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"It is not a glen of the mountains, craggy, stupendous, physically impressive. There is nothing here to overwhelm the romantic mind. It's beauty is an inward grace in oneself akin to what is indefinable in the memory of a masterpiece."
Neil Gunn
Highland River
Reconstruction of the Terme Boxer, 2018, bronze cast, 128 x 110 x 55 cm, recostruction created by Vinzenz Brinkmann and Ulrike Koch-Brinkmann (Liebieghaus Skulpturensammlung, Frankfurt am Main, Sammlung Stäelisches Kunstinstitut)
Suzhou.
The juxtaposition of these two images is a shortcut of today's China. On one side poor people struggling to save their homes threatened by real estate speculation, and, on the other one, an arrogant golden youth parading downtown into over hundred thousand dollars cars !
Goverment experts are afraid by the politicals risks of this economic polarization. They are right !
See also :
and :
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La juxtaposition de ces deux images est un raccourci de la Chine d'aujourd'huí.
D'un côté de pauvres gens luttant pour sauver leurs logements de l'appétit des promoteurs immobiliers et de l'autre une jeunesse dorée arrogante paradant dans des voitures à plus de cent mille dollars !
Les experts gouvernementaux redoutent les conséquences de la croissance de cette polarisation sociale.
Ils ont bien raison !
Une autre vue du même phénomène :
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
PROLOGUE
Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).
When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.
And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by
craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.
EPILOGUE
Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,
He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.
Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):
"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"
With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.
Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)
GLOSSARY
IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.
This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technologicalexplosion, but not in illusive scales.
Uber Aless @2015 NYC USA
NOTE Date's numbers and events can be slightly inaccurate.
#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,
In the past, Putin has condemned those who have tried to pry their way into his personal life. Once, when asked about his possible romance with Kabaeva, he replied: “I’ve always had a negative feeling about people poking their snotty noses and erotic fantasies into other people’s lives.”
Who is Alina Kabaeva?
Alina Kabaeva is a 38 year old Russian politician and retired Olympic rhythmic gymnast.
Born in 1983, Kabaeva started her rhythmic gymnastics career at just three years old - and at 15, she won the European Championships in Portugal. She was, at the time, the youngest member of the Russian squad.
Kabaeva is one of the most decorated gymnasts in the field of rhythmic gymnastics, with two Olympic medals, 14 World Championship medals and 21 European Championship medals.
She became the European Champion again in 1999 before going on to win the World Title in Osaka.
She announced her retirement from the sport in 2004, however returned for a few years before properly retiring in 2007.
Following her retirement, Kabaeva was one of six Russian athletes torch bearers who carried the Olympic flame during the Opening Ceremony of the 2014 Sochi Winter Olympics - something which was highly controversial at the time due to her alleged relationship with Putin.
Kabaeva has been a member of the Public Chamber of Russia since 2005, and since 2008 has been the chairwoman of the Public Council of the National Media Group. Between 2007 and 2014, Kabaeva was a Member of the Russia Parliament, the State Duma, representing the United Russia party.
During her time as a Member of Parliament, Kabaeva voted on a number of controversial laws that were adopted in 2012 and 2013.
This included the Anti-Magnitsky bill, which banned the inter-country adoption of Russian orphans in the US, and the Russian gay propaganda law which made the distribution of “propaganda of non-traditional sexual relationships” amongst minors a punishable offence.
Kabaeva has also tried her hand at a number of other ventures, including modelling and a failed singing career.
Are Alina Kabaeva and Vladimir Putin in a relationship?
Rumours regarding their relationship have been circulating for years, with Kabaeva being dubbed as “Russia’s First Mistress” and the “Secret First Lady”. She has gone on record to deny being in a relationship with Putin, however speculation has continued.
In 2008, Moskovsky Korrespondent reported that Putin had plans to divorce his wife and marry Kabaeva - however the claim was denied and the paper was swiftly shut down.
In 2016, after Putin’s divorce from his first wife had been finalised, Kabaeva was seen in public wearing a ring on her ring finger, which she was also seen wearing in 2017 as well. However she repeatedly dodged questions about the ring.
Their relationship has never been confirmed by either party, and the Kremlin has always strongly denied it.
In the past, Putin has condemned those who have tried to pry their way into his personal life. Once, when asked about his possible romance with Kabaeva, he replied: “I’ve always had a negative feeling about people poking their snotty noses and erotic fantasies into other people’s lives.”
Previously, Kabaeva had been engaged to a policeman called David Museliani in 2004, however they separated in 2005.
Do Alina Kabaeva and Vladimir Putin have children?
Kabaeva and Putin are rumoured to have four children together, with a source reportedly telling Page Six that they have “two young boys and twin girls who were born in Switzerland” and that “the kids all have Swiss passports”.
The source added: “While Putin carries out his assault on the Ukraine, attacking innocent citizens and causing a refugee crisis, his family is holed up in a very private and very secure chalet somewhere in Switzerland - for now, at least.”
My comment:
When asked about his private life, he replied: “I’ve always had a negative feeling about people poking their snotty noses and erotic fantasies into other people’s lives.” That’s fair enough! so why is he poking his snotty nose into ‘GLBT’s personal lives and using it as a basis and justification for Ukraine’s invasion?
What's good enough for the goose is good for the gander? no need to kill innocents and start WW3 over others’ personal private lives!
Putin is just a dirty little old man you couldn’t even trust your dog with!
This rather tatty type 165DS Ruston was once in pristine condition when cosmetically restored as a feature in the Cosmic Gardens of Speculation at Portrack House. The property is located on the south bank of the River Nith north of Holywood village. Ruston Wks no. 418790/1958 was delivered here by road in February 2004 after the new Portrack Viaduct across the River Nith on the G&SW line had been commissioned between Christmas 2003 and New Year 2004. The locomotive stands on the former down line track a small length of which was retained from where the line was slewed across. The rest of the trackbed through to the river bank where the first span of the old plate girder viaduct still stands has been landscaped as part of the "Portrack Scottie Garden of Rails" commemorating numerous engineers with stencil signs. Although the loco is readily visible from passing trains its almost impossible to get a decent photo of as its hemmed in between trees and palisade fencing.
Portrack House was the home of the late American landscape designer Charles Jencks who died in October 2019. There used to be one public open day here on the Sunday of the May Day bank holiday weekend but whether that will still take place following his death remains to be seen.
This 0-4-0DM Ruston started its working life with the NCB Coal Products Division and was first allocated to Gwaun-cae-Gurwen Disposal Point in South Wales. It was bought by Mr Jencks from the Shropshire Locomotive collection in late 2003.
I really don't know anything about this photo -- no idea when it was taken, or where ... It's obviously at the edge of a meadow, somewhere in Colorado or Utah.
I would guess that the woman is a friend (maybe a relative?) of my grandmother, who probably took this photo. But all of that is just speculation...
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To the best of my knowledge, most of the photos in this Flickr album were taken by my grandmother, Mabel Yourdon, during the 1920s, 30s, and 40s. Most of them depict scenes of everyday life in mining camps and small towns near the Utah-Colorado border. Some of them show hunting, fishing, and camping trips in unspecified parts of the American west. It appears that a few of them were taken in southern California, when Mabel and her husband Ike traveled out there to visit relatives.
I have no idea what kind of camera Mabel used for these photos, nor what kind of film. There probably wasn’t that much variety available in the 1920s, and she was not a “professional” photographer. So it may have been a Brownie and whatever B/W film Kodak was selling at the time.
My stepfather, Ray Yourdon, was born in 1922; and his older brother, Marvin, was born two years before that. You’ll see photos of Ray and Marvin when they were young boys, when they were in high school, and when they went off to join the Navy and the Marines to fight in World War II.
Somewhere around 2005, I asked Ray if he could tell me the details of some of the photos; where possible, I have included those details in the notes for the photos. Some of the photos obviously evoked pleasant memories, and I heard stories about minor day-to-day events in his life that I had never heard before. But we rarely got through more than a few pictures before he ran out of energy; and so many of the photos have no explanation at all.
At this point, my parents and grandparents are all gone. I have cousins who grew up in the same area where these photos were taken, and one or two of them are still in that area. They may be able to fill in a few of the details; otherwise, you’ll just have to accept these photos as a glimpse of what life was like nearly a hundred years ago ...
Varanasi, also known as Benares, or Kashi is an Indian city on the banks of the Ganga in Uttar Pradesh, 320 kilometres south-east of the state capital, Lucknow. It is the holiest of the seven sacred cities (Sapta Puri) in Hinduism, and Jainism, and played an important role in the development of Buddhism. Some Hindus believe that death at Varanasi brings salvation. It is one of the oldest continuously inhabited cities in the world. Varanasi is also known as the favourite city of the Hindu deity Lord Shiva as it has been mentioned in the Rigveda that this city in older times was known as Kashi or "Shiv ki Nagri".
The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi, and an essential part of all religious celebrations. The culture of Varanasi is closely associated with the Ganges. The city has been a cultural centre of North India for several thousand years, and has a history that is older than most of the major world religions. The Benares Gharana form of Hindustani classical music was developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians live or have lived in Varanasi. Gautama Buddha gave his first sermon at Sarnath, located near Varanasi.
Varanasi is the spiritual capital of India. It is often referred to as "the holy city of India", "the religious capital of India", "the city of Shiva", and "the city of learning". Scholarly books have been written in the city, including the Ramcharitmanas of Tulsidas. Today, there is a temple of his namesake in the city, the Tulsi Manas Mandir. The current temples and religious institutions in the city are dated to the 18th century. One of the largest residential universities of Asia, the Banaras Hindu University (BHU), is located here.
ETYMOLOGY
The name Varanasi possibly originates from the names of the two rivers: Varuna, still flowing in Varanasi, and Asi, a small stream near Assi Ghat. The old city does lie on the north shores of Ganges River bounded by its two tributaries Varuna and Asi. Another speculation is that the city derives its name from the river Varuna, which was called Varanasi in olden times.[11] This is generally disregarded by historians. Through the ages, Varanasi has been known by many names including Kāśī or Kashi (used by pilgrims dating from Buddha's days), Kāśikā (the shining one), Avimukta ("never forsaken" by Shiva), Ānandavana (the forest of bliss), and Rudravāsa (the place where Rudra/Śiva resides).
In the Rigveda, the city is referred to as Kāśī or Kashi, the luminous city as an eminent seat of learning. The name Kāśī is also mentioned in the Skanda Purana. In one verse, Shiva says, "The three worlds form one city of mine, and Kāśī is my royal palace therein." The name Kashi may be translated as "City of Light".
HISTORY
According to legend, Varanasi was founded by the God Shiva. The Pandavas, the heroes of the Hindu epic Mahabharata are also stated to have visited the city in search of Shiva to atone for their sins of fratricide and Brāhmanahatya that they had committed during the climactic Kurukshetra war. It is regarded as one of seven holy cities which can provide Moksha:
The earliest known archaeological evidence suggests that settlement around Varanasi in the Ganga valley (the seat of Vedic religion and philosophy) began in the 11th or 12th century BC, placing it among the world's oldest continually inhabited cities. These archaeological remains suggest that the Varanasi area was populated by Vedic people. However, the Atharvaveda (the oldest known text referencing the city), which dates to approximately the same period, suggests that the area was populated by indigenous tribes. It is possible that archaeological evidence of these previous inhabitants has yet to be discovered. Recent excavations at Aktha and Ramnagar, two sites very near to Varanasi, show them to be from 1800 BC, suggesting Varanasi started to be inhabited by that time too. Varanasi was also home to Parshva, the 23rd Jain Tirthankara and the earliest Tirthankara accepted as a historical figure in the 8th century BC.
Varanasi grew as an important industrial centre, famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture. During the time of Gautama Buddha (born circa 567 BC), Varanasi was the capital of the Kingdom of Kashi. Buddha is believed to have founded Buddhism here around 528 BC when he gave his first sermon, "Turning the Wheel of Law", at nearby Sarnath. The celebrated Chinese traveller Xuanzang, who visited the city around 635 AD, attested that the city was a centre of religious and artistic activities, and that it extended for about 5 kilometres along the western bank of the Ganges. When Xuanzang, also known as Hiuen Tsiang, visited Varanasi in the 7th century, he named it "Polonisse" and wrote that the city had some 30 temples with about 30 monks. The city's religious importance continued to grow in the 8th century, when Adi Shankara established the worship of Shiva as an official sect of Varanasi.
In ancient times, Varanasi was connected by a road starting from Taxila and ending at Pataliputra during the Mauryan Empire. In 1194, the city succumbed to Turkish Muslim rule under Qutb-ud-din Aibak, who ordered the destruction of some one thousand temples in the city. The city went into decline over some three centuries of Muslim occupation, although new temples were erected in the 13th century after the Afghan invasion. Feroz Shah ordered further destruction of Hindu temples in the Varanasi area in 1376. The Afghan ruler Sikander Lodi continued the suppression of Hinduism in the city and destroyed most of the remaining older temples in 1496. Despite the Muslim rule, Varanasi remained the centre of activity for intellectuals and theologians during the Middle Ages, which further contributed to its reputation as a cultural centre of religion and education. Several major figures of the Bhakti movement were born in Varanasi, including Kabir who was born here in 1389 and hailed as "the most outstanding of the saint-poets of Bhakti cult (devotion) and mysticism of 15th-Century India"; and Ravidas, a 15th-century socio-religious reformer, mystic, poet, traveller, and spiritual figure, who was born and lived in the city and employed in the tannery industry. Similarly, numerous eminent scholars and preachers visited the city from across India and south Asia. Guru Nanak Dev visited Varanasi for Shivratri in 1507, a trip that played a large role in the founding of Sikhism.
In the 16th century, Varanasi experienced a cultural revival under the Muslim Mughal emperor Akbar who invested in the city, and built two large temples dedicated to Shiva and Vishnu. The Raja of Poona established the Annapurnamandir and the 200 metres Akbari Bridge was also completed during this period. The earliest tourists began arriving in the city during the 16th century. In 1665, the French traveller Jean Baptiste Tavernier described the architectural beauty of the Vindu Madhava temple on the side of the Ganges. The road infrastructure was also improved during this period and extended from Kolkata to Peshawar by Emperor Sher Shah Suri; later during the British Raj it came to be known as the famous Grand Trunk Road. In 1656, emperor Aurangzeb ordered the destruction of many temples and the building of mosques, causing the city to experience a temporary setback. However, after Aurangazeb's death, most of India was ruled by a confederacy of pro-Hindu kings. Much of modern Varanasi was built during this time by the Rajput and Maratha kings, especially during the 18th century, and most of the important buildings in the city today date to this period. The kings continued to be important through much of the British rule (1775–1947 AD), including the Maharaja of Benares, or Kashi Naresh. The kingdom of Benares was given official status by the Mughals in 1737, and continued as a dynasty-governed area until Indian independence in 1947, during the reign of Dr. Vibhuti Narayan Singh. In the 18th century, Muhammad Shah ordered the construction of an observatory on the Ganges, attached to Man Mandir Ghat, designed to discover imperfections in the calendar in order to revise existing astronomical tables. Tourism in the city began to flourish in the 18th century. In 1791, under the rule of the British Governor-General Warren Hastings, Jonathan Duncan founded a Sanskrit College in Varanasi. In 1867, the establishment of the Varanasi Municipal Board led to significant improvements in the city.
In 1897, Mark Twain, the renowned Indophile, said of Varanasi, "Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together." In 1910, the British made Varanasi a new Indian state, with Ramanagar as its headquarters but with no jurisdiction over the city of Varanasi itself. Kashi Naresh still resides in the Ramnagar Fort which is situated to the east of Varanasi, across the Ganges. Ramnagar Fort and its museum are the repository of the history of the kings of Varanasi. Since the 18th century, the fort has been the home of Kashi Naresh, deeply revered by the local people. He is the religious head and some devout inhabitants consider him to be the incarnation of Shiva. He is also the chief cultural patron and an essential part of all religious celebrations.
A massacre by British troops, of the Indian troops stationed here and of the population of the city, took place during the early stages of the Indian Rebellion of 1857. Annie Besant worked in Varanasi to promote theosophy and founded the Central Hindu College which later became a foundation for the creation of Banaras Hindu University as a secular university in 1916. Her purpose in founding the Central Hindu College in Varanasi was that she "wanted to bring men of all religions together under the ideal of brotherhood in order to promote Indian cultural values and to remove ill-will among different sections of the Indian population."
Varanasi was ceded to the Union of India on 15 October 1948. After the death of Dr. Vibhuti Narayan Singh in 2000, his son Anant Narayan Singh became the figurehead king, responsible for upholding the traditional duties of a Kashi Naresh.
MAIN SIGHTS
Varanasi's "Old City", the quarter near the banks of the Ganga river, has crowded narrow winding lanes flanked by road-side shops and scores of Hindu temples. As atmospheric as it is confusing, Varanasi's labyrinthine Old City has a rich culture, attracting many travellers and tourists. The main residential areas of Varanasi (especially for the middle and upper classes) are situated in regions far from the ghats; they are more spacious and less polluted.
Museums in and around Varanasi include Jantar Mantar, Sarnath Museum, Bharat Kala Bhawan and Ramnagar Fort.
JANTAR MANTAR
The Jantar Mantar observatory (1737) is located above the ghats on the Ganges, much above the high water level in the Ganges next to the Manmandir Ghat, near to Dasaswamedh Ghat and adjoining the palace of Raja Jai Singh of Jaipur. Compared to the observatories at Jaipur and Delhi, it is less well equipped but has a unique equatorial sundial which is functional and allows measurements to be monitored and recorded by one person.
RAMNAGAR FORT
The Ramnagar Fort located near the Ganges River on its eastern bank, opposite to the Tulsi Ghat, was built in the 18th century by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone. It is in a typically Mughal style of architecture with carved balconies, open courtyards, and scenic pavilions. At present the fort is not in good repair. The fort and its museum are the repository of the history of the kings of Benares. It has been the home of the Kashi Naresh since the 18th century. The current king and the resident of the fort is Anant Narayan Singh who is also known as the Maharaja of Varanasi even though this royal title has been abolished since 1971. Labeled "an eccentric museum", it has a rare collection of American vintage cars, sedan chairs (bejeweled), an impressive weaponry hall and a rare astrological clock. In addition, manuscripts, especially religious writings, are housed in the Saraswati Bhawan. Also included is a precious handwritten manuscript by Goswami Tulsidas. Many books illustrated in the Mughal miniature style, with beautifully designed covers are also part of the collections. Because of its scenic location on the banks of the Ganges, it is frequently used as an outdoor shooting location for films. The film titled Banaras is one of the popular movies shot here. However, only a part of the fort is open for public viewing as the rest of the area is the residence of the Kashi Naresh and his family. It is 14 kilometres from Varanasi.
GHATS
Ghats are embankments made in steps of stone slabs along the river bank where pilgrims perform ritual ablutions. Ghats in Varanasi are an integral complement to the concept of divinity represented in physical, metaphysical and supernatural elements. All the ghats are locations on "the divine cosmic road", indicative of "its manifest transcendental dimension" Varanasi has at least 84 ghats. Steps in the ghats lead to the banks of River Ganges, including the Dashashwamedh Ghat, the Manikarnika Ghat, the Panchganga Ghat and the Harishchandra Ghat (where Hindus cremate their dead). Many ghats are associated with legends and several are now privately owned.
Many of the ghats were built when the city was under Maratha control. Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwas stand out as patrons of present-day Varanasi. Most of the ghats are bathing ghats, while others are used as cremation sites. A morning boat ride on the Ganges across the ghats is a popular visitor attraction. The extensive stretches of ghats enhance the river front with a multitude of shrines, temples and palaces built "tier on tier above the water’s edge".
The Dashashwamedh Ghat is the main and probably the oldest ghat of Varansi located on the Ganges, close to the Kashi Vishwanath Temple. It is believed that Brahma created it to welcome Shiva and sacrificed ten horses during the Dasa -Ashwamedha yajna performed here. Above the ghat and close to it, there are also temples dedicated to Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, Ganga (the Ganges), and Bandi Devi which are part of important pilgrimage journeys. A group of priests perform "Agni Pooja" (Worship to Fire) daily in the evening at this ghat as a dedication to Shiva, Ganga, Surya (Sun), Agni (Fire), and the whole universe. Special aartis are held on Tuesdays and on religious festivals.
The Manikarnika Ghat is the Mahasmasana (meaning: "great cremation ground") and is the primary site for Hindu cremation in the city. Adjoining the ghat, there are raised platforms that are used for death anniversary rituals. It is said that an ear-ring (Manikarnika) of Shiva or his wife Sati fell here. According to a myth related to the Tarakesvara Temple, a Shiva temple at the ghat, Shiva whispers the Taraka mantra ("Prayer of the crossing") in the ear of the dead. Fourth-century Gupta period inscriptions mention this ghat. However, the current ghat as a permanent riverside embankment was built in 1302 and has been renovated at least three times.
TEMPLES
Among the estimated 23000 temples in Varanasi, the most worshiped are: the Kashi Vishwanath Temple of Shiva; the Sankat Mochan Hanuman Temple; and the Durga Temple known for the band of monkeys that reside in the large trees nearby.
Located on the outskirts of the Ganges, the Kashi Vishwanath Temple – dedicated to Varanasi's presiding deity Shiva (Vishwanath – "Lord of the world") – is an important Hindu temple and one of the 12 Jyotirlinga Shiva temples. It is believed that a single view of Vishwanath Jyotirlinga is worth more than that of other jyotirlingas. The temple has been destroyed and rebuilt a number of times. The Gyanvapi Mosque, which is adjacent to the temple, is the original site of the temple. The temple, as it exists now, also called Golden Temple, was built in 1780 by Queen Ahilyabai Holkar of Indore. The two pinnacles of the temple are covered in gold, donated in 1839 by Ranjit Singh, the ruler of the Punjab and the remaining dome is also planned to be gold plated by the Ministry of Culture & Religious Affairs of Uttar Pradesh. On 28 January 1983, the temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with then Kashi Naresh, Vibhuti Narayan Singh, as president and an executive committee with a Divisional Commissioner as chairman. Numerous rituals, prayers and aratis are held daily, starting from 2:30 am till 11:00 pm.
The Sankat Mochan Hanuman Temple is one of the sacred temples of the Hindu god Hanuman situated by the Assi River, on the way to the Durga and New Vishwanath temples within the Banaras Hindu University campus. The present temple structure was built in early 1900s by the educationist and freedom fighter, Pandit Madan Mohan Malviya, the founder of Banaras Hindu University. It is believed the temple was built on the very spot where the medieval Hindu saint Tulsidas had a vision of Hanuman. Thousands flock to the temple on Tuesdays and Saturdays, weekdays associated with Hanuman. On 7 March 2006, in a terrorist attack one of the three explosions hit the temple while the Aarti was in progress when numerous devotees and people attending a wedding were present and many were injured. However, normal worship was resumed the next day with devotees visiting the temple and reciting hymns of Hanuman Chalisa (authored by Tulidas) and Sundarkand (a booklet of these hymns is provided free of charge in the temple). After the terrorist incident, a permanent police post was set up inside the temple.
There are two temples named "Durga" in Varanasi, Durga Mandir (built about 500 years ago), and Durga Kund (built in the 18th century). Thousands of Hindu devotees visit Durga Kund during Navratri to worship the goddess Durga. The temple, built in Nagara architectural style, has multi-tiered spires[96] and is stained red with ochre, representing the red colour of Durga. The building has a rectangular tank of water called the Durga Kund ("Kund" meaning a pond or pool). Every year on the occasion of Nag Panchami, the act of depicting the god Vishnu reclining on the serpent Shesha is recreated in the Kund.
While the Annapurna Temple, located close to the Kashi Vishwanath temple, is dedicated to Annapurna, the goddess of food, the Sankatha Temple close to the Sindhia Ghat is dedicated to Sankatha, the goddess of remedy. The Sankatha temple has a large sculpture of a lion and a nine temple cluster dedicated to the nine planets.
Kalabhairav Temple, an ancient temple located near the Head Post Office at Visheshar Ganj, is dedicated to Kala-Bhairava, the guardian (Kotwal) of Varanasi. The Mrithyunjay Mahadev Temple, dedicated to Shiva, is situated on the way to Daranagar to Kalbhairav temple. A well near the temple has some religious significance as its water source is believed to be fed from several underground streams, having curative powers.
The New Vishwanath Temple located in the campus of Banaras Hindu University is a modern temple which was planned by Pandit Malviya and built by the Birlas. The Tulsi Manas Temple, nearby the Durga Temple, is a modern temple dedicated to the god Rama. It is built at the place where Tulsidas authored the Ramcharitmanas, which narrates the life of Rama. Many verses from this epic are inscribed on the temple walls.
The Bharat Mata Temple, dedicated to the national personification of India, was inaugurated by Mahatma Gandhi in 1936. It has relief maps of India carved in marble. Babu Shiv Prasad Gupta and Durga Prasad Khatri, leading numismatists, antiquarians and nationalist leaders, donated funds for its construction.
RELIGION
HINDUISM
Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.
As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.
In 2001, Hindus made up approximately 84% of the population of Varanasi District.
ISLAM
Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.
As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.
In 2001, Hindus made up approximately 84% of the population of Varanasi District.
OTHERS
At the 2001 census, persons of other religions or no religion made up 0.4% of the population of Varanasi District.
Varanasi is a pilgrimage site for Jains along with Hindus and Buddhists. It is believed to be the birthplace of Suparshvanath, Shreyansanath, and Parshva, who are respectively the seventh, eleventh, and twenty-third Jain Tirthankars and as such Varanasi is a holy city for Jains. Shree Parshvanath Digambar Jain Tirth Kshetra (Digambar Jain Temple) is situated in Bhelupur, Varanasi. This temple is of great religious importance to the Jain Religion.
Sarnath, a suburb of Varanasi, is a place of Buddhist pilgrimage. It is the site of the deer park where Siddhartha Gautama of Nepal is said to have given his first sermon about the basic principles of Buddhism. The Dhamek Stupa is one of the few pre-Ashokan stupas still in existence, though only its foundation remains. Also remaining is the Chaukhandi Stupa commemorating the spot where Buddha met his first disciples in the 5th century. An octagonal tower was built later there.
Guru Nanak Dev visited Varanasi for Shivratri in 1507 and had an encounter which with other events forms the basis for the story of the founding of Sikhism. Varanasi also hosts the Roman Catholic Diocese of Varanasi, and has an insignificant Jewish expatriate community. Varanasi is home to numerous tribal faiths which are not easily classified.
Dalits are 13% of population Of Varanasi city. Most dalits are followers of Guru Ravidass. So Shri Guru Ravidass Janam Asthan is important place of pilgrimage for Ravidasis from all around India.
RELIGIOUS FESTIVALS
On Mahashivaratri (February) – which is dedicated to Shiva – a procession of Shiva proceeds from the Mahamrityunjaya Temple to the Kashi Vishwanath Temple.
Dhrupad Mela is a five-day musical festival devoted to dhrupad style held at Tulsi Ghat in February–March.
The Sankat Mochan Hanuman Temple celebrates Hanuman Jayanti (March–April), the birthday of Hanuman with great fervour. A special puja, aarti, and a public procession is organized. Starting in 1923, the temple organizes a five-day classical music and dance concert festival titled Sankat Mochan Sangeet Samaroh in this period, when iconic artists from all parts of India are invited to perform.
The Ramlila of Ramnagar is a dramatic enactment of Rama's legend, as told in Ramacharitamanasa. The plays, sponsored by Kashi Naresh, are performed in Ramnagar every evening for 31 days. On the last day, the festivities reach a crescendo as Rama vanquishes the demon king Ravana. Kashi Naresh Udit Narayan Singh started this tradition around 1830.
Bharat Milap celebrates the meeting of Rama and his younger brother Bharata after the return of the former after 14 years of exile. It is celebrated during October–November, a day after the festival of Vijayadashami. Kashi Naresh attends this festival in his regal attire resplendent in regal finery. The festival attracts a large number of devotees.
Nag Nathaiya, celebrated on the fourth lunar day of the dark fortnight of the Hindu month of Kartik (October–November), that commemorates the victory of the god Krishna over the serpent Kaliya. On this occasion, a large Kadamba tree (Neolamarckia cadamba) branch is planted on the banks of the Ganges so that a boy acting the role of Krishna can jump into the river on to the effigy representing Kaliya. He stands over the effigy in a dancing pose playing the flute; the effigy and the boy standing on it is given a swirl in front of the audience. People watch the display standing on the banks of the river or from boats.
Ganga Mahotsav is a five-day music festival organized by the Uttar Pradesh Tourism Department, held in November–December culminating a day before Kartik Poornima (Dev Deepawali). On Kartik Poornima also called the Ganges festival, the Ganges is venerated by arti offered by thousands of pilgrims who release lighted lamps to float in the river from the ghats.
Annually Jashne-Eid Miladunnabi is celebrated on the day of Barawafat in huge numbers by Muslims in a huge rally coming from all the parts of the city and meeting up at Beniya Bagh.
WIKIPEDIA
Squamish - The town and harbour are named after the river, which is in turn named for the First Nation people who have traditionally occupied this region and today call themselves the Skxwúmish. The name has been translated as “people of the sacred water” (older interpretations usually give “strong wind” as the meaning). The Squamish area was first settled by Europeans in the late 1880s, and a small logging and agriculture gradually formed. About 1909 the owners of the Howe Sd & Northern Rwy, after secretly buying up large tracts of land, announced that Squamish would henceforth be known as Newport. Several years of townsite promotion and property speculation ensued; even the post office name was changed from Squamish to NEWPORT BEACH, 1912-14. When the BC government took over the railway in 1912 and turned it into the PGE, a competition was held for schoolchildren to suggest a new name for the terminus and growing village. Out of the 2,000 entries received, PGE vice-president D’Arcy Tate chose Squamish, and in 1914 the old name was reinstated; the $500 prize was split between 28 winners. Squamish today is a district municipality with a population of 14,000. Forest remains the dominant industry. (by Andrew Scott)
Squamish Post Office (1) was opened - 1 July 1892, William Mashiter postmaster; closed or renamed NEWPORT BEACH Post Office - 1 September 1912; reinstated as Squamish Post Office (2) - 1 May 1914.
LINKS to a list of the Postmasters who served at the Squamish Post Office (1) www.bac-lac.gc.ca/eng/discover/postal-heritage-philately/...; - and the NEWPORT BEACH and Squamish Post Office (2) - www.bac-lac.gc.ca/eng/discover/postal-heritage-philately/...;
- sent from - / NEWPORT BEACH / DE 24 / 13 / B.C. / - split ring cancel - this split hammer (A1-1) was proofed - 2 August 1912 - (RF D).
Clipped from - The Victoria Daily Times newspaper - Victoria, British Columbia, Canada - 28 May 1914 - The name of NEWPORT BEACH Post Office has been changed to Squamish, to agree with the adoption of the new name by the Pacific Great Eastern Railway company as the name of its terminal there.
Clipped from - Squamish Times newspaper - Squamish, British Columbia, Canada - 28 November 1963 - PGE Contest Gave Squamish Name - Many of the people who have lived in Squamish for many years know that it was once called NEWPORT. But how many of them know that it was changed to Squamish as a result of a contest sponsored by the PGE railway in 1914. In an article in the Victoria Colonist, Tom Taylor says that he "is a little wiser now, however, and thanks to other boys, those of University School and its headmaster, Mr. J. J. Timmis." One day not long ago during a renovation work at the school a postcard was unearthed from behind some old panelling which was being removed. It was of 1914 vintage and it invited scholars at any public or private school in the province to submit a new name for the then end-of-steel settlement of Newport. It was no idle invitation. The prize was $500, quite a whopper fifty years ago. I suppose Newport was con joined from 'new port'. But as a name it had fallen into disfavor as unfitting the expected importance of this townsite, beginning to blossom from infant stage. Actually when a post office had been applied for the name was rejected as unsatisfactory, although now perhaps one is apt to wonder why, albeit Squamish has a nice intriguing ring to it. In any event the Post Office became NEWPORT BEACH while the townfolk clung to NEWPORT, period. "By 1914, however, a suburb had sprung up, called WEST NEWPORT But in general the name 'NEWPORT' had long been unpopular with the people of the Squamish Valley and the railway felt disinclined to perpetuate it. "Hence the appeal to the school children of B.C. to give it a new designation. "The appeal was widely answered, possibly with the help of parents to whom $500 would loom as a most attractive proposition. No fewer than 33,000 suggestions were sent in by 2,226 youthful contestants and culled by the provincial geographer. "No one, fortunately or unfortunately, turned out to be the single winner. Twenty-eight youngsters plumped for Squamish, a fairly shrewd choice since there was a valley by that name. The award was therefore divided, each of the successful contestants receiving $17.86, which would at least buy a few knicknacks. ED. NOTE: The original name of the valley and the settlement was Squamish but this was changed to NEWPORT about 1911 or 1912, as far as we can discover. At that time there was quite a building boom going on in Squamish and it was felt that the name "NEWPORT" would distinguish the town from the Valley. Local residents apparently did not particularly like the name of NEWPORT and were happy when it was changed back to Squamish.
Message on postcard reads: The best of wishes - Jean
Addressed to: Miss Amy Mellon / 224 - 2nd Street South West / Edmonton South / Alberta
Amelia "Amy" Elizabeth Sarah (nee Mellon) McCrum
(b. 19 March 1897 Strathcona, NWT, Edmonton, Alberta, Canada - d. 14 February 1978 at age 80 in Edmonton, Alberta) LINK to her obituary - www.newspapers.com/clip/94449188/amelia-amy-elizabeth-sar...
Clipped from - Edmonton Journal newspaper - Edmonton, Alberta, Canada - 7 January 1967 - Anniversary Celebrated By Couple - A long-time Edmonton couple, Mr. and Mrs. John R. McCrum celebrated their golden anniversary with a family gathering on New Year's Day. The following day, the couple held an open house for their friends at their home at 6215 142nd St. - Mr. McCrum came from Ireland in 1907, and his wife, the former Amelia "Amy" Elizabeth Mellon, was born in Edmonton. Mrs. McCrum's brother, F. C. Mellon (Frederick Clarence Mellon 1904–1978) of Vancouver was in Edmonton to help celebrate the anniversary. The couple were married in Edmonton on January 1, 1917. Mr. and Mrs. McCrum have one son, two daughters, eight grandchildren and two greatgrandchildren.
Her husband - John "Jack" Richard McCrum
(b. 1895 Ireland – d. 17 May 1986 at age 90 in Edmonton, Alberta) - they were married - 1 January 1917 in Edmonton, Alberta - LINK to his obituary - www.newspapers.com/clip/94450615/obituary-for-john-mccrum...
Her mother - Amelia / Emilie (nee Besler) Mellon
(b. 21 November 1877 in Poland – d. 24 September 1904 at age 26 in Edmonton, Alberta) - they were married - 11 August 1895 in Heimthal, Alberta, Canada - LINK to her obituary - www.newspapers.com/clip/94453271/obituary-for-i-mellon/
Her father - John James Mellon
(b. 18 August 1862 in Lambton, Ontario, Canada – d. 5 March 1918 at age 55 in Guelph, Ontario / buried in Edmonton, Alberta) - LINK to obituary - www.newspapers.com/clip/94451720/john-james-mellon-obituary/
Expand your sight by looking at everything in life as an opportunity to develop and transform yourself."
Shinjo Ito
Gnosticism (from Ancient Greek: γνωστικός gnostikos, "having knowledge", from γνῶσις gnōsis, knowledge) is a modern name for a variety of ancient religious ideas and systems, originating in Jewish Christian milieux in the first and second century AD. These systems believed that the material world is created by an emanation or 'works' of a lower god (demiurge), trapping the divine spark within the human body. This divine spark could be liberated by gnosis, spiritual knowledge acquired through direct experience. Some of the core teachings include the following:
All matter is evil, and the non-material, spirit-realm is good.
There is an unknowable God, who gave rise to many lesser spirit beings called Aeons.
The creator of the (material) universe is not the supreme god, but an inferior spirit (the Demiurge).
Gnosticism does not deal with "sin," only ignorance.
To achieve salvation, one needs gnosis (knowledge).
The Gnostic ideas and systems flourished in the Mediterranean world in the second century AD, in conjunction with and influenced by the early Christian movements and Middle Platonism. After the second century, a decline set in. In the Persian Empire, Gnosticism in the form of Manicheism spread as far as China, while Mandaeism is still alive in Iraq.
A major question in scholarly research is the qualification of Gnosticism, based on the study of its texts, as either an interreligious phenomenon or as an independent religion.
Gnosis refers to knowledge based on personal experience or perception. In a religious context, gnosis is mystical or esoteric knowledge based on direct participation with the divine. In most Gnostic systems, the sufficient cause of salvation is this "knowledge of" ("acquaintance with") the divine. It is an inward "knowing", comparable to that encouraged by Plotinus (neoplatonism), and differs from proto-orthodox Christian views.[1] Gnostics are "those who are oriented toward knowledge and understanding – or perception and learning – as a particular modality for living".
The usual meaning of gnostikos in Classical Greek texts is "learned" or "intellectual", such as used by Plato in the comparison of "practical" (praktikos) and "intellectual" (gnostikos). Plato's use of "learned" is fairly typical of Classical texts.
By the Hellenistic period, it began to also be associated with Greco-Roman mysteries, becoming synonymous with the Greek term musterion. The adjective is not used in the New Testament, but Clement of Alexandria[note 3] speaks of the "learned" (gnostikos) Christian in complimentary terms. The use of gnostikos in relation to heresy originates with interpreters of Irenaeus. Some scholars[note consider that Irenaeus sometimes uses gnostikos to simply mean "intellectual",[note 5] whereas his mention of "the intellectual sect" is a specific designation.
The term "Gnosticism" does not appear in ancient sources,[note 10] and was first coined in the 17th century by Henry More in a commentary on the seven letters of the Book of Revelation, where More used the term "Gnosticisme" to describe the heresy in Thyatira. The term Gnosticism was derived from the use of the Greek adjective gnostikos (Greek γνωστικός, "learned", "intellectual") by St. Irenaeus (c. 185 AD) to describe the school of Valentinus as he legomene gnostike haeresis "the heresy called Learned (gnostic)."
Origins
The earliest origins of Gnosticism are obscure and still disputed. The proto-orthodox Christian groups called Gnostics a heresy of Christianity,] but according to the modern scholars the theology's origin is closely related to Jewish sectarian milieus and early Christian sects. Scholars debate Gnosticism's origins as having roots in Neoplatonism and Buddhism, due to similarities in beliefs, but ultimately, its origins are currently unknown. As Christianity developed and became more popular, so did Gnosticism, with both proto-orthodox Christian and Gnostic Christian groups often existing in the same places. The Gnostic belief was widespread within Christianity until the proto-orthodox Christian communities expelled the group in the second and third centuries (C.E.). Gnosticism became the first group to be declared heretical.
Some scholars prefer to speak of "gnosis" when referring to first-century ideas that later developed into gnosticism, and to reserve the term "gnosticism" for the synthesis of these ideas into a coherent movement in the second century.No gnostic texts have been discovered that pre-date Christianity,and "pre-Christian Gnosticism as such is hardly attested in a way to settle the debate once and for all."
Jewish Christian origins
Contemporary scholarship largely agrees that Gnosticism has Jewish Christian origins, originating in the late first century AD in non rabbinical Jewish sects and early Christian sects.
Many heads of gnostic schools were identified as Jewish Christians by Church Fathers, and Hebrew words and names of God were applied in some gnostic systems. The cosmogonic speculations among Christian Gnostics had partial origins in Maaseh Bereshit and Maaseh Merkabah. This thesis is most notably put forward by Gershom Scholem (1897–1982) and Gilles Quispel (1916–2006). Scholem detected Jewish gnosis in the imagery of the merkavah, which can also be found in "Christian" Gnostic documents, for example the being "caught away" to the third heaven mentioned by Paul the Apostle. Quispel sees Gnosticism as an independent Jewish development, tracing its origins to Alexandrian Jews, to which group Valentinus was also connected.
Many of the Nag Hammadi texts make reference to Judaism, in some cases with a violent rejection of the Jewish God. Gershom Scholem once described Gnosticism as "the Greatest case of metaphysical anti-Semitism". Professor Steven Bayme said gnosticism would be better characterized as anti-Judaism. Recent research into the origins of Gnosticism shows a strong Jewish influence, particularly from Hekhalot literature.
Within early Christianity, the teachings of Paul and John may have been a starting point for Gnostic ideas, with a growing emphasis on the opposition between flesh and spirit, the value of charisma, and the disqualification of the Jewish law. The mortal body belonged to the world of inferior, worldly powers (the archons), and only the spirit or soul could be saved. The term gnostikos may have acquired a deeper significance here.
Alexandria was of central importance for the birth of Gnosticism. The Christian ecclesia (i. e. congregation, church) was of Jewish–Christian origin, but also attracted Greek members, and various strand of thought were available, such as "Judaic apocalypticism, speculation on divine wisdom, Greek philosophy, and Hellenistic mystery religions."
Regarding the angel Christology of some early Christians, Darrell Hannah notes:
[Some] early Christians understood the pre-incarnate Christ, ontologically, as an angel. This "true" angel Christology took many forms and may have appeared as early as the late First Century, if indeed this is the view opposed in the early chapters of the Epistle to the Hebrews. The Elchasaites, or at least Christians influenced by them, paired the male Christ with the female Holy Spirit, envisioning both as two gigantic angels. Some Valentinian Gnostics supposed that Christ took on an angelic nature and that he might be the Saviour of angels. The author of the Testament of Solomon held Christ to be a particularly effective "thwarting" angel in the exorcism of demons. The author of De Centesima and Epiphanius’ "Ebionites" held Christ to have been the highest and most important of the first created archangels, a view similar in many respects to Hermas’ equation of Christ with Michael. Finally, a possible exegetical tradition behind the Ascension of Isaiah and attested by Origen's Hebrew master, may witness to yet another angel Christology, as well as an angel Pneumatology.
The pseudepigraphical Christian text Ascension of Isaiah identifies Jesus with angel Christology:
[The Lord Christ is commissioned by the Father] And I heard the voice of the Most High, the father of my LORD as he said to my LORD Christ who will be called Jesus, ‘Go out and descend through all the heavens...
The Shepherd of Hermas is a Christian literary work considered as canonical scripture by some of the early Church fathers such as Irenaeus. Jesus is identified with angel Christology in parable 5, when the author mentions a Son of God, as a virtuous man filled with a Holy "pre-existent spirit".
Neoplatonic influences
See also: Platonic Academy, Neoplatonism and Gnosticism, and Neoplatonism and Christianity
In the 1880s Gnostic connections with neo-Platonism were proposed.Ugo Bianchi, who organised the Congress of Messina of 1966 on the origins of Gnosticism, also argued for Orphic and Platonic origins.Gnostics borrowed significant ideas and terms from Platonism, using Greek philosophical concepts throughout their text, including such concepts as hypostasis (reality, existence), ousia (essence, substance, being), and demiurge (creator God). Both Sethian Gnostics and Valentinian Gnostics seem to have been influenced by Plato, Middle Platonism, and Neo-Pythagoreanism academies or schools of thought. Both schools attempted "an effort towards conciliation, even affiliation" with late antique philosophy, and were rebuffed by some Neoplatonists, including Plotinus.
Persian origins or influences
Early research into the origins of Gnosticism proposed Persian origins or influences, spreading to Europe and incorporating Jewish elements. According to Wilhelm Bousset (1865–1920), Gnosticism was a form of Iranian and Mesopotamian syncretism,[29] and Richard August Reitzenstein (1861–1931) most famously situated the origins of Gnosticism in Persia.
Carsten Colpe (b. 1929) has analyzed and criticised the Iranian hypothesis of Reitzenstein, showing that many of his hypotheses are untenable. Nevertheless, Geo Widengren (1907–1996) argued for the origin of (Mandaean) Gnosticism in Mazdean (Zoroastrianism) Zurvanism, in conjunction with ideas from the Aramaic Mesopotamian world.
Buddhist parallels
In 1966, at the Congress of Median, Buddhologist Edward Conze noted phenomenological commonalities between Mahayana Buddhism and Gnosticism, in his paper Buddhism and Gnosis, following an early suggestion put forward by Isaac Jacob Schmidt. The influence of Buddhism in any sense on either the gnostikos Valentinus (c. 170) or the Nag Hammadi texts (3rd century) is not supported by modern scholarship, although Elaine Pagels (1979) called it a "possibility".
Characteristics
Cosmology
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The Syrian–Egyptian traditions postulate a remote, supreme Godhead, the Monad. From this highest divinity emanate lower divine beings, known as Aeons. The Demiurge, one of those Aeons, creates the physical world. Divine elements "fall" into the material realm, and are locked within human beings. This divine element returns to the divine realm when Gnosis, esoteric or intuitive knowledge of the divine element within, is obtained.
Dualism and monism
Gnostic systems postulate a dualism between God and the world, varying from the "radical dualist" systems of Manichaeism to the "mitigated dualism" of classic gnostic movements. Radical dualism, or absolute dualism, posits two co-equal divine forces, while in mitigated dualism one of the two principles is in some way inferior to the other. In qualified monism the second entity may be divine or semi-divine. Valentinian Gnosticism is a form of monism, expressed in terms previously used in a dualistic manner.
Moral and ritual practice
Gnostics tended toward asceticism, especially in their sexual and dietary practice. In other areas of morality, Gnostics were less rigorously ascetic, and took a more moderate approach to correct behaviour. In normative early Christianity the Church administered and prescribed the correct behaviour for Christians, while in Gnosticism it was the internalised motivation that was important. Ritualistic behaviour was not important unless it was based on a personal, internal motivation. Ptolemy's Epistle to Flora describes a general asceticism, based on the moral inclination of the individual.
Concepts
Monad
In many Gnostic systems, God is known as the Monad, the One. God is the high source of the pleroma, the region of light. The various emanations of God are called æons. According to Hippolytus, this view was inspired by the Pythagoreans, who called the first thing that came into existence the Monad, which begat the dyad, which begat the numbers, which begat the point, begetting lines, etc.
The Sethian cosmogony as most famously contained in the Apocryphon ("Secret book") of John describes an unknown God, very similar to the orthodox apophatic theology, but different from the orthodox teachings that this God is the creator of heaven and earth. Orthodox theologians often attempt to define God through a series of explicit positive statements: he is omniscient, omnipotent, and truly benevolent. The Sethian hidden transcendent God is, by contrast, defined through negative theology: he is immovable, invisible, intangible, ineffable; commonly, "he" is seen as being hermaphroditic, a potent symbol for being, as it were, "all-containing". In the Apocryphon of John, this god is good in that it bestows goodness. After the apophatic statements, the process of the Divine in action is used to describe the effect of such a god.
Pleroma
Pleroma (Greek πλήρωμα, "fullness") refers to the totality of God's powers. The heavenly pleroma is the center of divine life, a region of light "above" (the term is not to be understood spatially) our world, occupied by spiritual beings such as aeons (eternal beings) and sometimes archons. Jesus is interpreted as an intermediary aeon who was sent from the pleroma, with whose aid humanity can recover the lost knowledge of the divine origins of humanity. The term is thus a central element of Gnostic cosmology.
Pleroma is also used in the general Greek language, and is used by the Greek Orthodox church in this general form, since the word appears in the Epistle to the Colossians. Proponents of the view that Paul was actually a gnostic, such as Elaine Pagels, view the reference in Colossians as a term that has to be interpreted in a gnostic sense.
Emanation
The Supreme Light or Consciousness descends through a series of stages, gradations, worlds, or hypostases, becoming progressively more material and embodied. In time it will turn around to return to the One (epistrophe), retracing its steps through spiritual knowledge and contemplation.
Aeon
In many Gnostic systems, the aeons are the various emanations of the superior God or Monad. From this first being, also an æon, a series of different emanations occur, beginning in certain Gnostic texts with the hermaphroditic Barbelo, from which successive pairs of aeons emanate, often in male–female pairings called syzygies. The numbers of these pairings varied from text to text, though some identify their number as being thirty. The aeons as a totality constitute the pleroma, the "region of light". The lowest regions of the pleroma are closest to the darkness; that is, the physical world.
Two of the most commonly paired æons were Christ and Sophia (Greek: "Wisdom"); the latter refers to Christ as her "consort" in A Valentinian Exposition.
Sophia
In Gnostic tradition, the term Sophia (Σoφíα, Greek for "wisdom") refers to the final and lowest emanation of God. In most if not all versions of the gnostic myth, Sophia births the demiurge, who in turn brings about the creation of materiality. The positive or negative depiction of materiality thus resides a great deal on mythic depictions of Sophia's actions. She is occasionally referred to by the Hebrew equivalent of Achamoth (this is a feature of Ptolemy's version of the Valentinian gnostic myth). Jewish Gnosticism with a focus on Sophia was active by 90 AD.[citation needed]
Sophia, emanating without her partner, resulted in the production of the Demiurge (Greek: lit. "public builder"),[50] who is also referred to as Yaldabaoth and variations thereof in some Gnostic texts.[43] This creature is concealed outside the pleroma;[43] in isolation, and thinking itself alone, it creates materiality and a host of co-actors, referred to as archons. The demiurge is responsible for the creation of mankind; trapping elements of the pleroma stolen from Sophia inside human bodies.[43][51] In response, the Godhead emanates two savior aeons, Christ and the Holy Spirit; Christ then embodies itself in the form of Jesus, in order to be able to teach man how to achieve gnosis, by which they may return to the pleroma.[52]
Demiurge[edit]
A lion-faced deity found on a Gnostic gem in Bernard de Montfaucon's L'antiquité expliquée et représentée en figures may be a depiction of Yaldabaoth, the Demiurge; however, cf. Mithraic Zervan Akarana[53]
Main article: Demiurge
The term demiurge derives from the Latinized form of the Greek term dēmiourgos, δημιουργός, literally "public or skilled worker".[note 20] This figure is also called "Yaldabaoth",[43] Samael (Aramaic: sæmʻa-ʼel, "blind god"), or "Saklas" (Syriac: sækla, "the foolish one"), who is sometimes ignorant of the superior god, and sometimes opposed to it; thus in the latter case he is correspondingly malevolent. Other names or identifications are Ahriman, El, Satan, and Yahweh.
The demiurge creates the physical universe and the physical aspect of humanity.[55] The demiurge typically creates a group of co-actors named archons who preside over the material realm and, in some cases, present obstacles to the soul seeking ascent from it.[43] The inferiority of the demiurge's creation may be compared to the technical inferiority of a work of art, painting, sculpture, etc. to the thing the art represents. In other cases it takes on a more ascetic tendency to view material existence negatively, which then becomes more extreme when materiality, including the human body, is perceived as evil and constrictive, a deliberate prison for its inhabitants.
Moral judgements of the demiurge vary from group to group within the broad category of Gnosticism, viewing materiality as being inherently evil, or as merely flawed and as good as its passive constituent matter allows.[56]
Archon[edit]
Main article: Archon (Gnosticism)
In late antiquity some variants of Gnosticism used the term archon to refer to several servants of the demiurge.[51] In this context they may be seen as having the roles of the angels and demons of the Old Testament.[citation needed]
According to Origen's Contra Celsum, a sect called the Ophites posited the existence of seven archons, beginning with Iadabaoth or Ialdabaoth, who created the six that follow: Iao, Sabaoth, Adonaios, Elaios, Astaphanos, and Horaios.[57] Similarly to the Mithraic Kronos and Vedic Narasimha, a form of Vishnu, Ialdabaoth had a head of a lion.[43][58][59]
Other concepts[edit]
Other Gnostic concepts are:[60]
sarkic – earthly, hidebound, ignorant, uninitiated. The lowest level of human thought; the fleshly, instinctive level of thinking.
hylic – lowest order of the three types of human. Unable to be saved since their thinking is entirely material, incapable of understanding the gnosis.
psychic – "soulful", partially initiated. Matter-dwelling spirits
pneumatic – "spiritual", fully initiated, immaterial souls escaping the doom of the material world via gnosis.
kenoma – the visible or manifest cosmos, "lower" than the pleroma
charisma – gift, or energy, bestowed by pneumatics through oral teaching and personal encounters
logos – the divine ordering principle of the cosmos; personified as Christ. See also Odic force.
hypostasis – literally "that which stands beneath" the inner reality, emanation (appearance) of God, known to psychics
ousia – essence of God, known to pneumatics. Specific individual things or being.
Jesus as Gnostic saviour[edit]
Jesus is identified by some Gnostics as an embodiment of the supreme being who became incarnate to bring gnōsis to the earth,[61][52] while others adamantly denied that the supreme being came in the flesh, claiming Jesus to be merely a human who attained divinity through gnosis and taught his disciples to do the same.[citation needed] Among the Mandaeans, Jesus was considered a mšiha kdaba or "false messiah" who perverted the teachings entrusted to him by John the Baptist.[62] Still other traditions identify Mani and Seth – third son of Adam and Eve – as salvific figures.
Development[edit]
Three periods can be discerned in the development of Gnosticism:[63]
Late first century and early second century: development of Gnostic ideas, contemporaneous with the writing of the New Testament;
mid-second century to early third century: high point of the classical Gnostic teachers and their systems, "who claimed that their systems represented the inner truth revealed by Jesus";[63]
end of second century to fourth century: reaction by the proto-orthodox church and condemnation as heresy, and subsequent decline.
During the first period, three types of tradition developed:[63]
Genesis was reinterpreted in Jewish milieus, viewing Jahweh as a jealous God who enslaved people; freedom was to be obtained from this jealous God;
A wisdom tradition developed, in which Jesus' sayings were interpreted as pointers to an esoteric wisdom, in which the soul could be divinized through identification with wisdom.[63][note 21] Some of Jesus' sayings may have been incorporated into the gospels to put a limit on this development. The conflicts described in 1 Corinthians may have been inspired by a clash between this wisdom tradition and Paul's gospel of crucifixion and arising;[63]
A mythical story developed about the descent of a heavenly creature to reveal the Divine world as the true home of human beings.[63] Jewish Christianity saw the Messiah, or Christ, as "an eternal aspect of God's hidden nature, his "spirit" and "truth", who revealed himself throughout sacred history".[25]
The movement spread in areas controlled by the Roman Empire and Arian Goths,[65] and the Persian Empire. It continued to develop in the Mediterranean and Middle East before and during the 2nd and 3rd centuries, but decline also set in during the third century, due to a growing aversion from the Catholic Church, and the economic and cultural deterioration of the Roman Empire.[66] Conversion to Islam, and the Albigensian Crusade (1209–1229), greatly reduced the remaining number of Gnostics throughout the Middle Ages, though a few Mandaean communities still exist. Gnostic and pseudo-gnostic ideas became influential in some of the philosophies of various esoteric mystical movements of the 19th and 20th centuries in Europe and North America, including some that explicitly identify themselves as revivals or even continuations of earlier gnostic groups.
Relation with early Christianity[edit]
Dillon notes that Gnosticism raises questions about the development of early Christianity.[67]
Orthodoxy and heresy[edit]
See also: Diversity in early Christian theology
The Christian heresiologists, most notably Irenaeus, regarded Gnosticism as a Christian heresy. Modern scholarship notes that early Christianity was very diverse, and Christian orthodoxy only settled in the 4th century, when the Roman Empire declined and Gnosticism lost its influence.[68][66][69][67] Gnostics and proto-orthodox Christians shared some terminology. Initially, they were hard to distinguish from each other.[70]
According to Walter Bauer, "heresies" may well have been the original form of Christianity in many regions.[71] This theme was further developed by Elaine Pagels,[72] who argues that "the proto-orthodox church found itself in debates with gnostic Christians that helped them to stabilize their own beliefs."[67] According to Gilles Quispel, Catholicism arose in response to Gnosticism, establishing safeguards in the form of the monarchic episcopate, the creed, and the canon of holy books.[73]
Historical Jesus[edit]
See also: Jesus in comparative mythology and Christ myth theory
The Gnostic movements may contain information about the historical Jesus, since some texts preserve sayings which show similarities with canonical sayings.[74] Especially the Gospel of Thomas has a significant amount of parallel sayings.[74] Yet, a striking difference is that the canonical sayings center on the coming endtime, while the Thomas-sayings center on a kingdom of heaven that is already here, and not a future event.[75] According to Helmut Koester, this is because the Thomas-sayings are older, implying that in the earliest forms of Christianity Jesus was regarded as a wisdom-teacher.[75] An alternative hypothesis states that the Thomas authors wrote in the second century, changing existing sayings and eliminating the apocalyptic concerns.[75] According to April DeConick, such a change occurred when the endtime did not come, and the Thomasine tradition turned toward a "new theology of mysticism" and a "theological commitment to a fully-present kingdom of heaven here and now, where their church had attained Adam and Eve's divine status before the Fall."[75]
Johannine literature[edit]
The prologue of the Gospel of John describes the incarnated Logos, the light that came to earth, in the person of Jesus.[76] The Apocryphon of John contains a scheme of three descendants from the heavenly realm, the third one being Jesus, just as in the Gospel of John. The similarities probably point to a relationship between gnostic ideas and the Johannine community.[76] According to Raymond Brown, the Gospel of John shows "the development of certain gnostic ideas, especially Christ as heavenly revealer, the emphasis on light versus darkness, and anti-Jewish animus."[76] The Johannine material reveals debates about the redeemer myth.[63] The Johannine letters show that there were different interpretations of the gospel story, and the Johannine images may have contributed to second-century Gnostic ideas about Jesus as a redeemer who descended from heaven.[63] According to DeConick, the Gospel of John shows a "transitional system from early Christianity to gnostic beliefs in a God who transcends our world."[76] According to DeConick, John may show a bifurcation of the idea of the Jewish God into Jesus' Father in Heaven and the Jews' father, "the Father of the Devil" (most translations say "of [your] father the Devil"), which may have developed into the gnostic idea of the Monad and the Demiurge.[76]
Paul and Gnosticism[edit]
Tertullian calls Paul "the apostle of the heretics",[77] because Paul's writings were attractive to gnostics, and interpreted in a gnostic way, while Jewish Christians found him to stray from the Jewish roots of Christianity.[78] In I Corinthians Paul refers to some church members as "having knowledge" (Greek: τὸν ἔχοντα γνῶσιν, ton echonta gnosin).[79] James Dunn claims that in some cases, Paul affirmed views that were closer to gnosticism than to proto-orthodox Christianity.[80]
According to Clement of Alexandria, the disciples of Valentinus said that Valentinus was a student of a certain Theudas, who was a student of Paul,[80] and Elaine Pagels notes that Paul's epistles were interpreted by Valentinus in a gnostic way, and Paul could be considered a proto-gnostic as well as a proto-Catholic.[60] Many Nag Hammadi texts, including, for example, the Prayer of Paul and the Coptic Apocalypse of Paul, consider Paul to be "the great apostle".[80] The fact that he claimed to have received his gospel directly by revelation from God appealed to the gnostics, who claimed gnosis from the risen Christ.[81] The Naassenes, Cainites, and Valentinians referred to Paul's epistles.[82] Timothy Freke and Peter Gandy have expanded upon this idea of Paul as a gnostic teacher;[83] although their premise that Jesus was invented by early Christians based on an alleged Greco-Roman mystery cult has been dismissed by scholars.[84][note 22] However, his revelation was different from the gnostic revelations.[85]
Major movements[edit]
Syrian-Egyptian Gnosticism[edit]
Syrian-Egyptian Gnosticism includes Sethianism, Valentinianism, Basilideans, Thomasine traditions, and Serpent Gnostics, as well as a number of other minor groups and writers.[86] Hermeticism is also a western Gnostic tradition,[66] though it differs in some respects from these other groups.[87] The Syrian–Egyptian school derives much of its outlook from Platonist influences. It depicts creation in a series of emanations from a primal monadic source, finally resulting in the creation of the material universe. These schools tend to view evil in terms of matter that is markedly inferior to goodness and lacking spiritual insight and goodness rather than as an equal force.
Many of these movements used texts related to Christianity, with some identifying themselves as specifically Christian, though quite different from the Orthodox or Roman Catholic forms. Jesus and several of his apostles, such as Thomas the Apostle, claimed as the founder of the Thomasine form of Gnosticism, figure in many Gnostic texts. Mary Magdalene is respected as a Gnostic leader, and is considered superior to the twelve apostles by some gnostic texts, such as the Gospel of Mary. John the Evangelist is claimed as a Gnostic by some Gnostic interpreters,[88] as is even St. Paul.[60] Most of the literature from this category is known to us through the Nag Hammadi Library.
Sethite-Barbeloite[edit]
Main article: Sethianism
Sethianism was one of the main currents of Gnosticism during the 2nd to 3rd centuries, and the prototype of Gnosticism as condemned by Irenaeus.[89] Sethianism attributed its gnosis to Seth, third son of Adam and Eve and Norea, wife of Noah, who also plays a role in Mandeanism and Manicheanism. Their main text is the Apocryphon of John, which does not contain Christian elements,[89] and is an amalgam of two earlier myths.[90] Earlier texts such as Apocalypse of Adam show signs of being pre-Christian and focus on the Seth, third son of Adam and Eve.[91] Later Sethian texts continue to interact with Platonism. Sethian texts such as Zostrianos and Allogenes draw on the imagery of older Sethian texts, but utilize "a large fund of philosophical conceptuality derived from contemporary Platonism, (that is, late middle Platonism) with no traces of Christian content."[31][note 23]
According to John D. Turner, German and American scholarship views Sethianism as "a distinctly inner-Jewish, albeit syncretistic and heterodox, phenomenon", while British and French scholarship tends to see Sethianism as "a form of heterodox Christian speculation".[92] Roelof van den Broek notes that "Sethianism" may never have been a separate religious movement, and that the term refers rather to a set of mythological themes which occur in various texts.[93]
According to Smith, Sethianism may have begun as a pre-Christian tradition, possibly a syncretic cult that incorporated elements of Christianity and Platonism as it grew.[94] According to Temporini, Vogt, and Haase, early Sethians may be identical to or related to the Nazarenes (sect), the Ophites, or the sectarian group called heretics by Philo.[91]
According to Turner, Sethianism was influenced by Christianity and Middle Platonism, and originated in the second century as a fusion of a Jewish baptizing group of possibly priestly lineage, the so-called Barbeloites,[95] named after Barbelo, the first emanation of the Highest God, and a group of Biblical exegetes, the Sethites, the "seed of Seth".[96] At the end of the second century, Sethianism grew apart from the developing Christian orthodoxy, which rejected the docetian view of the Sethians on Christ.[97] In the early third century, Sethianism was fully rejected by Christian heresiologists, as Sethianism shifted toward the contemplative practices of Platonism while losing interest in their own origins.[98] In the late third century, Sethianism was attacked by neo-Platonists like Plotinus, and Sethianism became alienated from Platonism. In the early- to mid-fourth century, Sethianism fragmented into various sectarian Gnostic groups such as the Archontics, Audians, Borborites, and Phibionites, and perhaps Stratiotici, and Secundians.[99][31] Some of these groups existed into the Middle Ages.[99]
Samaritan Baptist sects[edit]
According to Magris, Samaritan Baptist sects were an offshoot of John the Baptist.[100] One offshoot was in turn headed by Dositheus, Simon Magus, and Menander. It was in this milieu that the idea emerged that the world was created by ignorant angels. Their baptismal ritual removed the consequences of sin, and led to a regeneration by which natural death, which was caused by these angels, was overcome.[100] The Samaritan leaders were viewed as "the embodiment of God's power, spirit, or wisdom, and as the redeemer and revealer of 'true knowledge'".[100]
The Simonians were centered on Simon Magus, the magician baptised by Philip and rebuked by Peter in Acts 8, who became in early Christianity the archetypal false teacher. The ascription by Justin Martyr, Irenaeus, and others of a connection between schools in their time and the individual in Acts 8 may be as legendary as the stories attached to him in various apocryphal books. Justin Martyr identifies Menander of Antioch as Simon Magus' pupil. According to Hippolytus, Simonianism is an earlier form of the Valentinian doctrine.[101]
The Basilidians or Basilideans were founded by Basilides of Alexandria in the second century. Basilides claimed to have been taught his doctrines by Glaucus, a disciple of St. Peter, but could also have been a pupil of Menander.[102] Basilidianism survived until the end of the 4th century as Epiphanius knew of Basilidians living in the Nile Delta. It was, however, almost exclusively limited to Egypt, though according to Sulpicius Severus it seems to have found an entrance into Spain through a certain Mark from Memphis. St. Jerome states that the Priscillianists were infected with it.
Valentinianism[edit]
Main article: Valentinianism
Valentinianism was named after its founder Valentinus (c. 100 – 180), who was a candidate for bishop of Rome but started his own group when another was chosen.[103] Valentinianism flourished after the middle of the 2nd century. The school was popular, spreading to Northwest Africa and Egypt, and through to Asia Minor and Syria in the east,[104] and Valentinus is specifically named as gnostikos by Irenaeus. It was an intellectually vibrant tradition,[105] with an elaborate and philosophically "dense" form of Gnosticism. Valentinus' students elaborated on his teachings and materials, and several varieties of their central myth are known.
Valentinian Gnosticism may have been monistic rather than dualistic.[note 24] In the Valentinian myths, the creation of a flawed materiality is not due to any moral failing on the part of the Demiurge, but due to the fact that he is less perfect than the superior entities from which he emanated.[108] Valentinians treat physical reality with less contempt than other Gnostic groups, and conceive of materiality not as a separate substance from the divine, but as attributable to an error of perception which becomes symbolized mythopoetically as the act of material creation.[108]
The followers of Valentinius attempted to systematically decode the Epistles, claiming that most Christians made the mistake of reading the Epistles literally rather than allegorically. Valentinians understood the conflict between Jews and Gentiles in Romans to be a coded reference to the differences between Psychics (people who are partly spiritual but have not yet achieved separation from carnality) and Pneumatics (totally spiritual people). The Valentinians argued that such codes were intrinsic in gnosticism, secrecy being important to ensuring proper progression to true inner understanding.[note 25]
According to Bentley Layton "Classical Gnosticism" and "The School of Thomas" antedated and influenced the development of Valentinus, whom Layton called "the great [Gnostic] reformer" and "the focal point" of Gnostic development. While in Alexandria, where he was born, Valentinus probably would have had contact with the Gnostic teacher Basilides, and may have been influenced by him.[109] Simone Petrement, while arguing for a Christian origin of Gnosticism, places Valentinus after Basilides, but before the Sethians. According to Petrement, Valentinus represented a moderation of the anti-Judaism of the earlier Hellenized teachers; the demiurge, widely regarded as a mythological depiction of the Old Testament God of the Hebrews, is depicted as more ignorant than evil.[110]
Thomasine traditions[edit]
The Thomasine Traditions refers to a group of texts which are attributed to the apostle Thomas.[111][note 26] Karen L. King notes that "Thomasine Gnosticism" as a separate category is being criticised, and may "not stand the test of scholarly scrutiny".[112]
Marcion[edit]
Marcion was a Church leader from Sinope (present-day Turkey), who preached in Rome around 150 CE,[113] but was expelled and started his own congregation, which spread throughout the Mediterranean. He rejected the Old Testament, and followed a limited Christian canon, which included only a redacted version of Luke, and ten edited letters of Paul.[114] Some scholars do not consider him to be a gnostic,[115][note 27] but his teachings clearly resemble some Gnostic teachings.[113] He preached a radical difference between the God of the Old Testament, the Demiurge, the "evil creator of the material universe", and the highest God, the "loving, spiritual God who is the father of Jesus", who had sent Jesus to the earth to free mankind from the tyranny of the Jewish Law.[113][2] Like the Gnostics, Marcion argued that Jesus was essentially a divine spirit appearing to men in the shape of a human form, and not someone in a true physical body.[116] Marcion held that the heavenly Father (the father of Jesus Christ) was an utterly alien god; he had no part in making the world, nor any connection with it.[116]
Hermeticism[edit]
Hermeticism is closely related to Gnosticism, but its orientation is more positive.[66][87]
Other Gnostic groups[edit]
Serpent Gnostics. The Naassenes, Ophites and the Serpentarians gave prominence to snake symbolism, and snake handling played a role in their ceremonies.[113]
Cerinthus (c. 100), the founder of a heretical school with gnostic elements. Like a Gnostic, Cerinthus depicted Christ as a heavenly spirit separate from the man Jesus, and he cited the demiurge as creating the material world. Unlike the Gnostics, Cerinthus taught Christians to observe the Jewish law; his demiurge was holy, not lowly; and he taught the Second Coming. His gnosis was a secret teaching attributed to an apostle. Some scholars believe that the First Epistle of John was written as a response to Cerinthus.[117]
The Cainites are so-named since Hippolytus of Rome claims that they worshiped Cain, as well as Esau, Korah, and the Sodomites. There is little evidence concerning the nature of this group. Hippolytus claims that they believed that indulgence in sin was the key to salvation because since the body is evil, one must defile it through immoral activity (see libertinism). The name Cainite is used as the name of a religious movement, and not in the usual Biblical sense of people descended from Cain.
The Carpocratians, a libertine sect following only the Gospel according to the Hebrews
The school of Justin, which combined gnostic elements with the ancient Greek religion.
The Borborites, a libertine Gnostic sect, said to be descended from the Nicolaitans[118]
Persian Gnosticism[edit]
The Persian Schools, which appeared in the western Persian province of Babylonia (in particular, within the Sassanid province of Asuristan), and whose writings were originally produced in the Aramaic dialects spoken in Babylonia at the time, are representative of what is believed to be among the oldest of the Gnostic thought forms. These movements are considered by most to be religions in their own right, and are not emanations from Christianity or Judaism.
Manichaeism[edit]
Manicheanism priests writing at their desks, with panel inscription in Sogdian. Manuscript from Khocho, Tarim Basin.
Main article: Manichaeism
Manichaeism was founded by the Prophet Mani (216–276). Mani's father was a member of the Jewish-Christian sect of the Elcesaites, a subgroup of the Gnostic Ebionites. At ages 12 and 24, Mani had visionary experiences of a "heavenly twin" of his, calling him to leave his father's sect and preach the true message of Christ. In 240–41, Mani travelled to the Indo-Greek Kingdom of the Sakhas in modern-day Afghanistan, where he studied Hinduism and its various extant philosophies. Returning in 242, he joined the court of Shapur I, to whom he dedicated his only work written in Persian, known as the Shabuhragan. The original writings were written in Syriac Aramaic, in a unique Manichaean script.
Manichaeism conceives of two coexistent realms of light and darkness that become embroiled in conflict. Certain elements of the light became entrapped within darkness, and the purpose of material creation is to engage in the slow process of extraction of these individual elements. In the end the kingdom of light will prevail over darkness. Manicheanism inherits this dualistic mythology from Zurvanist Zoroastrianism,[119] in which the eternal spirit Ahura Mazda is opposed by his antithesis, Angra Mainyu. This dualistic teaching embodied an elaborate cosmological myth that included the defeat of a primal man by the powers of darkness that devoured and imprisoned the particles of light.[120]
According to Kurt Rudolph, the decline of Manichaeism that occurred in Persia in the 5th century was too late to prevent the spread of the movement into the east and the west.[121] In the west, the teachings of the school moved into Syria, Northern Arabia, Egypt and North Africa.[note 28] There is evidence for Manicheans in Rome and Dalmatia in the 4th century, and also in Gaul and Spain. From Syria it progressed still farther, into Palestine, Asia Minor and Armenia. The influence of Manicheanism was attacked by imperial elects and polemical writings, but the religion remained prevalent until the 6th century, and still exerted influence in the emergence of the Paulicians, Bogomils and Cathari in the Middle Ages, until it was ultimately stamped out by the Catholic Church.[121]
In the east, Rudolph relates, Manicheanism was able to bloom, because the religious monopoly position previously held by Christianity and Zoroastrianism had been broken by nascent Islam. In the early years of the Arab conquest, Manicheanism again found followers in Persia (mostly amongst educated circles), but flourished most in Central Asia, to which it had spread through Iran. Here, in 762, Manicheanism became the state religion of the Uyghur Empire.[121]
Mandaeanism[edit]
Main article: Mandaeanism
Mandaean house of worship in Nasiriya, Iraq
The Mandaeans are Semites and speak a dialect of Eastern Aramaic known as Mandaic. Their religion has been practised primarily around the lower Karun, Euphrates and Tigris and the rivers that surround the Shatt-al-Arab waterway, part of southern Iraq and Khuzestan Province in Iran. Mandaeanism is still practiced in small numbers, in parts of southern Iraq and the Iranian province of Khuzestan, and there are thought to be between 60,000 and 70,000 Mandaeans worldwide.[124]
The name of the group derives from the term Mandā d-Heyyi, which roughly means "Knowledge of Life". Although the exact chronological origins of this movement are not known, John the Baptist eventually came to be a key figure in the religion, as an emphasis on baptism is part of their core beliefs. As with Manichaeism, despite certain ties with Christianity,[125] Mandaeans do not believe in Moses, Jesus, or Mohammed. Their beliefs and practices likewise have little overlap with the religions that manifested from those religious figures and the two should not be confused. Significant amounts of original Mandaean Scripture, written in Mandaean Aramaic, survive in the modern era. The primary source text is known as the Genzā Rabbā and has portions identified by some scholars as being copied as early as the 3rd century. There is also the Qolastā, or Canonical Book of Prayer and The Book of John the Baptist (sidra ḏ-iahia).
Middle Ages[edit]
After its demise in the Mediterranean world, Gnosticism lived on in the periphery of the Byzantine Empire, and resurfaced in the western world. The Paulicians, an Adoptionist group which flourished between 650 and 872 in Armenia and the Eastern Themes of the Byzantine Empire, were accused by orthodox medieval sources of being Gnostic and quasi Manichaean Christian. The Bogomils, emerged in Bulgaria between 927 and 970 and spread throughout Europe. It was as synthesis of Armenian Paulicianism and the Bulgarian Orthodox Church reform movement.
The Cathars (Cathari, Albigenses or Albigensians) were also accused by their enemies of the traits of Gnosticism; though whether or not the Cathari possessed direct historical influence from ancient Gnosticism is disputed. If their critics are reliable the basic conceptions of Gnostic cosmology are to be found in Cathar beliefs (most distinctly in their notion of a lesser, Satanic, creator god), though they did not apparently place any special relevance upon knowledge (gnosis) as an effective salvific force.[verification needed]
Islam[edit]
The message of the Islamic prophet Muhammad shows close similarities to many Gnostic ideas. The Quran, like Gnostic cosmology, makes a sharp distinction between this world and the afterlife. The notion of four rivers in heaven, as mentioned in the Quran, separating this world from the other , also appears frequently in Mandaean literature. God is commonly thought of as being beyond human comprehension. In some Islamic schools of thought, somehow identifiable with the Gnostic Monad.[126][127] However, according to Islam and unlike most Gnostic sects, not rejection of this world, but performing good deeds leads to the heaven. And according to the Islamic belief in strict Oneness of God, there was no room for a lower deity; such as the demiurge.[128] According to Islam, both good and evil come from one God, a position especially opposed by the Manichaeans. Ibn al-Muqaffa depicted the Islamic deity as a demonic entity who "fights with humans and boasts about His victories" and "sitting on a throne, from which He can descend". It would be impossible that both light and darkness were created from one source, since they were regarded as two different eternal principles.[129] Muslim theologists countered this accusation by the example of a repeating sinner, who says: "I laid, and I repent";[130] this would prove that good can also result out of evil.
Islam also integrated traces of an entity given authority over the lower world in some early writings: Iblis is regarded by some Sufis as the owner of this world, and humans must avoid the treasures of this world, since they would belong to him.[131] In the Isma'ili Shia work Umm al Kitab, Azazil's role resembles whose of the Gnostic demiurge.[132] Like the demiurge, he is endowed with the ability to create his own world and seeks to imprison humans in the material world, but here, his power is limited and depends on the higher God.[133] Such Gnostic anthropogenic can be found frequently among Isma'ili traditions.[134] However, Ismailism were often criticised as non-Islamic. Ghazali characterized them as a group who are outwardly Shias but were actually adherence of a dualistic and philosophical religion. Further traces of Gnostic ideas can be found in Sufi anthropogenic.[135] Like the gnostic conception of human beings imprisoned in matter, Sufi-traditions acknowledges the human soul is an accomplice of the material world and subject to bodily desires similar to the way archontic spheres envelop the pneuma.[136] The Ruh must therefore gain victory over the lower and material-bound psyche, to overcome his animal nature. A human being captured by his animal desires, mistakenly claims autonomy and independence from the "higher God", thus resembling the lower deity in classical gnostic traditions. However, since the goal is not to abandon the created world, but just to free oneself from ones own lower desires, it can be disputed whether this can still be Gnostic, but rather a completion of the message of Muhammad.[129] It seems that Gnostic ideas were an influential part of early Islamic development but later lost its influence. However the Gnostic light metaphorics and the idea of unity of existence still prevailed in later Islamic thought.[127]
Kabbalah[edit]
Gnostic ideas found a Jewish variation in the mystical study of Kabbalah. Many core Gnostic ideas reappear in Kabbalah, where they are used for dramatically reinterpreting earlier Jewish sources according to this new system.[137] The Kabbalists originated in 13th-century Provence,[note 29] which was at that time also the center of the Gnostic Cathars. While some scholars in the middle of the 20th century tried to assume an influence between the Cathar "gnostics" and the origins of the Kabbalah, this assumption has proved to be an incorrect generalization not substantiated by any original texts.[139] On the other hand, other scholars, such as Scholem, have postulated that there was originally a "Jewish gnosticism", which influenced the early origins of gnosticism.[140]
Kabbalah does not employ the terminology or labels of non-Jewish Gnosticism, but grounds the same or similar concepts in the language of the Torah (the first five books of the Hebrew Bible).[141] The 13th-century Zohar ("Splendor"), a foundational text in Kabbalah, is written in the style of a Jewish Aramaic Midrash, clarifying the five books of the Torah with a new Kabbalistic system that uses completely Jewish terms.[142]
Modern times[edit]
Main article: Gnosticism in modern times
The Mandaeans are an ancient Gnostic sect that have survived to this day and are found today in Iraq.[143] Their namesake owes to their following John the Baptist and in that country, they have about five thousand followers.[143] A number of ecclesiastical bodies that think of themselves as Gnostic have set up or re-founded since World War II, including the Ecclesia Gnostica, Apostolic Johannite Church, Ecclesia Gnostica Catholica, the Gnostic Church of France, the Thomasine Church, the Alexandrian Gnostic Church, the North American College of Gnostic Bishops,[144] and the Universal Gnosticism of Samael Aun Weor.[145]
A number of 19th-century thinkers such as Arthur Schopenhauer,[146] Albert Pike and Madame Blavatsky studied Gnostic thought extensively and were influenced by it, and even figures like Herman Melville and W. B. Yeats were more tangentially influenced.[147] Jules Doinel "re-established" a Gnostic church in France in 1890, which altered its form as it passed through various direct successors (Fabre des Essarts as Tau Synésius and Joanny Bricaud as Tau Jean II most notably), and, though small, is still active today.[148]
Early 20th-century thinkers who heavily studied and were influenced by Gnosticism include Carl Jung (who supported Gnosticism), Eric Voegelin (who opposed it), Jorge Luis Borges (who included it in many of his short stories), and Aleister Crowley, with figures such as Hermann Hesse being more moderately influenced. René Guénon founded the gnostic review, La Gnose in 1909, before moving to a more Perennialist position, and founding his Traditionalist School. Gnostic Thelemite organizations, such as Ecclesia Gnostica Catholica and Ordo Templi Orientis, trace themselves to Crowley's thought.
The discovery and translation of the Nag Hammadi library after 1945 has had a huge effect on Gnosticism since World War II. Intellectuals who were heavily influenced by Gnosticism in this period include Lawrence Durrell, Hans Jonas, Philip K. Dick and Harold Bloom, with Albert Camus and Allen Ginsberg being more moderately influenced.[147] Celia Green has written on Gnostic Christianity in relation to her own philosophy.[149]
Alfred North Whitehead was aware of the existence of the newly discovered Gnostic scrolls. Accordingly, Michel Weber has proposed a Gnostic interpretation of his late metaphysics.[150]
Sources[edit]
Heresiologists[edit]
Prior to the discovery of the Nag Hammadi library in 1945 Gnosticism was known primarily through the works of heresiologists, Church Fathers who opposed those movements. These writings had an antagonistic bias towards gnostic teachings, and were incomplete. Several heresiological writers, such as Hippolytus, made little effort to exactly record the nature of the sects they reported on, or transcribe their sacred texts. Reconstructions of incomplete Gnostic texts were attempted in modern times, but research on Gnosticism was coloured by the orthodox views of those heresiologists.
Justin Martyr (c. 100/114 – c. 162/168) wrote the First Apology, addressed to Roman Emperor Antoninus Pius, which criticising Simon Magus, Menander and Marcion. Since this time, both Simon and Menander have been considered as 'proto-Gnostic'.[151] Irenaeus (died c. 202) wrote Against Heresies (c. 180–185), which identifies Simon Magus from Flavia Neapolis in Samaria as the inceptor of Gnosticism. From Samaria he charted an apparent spread of the teachings of Simon through the ancient "knowers" into the teachings of Valentinus and other, contemporary Gnostic sects.[note 30] Hippolytus (170–235) wrote the ten-volume Refutation Against all Heresies, of which eight have been unearthed. It also focuses on the connection between pre-Socratic (and therefore Pre-Incantation of Christ) ideas and the false beliefs of early gnostic heretical leaders. Thirty-three of the groups he reported on are considered Gnostic by modern scholars, including 'the foreigners' and 'the Seth people'. Hippolytus further presents individual teachers such as Simon, Valentinus, Secundus, Ptolemy, Heracleon, Marcus and Colorbasus. Tertullian (c. 155–230) from Carthage wrote Adversus Valentinianos ('Against the Valentinians'), c. 206, as well as five books around 207–208 chronicling and refuting the teachings of Marcion.
Gnostic texts[edit]
See also: Gnostic texts and Nag Hammadi library
Prior to the discovery at Nag Hammadi, a limited number of texts were available to students of Gnosticism. Reconstructions were attempted from the records of the heresiologists, but these were necessarily coloured by the motivation behind the source accounts.
The Nag Hammadi library [note 31] is a collection of Gnostic texts discovered in 1945 near Nag Hammadi, Upper Egypt. Twelve leather-bound papyrus codices buried in a sealed jar were found by a local farmer named Muhammed al-Samman.[152] The writings in these codices comprised fifty-two mostly Gnostic treatises, but they also include three works belonging to the Corpus Hermeticum and a partial translation/alteration of Plato's Republic. These codices may have belonged to a nearby Pachomian monastery, and buried after Bishop Athanasius condemned the use of non-canonical books in his Festal Letter of 367.[153] Though the original language of composition was probably Greek, the various codices contained in the collection were written in Coptic. A 1st- or 2nd-century date of composition for the lost Greek originals has been proposed, though this is disputed; the manuscripts themselves date from the 3rd and 4th centuries. The Nag Hammadi texts demonstrated the fluidity of early Christian scripture and early Christianity itself.[note 32]
Academic studies[edit]
Development[edit]
Prior to the discovery of Nag Hammadi, the Gnostic movements were largely perceived through the lens of the early church heresiologists. Johann Lorenz von Mosheim (1694–1755) proposed that Gnosticism developed on its own in Greece and Mesopotamia, spreading to the west and incorporating Jewish elements. According to Mosheim, Jewish thought took Gnostic elements and used them against Greek philosophy.[33] J. Horn and Ernest Anton Lewald proposed Persian and Zoroastrian origins, while Jacques Matter described Gnosticism as an intrusion of eastern cosmological and theosophical speculation into Christianity.[33]
In the 1880s Gnosticism was placed within Greek philosophy, especially neo-Platonism.[29] Adolf von Harnack (1851–1930), who belonged to the School of the History of Dogma and proposed a Kirchengeschichtliches Ursprungsmodell, saw gnosticism as an internal development within the church under the influence of Greek philosophy.[29][155] According to Harnack, Gnosticism was the "acute Hellenization of Christianity."[29]
The Religionsgeschichtliche Schule ("history of religions school", 19th century) had a profound influence on the study of Gnosticism.[29] The Religionsgeschichtliche Schule saw Gnosticism as a pre-Christian phenomenon, and Christian gnosis as only one, and even marginal instance of this phenomenon.[29] According to Wilhelm Bousset (1865–1920), Gnosticism was a form of Iranian and Mesopotamian syncretism,[29] and Eduard Norden (1868–1941) also proposed pre-Christian origins,[29] while Richard August Reitzenstein (1861–1931), and Rudolf Bultmann (1884–1976) also situated the origins of Gnosticism in Persia.[29] Hans Heinrich Schaeder (1896–1957) and Hans Leisegang saw Gnosticism as an amalgam of eastern thought in a Greek form.[29]
Hans Jonas (1903–1993) took an intermediate approach, using both the comparative approach of the Religionsgeschichtliche Schule and the existentialist hermeneutics of Bultmann. Jonas emphasized the duality between God and the world, and concluded that Gnosticism cannot be derived from Platonism.[19]
Contemporary scholarship largely agrees that Gnosticism has Jewish or Judeo-Christian origins;[19] this theses is most notably put forward by Gershom G. Scholem (1897–1982) and Gilles Quispel (1916–2006).[156]
The study of Gnosticism and of early Alexandrian Christianity received a strong impetus from the discovery of the Coptic Nag Hammadi Library in 1945.[157][158] A great number of translations have been published, and the works of Elaine Pagels, Professor of Religion at Princeton University, especially The Gnostic Gospels, which detailed the suppression of some of the writings found at Nag Hammadi by early bishops of the Christian church, has popularized Gnosticism in mainstream culture,[web 3][web 4] but also incited strong responses and condemnations from clergical writers.[159]
Definitions of Gnosticism[edit]
According to Matthew J. Dillon, six trends can be discerned in the definitions of Gnosticism:[160]
Typologies, "a catalogue of shared characteristics that are used to classify a group of objects together."[160]
Traditional approaches, viewing Gnosticism as a Christian heresy[161]
Phenomenological approaches, most notably Hans Jonas[162]
Restricting Gnosticism, "identifying which groups were explicitly called gnostics",[163] or which groups were clearly sectarian[163]
Deconstructing Gnosticism, abandoning the category of "Gnosticism"[164]
Psychology and cognitive science of religion, approaching Gnosticism as a psychological phenomena[165]
Typologies[edit]
The 1966 Messina conference on the origins of gnosis and Gnosticism proposed to designate
... a particular group of systems of the second century after Christ" as gnosticism, and to use gnosis to define a conception of knowledge that transcends the times, which was described as "knowledge of divine mysteries for an élite.[166]
This definition has now been abandoned.[160] It created a religion, "Gnosticism", from the "gnosis" which was a widespread element of ancient religions,[note 33] suggesting a homogeneous conception of gnosis by these Gnostic religions, which did not exist at the time.[167]
According to Dillon, the texts from Nag Hammadi made clear that this definition was limited, and that they are "better classified by movements (such as Valentinian), mythological similarity (Sethian), or similar tropes (presence of a Demiurge)."[160] Dillon further notes that the Messian-definition "also excluded pre-Christian Gnosticism and later developments, such as the Mandaeans and the Manichaeans."[160]
Hans Jonas discerned two main currents of Gnosticism, namely Syrian-Egyptian, and Persian, which includes Manicheanism and Mandaeanism.[19] Among the Syrian-Egyptian schools and the movements they spawned are a typically more Monist view. Persian Gnosticism possesses more dualist tendencies, reflecting a strong influence from the beliefs of the Persian Zurvanist Zoroastrians. Those of the medieval Cathars, Bogomils, and Carpocratians seem to include elements of both categories.
Gilles Quispel divided Syrian-Egyptian Gnosticism further into Jewish Gnosticism (the Apocryphon of John)[89] and Christian Gnosis (Marcion, Basilides, Valentinus). This "Christian Gnosticism" was Christocentric, and influenced by Christian writings such as the Gospel of John and the Pauline epistles.[168] Other authors speak rather of "Gnostic Christians", noting that Gnostics were a prominent substream in the early church.[169]
Traditional approaches – Gnosticism as Christian heresy[edit]
The best known example of this approach is Adolf von Harnack (1851–1930), who stated that "Gnosticism is the acute Hellenization of Christianity."[161] According to Dillon, "many scholars today continue in the vein of Harnack in reading gnosticism as a late and contaminated version of Christianity", notably Darrell Block, who criticises Elaine Pagels for her view that early Christianity was wildly diverse.[162]
Phenomenological approaches[edit]
Hans Jonas (1903–1993) t
The oldest church building (of which nothing remains today) dates back to the Early Middle Ages, and there is speculation that it could be the oldest church in Vienna (see Ruprechtskirche). That Roman church was built on the site of a Roman encampment.
View of the Graben with the mediaeval church (Jacob Hoefnagel, 1609)
This church was replaced with a Romanesque church with a nave and two aisles. It is believed to have been established by Charlemagne around 800, although there is no evidence supporting this view. At the outside of the church, there is a relief sculpture by R. Weyr consecrated to the founding of the church by Charlemagne. In any case, a church of Saint Peter in Vienna is first mentioned in 1137. Around the end of the 12th century, the church became part of the Schottenstift.
The mediaeval church had three altars, with an apse in the south instead of the normal eastern orientation. This unusual feature has triggered many discussions among experts, and it is suspected that the church was adapted from a previously secular building. The church was surrounded by shops, and a nearby building housed the Stadtguardia, a forerunner of the modern police. The old church burned down in 1661 and was given only makeshift repairs. The decision to build a new church was taken up with the arrival of the Fraternity of the Holy Trinity of which the emperor Leopold I was a member. He had taken a vow to rebuild this church when Vienna was ravaged by the plague in 1679–1680.
Die erste Peterskirche, von der heute keine sichtbaren Reste mehr vorhanden sind, ging bis auf die Spätantike zurück und war somit die älteste Kirche und Pfarre der Stadt Wien. Sie entstand in der zweiten Hälfte des 4. Jahrhunderts, indem ein Kasernengebäude des römischen Lagers Vindobona zu einer einschiffigen Saalkirche basilikaler Art umgebaut wurde. Weitere Umbauarbeiten folgten, das Gebäude wurde später gotisiert, wobei man das Langhaus in drei ungleiche Schiffe aufteilte. Der Turm war rechteckig und dreigeschoßig, an den Ecken befanden sich Fialtürme, die von einem zentralen, höheren Turm mit Kreuz überragt wurden. Wie das Innere dieser Kirche ausgesehen hat, ist unbekannt. Lediglich aus der spätgotischen, 1399 angebauten Valentinskapelle sind Steinretabel, die mit 1510/15 datiert werden, erhalten geblieben.[2] Die Kirche war von Krämerläden umgeben und in einem Anbau befand sich die „Stadtguardia“, der Vorläufer der modernen Polizei.
Die Kirche selbst soll von Kaiser Karl dem Großen um 792 gegründet worden sein, was jedoch nicht nachgewiesen ist. Erstmals wird 1137 eine Kirche des heiligen Petrus in Wien urkundlich erwähnt (im Rahmen der Vorgeschichte für den Bau der Stephanskirche, auf die auch die Pfarrrechte von St. Peter übergehen sollten).[3] Gegen Ende des 12. Jahrhunderts fiel die Kirche an das Schottenstift. Im Jahr 1661 brannte das Gebäude aus und wurde nur notdürftig instand gesetzt. Der Beschluss, eine neue Kirche zu bauen, wurde allerdings erst 1676 mit der Übersiedelung der Erzbruderschaft der Allerheiligsten Dreifaltigkeit in Angriff genommen.
German cigarette card by Ross Verlag in the 'Künstler im Film' series for Zigarettenfabrik Monopol, Dresden, Serie 1, image 152 (of 200). Photo: Paramount. Lupe Velez in The Broken Wing (Lloyd Corrigan, 1932).
Lupe Velez (1908-1944), was one of the first Mexican actresses to succeed in Hollywood. Her nicknames were 'The Mexican Spitfire' and 'Hot Pepper'. She was the leading lady in such silent films as The Gaucho (1927), Lady of the Pavements (1928), and Wolf Song (1929). During the 1930s, her well-known explosive screen persona was exploited in a series of successful films like Hot Pepper (1933), Strictly Dynamite (1934), and Hollywood Party (1934). In the 1940s, Vélez's popularity peaked after appearing in the Mexican Spitfire films, a series created to capitalise on Vélez's well-documented fiery personality. She had several highly publicised romances and a stormy marriage. In 1944, Vélez died of an intentional overdose of the barbiturate drug Seconal. Her death and the circumstances surrounding it have been the subject of speculation and controversy.
Lupe Vélez was born María Guadalupe Villalobos Vélez in 1908 in the city of San Luis Potosí in Mexico. She was the daughter of Jacobo Villalobos Reyes, a colonel in the army of the dictator Porfirio Diaz, and his wife Josefina Vélez, an opera singer according to some sources, or vaudeville singer according to others. She had three sisters: Mercedes, Reina and Josefina and a brother, Emigdio. The family was financially comfortable and lived in a large home. At the age of 13, her parents sent her to study at Our Lady of the Lake (now Our Lady of the Lake University) in San Antonio, Texas. It was at Our Lady of the Lake that Vélez learned to speak English and began to dance. She later admitted that she liked dance class, but was otherwise a poor student. Denny Jackson at IMDb: "Life was hard for her family, and Lupe returned to Mexico to help them out financially. She worked as a salesgirl for a department store for the princely sum of $4 a week. Every week she would turn most of her salary over to her mother, but kept a little for herself so she could take dancing lessons. By now, she figured, with her mature shape and grand personality, she thought she could make a try at show business." She began her career as a performer in Mexican vaudeville in 1924. She initially performed under her paternal surname, but after her father returned home from the war, he was outraged that his daughter had decided to become a stage performer. She chose her maternal surname, "Vélez", as her stage name and her mother introduced Vélez and her sister Josefina to the popular Spanish Mexican vedette María Conesa, "La Gatita Blanca". Vélez debuted in a show led by Conesa, where she sang 'Oh Charley, My Boy' and danced the shimmy. Aurelio Campos, a young pianist and friend of the Vélez sisters, recommended Lupe to stage producers Carlos Ortega and Manuel Castro. Ortega and Castro were preparing a season revue at the Regis Theatre and hired Vélez to join the company in March 1925. Later that year, Vélez starred in the revues 'Mexican Rataplan' and '¡No lo tapes!', both parodies of the Bataclan's shows in Paris. Her suggestive singing and provocative dancing was a hit with audiences, and she soon established herself as one of the main stars of vaudeville in Mexico. After a year and a half, Vélez left the revue after the manager refused to give her a raise. She then joined the Teatro Principal, but was fired after three months due to her "feisty attitude". Vélez was quickly hired by the Teatro Lirico, where her salary rose to 100 pesos a day. In 1926, Frank A. Woodyard, an American who had seen Vélez perform, recommended her to stage director Richard Bennett, the father of actresses Joan and Constance Bennett. Bennett was looking for an actress to portray a Mexican cantina singer in his upcoming play 'The Dove'. He sent Vélez a telegram inviting her to Los Angeles to appear in the play. Vélez had been planning to go to Cuba to perform, but quickly changed her plans and traveled to Los Angeles. However, upon arrival, she discovered that she had been replaced by another actress.
While in Los Angeles, Lupe Vélez met the comedian Fanny Brice. Brice recommended her to Flo Ziegfeld, who hired her to perform in New York City. While Vélez was preparing to leave Los Angeles, she received a call from MGM producer Harry Rapf, who offered her a screen test. Producer and director Hal Roach saw Vélez's screen test and hired her for a small role in the comic Laurel and Hardy short Sailors, Beware! (Fred Guiol, Hal Yates, 1927). After her debut, Vélez appeared in another Hal Roach short, What Women Did for Me (James Parrott, 1927), opposite Charley Chase. Later that year, she did a screen test for the upcoming Douglas Fairbanks feature The Gaucho (F. Richard Jones, 1927). Fairbanks was impressed by Vélez and hired her to appear in the film with him. The Gaucho was a hit and critics were duly impressed with Vélez's ability to hold her own alongside Fairbanks, who was well known for his spirited acting and impressive stunts. Her second major film was Stand and Deliver (Donald Crisp, 1928), produced by Cecil B. DeMille. That same year, she was named one of the WAMPAS Baby Stars. Then she appeared in Lady of the Pavements (1929), directed by D. W. Griffith, and Where East Is East (Tod Browning, 1929), starring Lon Chaney as an animal trapper in Laos. In the Western The Wolf Song (Victor Fleming, 1929), she appeared alongside Gary Cooper. As she was regularly cast as 'exotic' or 'ethnic' women that were volatile and hot-tempered, gossip columnists took to referring to Vélez as "Mexican Hurricane", "The Mexican Wildcat", "The Mexican Madcap", "Whoopee Lupe" and "The Hot Tamale". Lupe Vélez made the transition to sound films without difficulty. Studio executives had predicted that her accent would likely hamper her ability to make the transition. That idea was dispelled after she appeared in the all-talking Rin Tin Tin vehicle, Tiger Rose (George Fitzmaurice, 1929). The film was a hit and Vélez's sound career was established. Vélez appeared in a series of Pre-Code films like Hell Harbor (Henry King, 1930), The Storm (William Wyler, 1930), and the crime drama East Is West (Monta Bell, 1930) opposite Edward G. Robinson. The next year, she appeared in her second film for Cecil B. DeMille, Squaw Man (Cecil B. DeMille, 1931), opposite Warner Baxter, in Resurrection (Edwin Carewe, 1931), and The Cuban Love Song (W.S. Van Dyke, 1931), with the popular singer Lawrence Tibbett. She had a supporting role in Kongo (William J. Cowen, 1932) with Walter Huston, a sound remake of West of Zanzibar (Tod Browning, 1928) which tries to outdo the Lon Chaney original in morbidity. She also starred in Spanish-language versions of Universal films like Resurrección (Eduardo Arozamena, David Selman, 1931), the Spanish version of Resurrection (1931), and Hombres en mi vida (Eduardo Arozamena, David Selman, 1932), the Spanish version of Men in Her Life (William Beaudine, 1931) in which Lois Moran had starred.
In 1932, Lupe Vélez took a break from her film career and traveled to New York City where she was signed by Broadway impresario Florenz Ziegfeld, Jr. to take over the role of "Conchita" in the musical revue 'Hot-Cha!'. The show also starred Bert Lahr, Eleanor Powell, and Buddy Rogers. Back in Hollywood, Lupe switched to comedy after playing dramatic roles for five years. Denny Jackson at IMDb: "In 1933 she played the lead role of Pepper in Hot Pepper (1933). This film showcased her comedic talents and helped her to show the world her vital personality. She was delightful." After Hot Pepper (John G. Blystone, 1933) with Edmund Lowe and Victor McLaglen, Lupe played beautiful, but volatile, characters in a series of successful films like Strictly Dynamite (Elliott Nugent, 1934), Palooka (Benjamin Stoloff, 1934) both opposite Jimmy Durante, and Hollywood Party (Allan Dwan, a.o., 1934) with Laurel and Hardy. Although Vélez was a popular actress, RKO Pictures did not renew her contract in 1934. Over the next few years, Vélez worked for various studios as a freelance actress; she also spent two years in England where she filmed The Morals of Marcus (Miles Mander, 1935) and Gypsy Melody (Edmond T. Gréville, 1936). She returned to Los Angeles the following year where she appeared in the final part of the Wheeler & Woolsey comedy High Flyers (Edward F. Cline, 1937). In 1938, Vélez made her final appearance on Broadway in the musical You Never Know, by Cole Porter. The show received poor reviews from critics but received a large amount of publicity due to the feud between Vélez and fellow cast member Libby Holman. Holman was irritated by the attention Vélez garnered from the show with her impersonations of several actresses including Gloria Swanson, Katharine Hepburn, and Shirley Temple. The feud came to a head during a performance in New Haven, Connecticut after Vélez punched Holman in between curtain calls and gave her a black eye. The feud effectively ended the show. Upon her return to Mexico City in 1938 to star in her first Mexican film, Vélez was greeted by ten thousand fans. The film La Zandunga (Fernando de Fuentes, 1938) co-starring Arturo de Córdova, was a critical and financial success. Vélez was slated to appear in four more Mexican films, but instead, she returned to Los Angeles and went back to work for RKO Pictures. In 1939, Lupe Vélez was cast opposite Leon Errol and Donald Woods in the B-comedy, The Girl from Mexico (Leslie Goodwins, 1939). Despite being a B film, it was a hit with audiences and RKO re-teamed her with Errol and Wood for a sequel, Mexican Spitfire (Leslie Goodwins, 1940). That film was also a success and led to a series of eight Spitfire films. Wikipedia: "In the series, Vélez portrays Carmelita Lindsay, a temperamental yet friendly Mexican singer married to Dennis 'Denny' Lindsay (Woods), an elegant American gentleman. The Spitfire films rejuvenated Vélez's career. Moreover, they were films in which a Latina headlined for eight films straight –a true rarity." In addition to the Spitfire series, she was cast in such films as Six Lessons from Madame La Zonga (John Rawlins, 1941), Playmates (David Butler, 1941) opposite John Barrymore, and Redhead from Manhattan (Lew Landers, 1943). In 1943, the final film in the Spitfire series, Mexican Spitfire's Blessed Event (Leslie Goodwins, 1943), was released. By that time, the novelty of the series had begun to wane. Velez co-starred with Eddie Albert in the romantic comedy, Ladies' Day (Leslie Goodwins, 1943), about an actress and a baseball player. In 1944, Vélez returned to Mexico to star in an adaptation of Émile Zola's novel Nana (Roberto Gavaldón, Celestino Gorostiza, 1944), which was well-received. It would be her final film. After filming wrapped, Vélez returned to Los Angeles and began preparing for another stage role in New York.
Lupe Vélez's temper and jealousy in her often tempestuous romantic relationships were well documented and became tabloid fodder, often overshadowing her career. Vélez was straightforward with the press and was regularly contacted by gossip columnists for stories about her romantic exploits. Her first long-term relationship was with actor Gary Cooper. Vélez met Cooper while filming The Wolf Song in 1929 and began a two-year affair with him. The relationship was passionate but often stormy. Reportedly Vélez chased Cooper around with a knife during an argument and cut him severely enough to require stitches. By that time, the rocky relationship had taken its toll on Cooper who had lost 45 pounds and was suffering from nervous exhaustion. Paramount Pictures ordered him to take a vacation to recuperate. While he was boarding the train, Vélez showed up at the train station and fired a pistol at him. During her marriage to actor Johnny Weissmuller, stories of their frequent physical fights were regularly reported in the press. Vélez reportedly inflicted scratches, bruises, and love-bites on Weissmuller during their fights and "passionate love-making". In July 1934, after ten months of marriage, Vélez filed for divorce citing cruelty. She withdrew the petition a week later after reconciling with Weissmuller. In January 1935, she filed for divorce a second time and was granted an interlocutory decree that was dismissed when the couple reconciled a month later. In August 1938, Vélez filed for divorce for a third time, again charging Weissmuller with cruelty. Their divorce was finalised in August 1939. After the divorce became final, Vélez began dating actor Guinn "Big Boy" Williams in late 1940. They were reportedly engaged but never married. Vélez was also linked to author Erich Maria Remarque and the boxers Jack Johnson and Jack Dempsey. In 1943, Vélez began an affair with her La Zandunga co-star Arturo de Córdova. De Córdova had recently moved to Hollywood after signing with Paramount Pictures. Despite the fact that de Córdova was married to Mexican actress Enna Arana with whom he had four children, Vélez granted an interview to gossip columnist Louella Parsons in September 1943 and announced that the two were engaged. Vélez ended the engagement in early 1944, reportedly after de Córdova's wife refused to give him a divorce. Vélez then met and began dating a struggling young Austrian actor named Harald Maresch (who went by the stage name Harald Ramond). In September 1944, she discovered she was pregnant with Ramond's child. She announced their engagement in late November 1944. On 10 December, four days before her death, Vélez announced she had ended the engagement and kicked Ramond out of her home. On the evening of 13 December 1944, Vélez dined with her two friends, the silent film star Estelle Taylor and Venita Oakie. In the early morning hours of 14 December, Vélez retired to her bedroom, where she consumed 75 Seconal pills and a glass of brandy. Her secretary, Beulah Kinder, found the actress's body on her bed later that morning. A suicide note addressed to Harald Ramond was found nearby. Lupe Vélez was only 36 years old. More than four-thousand people filed past her casket during her funeral. Her body was interred in Mexico City, at Panteón Civil de Dolores Cemetery. Velez' estate, valued at $125,000 and consisting mostly of her Rodeo House home, two cars, jewelry, and personal effects were left to her secretary Beulah Kinder with the remainder in trust for her mother, Mrs. Josephine Velez. Together with Dolores del Rio, Ramon Novarro, and José Mojica, she was one of the few Mexican people who had made history in the early years of Hollywood.
Sources: Denny Jackson (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Red tulip in the morning sun.
As everyone knows, tulips have been a popular speculation asset in the past
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
Wedding Aurora and Briar Rose side by side. They have been fully deboxed, and are standing, supported by their included display stands.
I received the Platinum Aurora and Phillip Doll Set today, March 11, 2019. I bought it from the Disney Store UK on its release date, February 26, 2019. It shipped on March 1, 2019. The cost was 500 GBP + 28 GBP shipping, through PayPal, which came out to be $724 US. This is about $100 less than buying it from the US Disney Store when it is released on March 16 ($750 + 9.5% tax = $821).
It came double boxed. The outer shipping box was rather flimsy, and one end of it was crushed. But the inner shipper was undamaged, being protected by a crumpled layer of heavy wrapping paper. It had Cart #69 of 300 written on the shipper, which equates to edition number 269 of 650, as apparently Europe gets numbers 201 through 500.
The doll box has a unique design. The front lid has two flaps that have a magnetic closure, and a large orange four leaf design attached to the left flap. The dolls are dimly seen through frosted plastic windows in cutouts of the lids. There are rose gold foil trim in the plastic window and cardboard lid. The full title of the set is 60th Anniversary Disney Sleeping Beauty: The Aurora and Prince Phillip Collector Doll Set. It is a limited edition of 650. It contains a Certificate of Authenticity and individual doll stands. The description of the set in the back of the box states that this is a wedding doll set.
Aurora is in a primarily rose gold colored wedding gown, with white satin bodice, rose gold two tiered veil with lace trim, rose gold crown and necklace with white gems. There is gems and gold and rose gold embroidery in the outer skirt, and embossed detail in the inner white skirt. Her left eyelashes are a little messy. Her outer rose gold organza skirt when freed from her inner skirt is a full 360 degrees when laid down flat. Her inner skirt is pleated double layered cream colored satin with an additional sheer layer inside. It is very thick and heavy, and is turned inside at the hem, so it looks like a shower cap when viewed from inside. Their is rose gold embossing that makes it a brocade like material. Her veil is rectangular with rounded corners and lace trim, and the upper portion when draped over the lower part makes is double layered. The lower part exceeds floor length by several inches. She has angled feet with no ankle joints, but is wearing pink flats. That means she is on tippy toes when standing, and needs the support of the included display stand.
Prince Phillip is in a silver faux leather tunic, with puff upper sleeves in silver and red, and silver lower sleeves with embroidery on the cuffs. He is wearing black pants and boots. He has a full length red velvet cape with red satin lining. He has a black belt with a false buckle that slides along the belt (I had to center it on his waist after opening the box). He has dark brown rooted hair. His expression is rather bland. He doesn't have any stamping on his back. He can free stand fairly stably, but I used his stand when I put his cape on. He has a false shirt that is hidden unless you take off his cape.
Aurora is clearly the star of this set, and it's too bad that Phillip doesn't match her in elegance and detail.
The set is still available on the UK and US Disney Store sites.
Disney Store Sleeping Beauty and Prince Philip Limited Edition Doll Set
UK Disney Store
Released 2019-02-26
500 GBP
Aurora and Prince Phillip Limited Edition Wedding Doll Set - Sleeping Beauty 60th Anniversary - 17''
US Disney Store
Released Online 2019-03-16
$750 US
LE Briar Rose has been fully deboxed. She is standing, supported by the included display stand.
I purchased the Aurora Limited Edition doll on her release day, Saturday March 16, 2019, from my local Disney Store. They had 16 dolls, and only about half sold at store opening. My doll's edition number is #1269 of 4500, exactly 1000 more than that of my Aurora and Phillip wedding doll set. She commemorates the 60th anniversary of Disney's Sleeping Beauty.
She is dressed as Briar Rose, and has a forest scene in the background art of the box. She has a little owl in one hand and a basket in the other. I have left the owl and basket secured to her hands with rubber bands. Her golden blonde hair has her signature curl in front of her front bangs, and waist length hair with curls at the ends. She has violet eyes glancing to her right and coral lips in a open mouthed smile. She has long curvy eyelashes. She has a pink shawl around her shoulders and arms. It has a brocade pattern on one side and gold embroidery on the other, and gold tassels at the ends. I untacked the ends from her skirt, but left them tacked to the sleeves of her blouse to prevent the shawl from falling off. She has a black satin bodice with fake laces in front of gold embroidery in the center panel. Her blouse is actually part of her bodice, and has sleeves down to her elbows, with flared ends tied with golden strings. Her skirt is made of dark magenta satin that is pleated in the front and is asymmetrical. I have untacked the pleats so the skirt could be expanded along with the underskirts. Under that there are two layers of pink tulle and one layer of white tulle, and then a layer of light pink tulle with a lace border. These under skirts are sewn in the back to the outer skirt. Finally there is a half length stiff tulle petticoat. The lower lace underskirt is floor length in the back, but is higher and is slanted in the front, revealing her legs and feet. She has fixed angle feet with no ankle joints. She is wearing black flats with a small bow decoration in front, and a black satin bow around her ankles. She has dark magenta painted on panties, that match the color of her outer skirt.
Although her outfit's colors aren't film accurate, it is very pretty and well made. Her face is gorgeous, and although her lips are coral rather than red, at least they aren't the pink color of previous LE Aurora dolls. I like the doll very much. She is also a very good match for the Rags Snow White LE doll from 2017.
There are now a total of eight Aurora Limited Edition 17 inch dolls released by Disney. That includes the pink and blue Disney Store dolls (2014), the pink and blue Harrods dolls (2014), the blue and pink Disney Parks dolls (2015 and 2018), Disney Store Briar Rose (2019) and Disney Store Wedding Aurora (2019). That is two more than the number of Snow White, Elsa and Anna dolls. There is also speculation that there will be a Saks Aurora doll released late this year.
Aurora Limited Edition Doll - Sleeping Beauty 60th Anniversary - 17''
US Disney Store (Shop Disney)
$119.95
Item No. 6003040900721P
Released Online and In Stores 2019-03-16
Sold out online 2019-03-16
The Aurora (Briar Rose) LE Doll initially sold out online at about 7 am PDT on release day (Saturday March 16, 2019), but still had the Add to Bag button. However people were still occasionally able to add to their bag and checkout the doll afterwards. By about 7:30 pm it showed the grey Sold Out label in place of the Add to Bag button. The doll might still be available in some stores in Canada and the United States.
.... Artist, Michel de Broin's 'One Thousand Speculations', a 7.9 metre / 25 foot in diameter ball made up of 1,000 mirrors .... the world's largest mirror ball
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
With recent speculation that student loans forgiveness will not be included or considered in the upcoming grand budget plan by Congress and Biden, perhaps students will have to eat less, study more and harder to pay their tuitions which are escalating as fast as national's debt. And not all students can find job after graduation. With manufacturings shrinking fast, even a 6-yr degree faces tough competition out there.
I think this country put college students on loans burden that would deprive their future or career. And that's a shame!
5th May 2019
We had a day out to the Garden of Cosmic Speculation today, alas we had one ticket more than necessary for reasons which I am not going into. - but we had a good day out anyway and got to catch up with friends whilst we were there!
THE LIMESTONE BROOK STARTS HIGH UP ON ANGLEZARKE MOOR, THEN PASSES THROUGH LEAD MINES CLOUGH RUNNING INTO YARROW RESERVOIR AT THE BOTTOM.
A MINE WAS STARTED IN 1692 BY SIR RICHARD STANDISH IN PARTNERSHIP WITH TWO FARMERS AND A MINING ENGINEER AND AFTER SEVERAL FAILURES LEAD WAS EXTRACTED. IN 1694 RICHARD STANDISH DECLARED IN THE CHANCERY COURT THAT HE COULD NOT SIGN OVER THE MINES TO HIS WIFE AS HE WAS A TENANT. AFTER HIS DEATH, HIS WIDOW CLAIMED THE PROFITS BUT LOST THE RESULTANT COURT CASE AND FLOODED THE MINES BY DIVERTING A STREAM. THE OPERATION RESTARTED AND WAS EXPANDED, AND IN 1788-1789, 73 TONS OF LEAD WERE PRODUCED. IN THE 1790S COPPER AND GALENA WERE PRODUCED. PRODUCTION ENDED IN 1837 WHEN A LEASE, GRANTED BY FRANK HALL STANDISH IN 1823 TO THE THOMPSONS OF WIGAN WAS RELINQUISHED AND THE UNSUCCESSFUL ENTERPRISE WAS ABANDONED. LEAD MINES CLOUGH HAD NUMEROUS SHAFTS UP TO 240 FEET DEEP AND ON THE SITE WAS A SMELTING MILL, A SMITHY AND A WATERWHEEL PROVIDED POWER. THERE ARE REMAINS OF BELL PITS AT DEAN BROOK AND SPOIL HEAPS CONTAINING TRACES OF BARITES, CALCITE AND GALENA THE MINES WERE SEALED IN 1930 BUT THERE HAS BEEN SPECULATION THAT THE SITE WAS PART OF A SECRET OPERATION IN 1940."
THE MINERAL WITHERITE (BARIUM CARBONATE) WAS DISCOVERED IN SPOIL FROM THE MINES IN THE 18TH CENTURY. IT WAS DISTINCT FROM OTHER SOURCES AS IT CONTAINED ABOVE TWO PER CENT OF CARBONATE OF STRONTITES. UP TO THIS TIME WITHERITE WAS CONSIDERED WORTHLESS AND USED AS RAT POISON BY LOCALS. JOSIAH WEDGWOOD USED IT TO MANUFACTURE JASPER WARE AND TRIED TO KEEP THE SOURCE SECRET, BUT AFTER A VISIT IN 1782 BY TWO FRENCHMEN, A LOCAL FARMER, JAMES SMITHELS, EXPORTED THE MINERAL TO GERMANY, CHARGING FIVE GUINEAS PER TON.
Speculation about President Trump’s wealth, its sources, and the amount of taxes he’s paid have a long history. But they became especially important when he announced his run for the presidency in 2015. Since that time, he has vowed to release his tax returns as soon as the IRS completes his audit. That audit has been going on for almost a decade. To date, the American public has known little about Trump’s financial affairs despite efforts to prod him to divulge that information. His response: “Part of the beauty of me is that I am very rich.”
Less than a week before the President’s COVID-19 diagnosis, The New York Times published a series of articles about those tax returns. The bombshell headlines told us Trump paid only $750 in taxes for both 2016 and 2017. And he paid no taxes for 10 of the 15 years previous to 2016.
Trump has often boasted of his ability to use the system and tax code to avoid paying. In fact, he believes it is the American way. Perhaps for the rich, but not the lower middle class and poor. The Institute of Taxation and Economic Policy reported that 60 Fortune 500 companies paid no taxes in 2018 on profits of $79 billion. These included Amazon, Netflix, Halliburton, Delta Air Lines, and IBM. If they had paid the requisite tax rate of 21%, they would have owed the government $16.4 billion.
Economic inequality in the United States has risen consistently for the last 50 years. In 1968, 43% of the top fifth of earners made half of the nation’s income. In 2018, that rose to 52%. Wealthy consumption devalues human capital, and this adversely affects health, life satisfaction, and economic growth. Society is marked by extreme stratifications between the rich and the masses. And, as David Brooks writes in The Atlantic, social trust disintegrates.
This is where we are right now. No one trusts anyone. High-trust societies according to Francis Fukuyama, a political scientist, political economist, and writer, exhibit spontaneous sociability. People can organize quickly, initiate action, and sacrifice for the common good. High-trust societies have lower economic inequality because citizens feel responsible for the well-being of society. And they are willing to invest their time and money (often through taxes) to insure this happens. During Donald Trump’s presidency, “everyone for themselves” exemplifies American society. There is distrust of those outside our own communities, and discontent and suspicion overwhelm us.
In addition, capitalism, the overriding American economic ideology, has become suspect. Trump touts his great economy by using only the stock market as his rubric. And the poor and lower middle class (few of whom have the excess capital to invest) are not only missing out, they are being ignored. So when it’s revealed that Trump and many corporations paid little or no taxes, it reinforces a lack of trust in others and in our institutions. It also makes us angry. This sits atop social and racial inequality which has existed for centuries and the pandemic’s magical thinking over fact-based science.
You might have missed this example of President Trump’s self-interest in the maelstrom of his continuous assaults in the lead-up to the election. News cycles have come in quick succession. So quick we’ve had little time to absorb them, let alone react to them.
Just this month, Trump has called the Democratic vice-presidential nominee a “monster,” retweeted images of a man being shot, suggested that Gold Star families may have infected him with the virus, amplified a conspiracy theory questioning Osama bin Laden’s death, openly denigrated his own attorney general, attacked the nation’s leading infectious-disease expert, pulled out of a presidential debate, announced a complete withdrawal of troops from Afghanistan, called off talks for a stimulus package and restarted the talks calling for more spending than his party had embraced.
The Washington Post, October 15, 2020
Economic inequality is a symptom of our aristocracy’s greed and desire to game the system. "What's mine is mine. I earned it." Legislators who push their own self-interest and that of their party have eroded trust in our government. Ironic, since Trump made promises to the disenfranchised [whites] to drain the swamp. Not only has he failed to do that, he has enlarged that morass, engulfing everyone. While Trump’s rise to power is emblematic of broader forces in play for decades, it’s because of his own ego and failures that we find ourselves in this miserable place right now.
In the short term, we have one chance to change our trajectory: the upcoming election. But the frictions driving our society to disintegrate will not end on November 3. It will take a concerted effort by all of us to earn back trust in each other, in our government, and in our financial institutions. Social, racial, and income equality must come both from the top down and from our individual efforts. Every one of us is responsible for what comes next.
Feel free to pass this poster on. It's free to download here (click on the down arrow just to the lower right of the image).
See the rest of the posters from the Chamomile Tea Party! Digital high res downloads are free here (click the down arrow on the lower right side of the image). Other options are available. And join our Facebook group.
Follow the history of our country's political intransigence from 2010-2018 through a six-part exhibit of these posters on Google Arts & Culture.
Because it is Mense Mariae, the Month of Mary, here is a little reflection on our Lady from Chapter 33 of Merton's Book, New Seeds of Contemplation. Emphasis in bold and my comments in Italic
***
All that has been written about the Virgin Mother of God proves to me that hers is the most hidden of sanctities. What people find to say about her sometimes tells us more about their own selves than it does about Our Lady. For since God has revealed very little to us about her, men who know nothing of who and what she was tend to reveal themselves when they try to add something to what God has told us about her. (Pot, meet kettle. Kettle, meet pot.)
And the things we do know about her only make the true character and quality of her sanctity seem more hidden. We believe that hers was the perfect sanctity outside the sanctity of Christ her Son, Who is God.But the sanctity of God is only darkness to our minds. (Borrowed from St. John of the Cross, Ascent of Mount Carmel, Book II, Chapter 3, Verse 1.) Yet the sanctity of the Blessed Virgin is in way more hidden than the sanctity of God: because He has at least told us something about Himself that is objectively valid when it is put into human language. But about Our Lady He has told us only a few important things-- and even then we cannot grasp the fullness of what they mean. For all He has told us about her soul amounts to this: that it was absolutely full of the most perfect, created holiness. But what that means in detail we have no sure way of knowing. Therefore, the other certain thing we know about her is that her sanctity is most hidden. (A true contemplative, Merton approaches our Lady from an apophatic perspective. We come to know her by what she is not.)
And yet I can find her if I too become hidden in God where she is hidden. To share her humility and hiddenness and poverty, her concealment and solitude is the best way to know her: but to know her is thus to find wisdom. Qui me inveniet vitam et hauret salutem a Domino. (From Prov 8:35 - He that shall find me, shall find life, and shall have salvation from the Lord. Here, he picks up the Eastern tradition of the Theotokos as "Οδηγήτρια" Hodegitria-- She who shows the way.)
In the actual living human person who is the Virgin Mother of God are all the poverty and all the wisdom of all the saints. (All, All, All-- Toda, toda, toda. His train of thought reveals his sanjuanist sensibilities) It all came to them through her and is in her. The sanctity of all the saints is a participation in her sanctity, because in the order He has established, God wills that all graces come to men through Mary. (This is just the beginning, see where Merton takes this)
That is why to love her and to know her is to discover the true meaning of everything and to have access to all wisdom. Without her, the knowledge of Christ is only speculation. But in her, it becomes experience (Mystagogy!) because all the humility and poverty, without which Christ cannot be known, were given to her. Her sanctity is the silence in which alone Christ can be heard, and the voice of God becomes an experience to us through her contemplation.
The emptiness and interior solitude and peace without which we cannot be filled with God were given by Him to Mary in order that she might receive Him into the world by offering Him the hospitality of a being that was perfectly pure, perfectly silent, perfectly at rest, perfectly at peace and centered in utter humility. If we ever manage to empty ourselves of the noise of the world and of our own passions, it is because she has been sent close to us by God and given us a share in her sanctity and her hiddenness.
Mary alone, of all the saints, is in everything incomparable. She has the sanctity of them all and yet resembles none of them. And still we can talk of being like her. This likeness to her is not only something to desire-- it is one human quality most worthy of our desire: but the reason for that is that she, of all creatures, most perfectly recovered the likeness to God that God willed to find, in varying degrees, in us all. (Here, Merton picks up the notion of "recapitulation" articulated by Sts. Irenaeus and Athanasius: In Christ, we regain what we had lost in Adam, namely existence according to God's image and likeness. Merton argues that in Mary, this is perfectly achieved.)
It is necessary, no doubt, to talk about her privileges as if they were something that could be made comprehensible in human language and could be measures by some human standard. It is most fitting to talk about her as a Queen and to act as if you knew what it meant to say she has a throne above all the angels. But this should not make anyone forget that her highest privilege is her poverty and her greatest glory is that she is most hidden,(Here it comes...) and the source of all her power is that she is as nothing in the presence of Christ, of God. (Toda, toda, toda... nada! She is all-holy for holiness in its perfected totality is achieved in her precisely for her nothingness. How sanjuanist!)
This is often forgotten by Catholics themselves and therefore is not surprising that those who are not Catholic often have a completely wrong conception of Catholic devotion to the Mother of God.(Very true!) They imagine, and sometimes we can understand their reasons for doing so, that Catholics treat the Blessed Virgin as an almost divine being in her own right, as if she had some glory, some power, some majesty of her own that placed her on a level with Christ Himself. They regard the Assumption of Mary into heaven as a kind of apotheosis and her Queenship as a strict divinization. Hence, her place in the Redemption would seem to be equal to that of her Son. (This isn't just from non-Catholics. There are those in the Church that argue that to call her 'Mediatrix of Grace' is to put her on par with her Son.) But this is all completely contrary to the true mind of the Catholic Church.(Sentire cum Ecclesiae-think with the mind of the Church) It forgets that Mary's chief glory is in her nothingness, in the fact of being the "Handmaid of the Lord," as one who in becoming the Mother of God acted simply in loving submission to His command, in the pure obedience of faith. She is blessed not because of some mythical pseudo-divine prerogative but in all her human and womanly limitations (?!) as "one who has believed." It is the faith and fidelity of this humble Handmaid "full of grace" that enables her to be the perfect instrument of God and nothing else but His instrument. The work that was done in her was purely the work of God. "He that is mighty hath done great things in me." The glory of Mary is purely and simply the glory of God in her, and she, like anyone else, can say that she has nothing that she has not received from Him through Christ.
As a matter of fact, this is precisely her greatest glory: that having nothing of her own, retaining nothing of a 'self' that could glory in anything for her own sake, she placed no obstacle to the mercy of God and in no way resisted His love and His will. Hence, she received more from Him than any other saint. He was able to accomplish His will perfectly in her and His liberty was in no way hindered or turned from its purpose by the presence of an egotistical self in Mary. She was and is in the highest sense a person precisely because, being "immaculate," she was free from every taint of selfishness that might obscure God's light in her being. (Here again, Merton borrows from St. John of the Cross, Ascent of Mt Carmel, Book II, Chapter 5, Verse 6)-- a mirror, when totally cleaned, disappears and all one sees is the light that shines through. ) She was then a freedom that obeyed Him perfectly and in this obedience found the fulfillment of perfect love.
MY THOUGHTS...
Here, Merton contemplates our Lady through the mystical theology of St. John of the Cross. The central dynamic is that of an incoming God who fills empty spaces. Merton asserts that in Mary, this is 'perfectly' achieved in such a paradigmatic way that to receive God through our emptiness is to participate in the perfectly contemplative emptiness of our Lady. Thus, Merton can say that "in the order He has established, God wills that all graces come to men through Mary." All through Mary! I would suggest that the keyword for Merton is not Mary but rather is the "ALL"-"TODA," which in sanjuanist theology carries much weight as it is the word used by the mystical doctor to refer to the fullness of God indwelling in the soul.
To better understand this, take a read at St. John's understanding of "theosis" -- "A ray of sunlight shining on a smudgy window is unable to illumine that window completely and transform it into its own light. It could do this if the window were cleaned and polished. The less the film and stain are wiped away, the less the window will be illumined; and the cleaner the window is, the brighter will be its illumination. The extent of illumination is not dependent on the ray of sunlight but on the window. If the window is totally clean and pure, the sunlight will so transform and illumine it that to all appearances the window will be identical with the ray of sunlight and shine just as the sun's ray. Although obviously the nature of the window is distinct from that of the sun's ray (even if the two seem identical), we can assert that the window is the ray or light of the sun by participation. The soul on which the divine light of God's being is ever shining, or better, in which it is ever dwelling by nature, is like this window, as we have affirmed." (Ascent of Mt. Carmel, Book II, Chapter 5, Verse 6)
For Merton, Mary becomes that window 'totally clean and pure,' so transformed that when one sees her, she, in a sense, disappears, and all one sees is 'the divine light of God's being is ever shining.' Thus, for Merton, Marian polemic, though understandable, carries no weight at all. Mary does not stand on her own and bear no glory on her own. All that she is is oriented towards God's work of salvation in Christ His Son and as the fully redeemed one, stands before us as the Icon of One who is in every sense, "Full of Grace." Truly she is 'THE WOMAN CLOTHED WITH THE SUN.'
Wien - Peterskirche
Peterskirche (English: St. Peter's Church) is a Baroque Roman Catholic parish church in Vienna, Austria. It was transferred in 1970 by the Archbishop of Vienna Franz Cardinal König to the priests of the Opus Dei.
The oldest church building (of which nothing remains today) dates back to the Early Middle Ages, and there is speculation that it could be the oldest church in Vienna. That Roman church was built on the site of a Roman encampment.
This church was replaced with a Romanesque church with a nave and two aisles. It is believed to have been established by Charlemagne around 800, although there is no evidence supporting this view. At the outside of the church, there is a relief sculpture by R. Weyr consecrated to the founding of the church by Charlemagne. In any case, a church of Saint Peter in Vienna is first mentioned in 1137. Around the end of the 12th century, the church became part of the Schottenstift.
The old church burned down in 1661 and was given only makeshift repairs. The decision to build a new church was taken up with the arrival of the Fraternity of the Holy Trinity of which the emperor Leopold I was a member. He had taken a vow to rebuild this church when Vienna was ravaged by the plague in 1679-1680.
The construction of the new Baroque church was begun around 1701 under Gabriele Montani, who was replaced by Johann Lukas von Hildebrandt in 1703. The design was inspired by the St. Peter's Basilica of the Vatican in Rome. By 1722, most of the building was finished, and in 1733, the Peterskirche was finally consecrated to the Holy Trinity. The new church was the first domed structure in baroque Vienna. Due to the confinement of available space, it was built in a very compact form, with its oval interior housing an astonishing amount of space and rectangular attachments. The church makes an overwhelming impression on the visitor with its surprisingly rich interior filled with golden stucco.
The Peterskirche is located on Petersplatz, right next to Graben and just west of the Pestsäule. The street Jungferngasse cuts through the pedestrian zone and leads directly to the church. The Peterskirche is largely obscured by the surrounding buildings, and can only be seen clearly from directly in front.
(Wikipedia)
Die Rektoratskirche St. Peter ist eine römisch-katholische Kirche im 1. Wiener Gemeindebezirk Innere Stadt. Das heutige Kirchengebäude wurde 1733 vollendet und geweiht. Die seelsorgliche Betreuung der Peterskirche wurde 1970 vom Wiener Erzbischof Kardinal König Priestern des Opus Dei übertragen.
Die erste Peterskirche, von der heute keine sichtbaren Reste mehr vorhanden sind, ging bis in die Spätantike zurück und war somit die älteste Kirche und Pfarre der Stadt Wien. Sie entstand in der zweiten Hälfte des 4. Jahrhunderts, indem ein Kasernengebäude des römischen Lagers Vindobona zu einer einschiffigen Saalkirche basilikaler Art umgebaut wurde.
Die Kirche selbst soll von Kaiser Karl dem Großen um 792 gegründet worden sein, was jedoch nicht nachgewiesen ist. Erstmals wird 1137 eine Kirche des heiligen Petrus in Wien urkundlich erwähnt. Gegen Ende des 12. Jahrhunderts fiel die Kirche an das Schottenstift. Im Jahr 1661 brannte das Gebäude aus und wurde nur notdürftig instand gesetzt. Der Beschluss, eine neue Kirche zu bauen, wurde allerdings erst 1676 mit der Übersiedelung der Erzbruderschaft der Allerheiligsten Dreifaltigkeit in Angriff genommen.
Um 1701 wurde auf Initiative Kaiser Leopolds I. mit dem Neubau begonnen. Die alte Peterskirche, die wohl schon ziemlich verfallen war, wurde samt dem umliegenden Friedhof abgerissen. Die Planung und der Baubeginn (Fundamente) der neuen Peterskirche erfolgten unter Gabriele Montani. Ab 1703 setzte Johann Lucas von Hildebrandt den Bau nach verändertem Plan fort und 1708 war er im Rohbau vollendet. Sein Bauführer war Franz Jänggl, auch Baumeister Francesco Martinelli ist dokumentiert. Der Steinmetzauftrag wurde dem Wiener Meister Johann Carl Trumler übergeben, der den erforderlichen harten Kaiserstein, unter anderem für den umlaufenden Sockel, aus dem kaiserlichen Steinbruch anforderte.
Die Bauarbeiten zogen sich noch bis 1722 hin, erst zu diesem Zeitpunkt war der Bau größtenteils abgeschlossen. Die neue Kirche war der erste Kuppelbau des barocken Wien. Das Sakralgebäude verfügt über eine sehr kompakte Form, einen ovalen Innenraum mit erstaunlich viel Platz und rechteckigen Anbauten.
Joachim Georg Schwandtner, Superintendent der Erzbruderschaft der Allerheiligsten Dreifaltigkeit, stiftete einen Portalvorbau, der 1751–1753 nach Plänen von Andrea Altomonte aus Gutensteiner Marmor angebaut wurde.
Die Peterskirche befindet sich auf dem Petersplatz, unmittelbar neben dem Graben, kurz nach (westlich) der Pestsäule. Dort durchschneidet die Habsburgergasse die Fußgängerzone (danach Jungferngasse) und führt direkt zur Kirche. Die Peterskirche verschwindet fast zwischen den hohen Häusern, und sie ist erst zu sehen, wenn man davorsteht.
(Wikipedia)
K2 Leyland 1229 / EXV229
Lots going on here. The trolleybus looks as though it has done a u-turn on provided overheads, but the booms have been moved to the North-South wires.
For me, the added excitement of an unknown Thames Trader Service Vehicle, and also the friendly face of an RTW, likewise unknown.
Speculation that the service vehicle is 1138F. See comments by Tony Seal. Dating by Edward Burton.
Photo by J H Ashton?
After few years of speculation, modernized version of NJ-22 is finally seen at Batajnica Airbase. It's not clear if this is deep modernization of aging aircraft or just cosmetic upgrade. However, on this image we can see R-60MK air-to-air missiles on the wing tips (new feature), LVB-250F laser guided bomb (still in development phase) and some kind of guided missile which is definitely modified soviet S-24A/B unguided rocket (designation is VRVZ-240 EK-16 according to label on missile).
A missing filter... Picture or maybe in the air of the time that brews a little anguish, it grinds ideas by dint of filtering the words... the cunning life with a twist. Angel or mill?
The COVID-19 pandemic has resulted in conspiracy theories and misinformation about the scale of the pandemic and the origin, prevention, diagnosis, and treatment of the disease.[1][2][3] False information, including intentional disinformation, has been spread through social media,[2][4] text messages,[5] and mass media,[6] including the tabloid media,[7] conservative media,[8][9] state media of countries such as China,[10][11] Russia,[12][13] Iran,[14] and Turkmenistan.[2][15] It has also been spread by state-backed covert operations to generate panic and sow distrust in other countries.[16][17]
Misinformation has been propagated by celebrities, politicians[18][19] (including heads of state in countries such as the United States,[20][21] Iran,[22] and Brazil[23]), and other prominent public figures.[24] Commercial scams have claimed to offer at-home tests, supposed preventives, and "miracle" cures.[25][26] Politicians and leaders of some countries have promoted purported cures, while some religious groups said that the faith of their followers and God will protect them from the virus.[27][28][29] Others have claimed the virus is a lab-developed bio-weapon that was accidentally leaked,[30][31] or deliberately designed to target a country,[32] or one with a patented vaccine, a population control scheme, the result of a spy operation,[3][4] or linked to 5G networks.[33]
The World Health Organization has declared an "infodemic" of incorrect information about the virus, which poses risks to global health.[2]
Types and origin and effect
On January 30, the BBC reported about the increasing spread of conspiracy theories and false health advice in relation to COVID-19. Notable examples at the time included false health advice shared on social media and private chats, as well as conspiracy theories such as the origin in bat soup and the outbreak being planned with the participation of the Pirbright Institute.[1][34] On January 31, The Guardian listed seven instances of misinformation, adding the conspiracy theories about bioweapons and the link to 5G technology, and including varied false health advice.[35]
In an attempt to speed up research sharing, many researches have turned to preprint servers such as arXiv, bioRxiv, medRxiv or SSRN. Papers can be uploaded to these servers without peer review or any other editorial process that ensures research quality. Some of these papers have contributed to the spread of conspiracy theories. The most notable case was a preprint paper uploaded to bioRxiv which claimed that the virus contained HIV "insertions". Following the controversy, the paper was withdrawn.[36][37][38]
According to a study published by the Reuters Institute for the Study of Journalism, most misinformation related to COVID-19 involves "various forms of reconfiguration, where existing and often true information is spun, twisted, recontextualised, or reworked". While less misinformation "was completely fabricated". The study found no deep fakes in the studied sample. The study also found that "top-down misinformation from politicians, celebrities, and other prominent public figures", while accounting for a minority of the samples, captured a majority of the social media engagement. According to their classification, the largest category of misinformation (39%) includes "misleading or false claims about the actions or policies of public authorities, including government and international bodies like the WHO or the UN".[39]
A natural experiment correlated coronavirus misinformation with increased infection and death; of two similar television news shows on the same network, one took coronavirus seriously about a month earlier than the other. People and groups exposed to the slow-response news show had higher infection and death rates.[40]
The misinformations have been used by politicians, interest groups, and state actors in many countries to scapegoat other countries for the mishandling of the domestic responses, as well as furthering political, financial agenda.[41][42][43]
Combative efforts
Further information: Impact of the 2019–20 coronavirus pandemic on journalism
File:ITU - AI for Good Webinar Series - COVID-19 Misinformation and Disinformation during COVID-19.webm
International Telecommunication Union
On February 2, the World Health Organization (WHO) described a "massive infodemic", citing an over-abundance of reported information, accurate and false, about the virus that "makes it hard for people to find trustworthy sources and reliable guidance when they need it". The WHO stated that the high demand for timely and trustworthy information has incentivised the creation of a direct WHO 24/7 myth-busting hotline where its communication and social media teams have been monitoring and responding to misinformation through its website and social media pages.[44][45][46] The WHO specifically debunked several claims as false, including the claim that a person can tell if they have the virus or not simply by holding their breath; the claim that drinking large amounts of water will protect against the virus; and the claim that gargling salt water prevents infection.[47]
In early February, Facebook, Twitter and Google said they were working with WHO to address "misinformation".[48] In a blogpost, Facebook stated they would remove content flagged by global health organizations and local authorities that violate its content policy on misinformation leading to "physical harm".[49] Facebook is also giving free advertising to WHO.[50] Nonetheless, a week after Trump's speculation that sunlight could kill the virus, the New York Times found "780 Facebook groups, 290 Facebook pages, nine Instagram accounts and thousands of tweets pushing UV light therapies," content which those companies declined to remove from their platforms.[51]
At the end of February, Amazon removed more than a million products claimed to cure or protect against coronavirus, and removed tens of thousands of listings for health products whose prices were "significantly higher than recent prices offered on or off Amazon", although numerous items were "still being sold at unusually high prices" as of February 28.[52]
Millions of instances of COVID-19 misinformation have occurred across a number of online platforms.[53] Other fake news researchers noted certain rumors started in China; many of them later spread to Korea and the United States, prompting several universities in Korea to start the multilingual Facts Before Rumors campaign to separate common claims seen online.[54][55][56][57]
The media has praised Wikipedia's coverage of COVID-19 and its combating the inclusion of misinformation through efforts led by the Wiki Project Med Foundation and the English-language Wikipedia's WikiProject Medicine, among other groups.[58][59][60]
Many local newspapers have been severely affected by losses in advertising revenues from coronavirus; journalists have been laid off, and some have closed altogether.[61]
Many newspapers with paywalls lowered them for some or all their coronavirus coverage.[62][63] Many scientific publishers made scientific papers related to the outbreak open access.[64]
The Turkish Interior Ministry has been arresting social media users whose posts were "targeting officials and spreading panic and fear by suggesting the virus had spread widely in Turkey and that officials had taken insufficient measures".[65] Iran's military said 3600 people have been arrested for "spreading rumors" about coronavirus in the country.[66] In Cambodia, some individuals who expressed concerns about the spread of COVID-19 have been arrested on fake news charges.[67][68] Algerian lawmakers passed a law criminalising "fake news" deemed harmful to "public order and state security".[69] In the Philippines,[70] China,[71] India,[72][73] Egypt,[74] Bangladesh,[75] Morocco,[76] Pakistan,[77] Saudi Arabia,[78] Oman,[79] Iran,[80] Vietnam, Laos,[81] Indonesia,[73] Mongolia,[73] Sri Lanka,[73] Kenya, South Africa,[82] Somalia,[83] Thailand,[84] Kazakhstan,[85] Azerbaijan,[86] Malaysia[87] and Hong Kong, people have been arrested for allegedly spreading false information about the coronavirus pandemic.[88][73] The United Arab Emirates have introduced criminal penalties for the spread of misinformation and rumours related to the outbreak.[89]
Conspiracy theories
Conspiracy theories have appeared both in social media and in mainstream news outlets, and are heavily influenced by geopolitics.[90]
Accidental leakage
Virologist and immunologist Vincent R. Racaniello said that "accident theories – and the lab-made theories before them – reflect a lack of understanding of the genetic make-up of Sars-CoV-2."[91]
A number of allegations have emerged supposing a link between the virus and Wuhan Institute of Virology (WIV); among these is that the virus was an accidental leakage from WIV.[92] In 2017, U.S. molecular biologist Richard H. Ebright expressed caution when the WIV was expanded to become mainland China's first biosafety level 4 (BSL-4) laboratory, noting previous escapes of the SARS virus at other Chinese laboratories.[93] While Ebright refuted several conspiracy theories regarding the WIV (e.g., bioweapons research, or that the virus was engineered), he told BBC China this did not represent the possibility that the virus can be "completely ruled out" from entering the population due to a laboratory accident.[92] Various researchers contacted by NPR concluded there was "virtually no chance" (in NPR's words) that the pandemic virus had accidentally escaped from a laboratory.[94] Disinformation researcher Nina Jankowicz from Wilson Center indicates the lab leakage claim entered mainstream media in United States during April, propagated by pro-Trump news outlet.[43]
On February 14, 2020, Chinese scientists explored the possibility of accidental leakage and published speculations on scientific social networking website ResearchGate. The paper was neither peer-reviewed nor presented any evidence for its claims.[95] On March 5, the author of paper told Wall Street Journal in an interview why he decided to withdrew the paper by the end of February, stating: "the speculation about the possible origins in the post was based on published papers and media, and was not supported by direct proofs."[96][97] Several newspapers have referenced the paper.[95] Scientific American reported that Shi Zhengli, the lead researcher at WIV, started investigation on mishandling of experimental materials in the lab records, especially during disposal. She also tried to cross-check the novel coronavirus genome with the genetic information of other bat coronaviruses her team had collected. The result showed none of the sequences matched those of the viruses her team had sampled from bat caves.[98]
In February, it was alleged that the first person infected may have been a researcher at the institute named Huang Yanling.[99] Rumours circulated on Chinese social media that the researcher had become infected and died, prompting a denial from WIV, saying she was a graduate student enrolled in the Institute until 2015 and is not the patient zero.[100][99] In April, the conspiracy theory started to circulate around on Youtube and got picked up by conservative media, National Review.[101][6]
The South China Morning Post (SCMP) reported that one of the WIV's lead researchers, Shi Zhengli, was the particular focus of personal attacks in Chinese social media alleging that her work on bat-based viruses was the source of the virus; this led Shi to post: "I swear with my life, [the virus] has nothing to do with the lab". When asked by the SCMP to comment on the attacks, Shi responded: "My time must be spent on more important matters".[102] Caixin reported Shi made further public statements against "perceived tinfoil-hat theories about the new virus's source", quoting her as saying: "The novel 2019 coronavirus is nature punishing the human race for keeping uncivilized living habits. I, Shi Zhengli, swear on my life that it has nothing to do with our laboratory".[103] Immunologist Vincent Racaniello stated that virus leaking theory "reflect a lack of understanding of the genetic make-up of Sars-CoV-2 and its relationship to the bat virus". He says the bat virus researched in the institution "would not have been able to infect humans—the human Sars-CoV-2 has additional changes that allows it to infect humans."[91]
On April 14, the U.S. Chairman of the Joint Chiefs of Staff, General Mark Milley, in response to questions about the virus being manufactured in a lab, said "... it's inconclusive, although the weight of evidence seems to indicate natural. But we don't know for certain."[104] On that same day, Washington Post columnist Josh Rogin detailed a leaked cable of a 2018 trip made to the WIV by scientists from the U.S. Embassy. The article was referenced and cited by conservative media to push the lab leakage theory.[43] Rogin's article went on to say that "What the U.S. officials learned during their visits concerned them so much that they dispatched two diplomatic cables categorized as Sensitive But Unclassified back to Washington. The cables warned about safety and management weaknesses at the WIV lab and proposed more attention and help. The first cable, which I obtained, also warns that the lab's work on bat coronaviruses and their potential human transmission represented a risk of a new SARS-like pandemic."[105] Rogin's article pointed out there was no evidence that the coronavirus was engineered, "But that is not the same as saying it didn't come from the lab, which spent years testing bat coronaviruses in animals."[105] The article went on to quote Xiao Qiang, a research scientist at the School of Information at the University of California, Berkeley, "I don't think it's a conspiracy theory. I think it's a legitimate question that needs to be investigated and answered. To understand exactly how this originated is critical knowledge for preventing this from happening in the future."[105] Washington Post's article and subsequent broadcasts drew criticism from virologist Angela Rasmussen of Columbia University, which she states "It's irresponsible for political reporters like Rogin [to] uncritically regurgitate a secret 'cable' without asking a single virologist or ecologist or making any attempt to understand the scientific context."[43] Rasmussen later compared biosafety procedure concerns to "having the health inspector come to your restaurant. It could just be, ‘Oh, you need to keep your chemical showers better stocked.’ It doesn’t suggest, however, that there are tremendous problems.”[106]
Days later, multiple media outlets confirmed that U.S. intelligence officials were investigating the possibility that the virus started in the WIV.[107][108][109][110] On April 23, Vox presented disputed arguments on lab leakage claims from several scientists.[111] Scientists suggested that virus samples cultured in the lab have significant amount of difference compare to SARS-CoV-2. The virus institution sampled RaTG13 in Yunnan, the closest known relative of the novel coronavirus with 96% shared genome. Edward Holmes, SARS-CoV-2 researcher at the University of Sydney, explained 4% of difference "is equivalent to an average of 50 years (and at least 20 years) of evolutionary change."[111][112] Virologist Peter Daszak, president of the EcoHealth Alliance, which studies emerging infectious diseases, noted the estimation that 1–7 million people in Southeast Asia who live or work in proximity to bats are infected each year with bat coronaviruses. In the interview with Vox, he comments, "There are probably half a dozen people that do work in those labs. So let's compare 1 million to 7 million people a year to half a dozen people; it's just not logical."[94][111]
On April 30, The New York Times reported the Trump administration demanded intelligence agencies to find evidence linking WIV with the origin of SARS-Cov-2. Secretary of State and former Central Intelligence Agency (C.I.A) director Mike Pompeo was reportedly leading the push on finding information regarding the virus origin. Analysts were concerned that pressure from senior officials could distort assessments from the intelligence community. Anthony Ruggiero, the head of the National Security Council which responsible for tracking weapons of mass destruction, expressed frustration during a video conference that C.I.A. was unable to form conclusive answer on the origin of the virus. According to current and former government officials, as of April 30, C.I.A has yet to gather any information beyond circumstantial evidence to bolster the lab theory.[113][114] US intelligence officers suggested that Chinese officials tried to conceal the severity of the outbreak in early days, but no evidence had shown China attempted to cover up a lab accident.[115] One day later, Trump claimed he has evidence of the lab theory, but offers no further details on it.[116][117] Jamie Metzl, a senior fellow at the Atlantic Council, claimed the SARS-CoV-2 virus "likely" came from a Wuhan virology testing laboratory, based on "circumstantial evidence". He was quoted as saying, "I have no definitive way of proving this thesis."[118]
On April 30, 2020, the U.S. intelligence and scientific communities issued a public statement dismissing the idea that the virus was not natural, while the investigation of the lab accident theory was ongoing.[119][120] The White House suggested an alternative explanation, along with a seemingly contradictory message, that the virus was man-made. In an interview with ABC News, Secretary of State Pompeo said he has no reason to disbelieve the intelligence community that the virus was natural. However, this contradicted the comment he made earlier in the same interview, in which he said "the best experts so far seem to think it was man-made. I have no reason to disbelieve that at this point."[121][122][123] On May 4, Australian tabloid The Daily Telegraph claimed a reportedly leaked dossier from Five Eyes, which alleged the probable outbreak was from the Wuhan lab.[124] Fox News and national security commentators in the US quickly followed up The Telegraph story,[125][126] rising the tension within international intelligence community.[127] Australian government, which is part of the Five Eyes nations, determined the leaked dossier was not a Five Eyes document, but a compilation of open-source materials that contained no information generated by intelligence gathering.[128] German intelligence community denied the claim of the leaked dossier, instead supported the probability of a natural cause.[129][130] Australian government sees the promotion of the lab theory from the United States counterproductive to Australia’s push for a more broad international-supported independent inquiry into the virus origins.[127] Senior officials in Australian government speculated the dossier was leaked by US embassy in Canberra to promote a narrative in Australia media that diverged from the mainstream belief of Australia.[127][128][125]
Beijing rejected the White House's claim, calling the claim "part of an election year strategy by President Donald Trump’s Republican Party".[131] Hua Chunying, Chinese Foreign Ministry spokeswoman, urged Mike Pompeo to present evidence for his claim. "Mr. Pompeo cannot present any evidence because he does not have any," Hua told a journalist during a regular briefing, "This matter should be handled by scientists and professionals instead of politicians out of their domestic political needs."[131][132] The Chinese ambassador, in an opinion published in the Washington Post, called on the White House to end the "blame game" over the coronavirus.[133][134] As of May 5, assessments and internal sources from the Five Eyes nations indicated that the coronavirus outbreak was the result of a laboratory accident was "highly unlikely", since the human infection was "highly likely" a result of natural human and animal interaction. However, to reach such a conclusion with total certainty would still require greater cooperation and transparency from the Chinese side.[135]
Anti-Israeli and antisemitic
Further information: Antisemitic canard
Iran's Press TV asserted that "Zionist elements developed a deadlier strain of coronavirus against Iran".[14] Similarly, various Arab media outlets accused Israel and the United States of creating and spreading COVID-19, avian flu, and SARS.[136] Users on social media offered a variety of theories, including the supposition that Jews had manufactured COVID-19 to precipitate a global stock market collapse and thereby profit via insider trading,[137] while a guest on Turkish television posited a more ambitious scenario in which Jews and Zionists had created COVID-19, avian flu, and Crimean–Congo hemorrhagic fever to "design the world, seize countries, [and] neuter the world's population".[138]
Israeli attempts to develop a COVID-19 vaccine prompted mixed reactions. Grand Ayatollah Naser Makarem Shirazi denied initial reports that he had ruled that a Zionist-made vaccine would be halal,[139] and one Press TV journalist tweeted that "I'd rather take my chances with the virus than consume an Israeli vaccine".[140] A columnist for the Turkish Yeni Akit asserted that such a vaccine could be a ruse to carry out mass sterilization.[141]
An alert by the U.S. Federal Bureau of Investigation regarding the possible threat of far-right extremists intentionally spreading the coronavirus mentioned blame being assigned to Jews and Jewish leaders for causing the pandemic and several statewide shutdowns.[142]
Anti-Muslim
Further information: 2020 Tablighi Jamaat coronavirus hotspot in Delhi
In India, Muslims have been blamed for spreading infection following the emergence of cases linked to a Tablighi Jamaat religious gathering.[143] There are reports of vilification of Muslims on social media and attacks on individuals in India.[144] Claims have been made Muslims are selling food contaminated with coronavirus and that a mosque in Patna was sheltering people from Italy and Iran.[145] These claims were shown to be false.[146] In the UK, there are reports of far-right groups blaming Muslims for the coronavirus outbreak and falsely claiming that mosques remained open after the national ban on large gatherings.[147]
Bioengineered virus
It has been repeatedly claimed that the virus was deliberately created by humans.
Nature Medicine published an article arguing against the conspiracy theory that the virus was created artificially. The high-affinity binding of its peplomers to human angiotensin-converting enzyme 2 (ACE2) was shown to be "most likely the result of natural selection on a human or human-like ACE2 that permits another optimal binding solution to arise".[148] In case of genetic manipulation, one of the several reverse-genetic systems for betacoronaviruses would probably have been used, while the genetic data irrefutably showed that the virus is not derived from a previously used virus template.[148] The overall molecular structure of the virus was found to be distinct from the known coronaviruses and most closely resembles that of viruses of bats and pangolins that were little studied and never known to harm humans.[149]
In February 2020, the Financial Times quoted virus expert and global co-lead coronavirus investigator Trevor Bedford: "There is no evidence whatsoever of genetic engineering that we can find", and "The evidence we have is that the mutations [in the virus] are completely consistent with natural evolution".[150] Bedford further explained, "The most likely scenario, based on genetic analysis, was that the virus was transmitted by a bat to another mammal between 20–70 years ago. This intermediary animal—not yet identified—passed it on to its first human host in the city of Wuhan in late November or early December 2019".[150]
On February 19, 2020, The Lancet published a letter of a group of scientists condemning "conspiracy theories suggesting that COVID-19 does not have a natural origin".[151]
Chinese biological weapon
India
Amidst a rise in Sinophobia, there have been conspiracy theories reported on India's social networks that the virus is "a bioweapon that went rogue" and also fake videos alleging that Chinese authorities are killing citizens to prevent its spread.[152]
Ukraine
According to the Kyiv Post, two common conspiracy theories online in Ukraine are that American author Dean Koontz predicted the pandemic in his 1981 novel The Eyes of Darkness, and that the coronavirus is a bioweapon leaked from a secret lab in Wuhan.[153]
United Kingdom
Tobias Ellwood said, "It would be irresponsible to suggest the source of this outbreak was an error in a Chinese military biological weapons programme ... But without greater Chinese transparency we cannot entirely completely sure."[154]
In February, Conservative MP Tobias Ellwood, chair of the Defence Select Committee of the UK House of Commons, publicly questioned the role of the Chinese Army's Wuhan Institute for Biological Products and called for the "greater transparency over the origins of the coronavirus".[154][non-primary source needed] The Daily Mail reported in early April 2020 that a member of COBRA (an ad-hoc government committee tasked with advising on crises[citation needed]) has stated while government intelligence does not dispute that the virus has a zoonotic origin, it also does not discount the idea of a leak from a Wuhan laboratory, saying "Perhaps it is no coincidence that there is that laboratory in Wuhan"; the Asia Times reported the story as if it were factual,[155] perhaps unaware of the reputation of the Daily Mail.
United States
Further information: Cyberwarfare in the United States and Propaganda in the United States
In January 2020, BBC News published an article about coronavirus misinformation, citing two January 24 articles from The Washington Times that said the virus was part of a Chinese biological weapons program, based at the Wuhan Institute of Virology (WIV).[1] The Washington Post later published an article debunking the conspiracy theory, citing U.S. experts who explained why the WIV was unsuitable for bioweapon research, that most countries had abandoned bioweapons as fruitless, and that there was no evidence the virus was genetically engineered.[156]
On January 29, financial news website and blog ZeroHedge suggested without evidence that a scientist at the WIV created the COVID-19 strain responsible for the coronavirus outbreak. Zerohedge listed the full contact details of the scientist supposedly responsible, a practice known as doxing, by including the scientist's name, photo, and phone number, suggesting to readers that they "pay [the Chinese scientist] a visit" if they wanted to know "what really caused the coronavirus pandemic".[157] Twitter later permanently suspended the blog's account for violating its platform-manipulation policy.[158]
Logo of the fictional Umbrella Corporation, which some internet rumours linked to the pandemic. The corporation was invented for the Resident Evil game series.
In January 2020, Buzzfeed News reported on an internet meme of a link between the logo of the WIV and "Umbrella Corporation", the agency that created the virus responsible for a zombie apocalypse in the Resident Evil franchise. Posts online noted that "Racoon [sic]" (the main city in Resident Evil) was an anagram of "Corona".[159] Snopes noted that the logo was not from the WIV, but a company named Shanghai Ruilan Bao Hu San Biotech Ltd (located some 500 miles (800 km) away in Shanghai), and that the correct name of the city in Resident Evil was "Raccoon City".[159]
In February 2020, U.S. Senator Tom Cotton (R-AR) suggested the virus may have originated in a Chinese bioweapon laboratory.[160] Francis Boyle, a law professor, also expressed support for the bioweapon theory suggesting it was the result of unintended leaks.[161] Cotton elaborated on Twitter that his opinion was only one of "at least four hypotheses". Multiple medical experts have indicated there is no evidence for these claims.[162] Conservative political commentator Rush Limbaugh said on The Rush Limbaugh Show—the most popular radio show in the U.S.—that the virus was probably "a ChiCom laboratory experiment" and the Chinese government was using the virus and the media hysteria surrounding it to bring down Donald Trump.[163][164]
On February 6, the White House asked scientists and medical researchers to rapidly investigate the origins of the virus both to address the current spread and "to inform future outbreak preparation and better understand animal/human and environmental transmission aspects of coronaviruses".[165] American magazine Foreign Policy said Xi Jinping's "political agenda may turn out to be a root cause of the epidemic" and that his Belt and Road Initiative has "made it possible for a local disease to become a global menace".[90]
The Inverse reported that "Christopher Bouzy, the founder of Bot Sentinel, conducted a Twitter analysis for Inverse and found [online] bots and trollbots are making an array of false claims. These bots are claiming China intentionally created the virus, that it's a biological weapon, that Democrats are overstating the threat to hurt Donald Trump and more. While we can't confirm the origin of these bots, they are decidedly pro-Trump."[166]
Conservative commentator Josh Bernstein claimed that the Democratic Party and the "medical deep state" were collaborating with the Chinese government to create and release the coronavirus to bring down Donald Trump. Bernstein went on to suggest those responsible should be locked in a room with infected coronavirus patients as punishment.[167][168]
Jerry Falwell Jr., the president of Liberty University, promoted a conspiracy theory on Fox News that North Korea and China conspired together to create the coronavirus.[169] He also said people were overreacting to the coronavirus outbreak and that Democrats were trying to use the situation to harm President Trump.[170]
Hospital ship attack
The hospital ship USNS Mercy (T-AH-19) deployed to the Port of Los Angeles to provide backup medical services for the region. On March 31, 2020, a Pacific Harbor Line freight train was deliberately derailed by its onboard engineer in an attempt to crash into the ship, but the attack was unsuccessful and no one was injured.[171][172] According to U.S. federal prosecutors, the train's engineer "[...] was suspicious of the Mercy, believing it had an alternate purpose related to COVID-19 or a government takeover".[173]
Population control scheme
See also: List of conspiracy theories § RFID chips
According to the BBC, Jordan Sather, a conspiracy theory YouTuber supporting the far-right QAnon conspiracy theory and the anti-vax movement, has falsely claimed the outbreak was a population control scheme created by Pirbright Institute in England and by former Microsoft CEO Bill Gates. This belief is held mostly by right-wing libertarians, NWO conspiracy theorists, and Christian Fundamentalists.[1][174]
Spy operation
Some people have alleged that the coronavirus was stolen from a Canadian virus research lab by Chinese scientists. Health Canada and the Public Health Agency of Canada said that conspiracy theory had "no factual basis".[175] The stories seem to have been derived[176] from a July 2019 news article[177] stating that some Chinese researchers had their security access to a Canadian Level 4 virology facility revoked in a federal police investigation; Canadian officials described this as an administrative matter and "there is absolutely no risk to the Canadian public."[177]
This article was published by the Canadian Broadcasting Corporation (CBC);[176] responding to the conspiracy theories, the CBC later stated that "CBC reporting never claimed the two scientists were spies, or that they brought any version of the coronavirus to the lab in Wuhan". While pathogen samples were transferred from the lab in Winnipeg, Canada to Beijing, China, on March 31, 2019, neither of the samples was a coronavirus, the Public Health Agency of Canada says the shipment conformed to all federal policies, and there has not been any statement that the researchers under investigation were responsible for sending the shipment. The current location of the researchers under investigation by the Royal Canadian Mounted Police is not being released.[175][178][179]
In the midst of the coronavirus epidemic, a senior research associate and expert in biological warfare with the Begin-Sadat Center for Strategic Studies, referring to a NATO press conference, identified suspicions of espionage as the reason behind the expulsions from the lab, but made no suggestion that coronavirus was taken from the Canadian lab or that it is the result of bioweapons defense research in China.[180]
U.S. biological weapon
Arab world
According to Washington DC-based nonprofit Middle East Media Research Institute, numerous writers in the Arabic press have promoted the conspiracy theory that COVID-19, as well as SARS and the swine flu virus, were deliberately created and spread to sell vaccines against these diseases, and it is "part of an economic and psychological war waged by the U.S. against China with the aim of weakening it and presenting it as a backward country and a source of diseases".[181] Iraqi political analyst Sabah Al-Akili on Al-Etejah TV, Saudi daily Al-Watan writer Sa'ud Al-Shehry, Syrian daily Al-Thawra columnist Hussein Saqer, and Egyptian journalist Ahmad Rif'at on Egyptian news website Vetogate, were some examples given by MEMRI as propagators of the U.S. biowarfare conspiracy theory in the Arabic world.[181]
China
Further information: Cyberwarfare by China, Propaganda in China, and Chinese information operations and information warfare
The Xinhua News Agency is among the news outlets that have published false information about COVID-19's origins.
According to London-based The Economist, plenty of conspiracy theories exist on China's internet about COVID-19 being the CIA's creation to keep China down.[182] NBC News however has noted that there have also been debunking efforts of U.S.-related conspiracy theories posted online, with a WeChat search of "Coronavirus is from the U.S." reported to mostly yield articles explaining why such claims are unreasonable.[183] According to an investigation by ProPublica, such conspiracy theories and disinformation have been propagated under the direction of China News Service, the country's second largest government-owned media outlet controlled by the United Front Work Department.[184] Global Times and Xinhua News Agency have similarly been implicated in propagating disinformation related to COVID-19's origins.[185][186]
Multiple conspiracy articles in Chinese from the SARS era resurfaced during the outbreak with altered details, claiming SARS is biological warfare. Some said BGI Group from China sold genetic information of the Chinese people to the U.S., which then specifically targeted the genome of Chinese individuals.[187]
On January 26, Chinese military enthusiast website Xilu published an article, claimed how the U.S. artificially combined the virus to "precisely target Chinese people".[188][189] The article was removed in early February. The article was further distorted on social media in Taiwan, which claimed "Top Chinese military website admitted novel coronavirus was Chinese-made bio-weapons".[190] Taiwan Fact-check center debunked the original article and its divergence, suggesting the original Xilu article distorted the conclusion from a legitimate research on Chinese scientific magazine Science China Life Sciences, which never mentioned the virus was engineered.[190] The fact-check center explained Xilu is a military enthusiastic tabloid established by a private company, thus it doesn't represent the voice of Chinese military.[190]
Some articles on popular sites in China have also cast suspicion on U.S. military athletes participating in the Wuhan 2019 Military World Games, which lasted until the end of October 2019, and have suggested they deployed the virus. They claim the inattentive attitude and disproportionately below-average results of American athletes in the games indicate they might have been there for other purposes and they might actually be bio-warfare operatives. Such posts stated that their place of residence during their stay in Wuhan was also close to the Huanan Seafood Wholesale Market, where the first known cluster of cases occurred.[191]
In March 2020, this conspiracy theory was endorsed by Zhao Lijian, a spokesperson from the Ministry of Foreign Affairs of the People's Republic of China.[192][193][194][195] On March 13, the U.S. government summoned Chinese Ambassador Cui Tiankai to Washington over the coronavirus conspiracy theory.[196] Over the next month, conspiracy theorists narrowed their focus to one U.S. Army Reservist, a woman who participated in the games in Wuhan as a cyclist, claiming she is "patient zero". According to a CNN report, these theories have been spread by George Webb, who has nearly 100,000 followers on YouTube, and have been amplified by a report by CPC-owned newspaper Global Times.[197][198]
Iran
Further information: Propaganda in Iran
Reza Malekzadeh, deputy health minister, rejected bioterrorism theories.
According to Radio Farda, Iranian cleric Seyyed Mohammad Saeedi accused U.S. President Donald Trump of targeting Qom with coronavirus "to damage its culture and honor". Saeedi claimed that Trump is fulfilling his promise to hit Iranian cultural sites, if Iranians took revenge for the airstrike that killed of Quds Force Commander Qasem Soleimani.[199]
Iranian TV personality Ali Akbar Raefipour claimed the coronavirus was part of a "hybrid warfare" programme waged by the United States on Iran and China.[200] Brigadier General Gholam Reza Jalali, head of Iranian Civil Defense Organization, claimed the coronavirus is likely a biological attack on China and Iran with economic goals.[201][202]
Hossein Salami, the head of Islamic Revolutionary Guard Corps (IRGC), claimed the coronavirus outbreak in Iran may be due to a U.S. "biological attack".[203] Several Iranian politicians, including Hossein Amir-Abdollahian, Rasoul Falahati, Alireza Panahian, Abolfazl Hasanbeigi and Gholamali Jafarzadeh Imanabadi, also made similar remarks.[204] Iranian Supreme Leader, the Ayatollah Ali Khamenei, made similar suggestions.[205]
Former Iranian president Mahmoud Ahmadinejad sent a letter to the United Nations on March 9, claiming that "it is clear to the world that the mutated coronavirus was produced in lab" and that COVID-19 is "a new weapon for establishing and/or maintaining political and economic upper hand in the global arena".[206]
The late[207] Ayatollah Hashem Bathaie Golpayegani claimed that "America is the source of coronavirus, because America went head to head with China and realised it cannot keep up with it economically or militarily."[208]
Reza Malekzadeh, Iran's deputy health minister and former Minister of Health, rejected claims that the virus was a biological weapon, pointing out that the U.S. would be suffering heavily from it. He said Iran was hard-hit because its close ties to China and reluctance to cut air ties introduced the virus, and because early cases had been mistaken for influenza.[205]
Philippines
In the Philippine Senate, Tito Sotto has promoted his belief that COVID-19 is a bioweapon.
A Filipino Senator, Tito Sotto, played a bioweapon conspiracy video in a February 2020 Senate hearing, suggesting the coronavirus is biowarfare waged against China.[209][210]
Russia
Further information: Cyberwarfare by Russia and Propaganda in the Russian Federation
On February 22, U.S. officials alleged that Russia is behind an ongoing disinformation campaign, using thousands of social media accounts on Twitter, Facebook and Instagram to deliberately promote unfounded conspiracy theories, claiming the virus is a biological weapon manufactured by the CIA and the U.S. is waging economic war on China using the virus.[211][12][212] The acting assistant secretary of state for Europe and Eurasia, Philip Reeker, said "Russia's intent is to sow discord and undermine U.S. institutions and alliances from within" and "by spreading disinformation about coronavirus, Russian malign actors are once again choosing to threaten public safety by distracting from the global health response."[211] Russia denies the allegation, saying "this is a deliberately false story".[213]
According to U.S.-based The National Interest magazine, although official Russian channels had been muted on pushing the U.S. biowarfare conspiracy theory, other Russian media elements do not share the Kremlin's restraint.[214] Zvezda, a news outlet funded by the Russian Defense Ministry, published an article titled "Coronavirus: American biological warfare against Russia and China", claiming that the virus is intended to damage the Chinese economy, weakening its hand in the next round of trade negotiations.[214] Ultra-nationalist politician and leader of the Liberal Democratic Party of Russia, Vladimir Zhirinovsky, claimed on a Moscow radio station that the virus was an experiment by the Pentagon and pharmaceutical companies. Politician Igor Nikulin made rounds on Russian television and news media, arguing that Wuhan was chosen for the attack because the presence of a BSL-4 virus lab provided a cover story for the Pentagon and CIA about a Chinese bio-experiment leak.[214] An EU-document claims 80 attempts by Russian media to spread disinformation related to the epidemic.[215]
According to the East StratCom Task Force, the Sputnik news agency was active publishing stories speculating that the virus could've been invented in Latvia, that it was used by Communist Party of China to curb protests in Hong Kong, that it was introduced intentionally to reduce the number of elder people in Italy, that it was targeted against the Yellow Vests movement, and making many other speculations. Sputnik branches in countries including Armenia, Belarus, Spain, and in the Middle East came up with versions of these stories.[216]
Venezuela
Constituent Assembly member Elvis Méndez declared that the coronavirus was a "bacteriological sickness created in '89, in '90 and historically" and that it was a sickness "inoculated by the gringos". Méndez theorized that the virus was a weapon against Latin America and China and that its purpose was "to demoralize the person, to weaken to install their system".[217]
COVID-19 recovery
It has been wrongly claimed that anyone infected with COVID-19 will have the virus in their bodies for life. While there is no curative treatment, infected individuals can recover from the disease, eliminating the virus from their bodies; getting supportive medical care early can help.[279]
COVID-19 xenophobic blaming by ethnicity and religion
Main article: List of incidents of xenophobia and racism related to the 2019–20 coronavirus pandemic
File:IOM - Fighting Stigma and Discrimination against Migrants during COVID-19.webm
UN video warns that misinformation against groups may lower testing rates and increase transmission.
COVID-19-related xenophobic attacks have been made against people the attacker blamed for COVID-19 on the basis of their ethnicity. People who are considered to look Chinese have been subjected to COVID-19-related verbal and physical attacks in many other countries, often by people accusing them of transmitting the virus.[281][282][283] Within China, there has been discrimination (such as evictions and non-service in shops) against people from anywhere closer to Wuhan (where the pandemic started) and against anyone perceived as being non-Chinese (especially those considered African), as the Chinese government has blamed continuing cases on re-introductions of the virus from abroad (90% of reintroduced cases were by Chinese passport-holders). Neighbouring countries have also discriminated against people seen as Westerners.[284][285][286] People have also simply blamed other local groups along the lines of pre-existing social tensions and divisions, sometimes citing reporting of COVID-19 cases within that group. For instance, Muslims have been widely blamed, shunned, and discriminated against in India (including some violent attacks), amid unfounded claims that Muslims are deliberately spreading COVID-19, and a Muslim event at which the disease did spread has received far more public attention than many similar events run by other groups and the government.[287] White supremacist groups have blamed COVID-19 on non-whites and advocated deliberately infecting minorities they dislike, such as Jews.[288]
False causes
5G
5G towers have been burned by people wrongly blaming them for COVID-19.
Openreach engineers appealed on anti-5G Facebook groups, saying they aren't involved in mobile networks, and workplace abuse is making it difficult for them to maintain phonelines and broadband.
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vte
In February 2020 BBC News reported that conspiracy theorists on social media groups alleged a link between coronavirus and 5G mobile networks, claiming that Wuhan and Diamond Princess outbreaks were directly caused by electromagnetic fields and by the introduction of 5G and wireless technologies. Some conspiracy theorists also alleged that the coronavirus outbreak was a cover-up for a 5G-related illness.[33] In March 2020, Thomas Cowan, a holistic medical practitioner who trained as a physician and operates on probation with Medical Board of California, alleged that coronavirus is caused by 5G, based on the claims that African countries were not affected significantly by the pandemic and Africa was not a 5G region.[289][290] Cowan also falsely alleged that the viruses were wastes from cells that are poisoned by electromagnetic fields and historical viral pandemics coincided with the major developments in radio technology.[290] The video of his claims went viral and was recirculated by celebrities including Woody Harrelson, John Cusack, and singer Keri Hilson.[291] The claims may also have been recirculated by an alleged "coordinated disinformation campaign", similar to campaigns used by the Internet Research Agency in Saint Petersburg, Russia.[292] The claims were criticized on social media and debunked by Reuters,[293] USA Today,[294] Full Fact[295] and American Public Health Association executive director Georges C. Benjamin.[289][296]
Professor Steve Powis, national medical director of NHS England, described theories linking 5G mobile phone networks to COVID-19 as the "worst kind of fake news".[297] Viruses cannot be transmitted by radio waves. COVID-19 has spread and continues to spread in many countries that do not have 5G networks.[279]
After telecommunications masts in several parts of the United Kingdom were the subject of arson attacks, British Cabinet Office Minister Michael Gove said the theory that COVID-19 virus may be spread by 5G wireless communication is "just nonsense, dangerous nonsense as well".[298] Vodafone announced that two Vodafone masts and two it shares with O2 had been targeted.[299][300]
By Monday April 6, 2020 at least 20 mobile phone masts in the UK had been vandalised since the previous Thursday.[301] Because of slow rollout of 5G in the UK, many of the damaged masts had only 3G and 4G equipment.[301] Mobile phone and home broadband operators estimated there were at least 30 incidents of confronting engineers maintaining equipment in the week up to April 6.[301] There have been eleven incidents of attempted arson at mobile phone masts in the Netherlands, including one case where "Fuck 5G" was written, as well as in Ireland and Cyprus.[302][303] Facebook has deleted multiple messages encouraging attacks on 5G equipment.[301]
Engineers working for Openreach posted pleas on anti-5G Facebook groups asking to be spared abuse as they are not involved with maintaining mobile networks.[304] Mobile UK said the incidents were affecting attempts to maintain networks that support home working and provide critical connections to vulnerable customers, emergency services and hospitals.[304] A widely circulated video shows people working for broadband company Community Fibre being abused by a woman who accuses them of installing 5G as part of a plan to kill the population.[304]
YouTube announced that it would reduce the amount of content claiming links between 5G and coronavirus.[299] Videos that are conspiratorial about 5G that do not mention coronavirus would not be removed, though they might be considered "borderline content", removed from search recommendations and losing advertising revenue.[299] The discredited claims had been circulated by British conspiracy theorist David Icke in videos (subsequently removed) on YouTube and Vimeo, and an interview by London Live TV network, prompting calls for action by Ofcom.[305][306]
On April 13, 2020, Gardaí were investigating fires at 5G masts in County Donegal, Ireland.[307] Gardaí and fire services had attended the fires the previous night in an attempt to put them out.[307] Although Gardaí were awaiting results of tests they were treating the fires as deliberate.[307]
There were 20 suspected arson attacks on phone masts in the UK over the Easter 2020 weekend.[297] These included an incident in Dagenham where three men were arrested on suspicion of arson, a fire in Huddersfield that affected a mast used by emergency services and a fire in a mast that provides mobile connectivity to the NHS Nightingale Hospital Birmingham.[297]
Ofcom issued guidance to ITV following comments by Eamonn Holmes after comments made by Holmes about 5G and coronavirus on This Morning.[308] Ofcom said the comments were "ambiguous" and "ill-judged" and they "risked undermining viewers' trust in advice from public authorities and scientific evidence".[308] Ofcom also local channel London Live in breach of standards for an interview it had with David Icke who it said had " expressed views which had the potential to cause significant harm to viewers in London during the pandemic".[308]
Some telecoms engineers have reported threats of violence, including threats to stab and murder them, by individuals who believe them to be working on 5G networks.[309] West Midlands Police said the crimes in question are being taken very seriously.[309]
On April 24, 2020 The Guardian revealed that an evangelical pastor from Luton had provided the male voice on a recording blaming 5G for deaths caused by coronavirus.[310] Jonathon James claimed to have formerly headed the largest business-unit at Vodafone, but insiders at the company said that he was hired for a sales position in 2014 when 5G was not a priority for the company and that 5G would not have been part of his job.[310] He left the company after less than a year.[310]
Mosquitoes
It has been claimed that mosquitoes transmit coronavirus. There is no evidence that this is true; coronavirus spreads through small droplets of saliva and mucus.[279]
Petrol pumps
A warning claiming to be from the Australia Department of Health said coronavirus spreads through petrol pumps and that everyone should wear gloves when filling up petrol in their cars.[311]
Shoe-wearing
There were claims that wearing shoes at one's home was the reason behind the spread of the coronavirus in Italy.[312]
Resistance/susceptibility based on ethnicity
There have been claims that specific ethnicities are more or less vulnerable to COVID-19. COVID-19 is a new zoonotic disease, so no population has yet had the time to develop population immunity.[medical citation needed]
Beginning on February 11, reports, quickly spread via Facebook, implied that a Cameroonian student in China had been completely cured of the virus due to his African genetics. While a student was successfully treated, other media sources have noted that no evidence implies Africans are more resistant to the virus and labeled such claims as false information.[313] Kenyan Secretary of Health Mutahi Kagwe explicitly refuted rumors that "those with black skin cannot get coronavirus", while announcing Kenya's first case on March 13.[314] This myth was cited as a contributing factor in the disproportionately high rates of infection and death observed among African Americans.[315][316]
There have been claims of "Indian immunity": that the people of India have more immunity to the COVID-19 virus due to living conditions in India. This idea was deemed "absolute drivel" by Anand Krishnan, professor at the Centre for Community Medicine of the All India Institute of Medical Sciences (AIIMS). He said there was no population immunity to the COVID-19 virus yet, as it is new, and it is not even clear whether people who have recovered from COVID-19 will have lasting immunity, as this happens with some viruses but not with others.[317]
Iran's Supreme Leader Ayatollah Ali Khamenei claimed the virus was genetically targeted at Iranians by the U.S., and this is why it is seriously affecting Iran. He did not offer any evidence.[318][22]
Religious protection
A number of religious groups have claimed protection due to their faith, some refusing to stop large religious gatherings. In Israel, some Ultra-Orthodox Jews initially refused to close synagogues and religious seminaries and disregarded government restrictions because "The Torah protects and saves",[319] which resulted in an 8 times faster rate of infection among some groups.[320] The Tablighi Jamaat movement organised mass gatherings in Malaysia, India, and Pakistan whose participants believed that God will protect them resulted the biggest rise in COVID-19 cases in a number of countries.[321][29][322] In Iran, the head of Fatima Masumeh Shrine encouraged pilgrims to visit the shrine despite calls to close the shrine, saying that they "consider this holy shrine to be a place of healing."[323] In South Korea the River of Grace Community Church in Gyeonggi Province spread the virus after spraying salt water into their members' mouths in the belief that it would kill the virus,[324] while the Shincheonji Church of Jesus in Daegu where a church leader claimed that no Shincheonji worshipers had caught the virus in February while hundreds died in Wuhan later caused in the biggest spread of the virus in the country.[325][326]
In Somalia, myths have spread claiming Muslims are immune to the virus.[327]
Unproven protective and aggravating factors
Vegetarian immunity
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This section needs expansion. You can help by adding to it. (April 2020)
Claims that vegetarians are immune to coronavirus spread online in India, causing "#NoMeat_NoCoronaVirus" to trend on Twitter.[328][better source needed] Eating meat does not have an effect on COVID-19 spread, except for people near where animals are slaughtered, said Anand Krishnan.[329] Fisheries, Dairying and Animal Husbandry Minister Giriraj Singh said the rumour had significantly affected industry, with the price of a chicken falling to a third of pre-pandemic levels. He also described efforts to improve the hygiene of the meat supply chain.[330]
Efficacy of hand sanitiser, "antibacterial" soaps
Washing in soap and water for at least 20 seconds is the best way to clean hands. Second-best is a hand sanitizer that is at least 60% alcohol.[331]
Claims that hand sanitiser is merely "antibacterial not antiviral", and therefore ineffective against COVID-19, have spread widely on Twitter and other social networks. While the effectiveness of sanitiser depends on the specific ingredients, most hand sanitiser sold commercially inactivates SARS-CoV-2, which causes COVID-19.[332][333] Hand sanitizer is recommended against COVID-19,[279] though unlike soap, it is not effective against all types of germs.[334] Washing in soap and water for at least 20 seconds is recommended by the U.S. Centers for Disease Control (CDC) as the best way to clean hands in most situations. However, if soap and water are not available, a hand sanitizer that is at least 60% alcohol can be used instead, unless hands are visibly dirty or greasy.[331][335] The CDC and the Food and Drug Administration both recommend plain soap; there is no evidence that "antibacterial soaps" are any better, and limited evidence that they might be worse long-term.[336][337]
Alcohol (ethanol and poisonous methanol)
Contrary to some reports, drinking alcohol does not protect against COVID-19, and can increase health risks[279] (short term and long term). Drinking alcohol is ethanol; other alcohols, such as methanol, which causes methanol poisoning, are acutely poisonous, and may be present in badly-prepared alcoholic beverages.[338]
Iran has reported incidents of methanol poisoning, caused by the false belief that drinking alcohol would cure or protect against coronavirus;[339] alcohol is banned in Iran, and bootleg alcohol may contain methanol.[340] According to Iranian media in March 2020, nearly 300 people have died and more than a thousand have become ill due to methanol poisoning, while Associated Press gave figures of around 480 deaths with 2,850 others affected.[341] The number of deaths due to methanol poisoning in Iran reached over 700 by April.[342] Iranian social media had circulated a story from British tabloids that a British man and others had been cured of coronavirus with whiskey and honey,[339][343] which combined with the use of alcohol-based hand sanitizers as disinfectants, led to the false belief that drinking high-proof alcohol can kill the virus.[339][340][341]
Similar incidents have occurred in Turkey, with 30 Turkmenistan citizens dying from methanol poisoning related to coronavirus cure claims.[344][345]
In Kenya, the Governor of Nairobi Mike Sonko has come under scrutiny for including small bottles of the cognac Hennessy in care packages, falsely claiming that alcohol serves as "throat sanitizer" and that, from research, it is believed that "alcohol plays a major role in killing the coronavirus."[346][347]
Cocaine
Cocaine does not protect against COVID-19. Several viral tweets purporting that snorting cocaine would sterilize one's nostrils of the coronavirus spread around Europe and Africa. In response, the French Ministry of Health released a public service announcement debunking this claim, saying "No, cocaine does NOT protect against COVID-19. It is an addictive drug that causes serious side effects and is harmful to people's health." The World Health Organisation also debunked the claim.[348]
Ibuprofen
A tweet from French health minister Olivier Véran, a bulletin from the French health ministry, and a small speculative study in The Lancet Respiratory Medicine raised concerns about ibuprofen worsening COVID-19, which spread extensively on social media. The European Medicines Agency[349] and the World Health Organization recommended COVID-19 patients keep taking ibuprofen as directed, citing lack of convincing evidence of any danger.[350]
Helicopter spraying
In some Asian countries, it has been claimed that one should stay at home on particular days when helicopters spray disinfectant over homes for killing off COVID-19; no such spraying is taking place.[351][352]
Cruise ships safety from infection
Main article: COVID-19 pandemic on cruise ships
Claims by cruise-ship operators notwithstanding, there are many cases of coronaviruses in hot climates; some countries in the Caribbean, the Mediterranean, and the Persian Gulf are severely affected.
In March 2020, the Miami New Times reported that managers at Norwegian Cruise Line had prepared a set of responses intended to convince wary customers to book cruises, including "blatantly false" claims that the coronavirus "can only survive in cold temperatures, so the Caribbean is a fantastic choice for your next cruise", that "[s]cientists and medical professionals have confirmed that the warm weather of the spring will be the end of the [c]oronavirus", and that the virus "cannot live in the amazingly warm and tropical temperatures that your cruise will be sailing to".[353]
Flu is seasonal (becoming less frequent in the summer) in some countries, but not in others. While it is possible that the COVID-19 coronavirus will also show some seasonality, it is not yet known.[354][355][356][medical citation needed] The COVID-19 coronavirus spread along international air travel routes, including to tropical locations.[357] Outbreaks on cruise ships, where an older population lives in close quarters, frequently touching surfaces which others have touched, were common.[358][359]
It seems that COVID-19 can be transmitted in all climates.[279] It has seriously affected many warm-climate countries. For instance, Dubai, with an year-round average daily high of 28.0 Celsius (82.3°F) and the airport said to have the world's most international traffic, has had thousands of cases.
Vaccine pre-existence
It was reported that multiple social media posts have promoted a conspiracy theory claiming the virus was known and that a vaccine was already available. PolitiFact and FactCheck.org noted that no vaccine currently exists for COVID-19. The patents cited by various social media posts reference existing patents for genetic sequences and vaccines for other strains of coronavirus such as the SARS coronavirus.[360][4] The WHO reported as of February 5, 2020, that amid news reports of "breakthrough" drugs being discovered to treat people infected with the virus, there were no known effective treatments;[361] this included antibiotics and herbal remedies not being useful.[362] Scientists are working to develop a vaccine, but as of March 18, 2020, no vaccine candidates have completed Phase II clinical trials.[citation needed]
Miscellaneous
Name of the disease
Social media posts and internet memes claimed that COVID-19 means "Chinese Originated Viral Infectious Disease 19", or similar, as supposedly the "19th virus to come out of China".[477] In fact, the WHO named the disease as follows: CO stands for corona, VI for virus, D for disease and 19 for when the outbreak was first identified (31 December 2019).[478]
Bat soup
Some media outlets, including Daily Mail and RT, as well as individuals, disseminated a video showing a Chinese woman eating a bat, falsely suggesting it was filmed in Wuhan and connecting it to the outbreak.[479][480] However, the widely circulated video contains unrelated footage of a Chinese travel vlogger, Wang Mengyun, eating bat soup in the island country of Palau in 2016.[479][480][481][482] Wang posted an apology on Weibo,[481][482] in which she said she had been abused and threatened,[481] and that she had only wanted to showcase Palauan cuisine.[481][482] The spread of misinformation about bat consumption has been characterized by xenophobic and racist sentiment toward Asians.[90][483][484] In contrast, scientists suggest the virus originated in bats and migrated into an intermediary host animal before infecting people.[90][485]
en.wikipedia.org/wiki/Misinformation_related_to_the_COVID...
The Vienna Stock Exchange, founded in 1771 as one of the oldest stock exchanges in the world, is now a modern, customer- and market-based financial services company. It not only operates the only securities exchange in Austria, but the Austrian electricity EXAA and the CEGH Gas Exchange of the Vienna Stock Exchange. The main business areas include trading in the cash market (equity market, bond market), at the futures market and in structured products. Additional services include sales data, index development and management, and financial market specific seminars and courses. The Vienna Stock Exchange is the initiator and as well as the stock exchanges of Budapest, Ljubljana and Prague, a 100 % subsidiary of the CEE Stock Exchange Group (CEESEG), the largest exchange group in Central and Eastern Europe.
History
The Vienna Stock Exchange was founded by Maria Theresa and is one of the oldest stock exchanges in the world. Initially, only bonds, bills and foreign exchanges were traded. The Austrian National Bank was in 1818 the first public company listed on the Vienna Stock Exchange.
In the middle of the 19th Century, the growing industrialization brought a huge economic boom and many companies financed themselves with stock issues on the bourse. A liberal economic policy favored hasty and sometimes unsound business ventures. These factors set off a wave of speculations that on 9 May 1873 with the Vienna stock market crash ended abruptly. About half of public companies disappeared from the exchanges. It took years till the stock market of the Vienna Stock Exchange recovered from this setback .
Old stock exchange building in Vienna's Ringstrasse, built in 1877 by Theophil von Hansen.
New regulations and stock exchange laws had become necessary in order to handle the increasingly lively trade in an orderly fashion. 1875 third exchange law was enacted in the history of the Vienna Stock Exchange, which guaranteed the complete autonomy of the Vienna Stock Exchange and a smooth trading process. 1877, the by Theophil von Hansen designed historic stock exchange building on Scots ring (Schottenring) was inaugurated.
From the end of the 19th Century until the outbreak of the First World War, the situation on the capital market further consolidated. During the First World War, the stock market was closed. Not until the end of 1919, the official stock trading was resumed and the Vienna Stock Exchange experienced again a strong inflow and a boom, which ended abruptly with a crash in March, 1924. Share prices rebounded in Vienna in the following years just slowy. However, the fall in prices on the New York Stock Exchange in October 1929 had no significant impact on Vienna.
Although the position of the Vienna Stock Exchange was severely diminished as a financial center by the fall of the monarchy, it kept for South Eastern Europe continued importance. Among the 205 shares that were traded on the Vienna Stock Exchange in 1937, yet there were 75 from the Succession States.
With the annexation of Austria to the German Reich in 1938, the Vienna Stock Exchange lost its independence and was subordinated to the German stock exchange law. Securities trading itself was - albeit very limited - continued until shortly before the end of the Second World War. In 1948 the stock market was reopened. The stock market suffered after the war by the nationalization of individual industries a certain narrowing. The bond market, however, had recovered after the currency reform in 1952.
A major fire on 13 April 1956 destroyed a part of the exchange building. The building was re-opened in December, 1959.
While the bond market of the Vienna Stock Exchange grew steadily, the stock trading continued to lead a shadowy existence. The big change came only in 1985, when an American analyst triggered a stock market boom by drewing the attention to the extremely high potential of the Austrian capital market. After two decades of stagnant rates, it came to price increases of 130 %. Revenues increased six-fold. That changed the hitherto rather subdued setting of economic policy to the stock market. A number of large companies in the following years went on the market, such as RHI, OMV (1987), Austrian Airlines, Verbund (1988), EVN (1989). From mid-1988 on the Vienna stock exchange once again began a stock market boom, which lasted until August 1990.
In December 1997, the Vienna Stock Exchange with the Austrian Futures and Options Exchange (ÖTOB) was fused to the new Wiener Börse AG.
In January 1998, the Vienna Stock Exchange moved to premises of the OeKB at Strauchgasse 1-3 and in the Wallnerstraße 8, 1014 Vienna.
Following the decision to privatize the Vienna Stock Exchange, the Exchange Chamber was dissolved in June 1999 and the ownership shares (50% of the shares) the Austrian issuers (except banks) offered to buy.
Since November 1999, the trade in securities takes place via the fully electronic trading system Xetra ®.
End of 2001, the Vienna Stock Exchange moved to the Palais Caprara-Geymüller.
The Vienna Stock Exchange had remained untouched by the market declines, as the major international exchanges experienced in late 2002. 2003, the cash market of the Vienna Stock Exchange began to revive. Austrian companies managed to position themselves after the EU enlargement in Eastern Europe well, which had a positive impact on the performance of the ATX. The rise of the Vienna Stock Exchange increased the interest of both domestic and international investors in the Austrian capital market.
An Austrian consortium of Austrian banks, the Vienna Stock Exchange, and OeKB, acquired in 2004 the majority of the Budapest Stock Exchange. This partnership was the foundation for an exchange network that has been steadily expanded through cooperation agreements with many exchanges in the Southeast European region, such as Bucharest, Zagreb, Belgrade, Sofia, Sarajevo, Montenegro, Macedonia and Banja Luka.
In July 2004, climbed the ATX, which represents the 20 largest listed companies in Austria, for the first time over the 2,000 point mark, in June 2005, it reached the 3,000-point mark and in May 2006 the ATX broke through the 4,000-point mark. In 2008, the Vienna Stock Exchange was unable to escape the turmoil in the international financial markets. Especially in the second half of the year had the ATX experienced large losses and closed at 1,750.83 points by the end of 2008. Was 2009 at the beginning of the year still overshadowed by the financial and economic crisis, which had in the previous year reached its peak, began after repeated strong losses from mid-March a rally. The boom on the Vienna Stock Exchange turned out in comparison to other international financial centers even significantly above average, and although the ATX in recent months tended sideways, it closed in 2009 with an increase of approximately 42.5 % at 2,495.56 points.
After the acquisition of majority stakes in the three neighboring exchanges of Budapest, Ljubljana and Prague in June 2008, the Vienna Stock Exchange in 2009 devoted to the intensive formation of the CEE Stock Exchange Group - initially in the form of a common brand. On 14 January 2010, the holding company CEESEG was entered in the commercial register. Subordinaded to it are now the stock exchanges of Vienna, Budapest, Ljubljana and Prague equally as affiliates. Sole shareholder of Wiener Börse AG is now the CEESEG, the previous shareholders of Wiener Börse AG are now shareholders of CEESEG.
Corporate Structure
The Vienna Stock Exchange is a 100 % subsidiary of CEESEG. This is 52% of Austrian banks and 48% of Austrian companies.
Largest securities offerings
Biggest IPOs:
2007: Strabag SE, € 1,325.4 million
2005: Raiffeisen International, € 1,113.8 million
2000: Telekom Austria, € 1,008 million
2003: Bank Austria Creditanstalt, € 957.9 million
2006: Austrian Post, € 651.7 million
Largest capital:
2006: First Bank, € 2,918 million
2007: IMMOEaST, € 2,835 million
2006: IMMOEaST, € 2,752 million
2009: First Group, € 1,740 million
2007: Raiffeisen International, € 1,237 million
Indices
Wiener Börse calculates and distributes a number of indices, including several Eastern European indices which are known under the name "CECE indices".
The most important index calculated by the Vienna Stock Exchange is the trade flow index ATX, which comprises the 20 most liquid Vienna values.
CEE stock indexes are available for the Czech Republic (CTX - Czech Traded Index), Hungary (HTX - Hungarian Traded Index), Poland (PTX - Polish Traded Index), Croatia, Serbia and Bulgaria as well as indexes for the entire region (CECE Composite Index, SETX, CECE CECE MID , NTX). Furthermore significant, a total of 10 CIS indices.
In addition, the Vienna Stock Exchange is calculating the China Traded Index (CNX) from the closing prices (about 8:45 clock).
en.wikipedia.org/wiki/Karnak#Temple_of_Amenhotep_IV_(deliberately_dismantled)
The Karnak Temple Complex, comprises a vast mix of decayed temples, pylons, chapels, and other buildings near Luxor, Egypt. Construction at the complex began during the reign of Senusret I (reigned 1971–1926 BCE) in the Middle Kingdom (around 2000–1700 BCE) and continued into the Ptolemaic Kingdom (305–30 BCE), although most of the extant buildings date from the New Kingdom. The area around Karnak was the ancient Egyptian Ipet-isut ("The Most Selected of Places") and the main place of worship of the 18th Dynastic Theban Triad, with the god Amun as its head. It is part of the monumental city of Thebes, and in 1979 it was inscribed on the UNESCO World Heritage List along with the rest of the city. The Karnak complex gives its name to the nearby, and partly surrounded, modern village of El-Karnak, 2.5 kilometres (1.6 miles) north of Luxor.
Name
The original name of the temple was Nesut-Tawy, meaning "Throne of the Two Lands". Other names included Ipet-Iset, meaning "The Finest of Seats", as well as Ipt-Swt, meaning "Selected Spot", or Ipetsut, meaning "The Most Select of Places".
Some believe that the modern name of Karnak is derived from Arabic: خورنق Khurnaq meaning "fortified village". However, this speculation is not supported by any historical evidence.
The complex is a vast open site and includes the Karnak Open Air Museum. It is believed to be the second[citation needed] most visited historical site in Egypt; only the Giza pyramid complex near Cairo receives more visits. It consists of four main parts, of which only the largest is currently open to the general public. The term Karnak often is understood as being the Precinct of Amun-Re only, because this is the only part most visitors see. The three other parts, the Precinct of Mut, the Precinct of Montu, and the dismantled Temple of Amenhotep IV, are closed to the public. There also are a few smaller temples and sanctuaries connecting the Precinct of Mut, the Precinct of Amun-Re, and the Luxor Temple. The Precinct of Mut is very ancient, being dedicated to an Earth and creation deity, but not yet restored. The original temple was destroyed and partially restored by Hatshepsut, although another pharaoh built around it in order to change the focus or orientation of the sacred area. Many portions of it may have been carried away for use in other buildings.
The key difference between Karnak and most of the other temples and sites in Egypt is the length of time over which it was developed and used. Construction of temples started in the Middle Kingdom and continued into Ptolemaic times. Approximately thirty pharaohs contributed to the buildings, enabling it to reach a size, complexity, and diversity not seen elsewhere. Few of the individual features of Karnak are unique, but the size and number of features are overwhelming. The deities represented range from some of the earliest worshipped to those worshipped much later in the history of the Ancient Egyptian culture. Although destroyed, it also contained an early temple built by Amenhotep IV (Akhenaten), the pharaoh who later would celebrate a near monotheistic religion he established that prompted him to move his court and religious center away from Thebes. It also contains evidence of adaptations, where the buildings of the ancient Egyptians were used by later cultures for their own religious purposes.
One famous aspect of Karnak is the Great Hypostyle Hall in the Precinct of Amun-Re, a hall area of 50,000 sq ft (5,000 m2) with 134 massive columns arranged in 16 rows. One hundred and twenty-two of these columns are 10 metres (33 ft) tall, and the other 12 are 21 metres (69 ft) tall with a diameter of over 3 metres (9.8 ft). The architraves on top of these columns are estimated to weigh 70 tons. These architraves may have been lifted to these heights using levers. This would be an extremely time-consuming process and also would require great balance to get to such great heights. A common alternative theory regarding how they were moved is that large ramps were constructed of sand, mud, brick or stone and that the stones were then towed up the ramps. If stone had been used for the ramps, they would have been able to use much less material. The top of the ramps presumably would have employed either wooden tracks or cobblestones for towing the megaliths.
There is an unfinished pillar in an out-of-the-way location that indicates how it would have been finished. Final carving was executed after the drums were put in place so that it was not damaged while being placed. Several experiments moving megaliths with ancient technology were made at other locations – some of which are amongst the largest monoliths in the world.
In 2009 UCLA launched a website dedicated to virtual reality digital reconstructions of the Karnak complex and other resources.The sun god's shrine has light focused upon it during the winter solstic
The history of the Karnak complex is largely the history of Thebes and its changing role in the culture. Religious centers varied by region, and when a new capital of the unified culture was established, the religious centers in that area gained prominence. The city of Thebes does not appear to have been of great significance before the Eleventh Dynasty and previous temple building there would have been relatively small, with shrines being dedicated to the early deities of Thebes, the Earth goddess Mut and Montu. Early building was destroyed by invaders. The earliest known artifact found in the area of the temple is a small, eight-sided column from the Eleventh Dynasty, which mentions Amun-Re. Amun (sometimes called Amen) was long the local tutelary deity of Thebes. He was identified with the ram and the goose. The Egyptian meaning of Amun is "hidden" or the "hidden god".
Major construction work in the Precinct of Amun-Re took place during the Eighteenth Dynasty, when Thebes became the capital of the unified Ancient Egypt. Almost every pharaoh of that dynasty added something to the temple site. Thutmose I erected an enclosure wall connecting the Fourth and Fifth pylons, which comprise the earliest part of the temple still standing in situ. Hatshepsut had monuments constructed and also restored the original Precinct of Mut, that had been ravaged by the foreign rulers during the Hyksos occupation. She had twin obelisks, at the time the tallest in the world, erected at the entrance to the temple. One still stands, as the second-tallest ancient obelisk still standing on Earth; the other has broken in two and toppled. Another of her projects at the site, Karnak's Red Chapel or Chapelle Rouge, was intended as a barque shrine and originally may have stood between her two obelisks. She later ordered the construction of two more obelisks to celebrate her sixteenth year as pharaoh; one of the obelisks broke during construction, and thus, a third was constructed to replace it. The broken obelisk was left at its quarrying site in Aswan, where it still remains. Known as the unfinished obelisk, it provides evidence of how obelisks were quarried.
Construction of the Great Hypostyle Hall also may have begun during the Eighteenth Dynasty (although most new building was undertaken under Seti I and Ramesses II in the Nineteenth). Merneptah, also of the Nineteenth Dynasty, commemorated his victories over the Sea Peoples on the walls of the Cachette Court, the start of the processional route (also known as the Avenue of Sphinxes) to the Luxor Temple. The last major change to the Precinct of Amun-Re's layout was the addition of the First Pylon and the massive enclosure walls that surround the whole precinct, both constructed by Nectanebo I of the Thirtieth Dynasty.
In 323 AD, Roman emperor Constantine the Great recognised the Christian religion, and in 356 Constantius II ordered the closing of pagan temples throughout the Roman empire, into which Egypt had been annexed in 30 BC. Karnak was by this time mostly abandoned, and Christian churches were founded among the ruins, the most famous example of this is the reuse of the Festival Hall of Thutmose III's central hall, where painted decorations of saints and Coptic inscriptions can still be seen.
Thebes' exact placement was unknown in medieval Europe, though both Herodotus and Strabo give the exact location of Thebes and how long up the Nile one must travel to reach it. Maps of Egypt, based on the 2nd century Claudius Ptolemaeus' mammoth work Geographia, had been circulating in Europe since the late 14th century, all of them showing Thebes' (Diospolis) location. Despite this, several European authors of the 15th and 16th centuries who visited only Lower Egypt and published their travel accounts, such as Joos van Ghistele and André Thévet, put Thebes in or close to Memphis.
The Karnak temple complex is first described by an unknown Venetian in 1589, although his account gives no name for the complex. This account, housed in the Biblioteca Nazionale Centrale di Firenze, is the first known European mention, since ancient Greek and Roman writers, about a whole range of monuments in Upper Egypt and Nubia, including Karnak, Luxor temple, the Colossi of Memnon, Esna, Edfu, Kom Ombo, Philae, and others.
Karnak ("Carnac") as a village name, and name of the complex, is first attested in 1668, when two capuchin missionary brothers, Protais and Charles François d'Orléans, travelled though the area. Protais' writing about their travel was published by Melchisédech Thévenot (Relations de divers voyages curieux, 1670s–1696 editions) and Johann Michael Vansleb (The Present State of Egypt, 1678).
The first drawing of Karnak is found in Paul Lucas' travel account of 1704, (Voyage du Sieur Paul Lucas au Levant). It is rather inaccurate, and can be quite confusing to modern eyes. Lucas travelled in Egypt during 1699–1703. The drawing shows a mixture of the Precinct of Amun-Re and the Precinct of Montu, based on a complex confined by the three huge Ptolemaic gateways of Ptolemy III Euergetes / Ptolemy IV Philopator, and the massive 113 m long, 43 m high and 15 m thick, First Pylon of the Precinct of Amun-Re.
Karnak was visited and described in succession by Claude Sicard and his travel companion Pierre Laurent Pincia (1718 and 1720–21), Granger (1731), Frederick Louis Norden (1737–38), Richard Pococke (1738), James Bruce (1769), Charles-Nicolas-Sigisbert Sonnini de Manoncourt (1777), William George Browne (1792–93), and finally by a number of scientists of the Napoleon expedition, including Vivant Denon, during 1798–1799. Claude-Étienne Savary describes the complex in rather great detail in his work of 1785; especially in light of the fact that it is a fictional account of a pretend journey to Upper Egypt, composed out of information from other travellers. Savary did visit Lower Egypt in 1777–78, and published a work about that too.
This is the largest of the precincts of the temple complex, and is dedicated to Amun-Re, the chief deity of the Theban Triad. There are several colossal statues, including the figure of Pinedjem I which is 10.5 metres (34 ft) tall. The sandstone for this temple, including all of the columns, was transported from Gebel Silsila 100 miles (161 km) south on the Nile river. It also has one of the largest obelisks, weighing 328 tonnes and standing 29 metres (95 ft) tall.
Located to the south of the newer Amen-Re complex, this precinct was dedicated to the mother goddess, Mut, who became identified as the wife of Amun-Re in the Eighteenth Dynasty Theban Triad. It has several smaller temples associated with it and has its own sacred lake, constructed in a crescent shape. This temple has been ravaged, many portions having been used in other structures. Following excavation and restoration works by the Johns Hopkins University team, led by Betsy Bryan (see below) the Precinct of Mut has been opened to the public. Six hundred black granite statues were found in the courtyard to her temple. It may be the oldest portion of the site.
In 2006, Betsy Bryan presented her findings of one festival that included apparent intentional overindulgence in alcohol. Participation in the festival was great, including the priestesses and the population. Historical records of tens of thousands attending the festival exist. These findings were made in the temple of Mut because when Thebes rose to greater prominence, Mut absorbed the warrior goddesses, Sekhmet and Bast, as some of her aspects. First, Mut became Mut-Wadjet-Bast, then Mut-Sekhmet-Bast (Wadjet having merged into Bast), then Mut also assimilated Menhit, another lioness goddess, and her adopted son's wife, becoming Mut-Sekhmet-Bast-Menhit, and finally becoming Mut-Nekhbet. Temple excavations at Luxor discovered a "porch of drunkenness" built onto the temple by the pharaoh Hatshepsut, during the height of her twenty-year reign. In a later myth developed around the annual drunken Sekhmet festival, Ra, by then the sun god of Upper Egypt, created her from a fiery eye gained from his mother, to destroy mortals who conspired against him (Lower Egypt). In the myth, Sekhmet's blood-lust was not quelled at the end of the battle and led to her destroying almost all of humanity, so Ra had tricked her by turning the Nile as red as blood (the Nile turns red every year when filled with silt during inundation) so that Sekhmet would drink it. The trick, however, was that the red liquid was not blood, but beer mixed with pomegranate juice so that it resembled blood, making her so drunk that she gave up slaughter and became an aspect of the gentle Hathor. The complex interweaving of deities occurred over the thousands of years of the culture.
The temple that Akhenaten (Amenhotep IV) constructed on the site was located east of the main complex, outside the walls of the Amun-Re precinct. It was destroyed immediately after the death of its builder, who had attempted to overcome the powerful priesthood who had gained control over Egypt before his reign. It was so thoroughly demolished that its full extent and layout is currently unknown. The priesthood of that temple regained their powerful position as soon as Akhenaten died, and were instrumental in destroying many records of his existence.
Joseph Kevin Keegan OBE (born 14 February 1951) is an English former footballer and manager. Nicknamed "King Kev" or "Mighty Mouse", Keegan was recognised for his dribbling ability, as well as his finishing and presence in the air, and is regarded as one of the greatest players of all time.
Keegan began his playing career at Scunthorpe United in 1968, before Bill Shankly signed him for Liverpool. There, he won three First Division titles, the UEFA Cup twice, the FA Cup and, in his final season, the European Cup. During this period, he was a regular member of the England national team, and captained the team on 31 occasions, including at UEFA Euro 1980. He moved to Hamburger SV in the summer of 1977 and was named European Footballer of the Year in both 1978 and 1979. Hamburg won the Bundesliga title in the 1978–79 season and reached the 1980 European Cup final. Keegan left Hamburg and played at Southampton for two seasons, before transferring to Newcastle United in the Second Division in 1982. He helped Newcastle secure promotion in his second season, and retired from playing in 1984. He scored 204 goals in 592 appearances in his club career, adding 21 goals in 63 caps for the England national team.
Keegan moved into management at Newcastle in 1992, and the team won promotion to the Premier League as First Division champions in his first full season, the following year. Newcastle finished second in the Premier League in the 1995–96 season, despite leading the way for most of the campaign. After managing Fulham for two seasons, he took charge of the England national team in February 1999. However, he resigned in October 2000, following a 1–0 loss against Germany in qualification for the 2002 FIFA World Cup. In 2001, he became manager of Manchester City for four years, until he resigned in 2005. Keegan had been out of football for almost three years when he returned to Newcastle for a second spell as manager in January 2008. However, this lasted only eight months, as he resigned in September, following speculation about a dispute with the club's directors. He has the unique distinction of being promoted as champions in his first full season with the three clubs he managed.
Graffiti is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire.
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Joseph Kevin Keegan OBE (born 14 February 1951) is an English former footballer and manager. Nicknamed "King Kev" or "Mighty Mouse", Keegan was recognised for his dribbling ability, as well as his finishing and presence in the air, and is regarded as one of the greatest players of all time.
Keegan began his playing career at Scunthorpe United in 1968, before Bill Shankly signed him for Liverpool. There, he won three First Division titles, the UEFA Cup twice, the FA Cup and, in his final season, the European Cup. During this period, he was a regular member of the England national team, and captained the team on 31 occasions, including at UEFA Euro 1980. He moved to Hamburger SV in the summer of 1977 and was named European Footballer of the Year in both 1978 and 1979. Hamburg won the Bundesliga title in the 1978–79 season and reached the 1980 European Cup final. Keegan left Hamburg and played at Southampton for two seasons, before transferring to Newcastle United in the Second Division in 1982. He helped Newcastle secure promotion in his second season, and retired from playing in 1984. He scored 204 goals in 592 appearances in his club career, adding 21 goals in 63 caps for the England national team.
Keegan moved into management at Newcastle in 1992, and the team won promotion to the Premier League as First Division champions in his first full season, the following year. Newcastle finished second in the Premier League in the 1995–96 season, despite leading the way for most of the campaign. After managing Fulham for two seasons, he took charge of the England national team in February 1999. However, he resigned in October 2000, following a 1–0 loss against Germany in qualification for the 2002 FIFA World Cup. In 2001, he became manager of Manchester City for four years, until he resigned in 2005. Keegan had been out of football for almost three years when he returned to Newcastle for a second spell as manager in January 2008. However, this lasted only eight months, as he resigned in September, following speculation about a dispute with the club's directors. He has the unique distinction of being promoted as champions in his first full season with the three clubs he managed.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Im Appenzeller Hinterland sind am 13. Januar die Sylvesterchläuse unterwegs, und wünschen "Es guets Neus" in der Tradition des Julianischen Kalenders.13 January, «Old New Year's Eve», the «Chläuse» make their way around the Appenzell hinterland. The origin and meaning of this ancient custom are the subject of speculation, because few written documents exist.
The Jewish families who settled in Queensland from the time of Separation formed the nucleus of the Brisbane Hebrew Congregation founded in Brisbane in 1865. The congregation used a number of venues as temporary places of worship, while raising money through various land speculations to purchase a site and build a Synagogue. The present site was purchased by R B Lewin and sold to the congregation for £200. In 1885 designs for a Synagogue were sought from architects and plans submitted by Arthur Morry, who worked in the Government Architect's office, were chosen. The foundation stone was laid on the 7th of July 1885 and a bottle containing artefacts and documents was embedded beneath it. The foundation stone is no longer visible following the raising of the level of Margaret Street, and it is believed that the courtyard of the Synagogue was raised at the same time. This is supported by the fact that ventilated arches for the basement are now located well below ground level.
Arthur Midson, a prominent building contractor, built the Synagogue for the sum of £6450. It was finally consecrated on the 18th of July 1886. The building features a large circular geometric tracery window of Oamaru stone above the Margaret Street arched doorway. The stained glass lead lighting was obtained from Messrs Lyon, Cottier & Co of Sydney. The window is flanked on either side by a minaret turret which rose to a height of 90 feet (27 metres) from the original ground level. The rendered brick structure, constructed on concrete foundations, contains a basement, a nave and side aisles on the ground floor with a minister's retiring or robe room at the rear. In accordance with traditional Jewish religious practices the sexes are seperated during worship, and a gallery level for females only is incorporated constructed. It contains 140 seats and two women's retiring rooms.
The Synagogue remained largely unaltered over the years. Prior to the centenary celebrations of the Brisbane Jewish community in 1965, considerable renovations were carried out, including the installation of additional stained glass windows. Many of these were donated by congregation members whose families died in the Holocaust (World War II). The words 'The Brisbane Synagogue' and the congregation's spiritual name 'Kehilla Kedosha Sha'ari Emuna', (The Holy Congregation of the Gates of Faith) were added over the arched entry during 1967/1968.
Source: Queensland Heritage Register.
המשפחות היהודיות שהתיישבו בקווינסלנד מאז הפרידה היוו את גרעין הקהילה העברית של בריסביין שנוסדה בבריסביין בשנת 1865. הקהילה השתמשה במספר מקומות כמקומות פולחן זמניים, תוך גיוס כסף באמצעות השערות שונות על קרקע כדי לרכוש אתר ולבנות בית כנסת. האתר הנוכחי נרכש על ידי ר. ב. לוין ונמכר לקהילה תמורת 200 דולר. בשנת 1885 ביקשו אדריכלים עיצובים לבית כנסת ונבחרו תוכניות שהוגשו על ידי ארתור מורי, שעבד במשרד האדריכלים הממשלתי. אבן היסוד הונחה ב-7 ביולי 1885 ובקבוק המכיל חפצים ומסמכים הוטבע מתחתיו. אבן היסוד כבר לא נראית לאחר העלאת רמת רחוב מרגרט, ונחשבת כי חצר בית הכנסת הועלתה באותו הזמן. זה נתמך על ידי העובדה כי קשתות מאוורר עבור המרתף נמצאים כעת הרבה מתחת לפני הקרקע.
ארתור מידסון, קבלן בנייה מפורסם, בנה את בית הכנסת בסכום של 6450 דולר. הוא הוקדש לבסוף ב-18 ביולי 1886. הבניין כולל חלון עגול גדול של אבן אומרו מעל דלת הקשת ברחוב מרגרט. תאורת העופרת הזכוכית הצבועה הושגה ממר ליון, קוטייה ושות ' מסידני. החלון מקיף משני הצדדים על ידי מגדל מינראט אשר עלה לגובה של 90 רגל (27 מטרים) ממרחב הקרקע המקורי. מבנה הלבנים, שנבנה על יסודות בטון, מכיל מרתף, נב ומסדרונות צדדיים בקומה הקרובה עם חדר הפרישה של השר או חדר הלבוש מאחור. בהתאם למנהגים דתיים יהודיים מסורתיים, המינים מופרדים במהלך עבודת האל, ובונה רמת גלריה לנשים בלבד. הוא מכיל 140 מושבים ושני חדרים לנשים.
בית הכנסת נשאר ללא שינוי במשך השנים. לפני חגיגות המאה שנה של הקהילה היהודית בבריסביין בשנת 1965, בוצעו שיפוצים משמעותיים, כולל התקנת חלונות זכוכית צבועה נוספים. רבים מהם נתרמו על ידי חברי הקהילה שמשפחותיהם מתו בשואה (מלחמת העולם השנייה). המילים ' בית הכנסת בריסביין 'והשם הרוחני של הקהילה' קהילה קדושה שארי אמונה', (הקהילה הקדושה של שערי האמונה) הוספו מעל הכניסה הקשתית במהלך 1967/1968.
מקור: רישום המורשת של קווינסלנד
German postcard by Ross Verlag, no. A 2013/1, 1939-1940. Photo: Metro-Goldwyn-Mayer.
Lupe Velez (1908-1944), was one of the first Mexican actresses to succeed in Hollywood. Her nicknames were 'The Mexican Spitfire' and 'Hot Pepper'. She was the leading lady in such silent films as The Gaucho (1927), Lady of the Pavements (1928), and Wolf Song (1929). During the 1930s, her well-known explosive screen persona was exploited in a series of successful films like Hot Pepper (1933), Strictly Dynamite (1934), and Hollywood Party (1934). In the 1940s, Vélez's popularity peaked after appearing in the Mexican Spitfire films, a series created to capitalise on Vélez's well-documented fiery personality. She had several highly publicised romances and a stormy marriage. In 1944, Vélez died of an intentional overdose of the barbiturate drug Seconal. Her death and the circumstances surrounding it have been the subject of speculation and controversy.
Lupe Vélez was born María Guadalupe Villalobos Vélez in 1908 in the city of San Luis Potosí in Mexico. She was the daughter of Jacobo Villalobos Reyes, a colonel in the army of the dictator Porfirio Diaz, and his wife Josefina Vélez, an opera singer according to some sources, or vaudeville singer according to others. She had three sisters: Mercedes, Reina and Josefina, and a brother, Emigdio. The family was financially comfortable and lived in a large home. At the age of 13, her parents sent her to study at Our Lady of the Lake (now Our Lady of the Lake University) in San Antonio, Texas. It was at Our Lady of the Lake that Vélez learned to speak English and began to dance. She later admitted that she liked dance class, but was otherwise a poor student. Denny Jackson at IMDb: "Life was hard for her family, and Lupe returned to Mexico to help them out financially. She worked as a salesgirl for a department store for the princely sum of $4 a week. Every week she would turn most of her salary over to her mother, but kept a little for herself so she could take dancing lessons. By now, she figured, with her mature shape and grand personality, she thought she could make a try at show business." She began her career as a performer in Mexican vaudeville in 1924. She initially performed under her paternal surname, but after her father returned home from the war, he was outraged that his daughter had decided to become a stage performer. She chose her maternal surname, "Vélez", as her stage name and her mother introduced Vélez and her sister Josefina to the popular Spanish Mexican vedette María Conesa, "La Gatita Blanca". Vélez debuted in a show led by Conesa, where she sang 'Oh Charley, My Boy' and danced the shimmy. Aurelio Campos, a young pianist, and friend of the Vélez sisters recommended Lupe to stage producers, Carlos Ortega and Manuel Castro. Ortega and Castro were preparing a season revue at the Regis Theatre and hired Vélez to join the company in March 1925. Later that year, Vélez starred in the revues 'Mexican Rataplan' and '¡No lo tapes!', both parodies of the Bataclan's shows in Paris. Her suggestive singing and provocative dancing was a hit with audiences, and she soon established herself as one of the main stars of vaudeville in Mexico. After a year and a half, Vélez left the revue after the manager refused to give her a raise. She then joined the Teatro Principal but was fired after three months due to her "feisty attitude". Vélez was quickly hired by the Teatro Lirico, where her salary rose to 100 pesos a day. In 1926, Frank A. Woodyard, an American who had seen Vélez perform, recommended her to stage director Richard Bennett, the father of actresses Joan and Constance Bennett. Bennett was looking for an actress to portray a Mexican cantina singer in his upcoming play 'The Dove'. He sent Vélez a telegram inviting her to Los Angeles to appear in the play. Vélez had been planning to go to Cuba to perform, but quickly changed her plans and traveled to Los Angeles. However, upon arrival, she discovered that she had been replaced by another actress.
While in Los Angeles, Lupe Vélez met the comedian Fanny Brice. Brice recommended her to Flo Ziegfeld, who hired her to perform in New York City. While Vélez was preparing to leave Los Angeles, she received a call from MGM producer Harry Rapf, who offered her a screen test. Producer and director Hal Roach saw Vélez's screen test and hired her for a small role in the comic Laurel and Hardy short Sailors, Beware! (Fred Guiol, Hal Yates, 1927). After her debut, Vélez appeared in another Hal Roach short, What Women Did for Me (James Parrott, 1927), opposite Charley Chase. Later that year, she did a screen test for the upcoming Douglas Fairbanks feature The Gaucho (F. Richard Jones, 1927). Fairbanks was impressed by Vélez and hired her to appear in the film with him. The Gaucho was a hit and critics were duly impressed with Vélez's ability to hold her own alongside Fairbanks, who was well known for his spirited acting and impressive stunts. Her second major film was Stand and Deliver (Donald Crisp, 1928), produced by Cecil B. DeMille. That same year, she was named one of the WAMPAS Baby Stars. Then she appeared in Lady of the Pavements (1929), directed by D. W. Griffith, and Where East Is East (Tod Browning, 1929), starring Lon Chaney as an animal trapper in Laos. In the Western The Wolf Song (Victor Fleming, 1929), she appeared alongside Gary Cooper. As she was regularly cast as 'exotic' or 'ethnic' women that were volatile and hot-tempered, gossip columnists took to referring to Vélez as "Mexican Hurricane", "The Mexican Wildcat", "The Mexican Madcap", "Whoopee Lupe" and "The Hot Tamale". Lupe Vélez made the transition to sound films without difficulty. Studio executives had predicted that her accent would likely hamper her ability to make the transition. That idea was dispelled after she appeared in the all-talking Rin Tin Tin vehicle, Tiger Rose (George Fitzmaurice, 1929). The film was a hit and Vélez's sound career was established. Vélez appeared in a series of Pre-Code films like Hell Harbor (Henry King, 1930), The Storm (William Wyler, 1930), and the crime drama East Is West (Monta Bell, 1930) opposite Edward G. Robinson. The next year, she appeared in her second film for Cecil B. DeMille, Squaw Man (Cecil B. DeMille, 1931), opposite Warner Baxter, in Resurrection (Edwin Carewe, 1931), and The Cuban Love Song (W.S. Van Dyke, 1931), with the popular singer Lawrence Tibbett. She had a supporting role in Kongo (William J. Cowen, 1932) with Walter Huston, a sound remake of West of Zanzibar (Tod Browning, 1928) which tries to outdo the Lon Chaney original in morbidity. She also starred in Spanish-language versions of Universal films like Resurrección (Eduardo Arozamena, David Selman, 1931), the Spanish version of Resurrection (1931), and Hombres en mi vida (Eduardo Arozamena, David Selman, 1932), the Spanish version of Men in Her Life (William Beaudine, 1931) in which Lois Moran had starred.
In 1932, Lupe Vélez took a break from her film career and traveled to New York City where she was signed by Broadway impresario Florenz Ziegfeld, Jr. to take over the role of "Conchita" in the musical revue 'Hot-Cha!'. The show also starred Bert Lahr, Eleanor Powell, and Buddy Rogers. Back in Hollywood, Lupe switched to comedy after playing dramatic roles for five years. Denny Jackson at IMDb: "In 1933 she played the lead role of Pepper in Hot Pepper (1933). This film showcased her comedic talents and helped her to show the world her vital personality. She was delightful." After Hot Pepper (John G. Blystone, 1933) with Edmund Lowe and Victor McLaglen, Lupe played beautiful but volatile, characters in a series of successful films like Strictly Dynamite (Elliott Nugent, 1934), Palooka (Benjamin Stoloff, 1934) both opposite Jimmy Durante, and Hollywood Party (Allan Dwan, a.o., 1934) with Laurel and Hardy. Although Vélez was a popular actress, RKO Pictures did not renew her contract in 1934. Over the next few years, Vélez worked for various studios as a freelance actress; she also spent two years in England where she filmed The Morals of Marcus (Miles Mander, 1935) and Gypsy Melody (Edmond T. Gréville, 1936). She returned to Los Angeles the following year where she appeared in the final part of the Wheeler & Woolsey comedy High Flyers (Edward F. Cline, 1937). In 1938, Vélez made her final appearance on Broadway in the musical You Never Know, by Cole Porter. The show received poor reviews from critics but received a large amount of publicity due to the feud between Vélez and fellow cast member Libby Holman. Holman was irritated by the attention Vélez garnered from the show with her impersonations of several actresses including Gloria Swanson, Katharine Hepburn, and Shirley Temple. The feud came to a head during a performance in New Haven, Connecticut after Vélez punched Holman in between curtain calls and gave her a black eye. The feud effectively ended the show. Upon her return to Mexico City in 1938 to star in her first Mexican film, Vélez was greeted by ten thousand fans. The film La Zandunga (Fernando de Fuentes, 1938) co-starring Arturo de Córdova, was a critical and financial success. Vélez was slated to appear in four more Mexican films, but instead, she returned to Los Angeles and went back to work for RKO Pictures. In 1939, Lupe Vélez was cast opposite Leon Errol and Donald Woods in the B-comedy, The Girl from Mexico (Leslie Goodwins, 1939). Despite being a B film, it was a hit with audiences and RKO re-teamed her with Errol and Wood for a sequel, Mexican Spitfire (Leslie Goodwins, 1940). That film was also a success and led to a series of eight Spitfire films. Wikipedia: "In the series, Vélez portrays Carmelita Lindsay, a temperamental yet friendly Mexican singer married to Dennis 'Denny' Lindsay (Woods), an elegant American gentleman. The Spitfire films rejuvenated Vélez's career. Moreover, they were films in which a Latina headlined for eight films straight –a true rarity." In addition to the Spitfire series, she was cast in such films as Six Lessons from Madame La Zonga (John Rawlins, 1941), Playmates (David Butler, 1941) opposite John Barrymore, and Redhead from Manhattan (Lew Landers, 1943). In 1943, the final film in the Spitfire series, Mexican Spitfire's Blessed Event (Leslie Goodwins, 1943), was released. By that time, the novelty of the series had begun to wane. Velez co-starred with Eddie Albert in the romantic comedy, Ladies' Day (Leslie Goodwins, 1943), about an actress and a baseball player. In 1944, Vélez returned to Mexico to star in an adaptation of Émile Zola's novel Nana (Roberto Gavaldón, Celestino Gorostiza, 1944), which was well-received. It would be her final film. After filming wrapped, Vélez returned to Los Angeles and began preparing for another stage role in New York.
Lupe Vélez's temper and jealousy in her often tempestuous romantic relationships were well documented and became tabloid fodder, often overshadowing her career. Vélez was straightforward with the press and was regularly contacted by gossip columnists for stories about her romantic exploits. Her first long-term relationship was with actor Gary Cooper. Vélez met Cooper while filming The Wolf Song in 1929 and began a two-year affair with him. The relationship was passionate but often stormy. Reportedly Vélez chased Cooper around with a knife during an argument and cut him severely enough to require stitches. By that time, the rocky relationship had taken its toll on Cooper who had lost 45 pounds and was suffering from nervous exhaustion. Paramount Pictures ordered him to take a vacation to recuperate. While he was boarding the train, Vélez showed up at the train station and fired a pistol at him. During her marriage to actor Johnny Weissmuller, stories of their frequent physical fights were regularly reported in the press. Vélez reportedly inflicted scratches, bruises, and love-bites on Weissmuller during their fights and "passionate love-making". In July 1934, after ten months of marriage, Vélez filed for divorce citing cruelty. She withdrew the petition a week later after reconciling with Weissmuller. In January 1935, she filed for divorce a second time and was granted an interlocutory decree that was dismissed when the couple reconciled a month later. In August 1938, Vélez filed for divorce for a third time, again charging Weissmuller with cruelty. Their divorce was finalised in August 1939. After the divorce became final, Vélez began dating actor Guinn "Big Boy" Williams in late 1940. They were reportedly engaged but never married. Vélez was also linked to author Erich Maria Remarque and the boxers Jack Johnson and Jack Dempsey. In 1943, Vélez began an affair with her La Zandunga co-star Arturo de Córdova. De Córdova had recently moved to Hollywood after signing with Paramount Pictures. Despite the fact that de Córdova was married to Mexican actress Enna Arana with whom he had four children, Vélez granted an interview to gossip columnist Louella Parsons in September 1943 and announced that the two were engaged. Vélez ended the engagement in early 1944, reportedly after de Córdova's wife refused to give him a divorce. Vélez then met and began dating a struggling young Austrian actor named Harald Maresch (who went by the stage name Harald Ramond). In September 1944, she discovered she was pregnant with Ramond's child. She announced their engagement in late November 1944. On 10 December, four days before her death, Vélez announced she had ended the engagement and kicked Ramond out of her home. On the evening of 13 December 1944, Vélez dined with her two friends, the silent film star Estelle Taylor and Venita Oakie. In the early morning hours of 14 December, Vélez retired to her bedroom, where she consumed 75 Seconal pills and a glass of brandy. Her secretary, Beulah Kinder, found the actress's body on her bed later that morning. A suicide note addressed to Harald Ramond was found nearby. Lupe Vélez was only 36 years old. More than four-thousand people filed past her casket during her funeral. Her body was interred in Mexico City, at Panteón Civil de Dolores Cemetery. Velez' estate, valued at $125,000 and consisting mostly of her Rodeo House home, two cars, jewelry, and personal effects were left to her secretary Beulah Kinder with the remainder in trust for her mother, Mrs. Josephine Velez. Together with Dolores del Rio, Ramon Novarro, and José Mojica, she was one of the few Mexican people who had made history in the early years of Hollywood.
Sources: Denny Jackson (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
There was some speculation that Red Sonja and the Sparta Warrior had the same headsculpt with different hair. If the Sparta Warrior is different, it might only be subtle changes in the paint job. Even so, for some reason I find I like the Spartan's sculpt a bit more than Sonja's. It might be a little soft, but I guess not having any expectations for the Spartan makes it easier to accept her as she is.
The group of monuments at Mahabalipuram is a collection of 7th and 8th century religious monuments in the coastal beach resort town of Mamallapuram and a UNESCO World Heritage site.[1][2][3] It is on the Coromandel Coast of the Bay of Bengal, about 60 kilometres (37 mi) south of Chennai, Tamil Nadu, India.[1]
The site has 40 ancient monuments and Hindu temples,[4] including one of the largest open-air rock reliefs in the world, the Descent of the Ganges or Arjuna's Penance.[1][5] The site includes several categories of monuments: ratha temples with an architecture of monolith processional chariots built between 630 and 668 CE; the mandapa viharas also called cave temples with narratives from the Mahabharata, Shaivism, Shaktism and Vaishnavism with inscriptions in multiple Indian languages and scripts; rock reliefs particularly bas-reliefs; stone cut structural temples built between 695 and 722 CE; and, archaeological excavations some dated to 6th century and earlier.[3][6]
The monuments were built during the Pallava Period.[2][3][7] They were referred to as Seven Pagodas in many colonial era publications, are also called the Mamallapuram temples or Mahabalipuram temples in contemporary literature. The site was restored after 1960, and has been managed by the Archaeological Survey of India.[8]
Location and nomenclature
The Mahabalipuram temples are in the southeastern part of peninsular India, in the state of Tamil Nadu. They are located about 60 kilometres (37 mi) southwest from Chennai, along the Coromandel Coast. The monuments are reachable by a four-lane divided highway (East Coast Road, SH 49 and 49A). The nearest airport is Chennai (IATA: MAA). The city is connected to the rest of India through a railway network.[9]
Mahabalipuram is known by several names such as Mamallapuram, where Mamalla means "Great Wrestler" and refers to a 7th century king Narasimha Varman I.[9][10] Other names found in historic texts, state Vora and Sundaresh, include Mamallapattana, Mavalipuram, Mavalivaram, Mavellipore, Mauvellipooram and Mahabalipur, all of which refer to "city of great wrestler" or "city of Mahabali". The latter term is related to mythical Mahabali, the demon king defeated by one of the Vishnu avatars, the dwarf Vamana.[11] An alternate proposal is by Nagaswamy, who states that the name is derived from the Tamil word "Mallal" which means prosperity, and reflects it being an ancient economic center of trade not only for South India but also for Southeast Asia.[12][note 1] This proposal is in part supported by a Tamil text dated to the 8th century, authored by the early Bhakti movement poet Thirumangai Alvar, where Mamallapuram is called "Kadal Mallai".[12][14]
The town was called the "Seven Pagodas" by European sailors who landed on this coast after they saw seven towers of Hindu temples.[1][15] The 7th century inscriptions refer to it as Mamallapuram or close variants, the term Mahabalipuram appears only after the 16th century and one used in colonial era literature in addition to Seven Pagodas.[16][17][note 2] In 1957, the Tamil Nadu government adopted the ancient name Mamallapuram as the official name of the site and township, and in 1964 declared Mamallapuram monuments and coastal beach region as a Special Tourism area and Health Resort.[18]
History
The ancient history of Mahabalipuram is unclear, but numismatic and epigraphical evidence, as well as being a base of numerous temples suggests it was likely significant location before the monuments were built. Some speculative theories state that it is the same town as the seaport Sopatma mentioned in the 1st century Periplus of the Erythraean Sea, alternatively that Ptolemy's port named Melange in his 2nd century Geographia is this site. Yet another theory posits that the port of Nirppeyarvu mentioned in the Perumpanarrupadai from the early centuries of the common era may be Mahabalipuram or Kanchipuram.[16][17]
The Sanskrit poet scholar Daṇḍin who lived in Tamil Nadu and was associated with the court of the Pallavas, in his Avantisundari Katha, praises artists for their exceptional repair of a Vishnu sculpture at Mamallapuram.[19] Scholars dispute whether Dandin was the author of this text.[20] Regardless of the author, the medieval Sanskrit text mentions the Mamallapuram monuments, an early tradition of repairs, and the significance of Vaishnavism.[19]
A 1911 painting of a few Ratha monuments at Mahabalipuram. Tucks Oilette, the author called the site the Seven Pagodas.
A 1921 photo of the Shore Temple.
The Venetian traveller Marco Polo, as he circled back from Southeast Asia and arrived in India, mentions a place he did not visit but called "Seven Pagodas", a name that became associated with shore temples of Mahabalipuram in publications by European merchants that followed centuries later. It entered the Catalan atlas drawn by the Jewish cartographer Abraham Cresques in 1375, where the Spanish map shows "Setemelti" and "Santhome", a crude map of Asia but one accurate in the relative positions of the two ports, wherein the former now is Mamallapuram and the latter Mylapore.[21][note 3] Another Venetian traveler Gasparo Balbi in 1582 mentioned the "Seven Pagodas" and "Eight Pleasant Hillocks" which the Indian historian Nagaswamy suggests referring to these monuments.[16][17] However, Schalk disagrees and states that Balbi calls it "Seven Pagodas of China", and this is a re-interpretation of Henry Yule's reading of Balbi, which treated Balbi unreliable, followed it with a selective correction that it probably meant Mamallapuram.[22]
Since, however the counting is done, there are now fewer than seven towers, this name has long led to speculation and argument.[23] A December 2004 Tsunami briefly exposed the beachfront near Saluvankuppam, now north of Mahabalipuram, revealing some inscriptions and structures. These were dated to the 9th century and possibly destroyed by a 13th century tsunami, states Badrinarayanan in a BBC report. The tsunami also revealed large structures on the seabed about a kilometer into the sea, which archaeologists speculate may be the more ancient Mahabalipuram.[24] According to an article in the Science magazine, the tsunami exposed rocks with "elaborately sculpted head of an elephant and a horse in flight", "a small niche with a statue of a deity; another rock with a reclining lion", and other Hindu religious iconography.[25] After the 2004 tsunami, marine archaeologists assisted by underwater diving teams have explored the site to the east of one of the monuments called the Shore Temple. This has revealed the existence of ruins of fallen walls, large number of rectangular blocks and other structures running parallel to the shore, in addition to the forty surviving monuments.[16][14]
Modern era reports
The European sailors and merchants who pioneered the modern era trade to Asia after the 16th century mention the site. The early reports such as those by Niccolao Manucci, who never visited the site, but viewed the monuments at a distance and heard about them, confused the Chinese and Burmese Buddhist pagoda designs he had previously seen with features in the Hindu temples and assumed that the temples were built by the Chinese.[21] Anthony Hamilton published an account of "East Indies" in 1727 that says it was a pilgrimage center and called its outside sculpture as "obscene, lewd" as any in the performances at the Drury Lane. The French writer Pierre Sonnerat, in contrast, was critical of European writing and racism directed at Indians and speculated that the Mahabalipuram temples must be very old.[21]
The 1788 scholarly survey report of the Mahabalipuram by William Chambers brought these monuments to the attention of scholars in Europe.[26] Chambers interviewed the locals, and linked the art on the monuments he saw to Hindu texts, calling it remarkable and expressive in its narrative detail.[27] A series of systematic studies that prepared sketches of the monuments and collected impressions of the inscriptions followed in the 19th century, such as those by Benjamin Babington and William Elliot.[28] Some of the stories and speculations in the Western literature, nevertheless, continued to be unusual. For example, Francis Wilford in 1809 suggested that the monuments were built in 450 BCE, linking them to Cicero's writings about Indian Hercules names Bolus or Baladeva who he claimed may have built three ancient Indian temple cities including the Mahabalipura.[27]
Western scholarship on Mahabalipuram monuments started with 1788 report by William Chambers. Above (clockwise): 19th century sketches of Hindu deities in a mandala, a lion statue, entrance of cave temple and a rock relief.[21]
The 19th-century reports summarize their survey of natives with a mention of "gilt tops of many pagodas" in the surf at sunrise that their grandfather used to talk about but can no longer be seen.[27] In late 19th and early 20th centuries, the Mahabalipuram site was largely the focus of colonial era tourist guides and speculations. Parts of many monuments were covered with sand, and little was done to preserve the site.[29] After Indian independence from the colonial British Empire, the state of Tamil Nadu redeveloped the Mamallapuram monuments and coastal beach region as a archaeological, tourism and pilgrimage site by improving the road networks and town infrastructure. In 1984, the site was reviewed by a panel of experts and declared as a UNESCO World Heritage site, under four categories under criteria of i, ii, iii and iv.[3][7]
The site has re-emerged as an archaeological site since 1990, where excavations have yielded unexpected discoveries. For example, states John Marr, the site has revealed "an apsidal-shaped tank, its curved end aligned south towards the middle portion of the Shore Temple" with the Anantasayana (reclining Vishnu), which likely predates the Shore Temple.[30]
Chronology: Pallava construction
The town of Mamallapuram became prominent during the Pallava period, starting with the reign of Simhavishnu in the last decades of the sixth century CE, a period of political competition with the Pandyas, the Cheras and the Cholas, as well as one of spiritual ferment with the rise of Bhakti movement poet scholars between 6th and 8th century, the Vaishnava Alvars and Shaiva Nayanars. The architectural history of Mamallapuram site is linked to Simhavishnu's son Mahendravarman I (600-630 CE), who was a patron of arts. His son Narsimha Varman I built upon the early efforts of his father, and many of the monuments are attributed to him by most scholars. After a brief hiatus, the building of novel temples and monuments continued during the reign of Rajasimha, or Narasimhavarman II (690-728 CE).[31][3]
The mid 20th century archaeologist A. H. Longhurst described the Pallava Architecture, including those found at Mahabalipuram monuments into four chronological periods: Mahendra style (610-640 CE), Mamalla style (640-670 CE, refers to Narasimhavarman I), Rajasimha style (674-800 CE) and Nandivarman style (800-900 CE). K.R. Srinivasan described it as reflecting three styles and stages of construction, calling the third period as the Paramesvara style.[32]
The chronology has been a subject of scholarly disagreement. Some scholars such as Marilyn Hirsh in 1987 have stated that the earliest temples are traceable to about 600 CE in the reign of poet and artist king Mahendravarman.[33] A few, such as Nagaswamy in 1962, have stated that it was King Rajasimha (690-728 CE) who is the likely patron of many of the monuments because many temple inscription have one of his names, as well as his distinctive Pallava Grantha and ornate Nagari scripts.[32]
1808 map of Mahabalipuram monuments. In the center is the main hill with the cave temples, the Shore temple is near the protuberance on coastline while others monuments are within a few kilometers of the main hill.[34]
One of the evidences that favors dating some of the Mamallapuram monuments to early 7th century is the Mandagapattu inscription (Laksitayana inscription) of Mahendravarman I (580/600-630 CE). The inscription states that he "brought into existence a temple without utilizing either timber or lime (mortar) or brick or metal", and that the temple was dedicated to "Brahma, Vishnu and Shiva".[35][36] This was the first Pallava rock-derived Hindu temple, and there is no reason to assume that Mahendravarman I and his descendants stopped and waited for nearly 70 years to build the next. Further, states Mate and other scholars, the inscription implies that the Tamil people already had a pre-6th century temple construction tradition, albeit one based on the materials Mahendravarman I mentions.[35] The Mandagapattu inscription is not isolated, and additional inscriptions of Mahendravarman I relating to cave temples have been discovered across his kingdom.[33][37] Further evidence is in the form of cave temples such as Undavalli Caves which predate the Mamallapuram cave temples, suggesting that the ancient Indian artisans had already begun exploring cave architecture before the Pallava period.[35]
The various monuments at Mamallapuram are generally dated by scholars over the 7th and 8th century.[1][2]
Description
The ratha temples are one of the many monuments at Mamallapuram. Above: A 1913 photo of the five rathas group.
The monuments at Mahabalipuram present a fusion of religion, culture, and legends, all related to the Hindu religious pantheon.[38][21] They are different expressions through rock or inside boulders, albeit on a grand scale, integrating the nature and in the form of architectural sculpture. The site has about forty monuments to varying degrees of completion, and these are categorized into five:[3][39]
Among the major ones, there are ten rathas, ten mandapas, two rock bas reliefs and three structural temples.[40] The plan of the monuments is predominantly based on square and circle principle, or stacked squares to produce rectangles. The reliefs, the sculptures and the architecture weaves in ideas and deities of Shaivism, Vaishnavism and Shaktism with equal reverence, though each monument is dedicated to a primary deity or a famed character in Hindu mythology or Epic.[41][42][43] The Mamallapuram monuments are also a source of many Sanskrit inscriptions from the 7th and 8th century with insights into the history, culture, kingship and religiosity of South India.[44]
Ratha temples
The Ratha Temples are monuments carved in the shape of processional chariots in the southern part of the town. The artists used the naturally occurring blocks of diorite and granite in sand, carving legends as monoliths in stone.[3] The most famed ones are the five monolithic structures which project above the sandy beach. These are called the five Rathas, alternatively as the Pandava Rathas (Pandavas were five brothers and their common wife Draupadi of the epic Mahabharata). Though the symbolism and grouped structure of these temples has led to this popular name, these are neither true rathas nor are they dedicated to the Pandavas. They are temples dedicated to deities and ideas in Shaivism (Shiva), Vaishnavism (Vishnu) and Shaktism (Durga) traditions of Hinduism.[45] These rathas are dated to the 7th century.[3]
The five ratha group is cardinally oriented in the north-south axis, with the Dharmaraja ratha in the south, Bhima ratha next to it to its north, followed by Arjuna and Draupadi rathas sharing a common platform and further north.[45] There is a lion to the west of Arjuna-Draupadi platform, a seated bull to their east, and a standing elephant on their southwest. The Nakula and Sahadeva ratha is to the northwest of Bhima ratha, and southwest of Arjuna ratha behind the standing elephant. The center cross sectional axis of the Nakula and Sahadeva ratha is in the middle of the group.[45] All of the temples have a west entrance except Nakula-Sahadeva ratha which has a south entrance.[45]
All Mamallapuram rathas share some common elements. Each is placed on a moulded plinth with or without ganas, states George Michell, and above this plinth the "walls divide rhythmically into a number of projections and recesses between pilasters" thereby producing niches.[46] Within these niches are placed sculptures. Those images the artisans considered significant, to them they added makaras at the brackets. Above these they added overhanging eve, in which they sometimes depicted peering human faces as if they are sitting inside the ratha.[46] Then they added additional mouldings till the parapet. The upper level either rhythmically repeated at a reduced level the lower level design, or they capped the superstructure with curved roofs. A combination of these ideas created a veritable catalog of memorable architectonic designs.[46]
The Dharmaraja ratha: overview, section and plan.
Dharmaraja ratha
The Dharmaraja ratha[note 4] has a square plan within a rectangular frame (26.75 ft x 20.67 ft) and is 35.67 feet high.[47][48] It has an open porch supported by pillars. Its pyramidal tower consists of a vimana of symmetrically shrinking squares capped by an octagonal shikara. There is evidence that it had or intended to have a finial, but that is missing. The pillars have seated lions at its base. It has three levels, the lowest is solid (probably never carved out), while the upper two have shrines.[47][49] The two upper levels are connected by a stair carved into the stone. The middle level has two shrines, while the uppermost has one. The ratha temple walls have carvings and inscriptions. One inscription mentions Narasimhavarman I. The western side of the top storey has a Somaskanda image. The entablature integrates the secular with the divine, where human faces peep out of the kudu arches of the chariot. An Amaravati motif is carved below the cornice.[47][49]
At the ground level, the sides aligned to the procession's length have four pillars, while the other two have two pillars and two pilasters. Each corner at the ground level has sides with two niches, wherein figures are carved in, shown as if waving to the crowd. The deities shown on the ground level are Ardhanarishvara (half Parvati, half Shiva), Harihara (half Vishnu, half Shiva), Brahma, Skanda, Bhairava (Shiva) and two other unclear forms of Shiva.[47] The upper mid level has carvings that show various aspects of Shiva and Vishnu, suggesting that the artists revered both traditions of Hinduism.[50][49] Included on this level are Nataraja (dancing Shiva), Vinadhara (Shiv with Vina), Gangadhara (Shiva bringing Ganges from heaven to earth), Vrishbhantika (Shiva with Nandi), Kankalamurti, Chandesa and Vishnu.[47][51]
The uppermost level has carvings of Dakshinamurti (Shiva as guru or teacher), Surya and Chandra.[47][51][49]
The Somaskanda panel in this ratha temple is significant because it has been one of the reasons for dating this temple to early 7th century. The Somaskanda depicted is quite different than those created in Rajasimha period, and looks similar to those created the early Pallava period.[45]
Bhima ratha
Bhima ratha is the most massive of the five rathas.[52]
The Bhima ratha is massive, follows the Dharmaraja ratha and has a roof that looks like a vaulted barrel, reminding one of wood work.[52][note 5] The ratha is 46 feet long and about 25 feet high and wide. Its interior is incomplete and likely intended for reclining Vishnu (Anantasayana).[52][54] Unlike the other ratha which have inscriptions and sculptures, this has none. Its vimana is intricately carved on both sides of the roof. The cornice has seven pairs of kudus (Sanskrit: gavaksha).[52] Above it are alternating salas and kutas forming thirteen small vimanas. Above this layer are five grivas carved into shrine like niche flanked by small pilasters. The two on each side are all the same size, the middle one is the biggest. There is structural evidence on the top that there were eighteen kalasas there and likely two tridents, but these are all missing now.[52][55]
This ratha too has an embedded square plan, states Ramaswami, upto the entablature.[52] It integrates in the griva and the shikara in the form of circle. The long side has four round pillars and two rounded pilasters with the base designed as seated lions. The north and south sides have two pillars each, but these are square and massive.[52] The roof has crack lines which may have been caused by structural elements or from centuries of weathering such as lightning.[52]
The Arjuna ratha follows Bhima ratha and is also incomplete. It is one of the larger monuments but about six times smaller in area than the Dharmaraja ratha.[56][45] It has two levels and has one shrine. It is also square in plan. In many ways, it rhythmically mirrors the Dharmaraja ratha. For example, the decoration and structure of cornice, kudus and the haras are similar.[56] The shikhara of the Arjuna ratha, however, is hexagonal.[45] The walls of the ratha are carved into panels with fourteen sculptures. Four of these are dvarapalas, one Vishnu, a rishi (sage) with a student, a Kartikeya (Murugan) which could alternatively be Indra, one Shiva with Nandi, and the rest are human beings shown in different stages of their life including couples.[56] The Arjuna ratha has a lion and Nandi bull on each side between it and the Draupadi ratha that follows next, but their orientation suggests that this ratha was not meant for Shiva.[45] According to Susan Huntington, it is unclear for whom this temple was meant and she states it could be Ayyappa (Dharma-shasta).[45] The tower consists of a round shikara. The monument looks odd on its side, partly because its original pillars were lost and have been replaced with modern era restorative pillars that do not fit with the texture or style of the original creation.[56] There is a standing elephant to the northwest of the Arjuna ratha.[57][45]
The Draupadi ratha is a small 11 feet by 11 feet square stone structure north of Arjuna ratha, and they share the platform.[56] It is dedicated , whose image is carved on the rear wall. It looks like a wooden hut with a curvilinear roof. There is a carved structure with alternating lions and elephants. The shrine deity is missing.[56][45] The design is a highly simplified form of Nagara style Hindu temple. It has reliefs showing Durga, three of her images are on the outer walls and she is also shown on one of the inside walls. The east facing Durga is her Mahishasuramardini form with the head of buffalo demon. Elsewhere, with her are depicted devotees, makaras (mythical sea creatures) and ganas (mythical, comical dwarfs).[58]
The Nakula-Sahadeva ratha and standing elephant.
Nakula and Sahadeva ratha
The Nakula-Sahadeva ratha is another incomplete monument. It is an apsidal temple, a relatively uncommon design in Hinduism but found in Aihole and other parts of India.[57] The temple is a Vesara design, 16 feet high and 18 feet long. The temple is two storeyed, it has kutas and salas like the others, but is unique in that it includes panjaras. It is unclear which deity it may have been intended, with hypothesis ranging from Kartikeya, Brahma, Ayyappa and Indra.[57][45] To the northeast of the Nakula and Sahadeva is a standing elephant and Arjuna ratha.[31]
Other rathas
The Ganesha ratha, likely it became a model for gopuras found in later Tamil temples.
Other ratha monuments at Mahabalipuram include the late 7th century Ganesha Ratha, attributed to Parameshvara-varman I, the grandson of Mahamalla.[59][60]
The Ganesha ratha is located a kilometer from the Pancha rathas. It is next to and north of Descent of the Ganges bas relief and south of Krishna's butter ball monument. The Ganesha ratha is small but similar to Bhima ratha and has two storeys.[61] It is 19 feet long, 11.25 feet wide and 28 feet high. This monument has survived without much damage. The first storey includes 5 mini-vimanas, while the second storey features 4 mini-vimanas, each pattern repeating in overall and integral levels. The sala has nine kalasas, and one end has a trishula on the top just like churches have a cross. The temple's facade has two pillars and two pilasters.[61] The base of these columns are shaped like seated lions, the middle is chamfered topped off with the fluted capital.[61] On the sides of the entrance mandapa are two standing dvarapalas with welcoming bent heads. The temple wall has an inscription which suggests that this is also a 7th century monument. Inside the sanctum is a Ganesha statue, but according to Ramaswami, this may have been added in later.[61]
Elsewhere, the Mamallapuram monuments group has two Pidari rathas and a Valayankuttai ratha, which are two storeyed monuments and all incomplete.[61] They are significant because one Pidari ratha and one Valayankuttai ratha are modelled in North Indian Nagara style architecture, while the second Pidari ratha has a South Indian Dravida style architecture.[61]
Mandapas
Mandapa is a Sanskrit term for a vestibule, pillared hall or a pavilion typically a square.[62] These were spaces for people to gather socially, usually for ceremonies and rites-of-passage rituals. Often cells or sanctum(s) would be included with these, creating a vihara. The term mandapa also refers to rock-cut cave temples, also called rock shrines, built around the same concept. Mamallapuram has many mandapas or cave temples.[3] They are dated to the 7th and 8th century.[31]
The Mamallapuram cave temples are incomplete and this has made them a significant source of scholarly information about how cave monuments were excavated and built in 7th century India.[63] Segments of the caves show that artisans worked with the architects to first mark off the colonnade, then they incised deep grooves into the rock to be removed to create roughly hewn protuberances with enough margins.[63] The resulting hanging rocks that were then hewed off. They then moved into the rock deeper, and repeated the process again. After they had excavated the rock out, other artisans moved in to polish the rocks, thereafter begin the intricate carving process to create designs, motifs, friezes and other Hindu iconography. The process of producing these rock cut cave temple architecture influenced the structural Hindu temples that followed in later centuries.[63]
Varaha mandapa
Varaha cave temple entrance and mandapa.
The Varaha cave was excavated from a vertical wall on the west face of the main Mamallapuram hill.[64] The architecture of the temple is simple. It is a Vaishnavism-related cave temple and is famed for its four sculptures narrating Hindu legends: the Vamana-Trivikrama legend, the Varaha legend, the Durga legend and the Gajalakshmi.[65] Srinivasan and other scholars date it to the 7th century.[65][66]
The temple facade consists of two pillars and two pilasters recessed about 1.5 feet from the rock front.[64] The pillared platform leads to a mandapa and a single sanctum in the back. The base of the pillar has an oma and an adhishthana moulded into it. Their pedestals are lotus-shaped (padma pithas) that is a 2x2 feet square.[64] Above this are seated lion-faced vyalas. Their heads merge into octagonal shafts (kal) of the pillars that tapers and flows into an octogonal kalasa and tadi capital. The top phalaka is a square. The kapota above is decorated with six kudu arches. Above the kapota is a wagon-style roof topped with finials.[64]
The mandapa's rear wall has a square shrine that projects inside the rock that is slightly above the mandapa floor. On each side of this sanctum, the mandapa wall projects inwards creating two sunk in niches. At corners are pilasters with partially formed dvarapalas, and the upper planks have ganas and friezes of hamsas.[64]
Varaha panel
Trivikrama panel
The northern panel of the mandapa inner wall narrates the Varaha legend, where man-boar avatar of Vishnu rescues goddess earth (bhudevi) from the depths of patala waters.[64][65] This is an unusual depiction where Varaha is turned to his right instead of the typical left, affectionately holds and looks at the rescued goddess earth instead of dangling up on his tusks.[64][67] She sits near his raised knee, while the demon who created the chaotic waters is shown trampled under Varaha's raised leg. The other characters in the panel include Brahma, the Vedic sage Narada, Surya (sun), Chandra (moon), and others in the legend. The closest narration to depicted panel is found the text Vaikhanasagama.[64][67][note 6] The panel is a rectangle, all the divine characters except earth are set in a square, while the earthly yogins and prakriti-related characters are arranged outside a mandala circle, states Alice Boner.[67]
The southern panel of the mandapa narrates the Vamana-Trivikrama legend. Here, the giant transformation of Vishnu dwarf avatar is shown taking the third huge step to cover the heaven, while Bali sits below amazed. Within the panel are other characters of the legend, such as Brahma and Shiva seated on lotuses as witness.[64][68][note 7] Once again, the closest narration to the depicted panel is found the text Vaikhanasagama.[64] The Trivikrama depiction is again unusual because the Vamana part of the legend is not shown, as is usually done elsewhere in early medieval Hindu temples found in India.[68]
The Gajalakshmi panel is a square, with a geometric layout of the characters.[69]
In the niche north of the sanctum, on its back wall is Gajalakshmi, while the southern niche shows Durga. The Durga panel symbolizes Shaktism tradition, and she is also referred to as Vijaya Sri, the goddess of victory. She is shown as four armed, standing on a lotus. A warrior is shown near her, ready to sacrifice himself. Another devotee is on his knee adoring her. In the panel are scared ganas running, as well as a lion – her vahana and an antelope, medieval iconography that is commonly found in South India.[64] The Gajalakshmi is shown seated in a yoga asana on a lotus, holding two lotus buds. She is jeweled and shown wearing patra kundalas, symbolizing her link to wealth. Near her are apsaras holding auspicious jars of water and two large elephant heads, one lifting water pitcher, while the other is inverting the pitcher to spray water.[64][69] According to Alice Boner, the characters in the Gajalakshmi square panel are arranged in a circular mandala.[69]
Kotikal is a simple, early excavation.[70] Its facade has two pilasters. Before it are sockets which suggests that there may have been a structural mukhamandapa in front.[71] Inside the Kotikal cave temple there is an oblong shaped ardha-mandapa and a square shaped sanctum (garbha griya). The front of the sanctum in the cave has mouldings and features similar to a free standing structural temple.[71]
The sanctum door is flanked by female dvarapalas sculptures on each side.[72][71] One of these warrior women carries a sword in her right hand and a shield plate in the left, while the other one is in tribhanga pose holds a bow by the toe of her raised foot and grasps the top in her hand. Both of them wear ear rings that stand out and hang from their lobes to close to their shoulders.[71] The female guardians suggest that the deity inside the sanctum was likely intended to be Durga, the Hindu warrior goddesses.[72][70] Inside the square sanctum, there is a moonstone, adhisthana, bhitti and a kudu, but no image. One of the pillars in this cave temple has an inscription in Pallava Grantha, which translates to "Sri Vamankusa".[72][71] No king or elite Pallava official of this is known, and it probably means that the temple was built was a wealthy patron. According to Ramaswami, the name suggests a possible Telugu origin.[72] Srinivasan dates this to the early part of the Mahendra period.[71]
Dharmaraja mandapa
Dharmaraja cave temple, also known as Atyantakama cave temple, is on the south side of Mamallapuram hill, near the Mahishamardini cave.[73] It has a facade, mukha-mandapa and ardha-mandapa like the Kotikal mandapa. Slim tetragonal pillars create space for the two mandapa. The ardha-mandapa is raised about 3 inches above the mukha-mandapa. The facade has two pillars and two pilasters, as do the space separating the two mandapa.[73][72]
The inner hall leads into three shrine cells and these share a common adhisthana. The adhisthana has four mouldings.[72] The adhisthana is unusual in that it lacks kantha, upper kampa and the pattika, rather it just has the upana, jagati, tripatta-kumuda and the lower kampa.[73] The central sanctum is the largest dedicated to Shiva linga, and it has two male dvarapalas. The cells on the sides were dedicated to Brahma and Vishnu based on iconography, but images are now missing.[72][74]
The temple has a fourteen line Sanskrit inscription in Pallava Grantha script with an epithet.[73] According to Ramaswamy's interpretation, it attributes this cave to king Rajasimha (late 7th or early 8th century).[72] In contrast, Srinivasan and Hultzsch dates it earlier to king Paramesvara-varman I (7th century), while some other scholars assign it to the Mahendra period based on style.[73]
One of the most sophisticated and complete cave temple, the Ramanuja temple had three cells. It was excavated in the center of the main Mamallapuram hill, on its eastern scarp.[75] The temple was partially reworked on and converted centuries after it was created into a shrine for the Vaishnava scholar Ramanuja, which gives this mandapa the name. These later artisans added the six crudely cut, free-standing pillars in the front. They likely wanted to extend the mandapa.[75][76]
The Ramanuja mandapa consists of a rectangular ardha-mandapa marked out by a row of pillars.[75] On the side of its facade are two model vimanas with square rock platform. Many of the traditional Hindu temple architectural elements are found here. Inside, the main excavation starts with an adhishthana, a row of two pillars, two pilasters and three ankanas together formings its facade.[75] Behind these is an oblong mandapa with three square shrines. The side shrines were originally placed about two feet behind the central one, but all three shared a common adhisthana.[75] The entrance of the shrines once had dvarapalas, but these are now missing except for the remnants. Like other Hindu temples, this was open structure without any evidence of jambs. The back wall of the central shrine has a 5 feet square panel, which once had a Somaskanda bas relief, but much of this has been erased.[75] There is no sign of any panels in the side shrines. The ceilings of the three cells have remnants of plaster and signs that it may have been painted.[75] The walls demarcating the three shrines was removed by later artisans.[75][76]
The three cells were likely dedicated to Brahma, Shiva (center) and Vishnu. Alternatively, to three unclear forms of Shiva. The southern panel in the main mandapa likely had a Durga panel. None of these images have survived, only faint remnants are traceable because most of the wall reliefs have been chiselled off.[75] On the floor between the two pillars of the facade is a Sanskrit inscription in Pallava Grantha script praising Rudra, evidencing that the temple was originally associated with Shaivism. The florid font style and epithets in the inscription date it to the 7th century and Parameshvara Varman.[75]
Koneri mandapa
Koneri mandapa has five cells as shrines attached to its main hall, and is dedicated to Shiva.[77] It gets it name from the Koneri-pallam tank in front of it. The cave temple is carved in the western side of the main hill in Mamallapuram. The facade of the temple has an entablature.[78] The cornice has ten kudus, then five interconnected salas are above it. The temple has two rows of four pillars and two pilasters. The front row significantly simpler different than the one near the shrines that is intricately carved.[77][78] The pillasters are tetragonal throughout, while the pillars have essentially cylindrical plan.[77]
The five shrines have five pairs of dvarapalas. These pairs are distinct, though all figures show signs of erosion or damage. They are shown wearing yajnopavita across their chest.[77][78] The northernmost pair is damaged most, and one of them looks feminine. The second pair to the south stands with slight inclination and shows trishula like horns above their crowns, possibly a symbolism for Nandi. The third pair too shows the trishula horns, while the fourth pair looks regal with conical crown and garlands as yajnopavita. The fifth pair looks angry, with small fang-like tusks, and strong stare. The five cells are all almost square, and all are empty. Scholars have interpreted the dvarapala pairs to suggest to whom these shrines were intended for. These are the five aspects of Shiva: Sadyojāta, Vāmadeva, Aghora, Tatpuruṣa and Īsāna.[77][78] According to Srinivasan, the Koneri mandapa is likely from the Narsimha Varman I era.[77]