudes y la violencia que respira esta especie de asalto o rapto.
Parecido contraste se observa en los gestos: serenos y ensimismados en las figuras de la izquierda y del centro, y muy expresivos los de la derecha: la dama de las flores sonríe abiertamente, la doncella del vestido transparente mira con sorpresa y temor, mientras que su agresor la contempla con furia.
Respecto a las facciones, algunos autores han supuesto que en el cuadro figuran retratos de algunas personalidades, e incluso se han avanzado las identificaciones. Con todo, parecen rostros impersonales, dotados de una belleza ideal en consonancia con la armónica perfección de los cuerpos y la refinada elegancia de sus vestiduras.
Armonía, belleza ideal, reposo y una atmósfera de refinamiento son los valores que parece transmitir esta obra. Debe añadirse la erudición y la estimación por la cultura clásica, pues la imagen, aunque muy hermosa, permanece indescifrable para los ojos del espectador poco avezado.
Respecto a la clasificación de esta obra, el empleo de una perspectiva intuitiva y el uso del temple nos sitúan en el siglo XV, en el tránsito entre la Edad Media y el Renacimiento. Por otra parte el tema mitológico o alegórico y la atmósfera de lujo y elegancia aconsejan emplazar esta obra en el Quattrocento, la primera fase del arte renacentista.
Dentro de los artistas de este período la obra debe adscribirse a Sandro Botticelli (Alessandro di Mariano di Vanni Filipepi) por esas figuras elegantes y cargadas de distinción, por esa ambiente de belleza ideal que presenta cierta melancolía y, también, por el pobre conocimiento de la perspectiva.
Este pintor vivió en Florencia en la segunda mitad del siglo XV y el primer decenio del siglo XVI. Se formó en el taller de Fra Filippo Lippi, en Prato, y en su obra, desarrollada casi por entero en Florencia, se distingue un largo período de plenitud con figuras elegantes, vaporosas y monumentales y un último período de gran intensidad religiosa con obras de ejecución nerviosa y composición excéntrica y descuidada.
Botticelli destacó como pintor de temática religiosa (tanto pinturas monumentales al fresco como pequeños cuadros de devoción), como retratista y, especialmente, como autor de temas profanos de contenido alegóricos y mitológicos, como «La calumnia de Apeles», «El Nacimiento de Venus» y la obra que nos ocupa que es «La Alegoría de la Primavera», conservada en la Galería Uffizi de Florencia.
Se trata de un cuadro monumental (Mide 203 cm de alto por 314 cm de ancho) y la técnica empleada es, como queda dicho el temple. El soporte empleado es la tabla. Se fecha por 1477 o 1476
El primer poseedor de la obra fue Lorenzo di Pierfrancesco de Medici, conocido como «Il Popolano» («El Populista»), fue miembro de la familia Médici, primo de Lorenzo el Magnífico. Dado que este personaje tenía 15 años cuando la obra se pintó, y para entonces se había quedado huérfano, se especula con que fue encargada por sus tutores, como estímulo para su formación en la filosofía neoplatónica o exhortación moral según los principios de esta doctrina. Tal vez fuera un regalo de su primo Lorenzo «el Magnífico», bajo cuya tutela se encontraba.
Posteriormente pasó a la colección de la rama principal de los Médici, que fueron primeros duques de Florencia y posteriormente grandes duques de Toscana). Vasari la contempló y la admiró en 1550, cuando pertenecía al duque Cosme I.
La interpretación de esta pintura requiere un amplio conocimiento de la mitología clásica, bien que algunas figuras como Cupido o las Tres Gracias se identifican con facilidad. De izquierda a derecha se reconoce a:
- El dios Mercurio (con un sombrero o casco denominado petaso y con la vara llamada caduceo). Con este objeto parece jugar con unas nubecillas, escena enigmática que sólo se comprende por un pasaje de la Eneida en el que describe al veloz mensajero de los dioses, dominando las nubes y los vientos con sólo alzar el mágico caduceo. Con todo, algunos especialistas creen que realmente representa al dios Marte.
- Las tres Gracias, divinidades menores que presiden el encanto, la belleza y la fertilidad.
- La diosa Venus, seguramente en su advocación de Venus Genetrix, esto es como madre, lo que explicaría que se hubieran destacado sus pechos y el que vientre aparezca abultado. Por detrás de esta figura el pintor dispuso un arbusto que se ha identificado como el mirto (o arrayán), planta consagrada a esta deidad, al igual que los naranjos.
- Cupido, hijo de Venus, otra divinidad menor considerado dios del amor.
- Flora, divinidad secundaria del panteón latino encargada de las flores y los jardines. Ese patronazgo explica su corona de flores y su vestido ornamentado con plantas y ramos. Su representación derramando flores se encuentra ya en las pinturas de Pompeya.
- Cloris, ninfa que en la mitología griega desempeña el mismo papel que Flora en el panteón latino, de ahí que a veces se consideren que son el mismo personaje. Su vínculo con la vegetación queda resaltado por las flores que salen de su boca.
- Céfiro o bien Bóreas, personificaciones del viento del oeste y del norte, respectivamente. Ambas deidades raptaron a Cloris, de ahí que su identificación permanezca dudosa. Aunque tradicionalmente se ha visto en él a Céfiro, la brusquedad con la que aparece y su color azul oscuro, propio de las tormentas, parece convenir mejor al tempestuoso Bóreas que al tranquilo y fecundante viento del oeste.
Si en la identificación existe cierto consenso, la crítica no se ha puesto de acuerdo sobre su verdadero significado y ninguna de las interpretaciones ha conseguido imponerse, bien que suele vincularse a la filosofía neoplatónica.
Una explicación bastante verosímil (y alternativa) es la que considera la obra una alegoría de los tres meses de la primavera: A la derecha marzo, mes caracterizado por los repentinos y negativos efectos del viento y del frío sobre la primera floración; en el centro abril mes consagrado a Venus; y a la izquierda mayo, mes vinculado a Mercurio, pues se creía que estaba dedicado a la madre del dios, la pléyade Maya.
La obra estaría inspirada en los tapices flamencos dedicados a las estaciones y meses del año, lo que explicaría la deficiente construcción del espacio y ese prado poblado por diminutas flores y plantas, muy similar a los fondos de tapiz de estilo «mille fleur» confeccionado en aquella época en Francia y en Flandes
Para situar el monumento en su contexto histórico, social, político y cultural señalemos que el arte renacentista surge en Italia en el siglo XV, difundiéndose por el resto de Europa en el siglo siguiente. La expansión colonial de españoles y portugueses extenderán este estilo por Iberoamérica y otros territorios que estas potencias incorporan a sus imperios.
La cronología de este estilo abarca, pues, desde el siglo XV hasta inicios del siglo XVII. Se distinguen varias fases: Quattrocento (siglo XV), Cinquecento (primer cuarto del siglo XVI) y Manierismo (resto del siglo XVI). Existe una suave etapa de transición hacia el Barroco conocida como protobarroco o arte tridentino (por hallarse marcado por la influencia del Concilio de Trento).
El mundo del Quattrocento se caracteriza en lo político por el predominio del sistema de la ciudad-estado en Italia. Se trata de una forma de gobierno oligárquica, pues unas pocas familias controlaban el poder de estas urbes. Estos linajes solían pertenecer a una burguesía mercantil que desarrolla un capitalismo inicial, basado en el comercio de tejidos y en las operaciones bancarias. Esta centuria se caracteriza por un período de expansión económica, caracterizada por el incremento de la circulación monetaria.
Respecto a la cultura, la Iglesia sigue desempeñando un papel preponderante, bien que se asiste a una recuperación de la herencia clásica, desarrollándose la filosofía neoplatónica, que fomenta el antropocentrismo y la estima por los números, la proporción y la armonía.
Socialmente, la valoración de los artistas comenzará a ser tenida en cuenta, y como se observa en esta obra, arquitectos, escultores y pintores colaboraran en el retorno de la Antigüedad clásica bien estudiando los restos arqueológicos, leyendo y comentando a los autores de la literatura grecorromana o frecuentando las academias filosóficas. Con todo, la producción artística siguió siendo considerada como un mero trabajo mecánico y manual, en el que sólo importaba la destreza, a diferencia de las artes liberales (la Gramática, la Retórica, la Dialéctica, la Aritmética, la Geometría, la Música y la Astronomía) en las que se hacía precisa la aplicación del intelecto.
El mecenazgo cobrará un gran impulso en este período como forma de distinción y prestigio. A los promotores de obras tradicionales en la Italia del momento (el Papado, las órdenes religiosas mendicantes y las corporaciones cívicas), se unirán la burguesía mercantil y los condottieros o capitanes de las tropas mercenarias.
Para terminar, señalemos que «la Primavera» y otras obras alegóricas y/o mitológicas de Botticelli han sido consideradas un retorno del arte profano, olvidado en la Edad Media o reducido en este período a la mínima expresión ante la preponderancia del arte sacro. Lo cierto es que aunque no puedan competir con el arte religioso, los temas y la decoración seculares tuvieron un amplio desarrollo en la Europa medieval cristiana, bien que los testimonios conservados son muy escasos. Destacaron los tapices (cuya pervivencia resulta muy difícil) o bien mosaicos, vidrieras, pinturas murales y otros ornamentos cuya suerte va ligada a los palacios para los que se realizaron.
Dado que estas construcciones sufrieron continuas renovaciones, o al contrario fueron abandonados o pasaron por los rigores de la guerra, los testimonios que nos han llegado de arte profano se han preservado en algunos casos por pasar a las colecciones de iglesias o monasterios, como el tapiz de Bayeux. Algunos otros, como las pinturas de las techumbres de la catedral de Teruel, albergan un contenido profano pese a que se realizaron para un templo.
Por tanto hay que recurrir muchas veces a las crónicas o a las representaciones contenidas en los libros miniados para reconstruir el esplendor decorativo de las residencias medievales y de algunos edificios como juzgados o casas consistoriales.
El repertorio era amplísimo: escenas de batallas más o menos históricas, o bien basadas en ciclos de romances y leyendas; series de personajes de la Antigüedad, en especial Alejandro Magno; complicadas alegorías mitológicas inspiradas en la obra de Marciano Capela y en Ovidio (bien que se trata del Ovidio «moralizado»); alegorías sobre el gobierno de la ciudad; fábulas protagonizadas por animales; episodios cinegéticos, bailes y otros esparcimientos de los nobles, entre ellos las escenas de baños, llamada de «estufa» (termas); representaciones cartográficas y de las constelaciones celestes, cargadas de los simbolismos propios de la época… En cambio el retrato tuvo un escaso desarrollo y, con alguna excepción, estuvo ligado más bien al arte religioso, apareciendo los personajes como donantes.
Estas obras suelen mostrar una originalidad sorprendente y un naturalismo desconocidos en el envarado arte sacro. Las pinturas (o tapices) sobre campañas militares están realizados con una óptica casi «periodística», en el que la narración histórica se presenta como un verdadero reportaje (bien que realizado en muchos casos con decenios de retraso). Por lo demás, los testimonios conservados asombran por su altísima calidad.
Se comprende que de la alta Edad Media se conserven muy pocos ejemplos. Destacan los mosaicos del pavimento del Palacio Sagrado de Constantinopla y la decoración anicónica de la iglesia de San Julián de los Prados de Oviedo.
De la etapa gótica, destacan en primer lugar los murales que relatan hazañas militares, como los frescos del monasterio de Santa María de Valbuena en Valladolid, las pinturas de la conquista de Mallorca del Palacio Aguilar en Barcelona, y otros frescos de la misma temática conservados en el Palacio Real de Barcelona, en Cardona, Alcañiz y Melfi, en el sur de Italia.
Con una temática más mundana, nos encontramos con la vidriera denominada «La cacería» de la catedral de León, las pinturas mudéjares de la catedral de Teruel, los frescos de la llamada Sala del Ciervo, en el Palacio de los Papas en Aviñón, las pinturas del Palacio Comunal de Siena, el ciclo pictórico de Castello della Manta, en el Piamonte y las imágenes de constelaciones realizadas por Fernando Gallego para la Universidad de Salamanca.
Mención aparte merecen las tapicerías conservadas: el mencionado tapiz de Bayeux, el ciclo de tapices de la Dama y el Unicornio del Museo de Cluny de París; el llamado tapiz «de las Naves» de la seo zaragozana y los cuatro tapices de Pastrana que describen las conquistas portuguesas en el Norte de África.
Las muestras de escultura profana son aún más escasas. Mencionaremos el misterioso Regisole de Pavía, destruido en el siglo XVIII y de cronología muy discutida. Otra obra no menos enigmática es la escultura ecuestre de Rávena (¿de Teodorico?) que Carlomagno mando trasladar a Aquisgrán. Se han conservado la estatuilla de Carlomagno ecuestre del Louvre, el León de Brunswick (Alemania) y el busto de Federico II Hohenstaufen de Barletta (Italia). En relieve, y ya en el arte gótico, hay que mencionar los marfiles franceses dedicados al Roman de la Rose y otros temas galantes y el coro bajo de la catedral de Toledo que talló Rodrigón Alemán y que está dedicado a la conquista del Reino de Granada.
Por lo demás los mosaicos de la mezquita omeya de Damasco, las pinturas del castillo sirio de Qusair Amra, Damasco o las conservadas en la Alhambra nos señalan que tampoco el mundo árabe fue ajeno a esta práctica de decorar con escenas libres de todo contenido religioso o doctrinal.
En conclusión las alegorías de Botticelli o los esposos Arnolfini de Jan van Eyck hay que verlos más bien como cambios de rumbo o renovaciones de la temática del arte civil y profano, más que la supuesta resurrección de esta vertiente del arte perdida en los mal llamados «siglos oscuros»
Procedencia de la imagen:
All over the capital, the Arirang adverts (« Grand mass gymnastic and artistic performance », « Welcome to Pyongyang » and so on) warn the profane…Between August and October, takes place one of the biggest and most impressive performances in the world. The tone is set : even the Beijing Olympics ceremony can’t compete with the mass games organized by the Democratic People's Republic of Korea (DPRK). The show is held several times a week and welcomes tourists from all over the World, including the US, in one of the most isolated and despised country on earth. The well-called « mass games » are designed to emphasize group dynamics rather than individual performances as the supreme emblem of communism. Prepared by hundred of thousands performers all along the year, after their classes for the youngest of them, they are entirely dedicated to the NK’s leader Kim Jong Il and his deceased father Kim Il Sung, considered as the « Eternal president » and « sun of the 21st century »…
In the surroundings of Pyongyang's May Day giant Stadium, two girls are running to perform for the Arirang show. They are already dressed in their gymnastic outfits, as well as some 100,000 others who participate to the performance. They all come to honour their self-proclaimed « dear leader » Kim Jong Il, after a very hard and gruelling training, since their earliest age. Yet, it has been many years that Kim Jong Il has not shown up, formally for business reasons. But officials now admit the western medias’ assertions of illness. Anyways, Kim Jong Il or not, the mass games are held every year in Pyongyang, as a means for the regime to show to the entire world the country’s strength and good shape. To reach this sole purpose, not less than 100,000 people are involved in a choreographed show of simultaneous dancing and gymnastics. Many symbols are displayed by thousands of trained athlets, whether they are adults or even children. Hand over their heart, the young pupils sing in chorus "We are the happiest children in the world", one of the famous propaganda songs in North Korea. Many dancers make movements either with ribbons or colourful flowers named « kimjonglias » after the leader Kim Jong Il. All along the show, a live band plays a ceremonious music.
On the background, some 20,000 young koreans sit on the terraces, facing the spectators. They flip coloured cards at a high speed to form a fresco of animated and detailed images, changing from one to another. Each time they turn the page to create a new giant picture, they cry out. It creates a awe-inspiring atmosphere, as the shout is mixed with the noise of thousands of pages turned at the same moment. The figures are stunning : to compose these images, 2000 children are needed to make only one soldier, 20,000 for a north korean flag. Hiding a much more grim reality, the panels represent Pyongyang enlightened by night, wheat fields ready for harvest, scientists at work, atoms as symbols of the nuclear bomb and others for the reunification of two Koreas. One of the North Korea’s myths (history according to them) is recounted by the means of a huge image made by thousands of children. It represents the two pistols reportedly used by Kim Il Sung, when he founded the Anti-Japanese People’s Guerrilla Army in 1932. When the pistols appear, the audience applauses loudly. Among them, many soldiers attend the show as the ultimate award after years of good and faithful service.The thousands and thousands of boys and girls involved create a giant mass movement in the stadium which leaves the public stunned. These talented performers are used to that kind of performance: in North Korea they have to dance, sing, jump and spin around as many times as there are celebrations, always in praise of their leaders. There are mainly two sorts of shows. The first one is the classical artistic show, named "Arirang" after the famous korean folk song (whose story sometimes changes, but most often recounts the legend of a disappointed woman who hopes that her lover will return to her –metaphor of the break-up with South Korea). The second one is a more political show, which was untitled in 2008 "Prosper our country" and intended to show the country’s greatest achievements and its struggle against the foreign oppressors.
The show continues in the same way for one hour. Thereafter, the thousands of people present vanish in the dark and silent streets of Pyongyang, which contrast with the flood of lights and music in the stadium. Within the space of a few hours, it gives us a a strange feeling, between the real and unreal, of another universe both terrifying and fantastic.
Dans toute la ville, les publicités d’Arirang (« Grande représentation gymnastique et artistique de masse », « Bienvenue à Pyongyang » etc.) mettent le profane en garde …Entre août et octobre, a lieu l’une des plus grandes et impressionnantes représentations au monde. Le ton est donné : pas même la cérémonie des Jeux de Pékin ne peut rivaliser avec les mass games organisés par la République Démocratique Populaire de Corée (RDPC). Le spectacle se tient plusieurs fois par semaine et accueille des touristes du monde entier, y compris des Etats-Unis, dans l’un des pays les plus isolés et méprisés sur terre. Les biens nommés mass games (« mouvements de masse») sont conçus pour mettre en avant les dynamiques de groupe plutôt que les performances individuelles comme emblème suprême du communisme. Préparés par des centaines de milliers d’artistes tout au long de l’année, après les cours pour les plus jeunes d’entre eux, les jeux sont entièrement dédiés au leader de la Corée du Nord, Kim Jong Il, et feu son père Kim Il Sung, considéré comme l’ « Eternel président » et « soleil du 21ème siècle »…
Aux environs du Stade géant May Day de Pyongyang, deux filles courent pour participer au spectacle de Arirang. Elles sont déjà en costume de gymnastique, tout comme quelque 100 000 autres qui participent à la représentation. Tous viennent pour honorer leur autoproclamé « cher leader » Kim Jong Il, après un très difficile et éprouvant entraînement, depuis leur plus jeune âge. Pourtant, cela fait plusieurs années que Kim Jong Il ne s’est pas montré, formellement pour des raisons professionnelles. Mais des officiels admettent les assertions des médias occidentaux sur sa maladie. Quoi qu’il en soit, Kim Jong Il ou pas, les jeux de masse ont lieu chaque année à Pyongyang, comme moyen pour le régime de montrer au monde entier la puissance et bonne santé du pays. Pour atteindre ce seul but, pas moins de 100 000 personnes sont engagées dans une chorégraphie de danses et gymnastiques synchronisées. De nombreux symboles sont affichés par des milliers d’athlètes entraînés, qu’il s’agisse d’adultes ou même d’enfants. Main sur le cœur, les jeunes élèves chantent en chœur « Nous sommes les enfants les plus heureux du monde », l’une des chansons de propagande les plus connues en Corée du Nord. De nombreux danseurs font des mouvements avec des rubans ou avec des fleurs colorées appelées « kimjonglias », du nom du leader Kim Jong Il. Tout le long du spectacle, un orchestre joue une musique solennelle.
À l’arrière-plan, quelque 20 000 jeunes coréens sont assis sur les gradins, faisant face aux spectateurs. Ils retournent des cartes colorées à une grande vitesse pour former une fresque d’images animées et détaillées, changeant de l’une à l’autre. Chaque fois qu’ils tournent la page pour créer une nouvelle illustration, ils crient. Cela crée une atmosphère impressionnante, le cri étant mêlé avec le bruit de milliers de pages tournées au même moment. Les chiffres sont stupéfiants : pour composer ces images, 2000 enfants sont nécessaires pour faire un seul soldat, 20 000 pour un drapeau de la Corée du Nord. Cachant une réalité bien plus dure, les panneaux représentent Pyongyang éclairée la nuit, des champs de blé prêt à être récolté, des scientifiques au travail, des atomes comme symboles de la bombe nucléaire et d’autres pour la réunification des deux Corées. L’un des mythes de Corée du Nord (ou histoire selon eux) est relaté au moyen d’une image gigantesque faite par des milliers d’enfants. Elle représente les deux pistolets que Kim Il Sung aurait utilisés quand il a fondé l’armée de guérilla populaire anti-japonaise en 1932. Lorsque les deux pistolets apparaissent, le public applaudit bruyamment. Parmi eux, de nombreux soldats assistent au spectacle comme récompense ultime après des années de bons et loyaux services. Les milliers et milliers de garçons et de filles participant créent un mouvement de masse géant dans le stade, qui laisse le public ébahi. Ces artistes talentueux sont coutumiers de ce type de représentation : en Corée du Nord ils doivent danser, chanter, sauter et virevolter autant de fois qu’il y a de célébrations, toujours à la gloire de leurs chefs. Il existe principalement deux sortes de spectacles. Le premier est le spectacle classique artistique, appelé « Arirang » d’après la célèbre chanson folklorique coréenne (dont l’histoire quelques fois change, mais qui raconte le plus souvent la légende d’une femme déçue qui espère que son amant lui reviendra –métaphore de la séparation avec la Corée du Sud). Le second est un spectacle plus politique, qui était intitulé en 2008 « Que prospère notre pays » et qui tentait de montrer les plus grandes réalisations du pays et sa lutte contre les oppresseurs étrangers.
Le spectacle continue de cette façon pendant une heure. Ensuite, les milliers de personnes présentes disparaissent dans les rues sombres et silencieuses de Pyongyang, ce qui contraste avec le déluge de lumières et de musique dans le stade. En l’espace de quelques heures, cela nous donne un étrange sentiment, entre le réel et l’irréel, d’un autre univers à la fois terrifiant et fantastique.
© Eric Lafforgue
En Equivalence Humaine cela représente 1 Siècle.....
Essai de mon Nouveau Matériel acheté l'Eté 2025...
In Assyrian religion, the palm is one of the trees identified as the Sacred Tree connecting heaven, represented by the crown of the tree, and earth, the base of the trunk. Reliefs from the 9th century BC show winged genii holding palm fronds in the presence of the Sacred Tree.[3] It is associated with the goddess Ishtar and is found on the Ishtar Gate. In ancient Mesopotamia, the date palm may have represented fertility in humans. The Mesopotamian goddess Inanna, who had a part in the sacred marriage ritual, was believed to make the dates abundant. Palm stems represented long life to the Ancient Egyptians, and the god Huh was often shown holding a palm stem in one or both hands. The palm was carried in Egyptian funeral processions to represent eternal life.The Kingdom of Nri (Igbo) used the omu, a tender palm frond, to sacralize and restrain. The palm was a symbol of Phoenicia and appeared on Punic coins. In ancient Greek, the word for palm, phoinix, was thought to be related to the ethnonym. In Archaic Greece, the palm tree was a sacred sign of Apollo, who had been born under a palm on the island of Delos. The palm thus became an icon of the Delian League. In recognition of the alliance, Cimon of Athens erected a bronze statue of a palm tree at Delphi as part of a victory monument commemorating the Battle of the Eurymedon (469/466 BC). In addition to representing the victorious League, the bronze palm (phoinix) was a visual pun on the defeated Phoenician fleet.[9] From 400 BC onward, a palm branch was awarded to the victor in athletic contests, and the practice was brought to Rome around 293 BC. Solidus (335-336 AD) of Constantine I, the first Christian emperor, with Victory holding a palm and a military trophy next to a christogram The palm became so closely associated with victory in ancient Roman culture that the Latin word palma could be used as a metonym for "victory", and was a sign of any kind of victory. A lawyer who won his case in the forum would decorate his front door with palm leaves. The palm branch or tree became a regular attribute of the goddess Victory, and when Julius Caesar secured his rise to sole power with a victory at Pharsalus, a palm tree was supposed to have sprung up miraculously at the Temple of Nike, the Greek counterpart of Victory, in Tralles, later known as Caesarea, in Asia Minor. The toga palmata was a toga ornamented with a palm motif; it was worn to celebrate a military triumph only by those who had a previous triumph. The toga itself was the garment of the civilian at peace, and was worn by the triumphator to mark his laying down of arms and the cessation of war. The use of the palm in this setting indicates how the original meaning of "victory" shaded into "peace" as the aftermath of victory. Coins issued under Constantine I, the first Christian emperor, and his successors continue to display the traditional iconography of Victory, but often combined with Christian symbolism such as christograms. The Roman senator Symmachus, who tried to preserve Rome's religious traditions under Christian domination, is pictured on an ivory diptych bearing a palm branch in an allegorical triumph over death.In Judaism, the date palm (Lulav) is one of the Four Species used in the daily prayers on the feast of Sukkot. It is bound together with the hadass (myrtle), and aravah (willow). The Midrash notes that the binding of the Four Species symbolizes the desire to unite the four "types" of Jews in service of God. During the Roman Empire, the date palm represented Judaea and its fecundity to both Romans and Jews. Roman sources praise the date as the produce of the province. The date palm was a frequent image for Judaea on Imperial coinage, most notably on the Iudaea Capta series, when the typical military trophy is replaced by the palm. The palm appears also on at least one Hasmonean coin and on coinage issued in 38–39 AD by Herod Antipas. Palm ornaments are found also on Jewish ossuaries. In 1965, Judean date palm seeds dated at around 2000 years old were recovered during excavations at Herod the Great's palace on Masada in Israel. In 2005, some of the seeds were planted. One grew and has been nicknamed "Methuselah".In contemporary Christianity, the palm branches carried on Palm Sunday originate in the triumphal entry of Christ into Jerusalem. Early Christians used the palm branch to symbolize the victory of the faithful over enemies of the soul, as in the Palm Sunday festival celebrating the triumphal entry of Jesus into Jerusalem. In western Christian art, martyrs were often shown holding a palm frond as an attribute, representing the victory of spirit over flesh, and it was widely believed that a picture of a palm on a tomb meant that a martyr was buried there. Origen calls the palm (In Joan, XXXI) the symbol of victory in that war waged by the spirit against the flesh. In this sense it was especially applicable to martyrs, the victors par excellence over the spiritual foes of mankind; hence the frequent occurrence in the Acts of the martyrs of such expressions as "he received the palm of martyrdom." On 10 April 1688 it was decided by the Congregation of Rites that the palm when found depicted on catacomb tombs was to be regarded as a proof that a martyr had been interred there. Subsequently this opinion was acknowledged by Mabillon, Muratori, Benedict XIV and others to be untenable; further investigation showed that the palm was represented not only on tombs of the post-persecution era, but even on tombs of those who did not practice Christianity. Palms carried on Palm Sunday, 2011, at Sanok, Poland The general significance of the palm on early Christian monuments is slightly modified according to its association with other symbols (e.g., with the monogram of Christ, the Ichthus (Fish), or the Good Shepherd). On some later monuments the palm was represented merely as an ornament separating two scenes. Palms also represented heaven, evidenced by ancient art often depicting Jesus in heaven among palms.The palm is richly significant in Islamic culture, and the palm symbolizes rest and hospitality in many cultures of the Middle East. The presence of palm trees around an oasis showed that water was the gift of Allah. In the Quran, the palm appears in the paradisical imagery of the Garden (Jannah). In one prophetic tradition, the Dome of the Rock will stand on a palm tree issuing from one of the rivers of Paradise. Muhammad is said to have built his home out of palm,[citation needed] to have leaned against a palm while speaking,and to have raised the first mosque as a roof placed on palm trees. The first muezzin climbed palm trees to call the faithful to prayer, from which the minaret developed.[citation needed] In the Quran , Mary is said to have given birth to Jesus under a date palm.'Tis true, sun symbols are predominantly masculine in their energetic tone. However, the palm shares its symbolic gender with succulent female qualities found in the fruit it bears. And so, we see this scenario with symbolic eyes: The erect, towering trunk representing the phallus - male power rising into action - followed by a flowering, expansive fireworks display of long supple leaves nestling an offspring of rich, nutritious fruits. Beautiful symbolism, isn't it? This is a snapshot of how our forbears viewed the palm, and why it is an icon for fertility and unification. In alchemical traditions, the palm tree is a symbol of androgyny as it possesses the perfect integration of both male and female attributes. This is an alchemical achievement - to be wholly, pristinely balanced - equally united with polarity. This androgynous concept plays out in the esoteric archetype of the High Priestess found in the Tarot. Indeed, the palm tree is depicted in this card and here demonstrates the intent of the Priestess to amalgamate the realms of seen and unseen - mixing them into a whole vision with a goal to dispense for the betterment of humanity. To Assyrians and Egyptians the palm is considered a tree of life. It was sacred to Ishtar and Ashtarte as well as to Nut and Hathor. These deities utilized the palm tree nectars to keep the dead in a semi-animated state while they awaited their fate in the Underworld. Sometimes the fruit of the palm would keep these souls in this state of undead forever. The date palm is also associated with the sun god Ra, as a resurrection figurehead. These aspects bring to mind themes of victory related to palm tree symbolism. Not only victory over the conflict between dualities, but victory over death as well. Indeed, Christians adapted the palms as a symbol of resurrection (victory over death through the union with Christ). Palm fronds were lain on the path walked by Christ as he entered Jerusalem. Palms were also strewn out as a red carpet welcoming returning Roman warriors from battle. They are also laid out to welcome returning pilgrims to the Holy Land. In these examples, the palm tree symbolism conjures elements of attainment, welcoming, and all the wonderful qualities we associate with the soul's return to its Source. As dream symbols, palm trees symbolize our ability to rise above conflict and spread our light brilliantly - letting it shine over the din of petty concerns - rising above disillusionment like the sun itself. Palms in dreams may also be a message for us to resurrect aspects of ourselves. In resurrecting these parts, we become a more whole entity. In northern Sudan, the doum palm is the symbol of endurance (doum), and particularly of the Muslim saint who gave his name to Wad Hamid.]The Garden of Eden Imagine living in a place where everything's perfect. There are fruit trees , cool breezes , and rivers . People walk around naked without shame , and God just hangs out, speaks directly to mortals, and enjoys evening strolls through the garden . Just imagine…YOU CAN'T GO THERE. Sorry to be so forceful, but that's kind of the point. After Adam and Eve ate the fruit of the tree of the knowledge of good and evil , mortals were forever banished from Eden. And you know what? Eden is used as a symbol in literature and art not only to represent paradise but also—and maybe more often—a symbol of paradise lost, of the all-elusive nature of happiness and peace, and of the end of innocence. Writing Eden Upon their exit from Eden mortals have to deal. Their lives are like ours. They die , endlessly toil , feel shame , are aware of their nudity , and endure the pain of childbirth . Soon Cain will introduce violence into the world when he slays his brother Abel, and with this comes an overdose of jealousy and sibling rivalry (4:1-15). And eventually Cain will settle "away from the presence of the Lord" .Poets just love this kind of stuff, and Eden ranks high in their toolbox of images. Everyone from Robert Frost to Emily Dickinson to Ina Rousseau has taken their turn to remind us that we can never go back. Speaking of depressing, how about John Steinbeck's East of Eden? Its title is taken from Genesis 4:16, and it's chock full of Genesis-esque themes, especially sibling rivalry. Genesis Owns Eden Eden is such a powerful symbol that the authors of Genesis capitalize on it right after they've presented the image. Remember Lot? When Abraham tells him to take first pick at the land he wants, Lot does some recon:
Lot looked about him, and saw that the plain of the Jordan was well watered everywhere like the garden of the Lord, like the land of Egypt, in the direction of Zoar […]. So Lot chose for himself all the plain of the Jordan, and Lot journeyed eastwards; thus they separated from each other. Abram settled in the land of Canaan, while Lot settled among the cities of the Plain and moved his tent as far as Sodom. Now the people of Sodom were wicked, great sinners against the Lord. "The plain of the Jordan" is "like the garden of the Lord," eh? In the Talmud and the Jewish Kabbalah, the scholars agree that there are two types of spiritual places called "Garden in Eden". The first is rather terrestrial, of abundant fertility and luxuriant vegetation, known as the "lower Gan Eden". The second is envisioned as being celestial, the habitation of righteous, Jewish and non-Jewish, immortal souls, known as the "higher Gan Eden". The Rabbanim differentiate between Gan and Eden. Adam is said to have dwelt only in the Gan, whereas Eden is said never to be witnessed by any mortal eye. According to Jewish eschatology, the higher Gan Eden is called the "Garden of Righteousness". It has been created since the beginning of the world, and will appear gloriously at the end of time. The righteous dwelling there will enjoy the sight of the heavenly chayot carrying the throne of God. Each of the righteous will walk with God, who will lead them in a dance. Its Jewish and non-Jewish inhabitants are "clothed with garments of light and eternal life, and eat of the tree of life" (Enoch 58,3) near to God and His anointed ones. This Jewish rabbinical concept of a higher Gan Eden is opposed by the Hebrew terms gehinnom and sheol, figurative names for the place of spiritual purification for the wicked dead in Judaism, a place envisioned as being at the greatest possible distance from heaven. In modern Jewish eschatology, it is believed that history will complete itself and the ultimate destination will be when all mankind returns to the Garden of Eden.
Islamic view Spanish-Arabic world map from 1109 AD with Eden in east (at top)
The Garden of Eden is spoken about prominently in the Quran and the tafsir (interpretation). This includes surat Sad, which features 21 verses on the subject, surat al-Baqarah, surat al-A'raf, and surat al-Hijr. The narrative mainly surrounds the expulsion of Iblis from the garden and his subsequent tempting of Adam and Eve. After Iblis refuses to follow God's command to bow down to Adam for being his greatest creation, Allah transforms him into Satan as a punishment. Unlike the Biblical account, the Quran mentions only one tree in Eden, the tree of immortality, which Allah specifically forbade to Adam and Eve. Satan, disguised as a serpent, repeatedly told Adam to eat from the tree, and eventually both Adam and Eve did so, thus disobeying Allah. These stories are also featured in the Islamic hadith collections, including al-Tabari. We've already been told that it's impossible to go back to Eden, so it's no surprise that Lot ends up in Sodom. And as we know, Sodom ain't no Eden. Return to Eden; The Christian Bible begins with the image Eden in Genesis, but get this—it also ends with a vision of a future Eden. The Apocalypse of John (a.k.a. Revelation) foresees a God-induced utopia that clearly echoes the paradise of Genesis 2-3.
For the author of the Apocalypse, Eden will return complete with a river and the tree of life bearing fruit and leaves that will heal the nations. And sure enough, mortals will again dwell with God, whose throne will be right there in the middle (Revelation 22:1-5). So in the vision of the Christian Bible, the story of mortals will end where it began, in Eden.The Garden of Eden (Hebrew גַּן עֵדֶן, Gan ʿEdhen) is the biblical "garden of God", described most notably in the Book of Genesis chapters 2 and 3, and also in the book of Ezekiel.[2] The "garden of God", not called Eden, is mentioned in Genesis 14, and the "trees of the garden" are mentioned in Ezekiel 31. The Book of Zechariah and the Book of Psalms also refer to trees and water in relation to the temple without explicitly mentioning Eden. Traditionally, the favoured derivation of the name "Eden" was from the Akkadian edinnu, derived from a Sumerian word meaning "plain" or "steppe". Eden is now believed to be more closely related to an Aramaic root word meaning "fruitful, well-watered." The Hebrew term is translated "pleasure" in Sarah's secret saying in Genesis 18:12. The story of Eden echoes the Mesopotamian myth of a king, as a primordial man, who is placed in a divine garden to guard the tree of life. In the Hebrew Bible, Adam and Eve are depicted as walking around the Garden of Eden naked due to their innocence. Eden and its rivers may signify the real Jerusalem, the Temple of Solomon, or the Promised Land. It may also represent the divine garden on Zion, and the mountain of God, which was also Jerusalem. The imagery of the Garden, with its serpent and cherubs, has been compared to the images of the Solomonic Temple with its copper serpent, the nehushtan, and guardian cherubs.
Si Lalibela representa la religión cristiana ortodoxa de Etiopía, este mausoleo del siglo XIII es el lugar de peregrinación islámica más importante de Etiopía, a pesar de estar ubicado en un pequeño y remoto pueblo, en medio de un paraje seco y caluroso.
Llegamos al pueblo por la tarde, con el tiempo justo de visitar el mausoleo antes del anochecer y tuvimos la suerte de asistir a una ceremonia para pedir que lloviera. Eso hizo que estuviera allí concentrado todo el pueblo.
Para entrar en el recinto, que está a la intemperie, hay que descalzarse, a pesar de que no se trata del habitual suelo alfombrado de las mezquitas de las ciudades, sino de tierra, piedras y matorral. La tumba se encuentra debajo de la cúpula. Se puede entrar por una pequeña puerta y recorrer, casi a oscuras, el pasillo que la rodea.
Un detalle que nos llamó poderosamente la atención es que la gente se embadurnaba la cara con tierra e, incluso, la comía, como parte de sus ritos.
Head of a wooden statue probably representing Ra'shepses, chief justice and vizier to King Isesi. This high-ranking state official also served as "Overseer of Upper Egypt."
• V Dinastía. Reinado de Djedkare´ Isesi.
• Procedencia: Saqqara. Serdab de la tumba LS 16 [S 902] de Ra´shepses
• Material: madera estucada y pintada.
• Dimensiones:
• Conservación: Saqqara. Museo Imhotep, JE 40037
BIBLIOGRAFÍA:
- Porter and Moss. “Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings”. III. Part 2. (1978), p. 494-496. Pl. XLVI.
Texto: Juan Rodríguez Lázaro.
Foto: Juan Rodríguez. Tomada el 8 de enero de 2007
Representing the two main generic Platinum liveries, 6827 and 6891 contrast at Frankley Holly Hill terminus, working 63 Bristol Road Services into Birmingham. Although not an official Platinum route, it sees frequent use of them, with numerous spares available due to Birmingham Centrals extra 6 recently received (6945-50)
Hagia Sophia represents the very essence of the history of Turkey and the continuous transformation it has undergone throughout the ages and even today.
Turkey, and especially Istanbul, the former Constantinople, is a country of great importance, transition, and rich cultural history. Hagia Sophia encapsulates all of these traits and stands as a visual testimony to the history of the region. Once a great symbol of Christianity, it demonstrated superiority over pagan religions. Through conquest, it became a representation of dominance and legitimization of Islam to the world. Upon the secularization of the country, Hagia Sophia became a Museum to both Christianity and Islam. As the country and museum try to interpret the balance of religion, both are frozen in time, unable to complete their ultimate goal of balancing these faiths.
Taken: Hagia Sophia taken from Loge of the Empress, Sultanahmet, Istanbul, Turkey
West window by Hugh Easton 1955, representing Christ in Glory seated upon the globe and surrounded by significant figures from ecclesiastical history. Perhap's Easton's finest work, the overall effect is very much a mid 20th century version of a Last Judgement, which aptly is reflected by the recently uncovered medieval interpretation of the subject in the mural painted at the opposite end of the nave.
Holy Trinity would have been the star attraction in any other town or city, it is a majestic cruciform 15th century Perpendicular church with a tapering central tower and spire, the second of Coventry's famous 'Three Spires'. However it has always been overshadowed by larger neighbours, having been encircled by no less than three separate cathedrals through it's history, a unique distinction! Holy Trinity was founded by the monks of the adjoining priory to act as a parish church for it's lay tenants, thus it is ironic that it has long outlived the parent building.
The earliest part is the north porch, which dates from the 13th century, but the majority of the building dates from a more ambitious phase in 15th century Perpendicular style. The 15th century rebuilding has given us the present cruciform arrangement with small transepts and extra chapels on the north side giving an overall roughly rectangular footprint. These chapels were some of many in the church that served the city's separate guilds in medieval times.
The church has gone through much restoration, most notably the rebuilding of it's spire after it was blown down in a storm in 1665. The east end of the chancel was extended in 1786 (in sympathetic style) and much of the exterior was refaced in the early 19th century in then fashionable Bath stone (which clashes with the original red sandstone).
The church luckily escaped major damage during the Coventry Blitz in 1940, largely thanks to the vigilance of Canon Clitheroe and his team of firewatchers who spent a perilous night on the roof tackling incendaries. The main loss was the Victorian stained glass in the east and west windows, which were replaced with much more fetching glass in the postwar restoration.
The most recent restoration involved the uncovering of the 15th century Doom painting over the chancel arch in 2004. Hidden under blackened varnish since it's rediscovery in the early Victorian period, it has now been revealed to be one of the most complete and important medieval Last Judgement murals in the country. There is further painting contemporary with this on the exquisite nave ceiling, painted a beautiful dusty blue with large kneeling angels flanking passion shields on every rafter.
There are only a handful of monuments and most of the furnishings date from G.G.Scott's 1850s restoration (as does the magnificent vaulted ceiling high above the crossing) but there are some notable medieval survivals in the rare stone pulpit and the brass eagle lectern, both 15th century, along with a fine set of misericords originating from the former Whitefriars monastery church. Just a few fragments of medieval glass survive in the north west chapel.
The church is happily normally open and welcoming to visitors every day.
For more detail on this church see it's entry on the Warwickshire Churches website below:-
warwickshirechurches.weebly.com/coventry---holy-trinity.html
The Michigan Wolverines football program represents the University of Michigan in college football at the NCAA Division I Football Bowl Subdivision (formerly Division I-A) level. Michigan has the most all-time wins and the second highest winning percentage in college football history behind Notre Dame.
The team is known for its distinctive winged helmet, its fight song, its record-breaking attendance figures at Michigan Stadium, and its many rivalries, particularly its annual, regular-season-ending game against Ohio State, once voted as ESPN's best sports rivalry.
Michigan began competing in intercollegiate football in 1879. The Wolverines joined the Big Ten Conference at its inception in 1896, and other than a hiatus from 1907 to 1916, have been members since. Michigan has won or shared 42 league titles, and, since the inception of the AP Poll in 1936, has finished in the top 10 a total of 37 times. The Wolverines claim 11 national championships, most recently that of the 1997 squad voted atop the final AP Poll.
From 1900 to 1989, Michigan was led by a series of nine head coaches, each of whom has been inducted into the College Football Hall of Fame either as a player or as a coach. Fielding H. Yost became Michigan's head coach in 1901 and guided his "Point-a-Minute" squads to a streak of 56 games without a defeat, spanning from his arrival until the season finale in 1905, including a victory in the 1902 Rose Bowl, the first college football bowl game ever played. Fritz Crisler brought his winged helmet from Princeton University in 1938 and led the 1947 Wolverines to a national title and Michigan's second Rose Bowl win. Bo Schembechler coached the team for 21 seasons (1969–1989) in which he won 13 Big Ten titles and a program-record 194 games. The first decade of his tenure was underscored by a fierce competition with his former mentor, Woody Hayes, whose Ohio State Buckeyes squared off against Schembechler's Wolverines in a stretch of the Michigan–Ohio State rivalry dubbed the "Ten-Year War".
Schembechler's assistants Gary Moeller and Lloyd Carr helmed the team for the next 18 years, and continued the team's success. Rich Rodriguez succeeded Carr in 2008 and was fired after three seasons in which he compiled the worst record of any coach in program history. Brady Hoke succeeded Rodriguez, but after four years of steadily declining results, was dismissed following his fourth season. Following Hoke's dismissal, Michigan hired former quarterback Jim Harbaugh, who played for Michigan between 1983 and 1986 under Schembechler.
The Michigan Wolverines have featured 78 players that have garnered consensus selection to the College Football All-America Team. Three Wolverines have won the Heisman Trophy: Tom Harmon in 1940, Desmond Howard in 1991, and Charles Woodson in 1997. Gerald Ford, the 38th President of the United States, started at center and was voted most valuable player by his teammates on the 1934 team.
en.wikipedia.org/wiki/Michigan_Wolverines_football
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix. Levels adjusted in PSE.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
Représentation d'artiste : promenade d'un couple royal dans un jardin
Nouveau Royaume, 18ème Dynastie
1335 av.JC
Amarna, Egypte
Albatre
Neues Museum
Période d'Amarna
Musée égyptien
Donation James Simon, 1920
Site du musée
La collection du Neues Museum présente en particulier les trésors trouvés à Amarna, la capitale d'Aménophis IV Akhenaton, le pharaon hérétique. les archéologues allemands fouillèrent le site entre 1911 et 1914, en privilégiant les maisons particulières. Ce choix se révèla payant, car de nombreux objets y avaient été laissés. Cette découverte constitue une rupture dans la continuité millénaire de l'art de l'Egypte ancienne. extrait du site en français
salle d'Akhenaton au musée égyptien du Caire (dalbera)
Nº 1.
Camión Pegaso «Mofletes» "CAMPSA" (1948-1959).
Escala 1/43.
"Camiones Articulados" - Altaya / Planeta DeAGOSTINI.
Ixo.
España.
Año 2015.
"La maqueta representa un trailer de la empresa estatal CAMPSA utilizado en los aeropuertos para el repostaje de los aviones. Por los detalles de la cabina es de suponer que se trata de la Serie 3B del Z-701." (...)
More info: erzardia.blogspot.com.es/2015/09/pegaso-ii-z-701-diesel-m...
-----------------------------------------------------------------------------------------------
"La Primera Cabeza Tractora Española: El MOFLETES Z-701.
La cabeza tractora PEGASO Z-701 fue el resultado de la eliminación de la caja de carga del camión rígido PEGASO II (el cual era a su vez una evolución en diesel del estándar PEGASO I, de motorización en gasolina)."
(...)
More info: lascoleccionesdelamiradadelaguacate.blogspot.com.es/2015/...
--------------------------------------------------------------------------------
Pegaso «Mofletes»
"El primer modelo de la mítica firma española, presentado en 1946 y bautizado como Pegaso I, más popularmente conocido como «Mofletes», era una versión del vejo Hispano-Suiza 66 G, un camión que, a su vez, guardaba grandes reminiscencias con el Alfa Romeo 800.
Fabricado en las instalaciones de La Sagrera en Barcelona, el Pegaso I fue el primer producto de la entonces recién creada empresa de vehículos industriales ENASA.
Un año después, se lanzó la versión con motor diésel y que fue denominada Pegaso II."
- See more at : www.planetadeagostini.es/colecciones-altaya/miniaturas/ca...
-----------------------------------------------------------------------------------------------
Pegaso
From Wikipedia, the free encyclopedia
"Pegaso (Spanish pronunciation: [peˈɣaso], "Pegasus") was a Spanish manufacturer of trucks, omnibuses, tractors, armored vehicles, and, for a while, sports cars. The parent company, Enasa, was created in 1946 and based in the old Hispano-Suiza factory, under the direction of the renowned automotive engineer Wifredo Ricart.
In 1990, Iveco took over Enasa, and the Pegaso name disappeared in 1994.
Enasa, a state-owned company, had its main business interest in the truck and bus market. Pegaso became one of the leading European industrial vehicle makers, with significant exports to both Europe and Latin America; the Benelux, Venezuela, and Cuba were its major foreign markets, and a substantial contract to supply tactical trucks to the Egyptian Army was signed in the late 1970s.
The main Enasa factories were located in Barcelona, Madrid, and Valladolid.
Between 1946 and 1990, Pegaso built more than 350,000 vehicles; the highest production in a single year, over 26,000, was achieved in 1974."
(...)
1940s
"The first Enasa produced truck, a slightly modified Hispano-Suiza 66G, was the Pegaso I, of which only a few units were made (due mostly to the severe shortages of the post-war era) in 1946 and 1947.
An enhanced but still petrol-engined version, the Pegaso II (model code Z-203), was launched late in 1947 and reached some hundreds of units while awaiting a much-needed diesel model. This was the 125 hp (93 kW) Pegaso Diesel (Z-202), nicknamed Mofletes ("Chubby cheeks") for its bulbous front end, which made its debut in 1949 and quickly established itself as the leader in the still weak Spanish truck market.
Artic tractor (Z-701), road train, and coach or 'bus (Z-401) versions soon were also available, and all together they became El camión español ("The Spanish truck"), as Enasa badges and advertisements proudly stated."
(...)
Source: en.wikipedia.org/wiki/Pegaso
----------------------------------------------------------------------------------------------
Pegaso II Z-203
"El Pegaso Mofletes es un modelo de camión fabricado a partir de 1946 con motor de gasolina, y a partir de 1949 con motor diésel, por la empresa española Pegaso, y basado en un modelo anterior, el Hispano-Suiza 66G.
Si bien el nombre oficial dado al modelo empezó siendo de Pegaso I, el característico diseño de la cabina le valió el sobrenombre de "Mofletes", apodo por el que aún hoy sigue siendo conocido.
Fueron fabricados un total de 2139 unidades entre todas sus variantes, además de un prototipo de tracción eléctrica. La producción acabó en 1959.
Gracias a su parrilla delantera es fácil determinar si el modelo funciona con un motor gasolina o diésel. En los casos de motor a gasolina, la parrilla será de 9 barras horizontales; mientras que los que equipen motor diésel, tendrán una parrilla con 13 barras.
Como curiosidad, estos camiones equipaban el volante en el lado derecho de la cabina, para que fuera más sencillo para el conductor controlar la cuneta de la carretera y evitar los adelantamientos por falta de visibilidad."
(...)
"En 1947 el modelo sufre varias mejoras mecánicas, manteniendo la estética inalterada.
Hasta 1949 se fabricaron 148 unidades de Mofletes con motor a gasolina. El inconveniente de este propulsor era su elevado consumo de combustible, que superaba los 50 L/100km con facilidad, además de contar con algunos componentes propensos a fallar, como la junta de culata y los segmentos. Estos problemas fueron resueltos al instalar un nuevo motor que se venía desarrollando desde la creación de ENASA a partir del creado por Hispano-Suiza, de menor consumo y más fiable, con 125 cv de potencia. Muchos de los primeros modelos acabaron por equipar un motor diésel sustituyendo en original de gasolina.
En 1954 se mejora el motor para aumentar su potencia hasta los 140 cv y se agranda la cabina para mayor comodidad de los ocupantes."
(...)
Z-701
"El Pegaso Z-701 es una modificación del Mofletes "estándar", rediseñado para su uso como tractocamión, por lo que carecía de cualquier caja para el transporte."
(...)
Fuente: es.wikipedia.org/wiki/Pegaso_II_Z-203
-----------------------------------------------------------------------------------------------
PEGASO:
"Su historia empieza donde acaba la de la Hispano-Suiza, pues no es más que la continuación de la misma. De hecho, al principio registraron y usaron el nombre "Hispano", hasta que en 1947 adoptaron el de Pegaso.
En 1946 se funda el "Centro de Estudios Técnicos de Automoción", y para dirigirlo contrataron a Wifredo Pelayo Ricart, a la sazón diseñador en Alfa-Romeo. Este ingeniero español fue un gran innovador que fundó varias empresas y trabajó en otras en su día punteras: Vallet y Fiol, Motores Ricart y Pérez (hasta finales de los sesenta construían los motores "REX"), Ricart-España, Hispano-Suiza, Alfa-Romeo, Lokheed...
El C.E.T.A. sería sólo un centro de diseño y experimentación, que marca las directrices a seguir por la industria de la automoción. Su primer encargo es realizar un plan estratégico para el sector.
La conclusión del mismo es que la producción de camiones se podía realizar íntegramente en España. Para ello se debía crear una gran empresa nacional -E.N.A.S.A.- que absorbiese la única experiencia válida del sector, La Hispano-Suiza.
Asimismo debía crearse una fábrica en Madrid para ampliar la capacidad de producción.
Para el desarrollo de turismos el campo era más complejo y necesitaba el apoyo de la industria extranjera. Ese fue el origen de SEAT, construida sobre las licencias y experiencia de FIAT.
En Octubre de 1946 se consigue forzar la compra de las instalaciones y patentes de La Hispano-Suiza. Su antiguo presidente, D. Damián Mateu, es cesado, aunque le permiten retener una pequeña parte de las acciones.
La nueva estructura es cuando menos curiosa. Hasta la construcción de la planta de Madrid, se producían todos los vehículos y sus partes en Barcelona. La dirección y administración se llevaban desde ENASA en Madrid, y C.E.T.A. controlaba la dirección técnica. También C.E.T.A. percibía a través de ENASA los royalties por la producción en Barcelona de los vehículos originalmente diseñados allí. Además, la oficina técnica de ENASA siempre estuvo en Barcelona, aunque supeditada a las directrices de C.E.T.A. en Madrid.
El primer camión que construyeron fue el Pegaso I, que no era más que el Hispano-Suiza 66G. Se le conoció por "mofletes" por la peculiar forma de su cabina.
En 1947 nació el Pegaso II Z-203 como evolución del Pegaso I. Tenía 8 marchas en vez de 6, estaba más reforzado, e incorporaba otras mejoras para aumentar la comodidad, la capacidad de carga, y la resistencia. Curiosamente, se decidió que los camiones no debían efectuar adelantamientos. En consecuencia se le colocó el volante a la derecha.
El C.E.T.A., bajo la batuta de Ricart fue muy activo: estudió la construcción de tractores de orugas, motores marinos pequeños, motores para grupos electrógenos, turbinas de gas para autocares, motores de aviación, y coches de representación.
En 1949 se presenta la versión diesel del Pegaso II. Estaba basado en el Hispano-Suiza 66D, pero incorporaba una bomba de inyección directa producida bajo licencia Bosch. Tenía una potencia similar al de gasolina, pero menor consumo. Con remolque, tenia un P.M.A. de 26'5 Tm.
Con la misma base se construyó el Z-701 en 1951, que fue la primera cabeza tractora de la marca."
(...)
Fuente:
debates.coches.net/showthread.php?66866-Historia-del-cami...
Phillip Mould:
The recent rediscovery of this important portrait represents a significant addition to the iconography of Henry VIII. Holbein’s emphatically dominating mural portrait of Henry VIII in the Royal Palace at Whitehall has come to define the image of Henry VIII as the strong, statuesque Tudor monarch. Its destruction by fire in the seventeenth century has meant that only two portraits of Henry VIII by Holbein himself survive: the much smaller and more intimate head and shoulders portrait in the Thyssen Collection; and one half of the cartoon for the mural, now in the National Portrait Gallery, London.
History’s most striking images of Henry have therefore depended on a small number of highly finished portraits produced by talented followers from within Holbein’s circle, and perhaps even his own workshop. It has long been thought that were only two high quality versions of the three-quarter length portrait derived from the Whitehall mural; one in the Royal Collection, and the other in the National Gallery of Art, Rome. The Hamilton portrait now represents a third version.
A lack of comparable technical evidence makes it difficult to ascertain if all three are by the same hand. All three versions are almost identical in pose and dimensions, suggesting that the same cartoon was used for each (the presence of pouncing marks under infra-red examination confirms that the Hamilton portrait was based on a cartoon). The three portraits also share Holbein’s trademark blue smalt background – but they differ in costume, confirming the apparent rule that no two commissioned portraits of a monarch should be identical. The dendrochronological suggestion of an earliest felling date of 1538 for the panels used in this portrait dates the portrait to well within Holbein’s lifetime. It seems, therefore, that although there is insufficient evidence on Holbein’s working practice to know if he certainly employed studio assistants, this portrait was undoubtedly completed by one who was well acquainted with his techniques and designs. Certainly, the fine detailing in this example rivals that of the Rome version (considered until recently to be by Holbein himself), while the drawing seen here, such as in the dagger’s hilt, is entirely redolent of the vigour and exquisite draughtmanship of Holbein’s own designs.
The provenance of this portrait is particularly important. This picture was sold by the present Duke of Hamilton & Brandon, marking the completion of a gradual dispersal of one of the greatest picture collections yet assembled in Britain. The dispersal began with a famous sale in 1882, with more sales following the demolition of Hamilton Palace in the 1930s. Until now, the present portrait has hung at Holyroodhouse, the Queen’s official residence in Scotland, of which the Dukes of Hamilton are hereditary Keepers.
The portrait is first recorded as being in the possession of James, 3rd Marquess of Hamilton KG, and later 1st Duke of Hamilton. He was a noted favourite of Charles I, the King signing his letters ‘Your faithful friend and loving cousin, Charles R’. Hamilton was not only an ardent Royalist, but, after Charles himself, perhaps the greatest art collectors of his generation – thought it should be remembered occasionally Hamilton and Charles’ mutual art collecting had positive political benefits for the Duke. Hamilton’s father was a noted collector, and his brother-in-law, Basil Feilding, was ambassador to Venice, and acted as art agent to him and the King. Between 1634-39 Hamilton purchased over 400 pieces, mostly through acquiring entire collections in Europe. He also bought works of art while campaigning in Germany, and gave, exchanged and sold paintings to Charles I (of which more below). As Master of the Horse and Gentleman to the King’s Bedchamber, Hamilton lived in Whitehall Palace, occupying a suite of about 20 rooms, as well as maintaining accommodation at Hampton Court, which he used to house part of his picture collection. He was building a large house in Chelsea, with a gallery to house his pictures, when the approaching Civil War intervened. Unable to resist acquiring works offered him; ‘[I am] to much bewitched with those intysing things’.’
As a great collecting family, the Hamiltons were astute in keeping inventories of their pictures. The earliest inventory is dated 1624, and lists the collection of the 1st Duke’s father, the 2nd Marquess. There is no mention here of a portrait of Henry VIII, nor in the subsequent inventories from between 1634-9, entitled ‘Note of pictures for my Lord Marquis from my Lord Fielding’. This would suggest that the picture was not in the collection of the 1st Duke’s father, and nor was it acquired from abroad.
An inventory [MSS5] dated pre- 1643 of the 1st Duke’s pictures, headed ‘A Catalogue of My Lord Marquis’s pictures’ lists over thirty cases (it is possible that this refers to pictures packed in cases for Hamilton’s journey from London to Scotland c. 1638, as tensions between King and Parliament grew.) Here the ‘Thirty One Case’ contains one ‘Kinge Harry 8th’. A later inventory dated 1643-49 [MSS6] contains a similar list of cases, but not a case 31. Instead there is ‘In the Closet’ a ‘King Henry, the 8 picture’ [location unstated]. An inventory dated 1704 [MSS12] ‘A List of His Grace’s the Duke of Hamiltons pictures in the Abby of Holyrood House, taken this 5 day of October 1704,as they are now hung an numbred, the numbers being on the forepart of some, and on the back of Others’, reveals, ‘In the Great Dining Roome’ of Holyroodhouse, a ‘square picture [no. 154] of King Hnery 8th a halfe length by Holbin.’ It seems almost certain therefore that the present portrait was acquired by the 1st Duke of Hamilton in the 1630s, and has hung in Holyrood since at least 1704.
The question then arises as to where the Duke of Hamilton acquired the portrait. First, it seems certain the picture did not come from Fielding’s purchases in Italy. Germany seems a possible, though unlikely, source with Hamilton writing to Charles I about acquiring paintings and sculptures in Munich . No detailed list survives of any purchases in Germany, however, and it seems most of these were acquired for Charles I. It therefore seems most likely that an English source is the most probable.
Though there is at present no documentary evidence that suggests a direct source, it is possible that the Hamilton portrait may have come from Charles I himself, not least because we know that Hamilton was at the nexus of art collecting in England with Charles from between 1620s to 1640s. There is plenty evidence of pictures being given or exchanged with the Hamilton in Van der Doort’s inventory of Charles I’s collection . Indeed, we know that Charles gave Hamilton’s father, the 2nd Marquess of Hamilton, a portrait by Holbein; Van der Doort tells us of a picture “Chaunged with the decd Lo. Marquess of Hambleton when yor Maatie was Prince” “Item a little intire Picture with a little white dogg lying by, said to be the Lord Daker – Comprtoller to King Henry the 8ts houshould” [p.78 in the Walpole edition, St James’ Cabinet Room no. 9] Van der Doort lists 13 pictures either given, exchanged, or bought by Charles I with the 1st Duke of Hamilton. Furthermore, the presence of Rubens’ Daniel in the Lions’ Den in the 1643 Hamilton inventory confirms that exchanges either continued between Charles I and Hamilton post the 1639 date of Van der Doort’s inventory (for it appears in the 1639 inventory of the Royal Collection with no note by Van der Doort of an exchange or gift to Hamilton) or that Van der Doort’s keeping of records was not overly accurate as far as Charles’ dealings with the Hamilton’s were concerned. It seems unlikely that the exchanges of art continued between Charles and Hamilton after the latter’s move to Scotland in 1638.
Though there is no direct evidence, for example in Van der Doort’s inventory of Charles I’s collection, of a Henry VIII passing from Charles I’s collections in Whitehall - but there were many other palaces from where exchanges or gifts could have been made. It seems that there is evidence from, for example, the inventories of King Edward VI, that there were a number of paintings of Henry VIII for Charles to exchange or give away. There are at least eight contemporary examples of what we would now call ‘portraits’ of Henry VIII in the Royal Collection in the mid sixteenth century. Two are of the King when young, one is listed as a ‘physionamy’ (head and shoulders), two are listed as ‘whole stature’, and one, intriguingly, as ‘nott finished’. The two portraits of Henry VIII when young were still in the Royal Collection in 1639. However, both the ‘whole statures’, the ‘nott finished’, the ‘physionomye’, the diptych, and one other portrait of Henry VIII appear to have left the Royal Collection according to Van der Doort. This supposition would appear to be confirmed by at most four portraits of Henry VIII in the Commonwealth Sales of the Royal Collection after the execution of Charles I.
p139 Scally, Political Career of James, Duke of Hamilton PhD thesis, Cambridge 1992
30th April 1632, SRO GD406/1/158, Burnet's Memoirs, p.28.
Walpole Soceity, 27th Volume 1958-1960, Abraham Van Der Doort’s Catalogue of the Collections of Charles I, edited by Oliver Millar.
Voici une superbe représentation du vizir Kagemni, haut fonctionnaire sous le règne du pharaon Téti (VIe dynastie, Ancien Empire).
Sa tombe, située à Saqqarah, est célèbre pour la qualité exceptionnelle de ses bas-reliefs et la préservation de ses pigments vieux de plus de 4000 ans.
This stunning depiction of Vizier Kagemni, a high-ranking official during the reign of Pharaoh Teti (6th Dynasty, Old Kingdom), is located in his tomb at Saqqara.
His mastaba is renowned for its exceptionally well-preserved reliefs and pigments, dating back over 4000 years.
Kagemni is shown in a traditional stance, holding his staff and scepter, symbols of authority and power.
A remarkable example of the artistic refinement and craftsmanship of Ancient Egyptian artisans.
Le vizir est ici représenté dans une posture classique, tenant son sceptre et son bâton, symboles d’autorité et de pouvoir.
Un témoignage fascinant du raffinement artistique et du savoir-faire des artisans de l’Égypte antique.
Representing the Black Prince preserved fleet at the event is 202, Mercedes Benz O405 Optare Prisma TIL 7902, originally R202 YOR. This was purchased from Tillingbourne along with two others, but this entered service with Black Prince on May 19 2001 already repainted into a version of the fleet livery (in this case the Tillingbourne Blue repainted into red) followed in March 2004 by the lower panels being replaced and repainted with a bit more of a repaint being done in september 2004 when proper logos were then applied. Oddly when this arrived with Black Prince it had been given back it's R202 YOR plate as Tillingbourne wanted their private plate for another vehicle, but the registration transfer hadn't gone through and so this regained its TIL plate.