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-Integridad frente a desesperación (desde aproximadamente los 60 años hasta la muerte). Esta es la última etapa. En la delicada adultez tardía, o madurez, la tarea primordial es lograr una integridad con un mínimo de desesperanza. Primero ocurre un distanciamiento social, desde un sentimiento de inutilidad existe un sentido de inutilidad biológica, debido a que el cuerpo ya no responde como antes; junto a las enfermedades, aparecen las preocupaciones relativas a la muerte. Los amigos mueren; los familiares también y ello contribuye a la aparición de un sentimiento de desesperanza. Como respuesta a esta desesperanza, algunos mayores se empiezan a preocupar con el pasado. La integridad yoica significa llegar a los términos de tu vida, y por tanto, llegar a los términos del final de tu vida. La tendencia mal adaptativa es llamada presunción. Cuando la persona “presume” de una integridad yoica sin afrontar de hecho las dificultades de la senectud.
-Ego integrity vs. despair. This stage affects the age group of 65 and on. During this time an individual has reached the last chapter in their life and retirement is approaching or has already taken place. Many people, who have achieved what was important to them, look back on their lives and feel great accomplishment and a sense of integrity. Conversely, those who had a difficult time during middle adulthood may look back and feel a sense of despair.
On ego identity versus role confusion, ego identity enables each person to have a sense of individuality, or as Erikson would say, "Ego identity, then, in its subjective aspect, is the awareness of the fact that there is a self-sameness and continuity to the ego's synthesizing methods and a continuity of one's meaning for others" (1963). Role confusion, however, is, according to Barbara Engler in her book Personality Theories (2006), "the inability to conceive of oneself as a productive member of one's own society" (158). This inability to conceive of oneself as a productive member is a great danger; it can occur during adolescence, when looking for an occupation.
~SaRa ONE LoVe~. Poet Sara Roman. Shot on location at Black Market Goods Gallery, Albuquerque, New Mexico.USA
Lloyd-Thrap-Creative-Photography
© 2010 2024 Lloyd Thrap Photography for Halo Media Group
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© 2011 Lloyd Thrap Photography for Halo Media Group
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All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
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Taken through a borrowed Sigma 70-200 f/2.8, lightly cropped. Two 2-minute exposures stacked in DeepSkyStacker. If I had more time with the lens, I'd liked to have done an HDR set (so as not to burn out M42), but alas, condensation on the glass cut my imaging time short. I also didn't get a flat frame, which made processing difficult... once I brought out the Horsehead, the center of the picture was a bright orange blob. I tried synthesizing a flat in IRIS with no luck, and eventually just used a flat frame I took with one of my own lenses, which almost matches.
Model: Jessica.
model shop studio. Albuquerque, New Mexico. USA.
© 2009 2018 Photo by Lloyd Thrap Photography for Halo Media Group
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All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Model: Alycia Bell. AKA Tipsy Kitten.
Shooting freelance and based in Albuquerque, NM. USA
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© 2011 2013 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Preview from a modelshopstudio photo shoot with Alyssa Otero at Synchro Studio — with Alyssa Otero in Albuquerque New Mexico. — with Miss Alyss and Alyssa Otero at Synchro Studio.
© 2013 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Discover how creative people use their minds.
Creativity is the act of transforming new and innovative suggestions right into fact. Imagination is characterized by the ability to perceive the globe in new means, to find concealed patterns, to create links between seemingly unrelated sensations, and also to create remedies. Know how creative people are different from the others.
18 Habits Of Highly Creative People
Krzysztof Dydynski via Getty Images
Creativity works in mysterious and often paradoxical ways. Creative thinking is a stable, defining characteristic in some personalities, but it may also change based on situation and context. Inspiration and ideas often arise seemingly out of nowhere and then fail to show up when we most need them, and creative thinking requires complex cognition yet is completely distinct from the thinking process.
Neuroscience paints a complicated picture of creativity. As scientists now understand it, creativity is far more complex than the right-left brain distinction would have us think (the theory being that left brain = rational and analytical, right brain = creative and emotional). In fact, creativity is thought to involve a number of cognitive processes, neural pathways and emotions, and we still don't have the full picture of how the imaginative mind works.
And psychologically speaking, creative personality types are difficult to pin down, largely because they're complex, paradoxical and tend to avoid habit or routine. And it's not just a stereotype of the "tortured artist" -- artists really may be more complicated people. Research has suggested that creativity involves the coming together of a multitude of traits, behaviors and social influences in a single person.
"It's actually hard for creative people to know themselves because the creative self is more complex than the non-creative self," Scott Barry Kaufman, Ph.D., Scientific Director of the Imagination Institute at the University of Pennsylvania, told The Huffington Post. "The things that stand out the most are the paradoxes of the creative self ... Imaginative people have messier minds."
While there's no "typical" creative type, there are some tell-tale characteristics and behaviors of highly creative people. Here are 18 things they do differently.
They daydream.
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Creative types know, despite what their third-grade teachers may have said, that daydreaming is anything but a waste of time.
According to Kaufman and psychologist Rebecca L. McMillan, who co-authored a paper titled "Ode To Positive Constructive Daydreaming," mind-wandering can aid in the process of "creative incubation." And of course, many of us know from experience that our best ideas come seemingly out of the blue when our minds are elsewhere.
Although daydreaming may seem mindless, a 2012 study suggested it could actually involve a highly engaged brain state -- daydreaming can lead to sudden connections and insights because it's related to our ability to recall information in the face of distractions. Neuroscientists have also found that daydreaming involves the same brain processes associated with imagination and creativity.
They observe everything.
The world is a creative person's oyster -- they see possibilities everywhere and are constantly taking in information that becomes fodder for creative expression. As Henry James is widely quoted, a writer is someone on whom "nothing is lost."
The writer Joan Didion kept a notebook with her at all times, and said that she wrote down observations about people and events as, ultimately, a way to better understand the complexities and contradictions of her own mind:
"However dutifully we record what we see around us, the common denominator of all we see is always, transparently, shamelessly, the implacable 'I,'" Didion wrote in her essay On Keeping A Notebook. "We are talking about something private, about bits of the mind’s string too short to use, an indiscriminate and erratic assemblage with meaning only for its marker."
They work the hours that work for them.
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Many great artists have said that they do their best work either very early in the morning or late at night. Vladimir Nabokov started writing immediately after he woke up at 6 or 7 a.m., and Frank Lloyd Wright made a practice of waking up at 3 or 4 a.m. and working for several hours before heading back to bed. No matter when it is, individuals with high creative output will often figure out what time it is that their minds start firing up, and structure their days accordingly.
They take time for solitude.
"In order to be open to creativity, one must have the capacity for constructive use of solitude. One must overcome the fear of being alone," wrote the American existential psychologist Rollo May.
Artists and creatives are often stereotyped as being loners, and while this may not actually be the case, solitude can be the key to producing their best work. For Kaufman, this links back to daydreaming -- we need to give ourselves the time alone to simply allow our minds to wander.
"You need to get in touch with that inner monologue to be able to express it," he says. "It's hard to find that inner creative voice if you're ... not getting in touch with yourself and reflecting on yourself."
They turn life's obstacles around.
Many of the most iconic stories and songs of all time have been inspired by gut-wrenching pain and heartbreak -- and the silver lining of these challenges is that they may have been the catalyst to create great art. An emerging field of psychology called post-traumatic growth is suggesting that many people are able to use their hardships and early-life trauma for substantial creative growth. Specifically, researchers have found that trauma can help people to grow in the areas of interpersonal relationships, spirituality, appreciation of life, personal strength, and -- most importantly for creativity -- seeing new possibilities in life.
"A lot of people are able to use that as the fuel they need to come up with a different perspective on reality," says Kaufman. "What's happened is that their view of the world as a safe place, or as a certain type of place, has been shattered at some point in their life, causing them to go on the periphery and see things in a new, fresh light, and that's very conducive to creativity."
They seek out new experiences.
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Creative people love to expose themselves to new experiences, sensations and states of mind -- and this openness is a significant predictor of creative output.
"Openness to experience is consistently the strongest predictor of creative achievement," says Kaufman. "This consists of lots of different facets, but they're all related to each other: Intellectual curiosity, thrill seeking, openness to your emotions, openness to fantasy. The thing that brings them all together is a drive for cognitive and behavioral exploration of the world, your inner world and your outer world."
They "fail up."
Resilience is practically a prerequisite for creative success, says Kaufman. Doing creative work is often described as a process of failing repeatedly until you find something that sticks, and creatives -- at least the successful ones -- learn not to take failure so personally.
"Creatives fail and the really good ones fail often," Forbes contributor Steven Kotler wrote in a piece on Einstein's creative genius.
They ask the big questions.
Creative people are insatiably curious -- they generally opt to live the examined life, and even as they get older, maintain a sense of curiosity about life. Whether through intense conversation or solitary mind-wandering, creatives look at the world around them and want to know why, and how, it is the way it is.
They people-watch.
Tadamasa Taniguchi via Getty Images
Observant by nature and curious about the lives of others, creative types often love to people-watch -- and they may generate some of their best ideas from it.
"[Marcel] Proust spent almost his whole life people-watching, and he wrote down his observations, and it eventually came out in his books," says Kaufman. "For a lot of writers, people-watching is very important ... They're keen observers of human nature."
They take risks.
Part of doing creative work is taking risks, and many creative types thrive off of taking risks in various aspects of their lives.
"There is a deep and meaningful connection between risk taking and creativity and it's one that's often overlooked," contributor Steven Kotler wrote in Forbes. "Creativity is the act of making something from nothing. It requires making public those bets first placed by imagination. This is not a job for the timid. Time wasted, reputation tarnished, money not well spent -- these are all by-products of creativity gone awry."
They view all of life as an opportunity for self-expression.
Nietzsche believed that one's life and the world should be viewed as a work of art. Creative types may be more likely to see the world this way, and to constantly seek opportunities for self-expression in everyday life.
"Creative expression is self-expression," says Kaufman. "Creativity is nothing more than an individual expression of your needs, desires and uniqueness."
They follow their true passions.
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Creative people tend to be intrinsically motivated -- meaning that they're motivated to act from some internal desire, rather than a desire for external reward or recognition. Psychologists have shown that creative people are energized by challenging activities, a sign of intrinsic motivation, and the research suggests that simply thinking of intrinsic reasons to perform an activity may be enough to boost creativity.
"Eminent creators choose and become passionately involved in challenging, risky problems that provide a powerful sense of power from the ability to use their talents,"write M.A. Collins and T.M. Amabile in The Handbook of Creativity.
They get out of their own heads.
Kaufman argues that another purpose of daydreaming is to help us to get out of our own limited perspective and explore other ways of thinking, which can be an important asset to creative work.
"Daydreaming has evolved to allow us to let go of the present," says Kaufman. "The same brain network associated with daydreaming is the brain network associated with theory of mind -- I like calling it the 'imagination brain network' -- it allows you to imagine your future self, but it also allows you to imagine what someone else is thinking."
Research has also suggested that inducing "psychological distance" -- that is, taking another person's perspective or thinking about a question as if it was unreal or unfamiliar -- can boost creative thinking.
They lose track of the time.
Creative types may find that when they're writing, dancing, painting or expressing themselves in another way, they get "in the zone," or what's known as a flow state, which can help them to create at their highest level. Flow is a mental state when an individual transcends conscious thought to reach a heightened state of effortless concentration and calmness. When someone is in this state, they're practically immune to any internal or external pressures and distractions that could hinder their performance.
You get into the flow state when you're performing an activity you enjoy that you're good at, but that also challenges you -- as any good creative project does.
"[Creative people] have found the thing they love, but they've also built up the skill in it to be able to get into the flow state," says Kaufman. "The flow state requires a match between your skill set and the task or activity you're engaging in."
They surround themselves with beauty.
Jeremy Woodhouse via Getty Images
Creatives tend to have excellent taste, and as a result, they enjoy being surrounded by beauty.
A study recently published in the journal Psychology of Aesthetics, Creativity, and the Arts showed that musicians -- including orchestra musicians, music teachers, and soloists -- exhibit a high sensitivity and responsiveness to artistic beauty.
They connect the dots.
If there's one thing that distinguishes highly creative people from others, it's the ability to see possibilities where others don't -- or, in other words, vision. Many great artists and writers have said that creativity is simply the ability to connect the dots that others might never think to connect.
In the words of Steve Jobs:
"Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn't really do it, they just saw something. It seemed obvious to them after a while. That's because they were able to connect experiences they've had and synthesize new things."
They constantly shake things up.
Diversity of experience, more than anything else, is critical to creativity, says Kaufman. Creatives like to shake things up, experience new things, and avoid anything that makes life more monotonous or mundane.
"Creative people have more diversity of experiences, and habit is the killer of diversity of experience," says Kaufman.
They make time for mindfulness.
Aleksandra Yakovleva via Getty Images
Creative types understand the value of a clear and focused mind -- because their work depends on it. Many artists, entrepreneurs, writers and other creative workers, such as David Lynch, have turned to meditation as a tool for tapping into their most creative state of mind.
And science backs up the idea that mindfulness really can boost your brain power in a number of ways. A 2012 Dutch study suggested that certain meditation techniques can promote creative thinking. And mindfulness practices have been linked withimproved memory and focus, better emotional well-being, reduced stress and anxiety, and improved mental clarity -- all of which can lead to better creative thought.
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By Carolyn Gregoire www.yogasensing.com/yoga/how-creative-people-are-different/
Oil on canvas; 105.1 x 132 cm.
Gino Severini was an Italian painter who synthesized the styles of Futurism and Cubism.
Severini began his painting career in 1900 as a student of Giacomo Balla, an Italian pointillist painter who later became a prominent Futurist. Stimulated by Balla’s account of the new painting in France, Severini moved to Paris in 1906 and met leading members of the French avant-garde, such as the Cubist painters Georges Braque and Pablo Picasso and the writer Guillaume Apollinaire. Severini continued to work in the pointillist manner—an approach that entailed applying dots of contrasting colors according to principles of optical science—until 1910, when he signed the Futurist painters’ manifesto.
The Futurists wanted to revitalize Italian art (and, as a consequence, all of Italian culture) by depicting the speed and dynamism of modern life. Severini shared this artistic interest, but his work did not contain the political overtones typical of Futurism. Whereas Futurists typically painted moving cars or machines, Severini usually portrayed the human figure as the source of energetic motion in his paintings. He was especially fond of painting nightclub scenes in which he evoked the sensations of movement and sound by filling the picture with rhythmic forms and cheerful, flickering colors. In Dynamic Hieroglyph of the Bal Tabarin (1912), he retained the nightlife theme but incorporated the Cubist technique of collage (real sequins are fixed to the dancers’ dresses) and such nonsensical elements as a realistic nude riding a pair of scissors.
Only briefly, in wartime works such as Red Cross Train Passing a Village (1914), did Severini paint subjects that conformed to the Futurist glorification of war and mechanized power. Over the next few years, he turned increasingly to an idiosyncratic form of Cubism that retained decorative elements of pointillism and Futurism, as seen in the abstract painting Spherical Expansion of Light (Centrifugal) (1914).
About 1916 Severini embraced a more rigorous and formal approach to composition; instead of deconstructing forms, he wanted to bring geometric order to his paintings. His works from this period were usually still lifes executed in a Synthetic Cubist manner, which entailed constructing a composition out of fragments of objects. In portraits such as Maternity (1916), he also began to experiment with a Neoclassical figurative style, a conservative approach that he embraced more fully in the 1920s. Severini published a book, Du cubisme au classicisme (1921; “From Cubism to Classicism”), in which he discussed his theories about the rules of composition and proportion. Later in his career he created many decorative panels, frescoes, and mosaics, and he became involved in set and costume design for the theater. The artist’s autobiography, Tutta la vita di un pittore (“The Life of a Painter”), was published in 1946.
Henderson County, NC.
Synthesized IRG-->RGB image from a single exposure. Full-spectrum camera, 525LP dichroic filter. Worked up in Pixelbender and Photoshop.
Born: February 20, 1988
Rihanna established her dance-pop credentials in summer 2005 with her debut smash hit, "Pon de Replay," and continued to demonstrate hit potential in subsequent years (e.g., "S.O.S." in 2006; "Umbrella" in 2007; "Disturbia" in 2008). However, it was the singer's third album, Good Girl Gone Bad, that made her a full-fledged international pop star with a regular presence atop the charts. Born Robyn Rihanna Fenty on February 20, 1988, in Saint Michael, Barbados, she exhibited a certain star quality as a young child, often winning beauty and talent contests. Because she lived on the fairly remote island of Barbados in the West Indies, however, she never foresaw the sort of stardom that would later befall her.
That stardom came courtesy of a fateful meeting with Evan Rogers. The New Yorker was vacationing in Barbados with his wife, a native of the island, when he was introduced to Rihanna. Rogers had spent years producing pop hits for such superstars as *NSYNC, Christina Aguilera, Jessica Simpson, Kelly Clarkson, Laura Pausini, and Rod Stewart, and he offered the talented Rihanna a chance to record. Along with Rogers' production partner, Carl Sturken (the other half of Syndicated Rhythm Productions), Rihanna recorded several demos that sparked the interest of the Carter Administration -- that is, the newly appointed Def Jam president Shawn "Jay-Z" Carter. This led to an audition, and Rihanna both received and accepted an on-the-spot offer to sign with Def Jam.
Come summer 2005, Def Jam rolled out "Pon de Replay," the lively leadoff single from Music of the Sun. Produced almost entirely by Rogers and Sturken, the song synthesized Caribbean rhythms with urban-pop songwriting. "Pon de Replay" caught fire almost immediately, climbing all the way to number two on the Billboard Hot 100 and contesting the half-summer reign of Mariah Carey's "We Belong Together" atop the chart. The debut album spawned one other hit, "If It's Lovin' That You Want," which also broke the Top 40. Rihanna's follow-up effort, A Girl Like Me, saw even greater success and spawned three sizable singles: a chart-topper ("S.O.S.") and two Top Ten hits ("Unfaithful," "Break It Off").
Rihanna's third album, 2007's Good Girl Gone Bad, continued her success while signaling a change of direction. Whereas her past two albums had been imbalanced -- often weighed down by faceless balladry and canned Caribbean-isms -- Good Girl Gone Bad was a first-rate dance-pop album, stacked with several chart-topping singles and boasting collaborations with Jay-Z, Ne-Yo, Timbaland, and StarGate. The lead single, "Umbrella," shot to number one, as did "Take a Bow" and "Disturbia." Its success turned Rihanna into one of the planet's biggest pop stars.
Rated R was released in 2009 during the wake of a physical altercation with romantic interest Chris Brown, who pleaded guilty to felony assault. The album's lead single, "Russian Roulette" -- written with Ne-Yo -- was one of the year's most controversial singles, and it set the tone for the singer's new, dark direction. Rated R peaked within the Top Five of the Billboard 200, while another one of its singles, "Rude Boy," topped the Hot 100. Rated R: Remixed was released in the spring of 2010 and featured ten tracks from the album revamped for the dancefloor by Chew Fu. Loud, Rihanna's fifth studio album, followed in November and was led by the StarGate-produced "Only Girl (In the World)." Jason Birchmeier, Rovi
The cubic nanoparticles are 13 nm-sized iron oxide crystals. They were synthesized by a colloidal chemistry route and deposited on a TEM grid, tending to self-assembling. The lighter zones around the nanocubes assemblies are made of organic residuals left on the thin carbon film substrate. This image was taken with no tilt and everything was false-colored.
Courtesy of Prof. Andrea Falqui , King Abdullah University of Science and Technology (KAUST)
Image Details
Instrument used: Magellan
Magnification: 75000
Horizontal Field Width: 1.8 µm
Vacuum: High Vacuum
Voltage: 5 kV
Spot: 3.0
Working Distance: 2.9
Detector: TLD
Fohat is a term of unknown origin, although H. P. Blavatsky claims it comes from the Tibetan language. According to her it is "one of the most, if not the most important character in esoteric Cosmogony". Maybe because of this, it can be found in many forms. As Mme. Blavatsky said:
Fohat is a generic term and used in many senses. He is the light (Daiviprakriti) of all the three logoi—the personified symbols of the three spiritual stages of Evolution. Fohat is the aggregate of all the spiritual creative ideations above, and of all the electro-dynamic and creative forces below, in Heaven and on Earth.
Fohat is "the animating principle electrifying every atom into life." During the process of manifestation it is the cosmic energy which produces the differentiation of primordial cosmic matter to form the different planes. In the manifested Universe, Fohat is the link between spirit and matter, subject and object.A term and concept which appears throughout “The Secret Doctrine” by H.P. Blavatsky – and especially in the first volume titled “Cosmogenesis” – is FOHAT.
What is this mysterious yet vitally important thing called Fohat which happens to be “the key in Occultism which opens and unriddles the multiform symbols and respective allegories in the so-called mythology of every nation”?
The word itself has been identified as ’phro-wa (verb form) and spros-pa (noun form) in Tibetan transliteration. In the Eastern Esoteric Science taught in Theosophy, Fohat is always spoken of in terms of cosmic or universal electricity, vitality, energy, and life force. Just as every living human being is animated, vitalised, and held together by the principle of Prana within them, as explained further in the article The Sevenfold Nature of Man, so the universe itself is animated, vitalised, and powered from within by Prana on the macrocosmic level, i.e. Universal Prana…and this is Fohat.
HPB states that it is “the active force in Universal Life” and “the personified electric vital power, the transcendental binding Unity of all Cosmic Energies, on the unseen as on the manifested planes, the action of which resembles – on an immense scale – that of a living Force created by WILL, in those phenomena where the seemingly subjective acts on the seemingly objective and propels it to action.”
If we go to HPB’s “Theosophical Glossary” (a valuable book for all students of the Philosophy) and turn to the entry for “Fohat” we find it described and defined as –
“…the active (male) potency of the Shakti (female reproductive power) in nature. The essence of cosmic electricity. An occult Tibetan term for Daiviprakriti, primordial light: and in the universe of manifestation the ever-present electrical energy and ceaseless destructive and formative power. Esoterically, it is the same, Fohat being the universal propelling Vital Force, at once the propeller and the resultant.” (bold added for emphasis in this article)
If we then turn to the entry for “Daiviprakriti” we find this: “Primordial, homogeneous light, called by some Indian Occultists “the Light of the Logos”; when differentiated this light becomes FOHAT.”
One of the Indian occultists (i.e. esotericists) we know of who used the term “Daiviprakriti” in this way was T. Subba Row, Madame Blavatsky’s highly gifted and erudite friend and associate during the time she lived in India in the 1880s. He was known to have been an initiated disciple of the Master M., who was also the Guru of HPB herself, and the nature and content of many of his writings indicate a close acquaintance with the Secret Doctrine itself, the Esoteric Doctrine preserved, guarded, and taught by the Masters and Adepts.
A few so-called scholars and academic researchers in today’s Theosophical world have asserted in confident – if not perhaps conceited – tones that no such term as “Daiviprakriti” actually exists and that it therefore must have been either an invention of HPB and T. Subba Row or a mistaken term used by them in ignorance. One such scholar has also informed Theosophists that the Sanskrit term “Mulaprakriti,” which is used frequently by HPB and Subba Row and said by them to be a technical term used in the Vedanta philosophy of Hinduism, is in fact never used at all in Vedanta or by any Vedantins and that thus they are again mistaken.
It would not be out of place here to mention that these individuals are themselves mistaken on both grounds. There are plenty of Hindus who are familiar with the term “Daiviprakriti,” albeit generally spelling it as “Deviprakriti,” which is pronounced in exactly the same way.
In his article “Suddha Dharma Mandalam,” Raghavendra Raghu writes of “Bhagavan Narayana [i.e. the Universal Logos in Theosophical terminology], abiding in his own form, made up of brilliant material particles of what is known as “DeviPrakriti,” in the Uttara-Badari region of the Himalayas.”
The term is used particularly amongst certain sects and groups of Vaishnavas, devotees of Vishnu, just as the term “Mulaprakriti” is used freely by all types of Vedantins, followers of both the Advaita and Vishistadvaita philosophies included. It would certainly have been a surprise to the late Swami Sivananda – a famous Advaitee still revered today all across India as one of the greatest scholars, experts, and teachers of Vedanta – to be informed by our self-styled scholars that he had been mistaken and ignorant all his life in quite frequently speaking of Mulaprakriti in his writings.
But with that, and with Madame Blavatsky vindicated yet again of yet another false charge, we will let the matter drop and go back to Fohat.
Whenever a new universal life cycle, or Maha-Manvantara, begins, the ONE Absolute Infinite Divine Principle (most frequently referred to as Parabrahm or Parabrahman in Theosophy) radiates forth from Itself the Logos, which is the Living Universe itself. But the universe doesn’t just appear full and complete all at once. It is an extremely gradual and meticulous process of evolution, from universals to particulars, from the macrocosmic level down to the microcosmic level.
The way this all comes about is with the help and assistance of Fohat, which is the direct manifestation or emanation of the Universal Logos itself. (See Understanding the Logos) The Logos is the all-ensouling Light and Life of the Universe. The way the body of the universe – and everything in it – is brought into existence, enlivened, vitalised, and sustained, is by the work of Fohat, the nature and activity of which can only really be described as Universal Electricity.
“From the purely occult and Cosmical” perspective, writes HPB, Fohat is “the “Son of the Son,” the androgynous energy resulting from this “Light of the Logos,” and which manifests in the plane of the objective Universe as the hidden, as much as the revealed, Electricity – which is LIFE.”
Fohat is described as “the Son of the Son” because it is the direct offspring, so to speak, of the Logos, which is itself the direct radiation from the Absolute. In his “Notes on the Bhagavad Gita,” T. Subba Row speaks of Fohat as being “the one instrument with which the Logos works.”
This is further expanded upon throughout “The Secret Doctrine” with such explanations as, “Fohat, running along the Seven Principles of Akasha, acts upon manifested substance or the One Element … and by differentiating it into various centres of Energy, sets in motion the law of Cosmic Evolution, which, in obedience to the Ideation of the Universal Mind, brings into existence all the various states of being in the manifested Solar System” and the statement that in the objective or manifested universe Fohat “is that Occult, electric, vital power, which, under the Will of the Creative Logos, unites and brings together all forms, giving them the first impulse which becomes in time law.”
Also –
* “When the “Divine Son” breaks forth, then Fohat becomes the propelling force, the active Power which causes the ONE to become TWO and THREE – on the Cosmic plane of manifestation. The triple One differentiates into the many, and then Fohat is transformed into that force which brings together the elemental atoms and makes them aggregate and combine.”
* “In the manifested Universe, there is “that” which links spirit to matter, subject to object. This something, at present unknown to Western speculation, is called by the occultists Fohat.”
* “It is the “bridge” by which the “Ideas” existing in the “Divine Thought” are impressed on Cosmic substance as the “laws of Nature.” Fohat is thus the dynamic energy of Cosmic Ideation; or, regarded from the other side, it is the intelligent medium, the guiding power of all manifestation, the “Thought Divine” transmitted and made manifest through the Dhyan Chohans, the Architects of the visible World.”
* “Fohat, in its various manifestations, is the mysterious link between Mind and Matter, the animating principle electrifying every atom into life.”The attraction or charge between the sky and the earth intensifies towards an irresistible point of tension and the coils that develop upwards connect with those that descend: now Fohat breaks out and the violet is transformed into the flaming blue and white flash, to which we are accustomed and the voltage difference between the sky and the earth is neutralized.Fohat's invocation/evocation rite is well underway as well as the formation of an antahkarana between heaven and earth.
From a geographical perspective, it is interesting to learn from “The Secret Doctrine” that the work of Fohat as regards our own planet is closely linked – via “his four fiery (electro-positive) Sons” with the Equator, the Ecliptic, and the climates of the two Tropics, i.e. the Tropic of Cancer and the Tropic of Capricorn, the Northern and Southern Hemispheres.
Also, the North Pole and South Pole – “the two ends of the Egg of Matter” and also referred to esoterically as the head and the feet of Mother Earth – “are said to be the store-houses, the receptacles and liberators, at the same time, of Cosmic and terrestrial Vitality (Electricity); from the surplus of which the Earth, had it not been for these two natural “safety-valves,” would have been rent to pieces long ago.”
We are also told that the phenomenon of the Northern Lights, called Aurora Borealis, as well as the Aurora Australis or Southern Lights, are intimately connected with Fohat.
It would seem strange to think of or look upon something as presumably impersonal as Universal Electricity as a type of Entity, yet “Fohat is not only the living Symbol and Container of that Force, but is looked upon by the Occultists as an Entity – the forces he acts upon being cosmic, human and terrestrial, and exercising their influence on all those planes respectively … the primordial Electric Entity – for the Eastern Occultists insist that Electricity is an Entity – electrifies into life, and separates primordial stuff or pregenetic matter into atoms, themselves the source of all life and consciousness.”
The mystery deepens when we are reminded that “It is through Fohat that the ideas of the Universal Mind are impressed upon matter,” only to then read in the next sentence that “Some faint idea of the nature of Fohat may be gathered from the appellation “Cosmic Electricity” sometimes applied to it; but to the commonly known properties of electricity must, in this case, be added others, including intelligence. It is of interest to note that modern science has come to the conclusion, that all cerebration and brain-activity are attended by electrical phenomena.”
Then further on we discover that “Each world has its Fohat, who is omnipresent in his own sphere of action. But there are as many Fohats as there are worlds, each varying in power and degree of manifestations. The individual Fohats make one Universal, Collective Fohat – the aspect-Entity of the one absolute Non-Entity, which is absolute Be-Ness, “SAT.” Millions and billions of worlds are produced at every Manvantara – it is said. Therefore there must be many Fohats, whom we consider as conscious and intelligent Forces. This, no doubt, to the disgust of scientific minds.”
It must be remembered though that although being imbued with and expressing sufficient intelligence and power as to be considered an Entity, Fohat is most definitely not some type of anthropomorphic deity or personal spiritual being.
“While science speaks of its evolution through brute matter, blind force, and senseless motion, the Occultists point to intelligent LAW and sentient LIFE, and add that Fohat is the guiding Spirit of all this. Yet he is no personal god at all, but the emanation of those other Powers behind him whom the Christians call the “Messengers” of their God, and we, the “… primordial Sons of Life and Light”.”
We said earlier that Fohat is the direct manifestation or resultant emanation of the one Universal Logos. Then how can it also be said that Fohat is the emanation of Powers (plural) who are the “primordial Sons of Life and Light”?
The answer is this: the one Logos is in fact the unified and collective aggregate of Seven Primordial Rays, called “the Primordial Seven” in the Stanzas of Dzyan on which the teaching in “The Secret Doctrine” is based. This is symbolised as the Central Spiritual Sun being comprised of Seven Rays which radiate forth from it in order to make the universe what it is. The Primordial Seven are also called the seven Dhyani Buddhas or seven chief Dhyan Chohans. Admittedly such things are almost entirely beyond our proper comprehension but if we can at least grasp the basics of them at a simple level we may be able to eventually get somewhere with the help of our applied spiritual intuition and elevated thought.
This explains why in the second volume (“Anthropogenesis”) of “The Secret Doctrine” we read of the fact that the Logos “acts only mediately through FOHAT, or Dhyan-Chohanic energy” and of “the universal guiding FOHAT, rich with the Divine and Dhyan-Chohanic thought.”
The fifth Stanza from the Secret Book of Dzyan in the first volume of “The Secret Doctrine” is almost entirely about Fohat. Following on from the fourth Stanza which is titled “The Septenary Hierarchies” it is in its turn titled “Fohat: The Child of the Septenary Hierarchies.” We quote its first five shlokas or verses below. Some of it will now make sense in light of what we’ve already looked at in this article and the understanding of the rest of it can be gained from personally reading and studying the book, which is always the best way of acquiring knowledge and understanding, rather than depending on others.
1. THE PRIMORDIAL SEVEN, THE FIRST SEVEN BREATHS OF THE DRAGON OF WISDOM, PRODUCE IN THEIR TURN FROM THEIR HOLY CIRCUMGYRATING BREATHS THE FIERY WHIRLWIND.
2. THEY MAKE OF HIM THE MESSENGER OF THEIR WILL. THE DZYU BECOMES FOHAT, THE SWIFT SON OF THE DIVINE SONS WHOSE SONS ARE THE LIPIKA, RUNS CIRCULAR ERRANDS. FOHAT IS THE STEED AND THE THOUGHT IS THE RIDER. HE PASSES LIKE LIGHTNING THROUGH THE FIERY CLOUDS; TAKES THREE, AND FIVE, AND SEVEN STRIDES THROUGH THE SEVEN REGIONS ABOVE, AND THE SEVEN BELOW. HE LIFTS HIS VOICE, AND CALLS THE INNUMERABLE SPARKS, AND JOINS THEM.
3. HE IS THEIR GUIDING SPIRIT AND LEADER. WHEN HE COMMENCES WORK, HE SEPARATES THE SPARKS OF THE LOWER KINGDOM THAT FLOAT AND THRILL WITH JOY IN THEIR RADIANT DWELLNGS, AND FORMS THEREWITH THE GERMS OF WHEELS. HE PLACES THEM IN THE SIX DIRECTIONS OF SPACE, AND ONE IN THE MIDDLE – THE CENTRAL WHEEL.
4. FOHAT TRACES SPIRAL LINES TO UNITE THE SIXTH TO THE SEVENTH – THE CROWN; AN ARMY OF THE SONS OF LIGHT STANDS AT EACH ANGLE, AND THE LIPIKA IN THE MIDDLE WHEEL. THEY SAY: THIS IS GOOD, THE FIRST DIVINE WORLD IS READY, THE FIRST IS NOW THE SECOND. THEN THE “DIVINE ARUPA” REFLECTS ITSELF IN CHHAYA LOKA, THE FIRST GARMENT OF THE ANUPADAKA.
5. FOHAT TAKES FIVE STRIDES AND BUILDS A WINGED WHEEL AT EACH CORNER OF THE SQUARE, FOR THE FOUR HOLY ONES AND THEIR ARMIES.
One thing which is always important to bear in mind, especially for those of us who have grown up with or acquired the habit of interpreting spiritual texts and phrases literally is that Eastern spiritual teachings are abundant with symbolic, allegorical, and figurative terms and illustrations. HPB always emphasised that we should be careful not to mistake the word for the thing. Thus the “Dragon of Wisdom” in no way means any type of actual dragon but rather is a special symbolic term for the Universal Logos. Similarly, Fohat (whose initial activity is akin to a “fiery whirlwind”) “lifting his voice” does not refer to Fohat as some type of anthropomorphic entity shouting out a command but has reference to the metaphysical power of sound in the construction of the universe…and so on.
Further esoteric terminology in “The Secret Doctrine” speaks of the Seven Brothers of Fohat who are also at the same time the Seven Sons of Fohat.
“Fohat, the constructive Force of Cosmic Electricity, is said, metaphorically to have sprung like Rudra from Brahma “from the brain of the Father and the bosom of the Mother,” and then to have metamorphosed himself into a male and a female, i.e., polarity, into positive and negative electricity,” says HPB, continuing, “He has seven sons who are his brothers; and Fohat is forced to be born time after time whenever any two of his son-brothers indulge in too close contact – whether an embrace or a fight.”
She adds that “The Seven “Sons-brothers,” however, represent and personify the seven forms of Cosmic magnetism called in practical Occultism the “Seven Radicals,” whose co-operative and active progeny are, among other energies, Electricity, Magnetism, Sound, Light, Heat, Cohesion, etc.”
Just as the One Logos is actually the unified and collective aggregate of the Seven Primordial Rays, so Fohat is itself the unified and collective aggregate of the Seven Radicals. Thus in their noumenal state they are his Brothers and in their phenomenal state they are his Sons. The Seven Brothers are cosmic electricity as CAUSE; the Seven Sons are cosmic electricity as EFFECT.
Although the Tibetan term “Fohat” is the term used by the Masters and H.P. Blavatsky, nevertheless Fohat is seemingly nothing other than Kundalini.
HPB describes Kundalini as being “a fiery electro-spiritual force,” the “Fohatic power” which underlies everything visible and invisible. In “The Voice of the Silence” it is called “The World’s Mother,” the Mother of the World and Mother of the Universe. T. Subba Row says of Kundalini that it is “the power or Force which moves in a curved path. It is the Universal Life-Principle manifesting everywhere in nature. This force includes the two great forces of attraction and repulsion. Electricity and magnetism are but manifestations of it.”
HPB says of Fohat that “The ancients represented it by a serpent, for “Fohat hisses as he glides hither and thither” (in zigzags).” And by what illustrative symbol has Kundalini always been represented? A serpent.
Kundalini is the active power of the Universal Logos. It is the Mother of the manifested Universe. It is omnipresent universal Life, universal Fire, universal Electricity. Kundalini, it seems, is Fohat and Fohat is Kundalini.
It should be added here, however, that the practice known as Kundalini Yoga is potentially highly dangerous on all levels – physical, psychological, and spiritual – and that Theosophy always warns people against trying to do things to or with the power of the Kundalini within themselves. The Masters have stated emphatically that this Force can kill just as easily as it can create.
There is no need whatsoever for us to be messing about with our Kundalini and those who do so are almost always doing so with selfish motives such as attempting to acquire psychic or spiritual powers or to be able to have amazing spiritual experiences or sensations of bliss for themselves. Desire is the cause of all suffering, as the Lord Buddha always taught, and the desire for spiritual experiences is just as detrimental to the soul as the desire for sensual and carnal experiences. Even mainstream psychiatrists are now beginning to note the increasing number of people becoming seriously mentally ill, often with schizophrenia or similar conditions, as a result of trying to awaken their Kundalini.
It is almost impossible to adequately express in any way such lofty spiritual concepts in words and language which is no doubt one reason why many esoteric texts use symbols instead. “The Secret Doctrine” says far more about Fohat than can be expressed in an article like this but it is hoped that this attempt to provide a general overview of the topic has been interesting, inspiring, and thought provoking for you who have read it.
“Manvantaric impulse commences with the re-awakening of Cosmic Ideation (the “Universal Mind”) concurrently with, and parallel to the primary emergence of Cosmic Substance – the latter being the manvantaric vehicle of the former – from its undifferentiated pralayic state. Then, absolute wisdom mirrors itself in its Ideation; which, by a transcendental process, superior to and incomprehensible by human Consciousness, results in Cosmic Energy (Fohat). Thrilling through the bosom of inert Substance, Fohat impels it to activity, and guides its primary differentiations on all the Seven planes of Cosmic Consciousness … Aryan antiquity called them the Seven Prakriti, or Natures, serving, severally, as the relatively homogeneous basis, which in the course of the increasing heterogeneity (in the evolution of the Universe) differentiate into the marvellous complexity presented by phenomena on the planes of perception.” – H.P. Blavatsky, The Secret Doctrine
blavatskytheosophy.com/fohat-the-cosmic-electricity/
Fohat (Tib.) A term used to represent the active (male) potency of the Sakti (female reproductive power) in nature. The essence of cosmic electricity. An occult Tibetan term for Daiviprakriti, primordial light: and in the universe of manifestation the ever-present electrical energy and ceaseless destructive and formative power. Esoterically, it is the same, Fohat being the universal propelling Vital Force, at once the propeller and the resultant
At the beginning of a manvantara the Wisdom-aspect of the Absolute radiates the Pre-Cosmic Ideation, which manifests as the Cosmic Ideation. The latter eventually gives rise to Fohat. In Mme. Blavatsky's words:
Absolute wisdom mirrors itself in its Ideation; which, by a transcendental process, superior to and incomprehensible by human Consciousness, results in Cosmic Energy (Fohat).[6]
Fohat is the active power through which the plan for the new universe present in the Logos is manifested objectively, thus providing a bridge between the subjective spirit and the objective matter:
But just as the opposite poles of subject and object, spirit and matter, are but aspects of the One Unity in which they are synthesized, so, in the manifested Universe, there is “that” which links spirit to matter, subject to object.
This something, at present unknown to Western speculation, is called by the occultists Fohat. It is the “bridge” by which the “Ideas” existing in the “Divine Thought” are impressed on Cosmic substance as the “laws of Nature”. Fohat is thus the dynamic energy of Cosmic Ideation; or, regarded from the other side, it is the intelligent medium, the guiding power of all manifestation, the “Thought Divine” transmitted and made manifest through the Dhyan Chohans, the Architects of the visible World. . . . Fohat, in its various manifestations, is the mysterious link between Mind and Matter, the animating principle electrifying every atom into life.
It is also the cause for the differentiation of the primordial matter into the seven planes
Thrilling through the bosom of inert Substance, Fohat impels it to activity, and guides its primary differentiations on all the Seven planes of Cosmic Consciousness.
In the phenomenal and Cosmic World, he is that Occult, electric, vital power, which, under the Will of the Creative Logos, brings together the elemental atoms and makes them aggregate and combine. Fohat, running along the seven principles of AKASA, acts upon manifested substance or the One Element and by differentiating it into various centres of Energy, sets in motion the law of Cosmic Evolution, which, in obedience to the Ideation of the Universal Mind, brings into existence all the various states of being in the manifested Solar System.
Fohat manifests in different ways on each plane:
On the earthly plane his influence is felt in the magnetic and active force generated by the strong desire of the magnetizer. On the Cosmic, it is present in the constructive power that carries out, in the formation of things -- from the planetary system down to the glow-worm and simple daisy -- the plan in the mind of nature, or in the Divine Thought, with regard to the development and growth of that special thing. He is, metaphysically, the objectivised thought of the gods; the "Word made flesh," on a lower scale, and the messenger of Cosmic and human ideations: the active force in Universal Life. In his secondary aspect, Fohat is the Solar Energy, the electric vital fluid,* and the preserving fourth principle, the animal Soul of Nature, so to say, or -- Electricity.
Since Fohat acts as the power of attraction between atoms, it is seen as the Divine Love:
Fohat, in his capacity of DIVINE LOVE (Eros), the electric Power of affinity and sympathy, is shown allegorically as trying to bring the pure Spirit, the Ray inseparable from the ONE absolute, into union with the Soul, the two constituting in Man the MONAD, and in Nature the first link between the ever unconditioned and the manifested.
Interestingly, Fohat is seen as an entity (without implying anthropomorphism). Mme. Blavatsky wrote:
Fohat, then, is the personified electric vital power, the transcendental binding Unity of all Cosmic Energies, on the unseen as on the manifested planes, the action of which resembles --on an immense scale-- that of a living Force created by WILL, in those phenomena where the seemingly subjective acts on the seemingly objective and propels it to action. Fohat is not only the living Symbol and Container of that Force, but is looked upon by the Occultists as an Entity -- the forces he acts upon being cosmic, human and terrestrial, and exercising their influence on all those planes respectively.
According to Mme. Blavatsky the swastika is the symbol for the activity of Fohat:
The "secret formula" constituting free energy, the "Living Fire", was named under the code name of "Vril" (name probably derived from virile Latin) by the English novelist and philosopher Lord Edward Bulwer-Lytton (1803/1873) * in his novel The Coming Race ("The Coming Race") published in 1871.
Few world-symbols are more pregnant with real occult meaning than the Swastica. It is the emblem of the activity of Fohat, of the continual revolution of the “wheels”, and of the Four Elements, the “Sacred Four”. One initiated into the mysteries of the meaning of the Swastica, say the Commentaries, “can trace on it, with mathematical precision, the evolution of Kosmos and the whole period of Sandhya.” Also “the relation of the Seen to the Unseen”, and “the first procreation of man and species”
Architectural photography
#patternsofthecity #texturesoflive
This architecture, with its networks of tubes and the lookit has of being an expo or world's fair building, with its (calculated?) fragility deterringany traditional mentality or monumentality, overtly proclaims that our time will neveragain be that of duration, that our only temporality is that of the accelerated cycle and ofrecycling, that of the circuit and of the transit of fluids. Our only culture in the end is thatof hydrocarbons, that of refining, cracking, breaking cultural molecules and of theirrecombination into synthesized products. And this is what underlies the beauty ofthe cadaver and the failure of the interior spaces. In any case, the very ideology of "cultural production" is antithetical to all culture, as is that of visibility and of the polyvalent space: culture is a site of the secret, of seduction, of initiation, of a restrainedand highly ritualized symbolic exchange.
Jean Baudrillard /
"Simulacra et simulation"
Basalt lava flow in the Holocene of New Mexico, USA.
This is part of the McCartys Flow, the youngest lava flow in New Mexico's Zuni-Bandera Volcanic Field. The rocks are basalt, a mafic, aphanitic, extrusive igneous rock dominated by plagioclase feldspar and pyroxene, plus sometimes noticeable olivine. Seen here is a distal part of the flow - the lava originated 37 to 38 kilometers ~southwest of this site, from a shield volcano now capped by a cinder cone. Pahoehoe and aa lavas are present
The lithology is vesicular, porphyritic, tholeiitic basalt with olivine phenocrysts. In areas proximal to the vent, plagioclase feldspar phenocrysts are present instead. Glassy basalt (tachylite) is present along flow tops.
Stratigraphy: McCartys Flow, upper Holocene, ~2.4 to 3.9 ka
Locality: roadside exposures along the northern side of westbound Interstate 40's exit 89, Cibola County, northwestern New Mexico, USA (35° 05.045’ North latitude, 107° 46.071’ West longitude)
--------------------------------------------
Mostly synthesized from info. at:
geoinfo.nmt.edu/tour/federal/monuments/el_malpais/zuni-ba...
Model: Jaclyn.
Location: Black Market Goods Gallery, Albuquerque, New Mexico.USA.
© 2010 2015 Photo by Lloyd Thrap Photography for Halo Media Group
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No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Character Creation
Batman[b] is a superhero who appears in American comic books published by DC Comics. Batman was created by artist Bob Kane and writer Bill Finger, and debuted in the 27th issue of the comic book Detective Comics on March 30, 1939.
In the DC Universe, Batman is the alias of Bruce Wayne, a wealthy American playboy, philanthropist, and industrialist who resides in the fictional Gotham City. His origin story features him swearing vengeance against criminals after witnessing the murder of his parents, Thomas and Martha, as a child, a vendetta tempered by the ideal of justice. He trains himself physically and intellectually, crafts a bat-inspired persona, and monitors the Gotham streets at night. Kane, Finger, and other creators accompanied Batman with supporting characters, including his sidekicks Robin and Batgirl; allies Alfred Pennyworth and James Gordon; love interest and occasional adversary Catwoman; as well as foes such as the Penguin, the Riddler, Two-Face, and his archenemy, the Joker, among others.
Kane conceived Batman in early 1939 to capitalize on the popularity of Superman. Along with Kane, Finger substantially developed the concept from a generic superhero into something more bat-like. They drew inspiration from pulp fiction characters like the Shadow, Sherlock Holmes, & The Green Hornet. Batman received a spin-off publication, Batman, in 1940.
Kane and Finger introduced Batman as a ruthless vigilante who frequently killed or maimed criminals, but he evolved into a just, tempered superhero with a stringent moral code that prohibits killing during the 1940s. Unlike most superheroes, Batman does not possess any superpowers, instead relying on his intellect, fighting skills, and wealth.
The 1960s Batman television series used a camp aesthetic, which continued to be associated with Batman for years after it ended. Various creators worked to return Batman to his darker roots in the 1970s and 1980s, culminating with the 1986 miniseries The Dark Knight Returns by Frank Miller.
DC has featured Batman in many comic books, including comics published under its imprints such as Vertigo and Black Label; he has been considered DC's flagship character since the 1990s. The longest-running Batman comic, Detective Comics, is the longest-running comic book in the United States. Batman is frequently depicted alongside other DC superheroes, such as Superman and Wonder Woman, as a member of organizations such as the Justice League and the Outsiders.
In addition to Bruce Wayne, other characters used the Batman persona, such as Jean-Paul Valley / Azrael in the 1993–1994 "Knightfall" story arc; Dick Grayson, the first Robin, from 2009 to 2011; and Jace Fox, the son of Wayne's ally Lucius, since 2021. DC has also published comics featuring alternate versions of Batman, including the incarnation seen in The Dark Knight Returns and its successors, the incarnation from the Flashpoint (2011) event, and numerous interpretations in comics published under the Elseworlds label.
Batman is one of the most iconic characters in popular culture and has been listed among the greatest comic book superheroes and characters ever created. He is one of the most commercially successful superheroes, and his likeness has been licensed and featured in various media and merchandise sold around the world; this includes toy lines such as Lego Batman and video games such as the Batman: Arkham series.
Batman has been adapted in many live-action and animated television series and films. Adam West portrayed him in the 1960s Batman television series, and he has been portrayed in film by Michael Keaton, Val Kilmer, George Clooney, Christian Bale, Ben Affleck, and Robert Pattinson. Many actors, most prolifically Kevin Conroy, have provided Batman's voice in animation and video games. In September 2024, Batman was given a star on the Hollywood Walk of Fame, being the first superhero to receive the honor.
Publication History
Creation and early history
In early 1939, following the success of Superman, DC Comics' editors requested more superheroes.[7] Bob Kane created Batman, initially drawing a character with red tights, bat wings, and a domino mask. Bill Finger, a collaborator, made significant contributions by suggesting a cowl, cape, gloves, and a darker costume.[8] The character's alter ego, Bruce Wayne, was inspired by historical figures Robert the Bruce and Mad Anthony Wayne.[9] Batman's early adventures drew inspiration from contemporary pulp fiction and characters like Zorro and the Shadow, establishing Batman as a master detective with a dark, brooding persona driven by the murder of his parents.[10][11]
Golden, Silver and Bronze Ages
Batman debuted in Detective Comics #27 in 1939. Early stories were dark, featuring a Batman who did not shy away from killing. The character quickly became popular, leading to his own solo title in 1940. Robin, Batman's sidekick, was introduced in 1940, lightening the tone and boosting sales. Over the next few years, Batman's rogues' gallery expanded with iconic villains like the Joker and Catwoman.
The 1950s saw Batman in lighter, science fiction-influenced stories. However, declining sales led to a 1964 revamp by editor Julius Schwartz, who returned Batman to his detective roots and updated his appearance. The 1966 Batman TV series introduced a campy, humorous tone, which was reflected in the comics until its cancellation in 1968. In the 1970s, writers Dennis O'Neil and Neal Adams restored Batman's dark, gritty nature, a trend that continued despite fluctuating sales.
Modern Age and reboots
In the Modern Age of Comic Books Batman comics have undergone significant transformations, reflecting changing storytelling trends and audience interests. Beginning with seminal works like The Dark Knight Returns in the 1980s, which reintroduced Batman in a grittier, more mature context, the character's narrative evolved to explore deeper themes and darker tones. This period also saw the exploration of Batman's origins and psyche through works like Batman: Year One, and Batman: The Killing Joke, which delved into the complexities of heroism and villainy.
In the 1990s, storylines such as "Knightfall" introduced new adversaries like Bane, who physically and mentally challenged Batman, leading to a temporary replacement by Jean-Paul Valley. The aftermath of an earthquake in "No Man's Land" depicted Gotham City in chaos, further pushing Batman to new limits of heroism and survival.
Entering the 21st century, Grant Morrison's influential run introduced Damian Wayne as Batman's son and heir, bringing familial dynamics and a new generation of challenges to the forefront. Morrison's storytelling also delved into surreal and existential themes, such as in Batman R.I.P. and Final Crisis, which tested Batman's resolve and sanity against cosmic threats and personal demons.
The New 52 reboot in 2011 refreshed Batman's continuity while preserving core elements of his character. This era introduced modern interpretations of classic storylines, like Night of the Owls, where Batman confronts the Court of Owls, a clandestine society controlling Gotham for centuries. The chilling return of the Joker in "Death of the Family" explored the intricate relationships within Batman's extended family of allies and adversaries. More recent developments under DC Rebirth and Infinite Frontier have continued to evolve Batman's universe, exploring new characters like Gotham and Gotham Girl, and tackling contemporary issues within the context of Gotham City's ever-evolving landscape of crime and heroism.
Bruce Wayne
Batman's secret identity is Bruce Wayne, a wealthy American industrialist. As a child, Bruce witnessed the murder of his parents, Dr. Thomas Wayne and Martha Wayne, which ultimately led him to craft the Batman persona and seek justice against criminals. He resides on the outskirts of Gotham City in his personal residence, Wayne Manor.
Wayne averts suspicion by acting the part of a superficial playboy idly living off his family's fortune and the profits of Wayne Enterprises, his inherited conglomerate. He supports philanthropic causes through his nonprofit Wayne Foundation, which in part addresses social issues encouraging crime as well as assisting victims of it, but is more widely known as a celebrity socialite.
In public, he frequently appears in the company of high-status women, which encourages tabloid gossip while feigning near-drunkenness with consuming large quantities of disguised ginger ale since Wayne is actually a strict teetotaler to maintain his physical and mental prowess. Although Bruce Wayne leads an active romantic life, his vigilante activities as Batman account for most of his time. While Bruce Wayne is never depicted as being especially religious, he is ethnically Jewish on his mother's side; his maternal cousin Batwoman (Kate Kane) is practising. His father, Thomas, raised Bruce as a Christian.
Various modern stories have portrayed the extravagant, playboy image of Bruce Wayne as a facade. In Batman Unmasked, a television documentary about the psychology of the character, behavioral scientist Benjamin Karney notes that Batman's personality is driven by Bruce Wayne's inherent humanity; that "Batman, for all its benefits and for all of the time Bruce Wayne devotes to it, is ultimately a tool for Bruce Wayne's efforts to make the world better". Bruce Wayne's principles include the desire to prevent future harm and a vow not to kill. Bruce Wayne believes that our actions define us, we fail for a reason, and anything is possible.
Writers of Batman and Superman stories have often compared and contrasted the two. Interpretations vary depending on the writer, the story, and the timing. Grant Morrison notes that both heroes "believe in the same kind of things" despite the day/night contrast their heroic roles display. Morrison notes an equally stark contrast in their real identities. Bruce Wayne and Clark Kent belong to different social classes: "Bruce has a butler, Clark has a boss." T. James Musler's book Unleashing the Superhero in Us All explores the extent to which Bruce Wayne's vast personal wealth is important in his life story, and the crucial role it plays in his efforts as Batman.
Will Brooker notes in his book Batman Unmasked that "the confirmation of the Batman's identity lies with the young audience ...he doesn't have to be Bruce Wayne; he just needs the suit and gadgets, the abilities, and most importantly the morality, the humanity."
Personality
Batman's primary character traits can be summarized as "wealth; physical prowess; deductive abilities and obsession". The details and tone of Batman comic books have varied over the years with different creative teams. Dennis O'Neil noted that character consistency was not a major concern during early editorial regimes: "Julie Schwartz did a Batman in Batman and Detective and Murray Boltinoff did a Batman in the Brave and the Bold and apart from the costume they bore very little resemblance to each other. Julie and Murray did not want to coordinate their efforts, nor were they asked to do so. Continuity was not important in those days."
The driving force behind Bruce Wayne's character is his parents' murder and their absence. Bob Kane and Bill Finger discussed Batman's background and decided that "there's nothing more traumatic than having your parents murdered before your eyes". Despite his trauma, he sets his mind on studying to become a scientist and to train his body into physical perfection to fight crime in Gotham City as Batman, an inspired idea from Wayne's insight into the criminal mind. He also speaks over 40 languages.
Another of Batman's characterizations is that of a vigilante; in order to stop evil that started with the death of his parents, he must sometimes break the law himself. Although manifested differently by being re-told by different artists, it is nevertheless that the details and the prime components of Batman's origin have never varied at all in the comic books, the "reiteration of the basic origin events holds together otherwise divergent expressions".
The origin is the source of the character's traits and attributes, which play out in many of the character's adventures.
Batman is often treated as a vigilante by other characters in his stories. Frank Miller views the character as "a dionysian figure, a force for anarchy that imposes an individual order". Dressed as a bat, Batman deliberately cultivates a frightening persona in order to aid him in crime-fighting, a fear that originates from the criminals' own guilty conscience.
Miller is often credited with reintroducing anti-heroic traits into Batman's characterization, such as his brooding personality, willingness to use violence and torture, and increasingly alienated behavior. Batman, shortly a year after his debut and the introduction of Robin, was changed in 1940 after DC editor Whitney Ellsworth felt the character would be tainted by his lethal methods and DC established their own ethical code, subsequently he was retconned to have a stringent moral code, which has stayed with the character of Batman ever since. Miller's Batman was closer to the original pre-Robin version, who was willing to kill criminals if necessary.
Others as Batman
On several occasions former Robin Dick Grayson has served as Batman; most notably in 2009 while Wayne was believed dead, and served as a second Batman even after Wayne returned in 2010. As part of DC's 2011 continuity relaunch, Grayson returned to being Nightwing following the Flashpoint crossover event.
In an interview with IGN, Morrison detailed that having Dick Grayson as Batman and Damian Wayne as Robin represented a "reverse" of the normal dynamic between Batman and Robin, with, "a more light-hearted and spontaneous Batman and a scowling, badass Robin". Morrison explained their intentions for the new characterization of Batman: "Dick Grayson is kind of this consummate superhero.
The guy has been Batman's partner since he was a kid, he's led the Teen Titans, and he's trained with everybody in the DC Universe. So he's a very different kind of Batman. He's a lot easier; He's a lot looser and more relaxed."
Over the years, there have been numerous others to assume the name of Batman, or to officially take over for Bruce during his leaves of absence. Jean-Paul Valley, also known as Azrael, assumed the cowl after the events of the Knightfall saga. Jim Gordon donned a mecha-suit after the events of Batman: Endgame, and served as Batman in 2015 and 2016. In 2021, as part of the Fear State crossover event, Lucius Fox's son Jace Fox succeeds Bruce as Batman in a 2021 storyline, depicted in the series I Am Batman, after Batman was declared dead.
Additionally, members of the group Batman Incorporated, Bruce Wayne's experiment at franchising his brand of vigilantism, have at times stood in as the official Batman in cities around the world. Various others have also taken up the role of Batman in stories set in alternative universes and possible futures, including, among them, various former proteges of Bruce Wayne.
Enemies
Batman faces a variety of foes ranging from common criminals to outlandish supervillains. Many of them mirror aspects of the Batman's character and development, often having tragic origin stories that lead them to a life of crime. These foes are commonly referred to as Batman's rogues gallery. Batman's "most implacable foe" is the Joker, a homicidal maniac with a clown-like appearance. The Joker is considered by critics to be his perfect adversary, since he is the antithesis of Batman in personality and appearance; the Joker has a maniacal demeanor with a colorful appearance, while Batman has a serious and resolute demeanor with a dark appearance. As a "personification of the irrational", the Joker represents "everything Batman opposes".
Other long-time recurring foes that are part of Batman's rogues gallery include Catwoman (a cat burglar anti-heroine who is variously an ally and romantic interest), the Penguin, Ra's al Ghul, Two-Face (Harvey Dent), the Riddler, the Scarecrow, Mr. Freeze, Poison Ivy, Harley Quinn, Bane, Clayface, and Killer Croc, among others. Many of Batman's adversaries are often psychiatric patients at Arkham Asylum.
Allies
Alfred Pennyworth, Batman's loyal butler and father figure, first appeared in Batman #16 (1943). After Bruce Wayne's parents were killed, Alfred raised Bruce and became one of the few people to know his secret identity. He is often portrayed as a steadying presence in Bruce's life, offering both emotional support and practical assistance in Batman's crime-fighting endeavors. More than just a caretaker, Alfred is a trusted ally and sometimes sidekick, sharing Wayne Manor with Bruce and contributing to Batman's mission.
One of Batman's most crucial allies is Commissioner James Gordon. Their relationship is built on mutual respect and a shared commitment to justice in Gotham City. In Batman: Year One, Gordon and Batman learn to trust each other, which transforms their efforts against crime into a more effective partnership. Gordon's perspective as a police officer complements Batman's vigilantism, allowing them to tackle Gotham's challenges together. Another important ally is the Justice League, which further emphasizes the importance of collaboration. Batman's relationship with Superman showcases how their contrasting ideologies can complement each other. In stories like World's Finest, their friendship highlights how Batman's methods benefit from Superman's optimism and strength.
Sidekicks
Robin, Batman's vigilante partner, has been a widely recognized supporting character for many years; each iteration of the Robin character, of which there have been five in the mainstream continuity, function as members of the Batman family, but additionally, as Batman's "central" sidekick in various media.
Bill Finger stated that he wanted to include Robin because "Batman didn't have anyone to talk to, and it got a little tiresome always having him thinking." The first Robin, Dick Grayson, was introduced in 1940. In the 1970s he finally grew up, went off to college and became the hero Nightwing. A second Robin, Jason Todd was introduced in the 1980s, following Dick Grayson's departure from the role. Initially impulsive and rebellious, Jason's tenure as Robin was controversial among fans. In 1988, DC held a fan vote to determine his fate in the iconic A Death in the Family storyline, where the Joker brutally beat Jason with a crowbar and left him to die in an explosion. The fans voted for his death. However, Jason was later resurrected and returned as the antihero Red Hood.
The third Robin in the mainstream comics is Tim Drake, who first appeared in 1989. He went on to star in his own comic series, and goes by the name Red Robin, a variation on the traditional Robin persona. In the first decade of the new millennium, Stephanie Brown served as the fourth in-universe Robin between stints as her self-made vigilante identity the Spoiler, and later as Batgirl.
After Brown's apparent death, Drake resumed the role of Robin for a time. The role eventually passed to Damian Wayne, the 10-year-old son of Bruce Wayne and Talia al Ghul, in the late 2000s.[58] Damian's tenure as du jour Robin ended when the character was killed off in the pages of Batman Incorporated in 2013.
Batman's next young sidekick is Harper Row, a streetwise young woman who avoids the name Robin but followed the ornithological theme nonetheless; she debuted the codename and identity of the Bluebird in 2014. Unlike the Robins, the Bluebird is willing and permitted to use a gun, albeit non-lethal; her weapon of choice is a modified rifle that fires taser rounds. In 2015, a new series began titled We Are...Robin, focused on a group of teenagers using the Robin persona to fight crime in Gotham City. The most prominent of these, Duke Thomas, later becomes Batman's crimefighting partner as The Signal.
Romantic interests
Batman's romantic history spans decades, filled with relationships that reflect his struggle between personal happiness and his duty as Gotham's protector. His first love interest was Julie Madison, introduced in Detective Comics #31 (1939). Though engaged to Bruce Wayne, she left due to his distant and playboy persona, highlighting the conflict between Bruce's dual life and his desire for a normal relationship.
Selina Kyle, also known as Catwoman, is perhaps the most notable figure in Batman's romantic history. Debuting in Batman #1 (1940), their relationship is characterized by a blend of romance and rivalry. Over the years, they have shared intense connections, often navigating the fine line between love and conflict. Their relationship culminated in an engagement during the DC Rebirth.
Another important figure is Vicki Vale, a journalist introduced in Batman #49 (1948). Vicki's attempts to uncover Batman's true identity lead to a complicated romantic involvement that waxed and waned over the years, especially during the early 1980s when their relationship became more serious.
Talia al Ghul, introduced in Detective Comics #411 (1971), is another key player in Batman's love life. Their relationship is fraught with conflict due to her father, Ra's al Ghul, and his criminal ambitions. Despite the challenges, their love story resulted in the birth of Damian Wayne, who would grow to become the latest Robin and add a new layer of complexity to Batman's character.
Additionally, Batman's relationship with Wonder Woman has been explored in various storylines, including a passionate kiss in JLA (2003) during a moment of crisis. However, their relationship remains largely unexplored, often overshadowed by their respective commitments.
Abilities
Skills and training
Batman has no inherent superhuman powers; he relies on "his own scientific knowledge, detective skills, and athletic prowess". Batman's inexhaustible wealth gives him access to advanced technologies, and as a proficient scientist, he is able to use and modify these technologies to his advantage.
In the stories, Batman is regarded as one of the world's greatest detectives, if not the world's greatest crime solver. Batman has been repeatedly described as having a genius-level intellect, being one of the greatest martial artists in the DC Universe, and having peak human physical and mental conditioning. As a polymath, his knowledge and expertise in countless disciplines is nearly unparalleled by any other character in the DC Universe. He has shown prowess in assorted fields such as mathematics, biology, physics, chemistry, and several levels of engineering. He has traveled the world acquiring the skills needed to aid him in his endeavors as Batman. In the Superman: Doomed story arc, Superman considers Batman to be one of the most brilliant minds on the planet.
Batman has trained extensively in various fighting styles, making him one of the best hand-to-hand fighters in the DC Universe. He possesses a photographic memory, and has fully utilized his photographic memory to master a total of 127 forms of martial arts. In terms of his physical condition, Batman is described as peak human and far beyond an Olympic-athlete-level condition, able to perform feats such as easily running across rooftops in a Parkour-esque fashion, pressing thousands of pounds regularly, and even bench pressing six hundred pounds of soil and coffin in a poisoned and starved state.
Superman describes Batman as "the most dangerous man on Earth", able to defeat an entire team of superpowered extraterrestrials by himself in order to rescue his imprisoned teammates in Grant Morrison's first storyline in JLA.
Batman is strongly disciplined, and he has the ability to function under great physical pain and resist most forms of telepathy and mind control. He is a master of disguise, multilingual, and an expert in espionage, often gathering information under the identity of a notorious gangster named Matches Malone. Batman is highly skilled in stealth movement and escapology, which allows him to appear and disappear at will and to break free of nearly inescapable deathtraps with little to no harm. He is also a master strategist, considered DC's greatest tactician, with numerous plans in preparation for almost any eventuality.
Batman is an expert in interrogation techniques and his intimidating and frightening appearance alone is often all that is needed in getting information from suspects. Despite having the potential to harm his enemies, Batman's most defining characteristic is his strong commitment to justice and his reluctance to take a life. This unyielding moral rectitude has earned him the respect of several heroes in the DC Universe, most notably that of Superman and Wonder Woman.
Among physical and other crime fighting related training, he is also proficient at other types of skills. Some of these include being a licensed pilot (in order to operate the Batplane), as well as being able to operate other types of machinery. In some publications, he even underwent some magician training.
Technology
Batman utilizes a vast arsenal of specialized, high-tech vehicles and gadgets in his war against crime, the designs of which usually share a bat motif. Batman historian Les Daniels credits Gardner Fox with creating the concept of Batman's arsenal with the introduction of the utility belt in Detective Comics #29 (July 1939) and the first bat-themed weapons the batarang and the "Batgyro" in Detective Comics #31 and 32 (Sept. and October 1939).
Personal armor - Batsuit
Batman's batsuit aids in his combat against enemies, having the properties of both Kevlar and Nomex. It protects him from gunfire and other significant impacts, and incorporates the imagery of a bat in order to frighten criminals.
The details of the Batman costume change repeatedly through various decades, stories, media and artists' interpretations, but the most distinctive elements remain consistent: a scallop-hem cape; a cowl covering most of the face; a pair of bat-like ears; a stylized bat emblem on the chest; and the ever-present utility belt. His gloves typically feature three scallops that protrude from long, gauntlet-like cuffs, although in his earliest appearances he wore short, plain gloves without the scallops. The overall look of the character, particularly the length of the cowl's ears and of the cape, varies greatly depending on the artist. Dennis O'Neil said, "We now say that Batman has two hundred suits hanging in the Batcave so they don't have to look the same ...Everybody loves to draw Batman, and everybody wants to put their own spin on it."
Finger and Kane originally conceptualized Batman as having a black cape and cowl and grey suit, but conventions in coloring called for black to be highlighted with blue. Hence, the costume's colors have appeared in the comics as dark blue and grey; as well as black and grey. In the Tim Burton's Batman and Batman Returns films, Batman has been depicted as completely black with a bat in the middle surrounded by a yellow background. Christopher Nolan's The Dark Knight Trilogy depicted Batman wearing high-tech gear painted completely black with a black bat in the middle. Ben Affleck's Batman in the DC Extended Universe films wears a suit grey in color with a black cowl, cape, and bat symbol. Seemingly following the suit of the DC Extended Universe outfit, Robert Pattinson's uniform in The Batman restores the more traditional gray bodysuit and black appendage design, notably different from prior iterations by mostly utilizing real world armor and apparel pieces from modern military and motorcycle gear.
Batmobile
The 1966 television Batmobile, built by George Barris from a Lincoln Futura concept car
Batman's primary vehicle is the Batmobile, which is usually depicted as an imposing black car, often with tailfins that suggest a bat's wings.
Batman also has an aircraft called the Batplane (originally a relatively traditionally, but bat-motifed plane, later seen as the much more unique "Batwing" starting in the 1989 film), along with various other means of transportation.
In proper practice, the "bat" prefix (as in Batmobile or batarang) is rarely used by Batman himself when referring to his equipment, particularly after some portrayals (primarily the 1960s Batman live-action television show and the Super Friends animated series) stretched the practice to campy proportions. For example, the 1960s television show depicted a Batboat, Bat-Sub, and Batcycle, among other bat-themed vehicles. The 1960s television series Batman has an arsenal that includes such "bat-" names as the Bat-computer, Bat-scanner, bat-radar, bat-cuffs, bat-pontoons, bat-drinking water dispenser, bat-camera with polarized bat-filter, bat-shark repellent bat-spray, and Bat-rope. The storyline "A Death in the Family" suggests that given Batman's grim nature, he is unlikely to have adopted the "bat" prefix on his own. In The Dark Knight Returns, Batman tells Carrie Kelley that the original Robin came up with the name "Batmobile" when he was young, since that is what a kid would call Batman's vehicle.
The Batmobile, which was before frequently depicted to resemble a sports car, was redesigned in 2011 when DC Comics relaunched its entire line of comic books, with the Batmobile being given heavier armor and new aesthetics.
Utility belt
Batman keeps most of his field equipment in his utility belt. Over the years it has shown to contain an assortment of crime-fighting tools, weapons, and investigative and technological instruments. Different versions of the belt have these items stored in compartments, often as pouches or hard cylinders attached evenly around it.
Since the 1989 film, Batman is often depicted as carrying a projectile which shoots a retractable grappling hook attached to a cable (before this, a he employed a traditionally thrown grappling hook.) This allows him to attach to distant objects, be propelled into the air, and thus swing from the rooftops of Gotham City.
An exception to the range of Batman's equipment are hand guns, which he refuses to use on principle, since a gun was used in his parents' murder. In modern stories in terms of his vehicles, Batman compromises on that principle to install weapon systems on them for the purpose of non-lethally disabling other vehicles, forcing entry into locations and attacking dangerous targets too large to defeat by other means.
Bat-Signal
When Batman is needed, the Gotham City police activate a searchlight with a bat-shaped insignia over the lens called the Bat-Signal, which shines into the night sky, creating a bat-symbol on a passing cloud which can be seen from any point in Gotham. The origin of the signal varies, depending on the continuity and medium.
In various incarnations, most notably the 1960s Batman TV series, Commissioner Gordon also has a dedicated phone line, dubbed the Bat-Phone, connected to a bright red telephone (in the TV series) which sits on a wooden base and has a transparent top. The line connects directly to Batman's residence, Wayne Manor, specifically both to a similar phone sitting on the desk in Bruce Wayne's study and the extension phone in the Batcave.
Batcave
The Batcave is Batman's secret headquarters, consisting of a series of caves beneath his mansion, Wayne Manor. As his command center, the Batcave serves multiple purposes; supercomputer, surveillance, redundant power-generators, forensics lab, medical infirmary, private study, training dojo, fabrication workshop, arsenal, hangar and garage. It houses the vehicles and equipment Batman uses in his campaign to fight crime. It is also a trophy room and storage facility for Batman's unique memorabilia collected over the years from various cases he has worked on.
Fictional Character History
The Man Who Laughs
Gotham City got its first taste of Batman's greatest enemy, the Joker, when the police found an abandoned warehouse filled with mutilated corpses, all having ghastly rictus grins on their faces. While Batman was tracking down the killer, the Joker himself appeared on live TV, on a news report on Arkham Asylum, killing the reporter with his mysterious laughing venom and predicting the deaths of some of the richest individuals in Gotham. Bruce wondered whether the Joker was a deformed version of the Red Hood, a criminal who fell into chemical waste while being engaged by Batman. The Joker carried out his hits as promised, using his venom, despite Batman's efforts to stop him. The city was thrown into chaos when he invaded a prison facility and sets its inmates free, providing them with weapons and killing all of its guard personnel in the process.
The criminals wrought great havoc throughout the city, but ware apprehended by Batman. When the Joker's next target became Bruce Wayne, Wayne Manor came under strict surveillance and guard by the police, rendering Bruce unable to act as Batman. He secretly injected himself with some Joker venom he had gathered. The venom took instant effect, and Bruce was rushed to the hospital.
But on the way, Alfred Pennyworth administered him with an antidote that Bruce had synthesized after careful study, and as Bruce recovered, he understood the Joker's true plan. He had gained an understanding of what drove the Joker while under the effects of the venom and had realized that Bruce Wayne's assassination was only a diversion from his real mission, which was killing everyone in Gotham City by poisoning its water reservoir, which Batman deduced from the clues he had gained in the last few days while tracking the Joker. He found and stopped the Joker at the reservoir and refrains from killing him, though not without giving him a severe beating. The Joker was confined to the reopened Arkham Asylum.
The Long Halloween
In Batman's early years, his main objective was to take down Gotham's biggest crime lord Carmine "The Roman" Falcone. To do this, Batman required the help of two of Gotham's finest, "hero cop" Jim Gordon and District Attorney Harvey Dent. Despite dealing massive blows to the criminal empire, the Roman still stood tall until a killer by the name of Holiday started making his move and killing a member of the Falcone Crime family on every occasion.
Over the course of the story, the trio's morals are put into question, notably Dent's, who has let it be known that he does not care for the deaths of criminals and even contemplated stealing some of the weakened Roman's money. Jealous by the attention Holiday has received, the Joker attempts to release his gas on Gotham Square on New Year's Eve to kill everyone in attendance, and hopefully Holiday but he is stopped by Batman.
Later on, it is revealed that Dent owned the same type of gun that was used in the Holiday murders, turning him into a prime suspect. Despite Gordon's suspicions, Batman refuses to believe that his friend, who shares his love for justice, would be a killer. On the Roman's birthday, Sal Maroni, Falcone's rival, is set to testify against Carmine, prosecuted by Dent.
Just as things seemed to go Dent's way, Maroni ends up throwing acid in the attorney's face, physically and mentally scarring him. After being rushed to the hospital, Harvey escapes in a crazed state and kills a doctor. Gordon moves Maroni to a new cell, suspecting that he may be Holiday's next target.
Surely enough, Holiday makes his move and kills Maroni, and just as he is about to kill Gordon, who was escorting the gangster, Batman appears just in time to save his friend and take down the killer, and he is revealed to be Falcone's son, Alberto, who holds a grudge against his father for neglecting him and keeping him out of the family business. A while later, Dent makes his return, with half his face disfigured, now calling himself Two-Face. He regroups all the costume freaks including Joker, Scarecrow, and Poison Ivy, among others, and bursts into the disgraced Roman penthouse to signify the change that has come to Gotham.
Batman appears and takes down the villains except for Dent who holds Falcone hostage. Despite Batman's pleads, Two-Face ends up killing Falcone and then surrenders himself. In the end, when confronted by Batman and Gordon, Dent claims that his methods were the most effective in taking down Falcone. Despite witnessing the corruption of their friend, Batman and Gordon's resolve remains strong and they both vow to never give up on ridding Gotham of evil.
Dark Victory and Robin
In the aftermath of Roman's death, Falcone's daughter, Sofia Gigante has taken over the family business and vows to kill Two-Face who managed to escape from Arkham Asylum. Meanwhile, a killer by the name of Hangman has been killing various cops and implying that Two-Face is responsible. A gang war erupts between the crime families and the costumed freaks, recruited by Two-Face, and in the crossfire, circus acrobats, the Flying Graysons are killed by Falcone associate, Tony Zucco, leaving the performers' son, Dick, an orphan.
Feeling sympathy for the child and remembering his own trauma, Bruce Wayne adopts Dick as his son. However, since Bruce was too busy trying to stop the war as Batman, Dick would often sneak out at night looking for his parent's killer. A terrified Tony Zucco, who knows that Batman is looking for him, is confronted by Dick and due to his poor health, ends up dying of a heart attack. Realizing the boy's vigilante tendencies, Bruce reveals his identity and decides to train him to avoid his death. It is later revealed that Hangman is actually Sofia Gigante and sets Gotham on fire to bring Dent out of hiding but before she could kill him, Batman saves him, allowing Dent to kill her and escape into the sewers with the rest of the super-villains with Batman in pursuit.
In the climactic battle, Two-Face and his villainous group find themselves in the bat cave but Dick's presence prevented them from discovering Batman's secret. Batman and Dick end up fighting off and defeating the villains once and for all. In the end, Batman offers Dick a chance to live a normal life away from vigilantism, but Dick insists on joining his war, and so, he becomes Robin, assisting Batman in his mission, and thus the Dynamic Duo was born.
Tales of the Ghul
While trying to stop the criminal Doctor Dark, who was leading the League of Assassins at the time, Batman meets the enigmatic Talia Al Ghul, who was kidnapped by Dark in an attempt to blackmail her father, the wealthy Ra's Al Ghul. Batman saves Talia and she ends up falling in love with the Dark Knight. One night, Batman discovers that Robin has been kidnapped and then, Ra's Al Ghul, who has used his immense resources to discover Batman's secret identity, appears to him in the Bat-Cave to ask for his help, as his daughter has also been kidnapped, possibly by the same person who kidnapped Robin.
The two work together and, accompanied by Ra's' faithful bodyguard Ubu, travels the world looking for the kidnapper. Batman solves various puzzles and obstacles thrown in his path, and after finding both Talia and Robin, he deduces that Ra's was behind the entire ordeal as a personal test, which Ra declares he has passed. Ra's reveals that he wants to change the world into a better place, but to that, he wants to eradicate most of mankind. However, he is growing old and reveals that this machination took place because he needed a successor, and Batman has proven himself worthy of that position as well as the affections of his only daughter, Talia. However, Batman, appalled by his view of the world, sees him as a dangerous criminal mastermind and vows to stop him at all costs.
In his crusade to take down the criminal mastermind, he discovers in the story that Ra's has lived for centuries due to the mystical Lazarus Pit, which restores Ra's youth as well as gives him immense strength that allowed him to defeat Batman in a fight. In his pursuit of Ra's and his league, Batman finds himself in Nanda Parbat where Ra's challenges him to a swordfight. After fighting a stalemate, a scorpion stings Batman, leaving him incapacitated. Though Ra's sees Batman as a worthy foe, because he refused his offer, he leaves him to die.
However, Talia, still having feelings for the Dark Knight, gives him a final kiss that contained the antidote. Batman recovers from the scorpion's poison, and in a fit of rage, confronts Ra's, who was immobilized with fear at the sight of the recovered vigilante, and decisively defeats him. In the end, Batman embraces Talia and offers her the chance to come back with him, but she refuses, because, despite her feelings for Bruce, she feels that she must remain by her father's side.
Just Another Kid on Crime Alley
During an encounter with the Joker, Robin is seriously wounded and the media believes him to be dead. Worried about Dick's safety, Batman decides to keep it that way and retires the Robin mantle, but Dick's insists that he will remain a crime-fighter and he would, later on, become the superhero known as Nightwing. On the anniversary of his parent's death, Batman, as is his tradition, keeps watching over Crime Alley, the site of that tragic night. However, on his way back to the Batmobile, he finds a young street orphan by the name of Jason Todd attempting to steal the tires of the car. Though impressed by the kid's courage, he decides to take him to a school for the homeless, but when it is revealed that the school housed criminals, Batman, with Jason's help, takes it down.
With nowhere for Jason to go and at the risk of him becoming another criminal on the streets, Batman decides to take Jason in as his own son, and seeing his potential to be a hero and also partly due to the loneliness he experienced after Dick Grayson's departure, offers Jason the mantle of Robin, which Jason gladly accepts. Batman later discovers that Jason's mother died of an overdose and his father was a reluctant partner of Two-Face, who ended up getting killed by the criminal. Although Batman attempted to hide this from Robin, fearing what he may do, his faith in Jason is restored when Robin, having discovered Two-Face's acts, spared him even though he had the chance to avenge his father's death. This made Batman see Jason as a worthy sidekick.
A Death in the Family
As time passed, it quickly became evident to Batman that Jason was far from the ideal crime-fighter. His conduct on the field was in stark contrast to that of Batman's cold professionalism. Jason would often thrust himself into exceedingly dangerous situations, endangering both student and mentor, giving vent to his inner emotions, which seemed to be dominated by rage. This became even more evident when Jason seemingly killed a serial rapist who had walked free after causing the death of one of his victims. Batman soon realized Robin hadn't coped with the death of his parents and felt it was best to make him inactive.
Back at his birthplace in Crime Alley, Jason finds his birth certificate and learns that his mother wasn't the late Catherine Todd, but that three women could be his mother, and all there are out of the country, so he left off in search of the first one, in the Middle East where he coincidentally meets up with Batman who was there tracking down the Joker. Together, they thwart the Joker's plans and take down the terrorists, but to Jason's dismay, the suspected woman is not his mother.
Continuing their investigation, and after an encounter with the deadly assassin Lady Shiva, they eventually track down Sheila Haywood, who was working in famine relief efforts in Ethiopia and it is revealed that she is, in fact, Jason's real mother. Bruce leaves Jason to spend time with his mother while he chases after the Joker, but it is later revealed that Sheila was being blackmailed by the Joker into giving him shipments of medical supplies that he can sell in the black market while transferring his deadly Joker gas to relief destinations.
Batman orders Jason to stay put while he chases the Joker, but Jason defies Batman's orders and leaves for the warehouse to find his mother. Jason manages to find her and reveals his secret identity to her, but she turns him over to the Joker in an attempt to save her own life. Joker savagely beats Jason with a crowbar, then detonates an explosion that kills both Jason and his mother.
Batman arrives just as the explosion goes off, and as he searches through the rubble, he finds, to his horror, the corpse of Jason. Batman grieves over the horrible site and vows to avenge Jason's death and take down the Joker once and for all. Batman vengefully tracks down the Joker, and though he manages to stop his latest death plot, the madman escapes, ending this counter the same way as others, unresolved. Batman continues grieving over Jason's death, considering it to be his greatest failure, and vows to never endanger anyone else in this line of work. Since then, he keeps Jason's costume in a glass casing in the Bat-Cave as a memorial, underneath it reads "A Good Soldier".
A Lonely Place of Dying
After Jason's tragic death, Batman became more violent and almost self-destructing when he battled crime. Tim Drake, a young boy who witnessed the death of the Graysons, noticed the dark nature of Batman after the loss of Robin. Tim once idolized the Flying Graysons and was in attendance when Dick's parents were killed. He also idolized Batman and Robin, as he saw them as heroes. Tim was able to deduce that Dick Grayson was, in fact, Robin when he noticed the costumed fighter perform an acrobatic move that only Dick could do, and knowing that the former acrobat was adopted by Bruce Wayne, he pieced things together and deduced that the millionaire is indeed Batman. He had figured out that the original Robin was Dick Grayson and thus, Bruce Wayne had to be Batman.
Tim knew that Batman needed an ally in his war and after being unsuccessful in convincing Dick to return to the role, Dick petitions Bruce to train Tim to become the next Robin, to keep Batman sane, but Batman refuses, vowing to never endanger anyone but himself in his war on crime. Meanwhile, Two-Face is on the loose and has prepared a plot to kill Batman once and for all, and this would have happened if not for the timely intervention of Tim Drake, wearing the Robin costume with Alfred's blessing and providing the necessary distraction for Batman to defeat his foe. In the end, both Alfred and Nightwing insist that the boy is capable of doing much good, especially under the guidance of Batman, and after much reluctance, Batman ends up agreeing. After a grueling training regime, Tim finally becomes the new Robin.
Knightfall
After a long time of hard work, Batman and Robin finally succeed in placing all of the worst villains in Arkham Asylum and thus apparently ensuring peace for Gotham. At one point he also encounters Jean-Paul Valley who is called Azrael, a victim of "The System" who was brainwashed into becoming an assassin for the sinister order known as The Order of Dumas, but Batman comforts Valley and takes him in as an ally to fight crime alongside him and reject his previous life.
Just when it seemed that Gotham was at peace, a new villain makes his way to Gotham seeking to conquer it and defeat its guardian, the Batman. The villain, known only as Bane, destroys the walls of Arkham and frees every single inmate to rage havoc on the city. Batman, who was also sick at the time, is forced to run a gauntlet of his worst enemies, putting both his body and mind to the test.
After a series of plots and encounters that weigh heavily on him, mentally and physically, fighting the likes of the Mad Hatter, the Ventriloquist, Amygdala, Victor Zsasz, Firefly, Riddler, Killer Croc, Poison Ivy, Scarecrow, Joker, and Two-Face, as well as encountering Bane's henchmen Zombie, Trogg and Bird, Batman finally manages to put them all back in prison however still oblivious to the mastermind behind this Gauntlet.
Batman finally returns home to rest only to be confronted by Bane, whose plan has come full circle and has come to Gotham to conquer it and defeat its protector. Though having almost no strength left, Batman accepts Bane's challenge and has one final fight. However, he is no match for this skilled foe, whose strength has also increased due to a drug known as Venom, and despite his best efforts Batman is horribly beaten and has his back broken by Bane in his own Batcave, paralyzing him.
Bane throws Batman's body in the middle of a crowded street so that everyone sees the fall of the Dark Knight. Before his identity is compromised, Alfred and Robin quickly take him back to the manor to nurse him back to health. However, his will is just as broken as his body, as he realizes that he cannot don the costume again, and since Gotham needs a protector, he entrusts the mantle of Batman to Jean-Paul Valley and instructs a distraught Robin to be his ally.
Knightquest and Knightsend
After his paralysis, Batman is tended to by Shondra Kinsolving, a doctor whom Bruce met before and the two shared romantic feelings. However, one night, Shondra is kidnapped along with one of her patients, Jack Drake, Robin's father, and so, despite being in a wheelchair, Bruce, along with Alfred go after the kidnappers, and track them down to London, leaving Gotham under the care of Robin (who is oblivious to his father's kidnapping) and the new Batman. It is revealed in the story that Shondra had psychic powers, and was kidnapped by her brother Asp who intended to use those powers for his own gain. Bruce is caught in a telepathic exchange between Shondra and Asp, and the energy released causes Bruce to regain mobility of his legs.
Now healed, he defeats Asp and saves Drake and Shondra, but the doctor's mental state was regressed to childhood due to the drugs given to her by her brother and she loses all memory of her relationship with Bruce. Preparing to get back into shape and regain his strength, Batman seeks the help of the skilled martial artist and assassin, Lady Shivam who agrees with the condition that he must kill. After several weeks of intense training, when it was time for Batman to kill, he refuses, causing Shiva to send variously skilled assassins after him to force his hand. Bruce defeats the assassins and appears to kill the final one, much to Shiva's delight. However, he had used a technique that appeared to be lethal even though it was not. With his strength now regained, Batman is ready to come back to Gotham.
Meanwhile, back in Gotham, Valley, now operating as Batman, attempts to track down Bane, who has now taken control of Gotham's underworld. However, Valley's brainwashing by the Order resurfaces, causing him to become more violent and to start losing control over his sanity. Donning a new tech-heavy costume and refusing Robin as a partner, Valley becomes a far darker and much more violent Batman and eventually manages to defeat Bane and end his reign of terror.
As the new Batman watches over Gotham, his vicious and reckless methods became intolerable by Robin, especially when he caused the deaths of the villain the Abattoir and his victims. When Robin tried to reason with him, Valley lashed out at him, almost killing him as he now considers himself to be superior to the real Batman. When Batman returns, having healed from his back injury, Jean-Paul tried to kill him to prove his superiority but Batman defeats and tricks him into removing his costume, thereby getting rid of "the system" in his head. Humbled and regretting his actions, Valley admits to Bruce that he (Bruce) is the one and only Batman and vows to redeem himself in his eyes.
Though having regained the use of his legs, Batman decides to travel the world to fully regain his strength, and in his absence gives the mantle to the man he should have given it to in the first place, Nightwing until he comes back.
No Man's Land
Gotham is struck by a massive Earthquake, one which claims the lives of many people in Gotham. Batman had anticipated the arrival of an earthquake and had all Wayne-funded buildings be protected from such an event, including Oracle's Watchtower and Tim Drake's home, however, his own house did not receive such protection because that may compromise his identity as Batman.
Bruce and Alfred barely survive the earthquake, and once out of the rubble, Batman watches in horror his city in ruins and there's nothing he could do about it. With most of the city destroyed, criminals run rampant around the remains, and chaos ensues to the point where Gotham is declared a No Man's Land by the government and it is cut off from the rest of the country. Batman travels to Washington, and as Bruce Wayne does his best to convince Congress to help the city he loves, but he fails to do so, causing him to be distraught and almost loses all hope himself in exile until he is motivated back into action by Talia Al Ghul.
Meanwhile in Gotham, with very limited food and resources, new rules are applied and the criminals divide the city into territories and use spray paint to claim ownership of said territories. Members of the GCPD that stayed in Gotham are now known as the Blue boys and they try to maintain order in Gotham. Others join the fight as well, including Oracle, who monitors the entire city and serves as information broker while Helena Bartinelli aka the Huntress, dons a Batman-inspired costume to be more effective as a crime-fighter.
Batman eventually returns and adapts to the new rules of Gotham, using spray paint to mark his territory and does everything he can to help his city. He allows Huntress to operate as Batgirl for a while until Two-Face's gang invades his territory and kill several people. Helena was forced to flee and when she refuses to follow Batman's orders anymore, he forces her to relinquish the Batgirl mantle.
When things become more dire Batman assembles all his allies including Nightwing, Robin, Jean-Paul Valley and Oracle as well as new Batgirl, the mute Cassandra Caine, who proved herself when she saved Gordon's life from her father the assassin David Caine, and they all fight to take back their city.
No Man's Land comes to an end thanks to Lex Luthor, who used legal and illegal means as well as political machinations to fund the renovation of Gotham city all in an attempt to take over himself. Batman allows Luthor to do his work while having Catwoman collect necessary evidence against Luthor regarding his illegal business, thereby preventing Lex from claiming ownership over Gotham.
Hush
Batman finds himself to be the target of a mysterious conspiracy that pits him against some of his worst villains. While giving chase to Catwoman who was under Poison Ivy's mind control, his bat-rope is cut, causing him to fracture his skull though he is eventually saved by his childhood friend and surgeon Thomas Elliot. Later on, Batman and Catwoman track down Poison Ivy to Metropolis and despite using a mind-controlled Superman against them, Batman manages to get past the Man of Steel and stop the villain. Over the course of this adventure, Batman and Catwoman start to develop a relationship and Batman even reveals his identity to her.
Later on, after encounters with Killer Croc, Ra's Al Ghul, Joker and Scarecrow, all seemingly manipulated under the same conspiracy as well as the apparent death of his friend Tommy, he is confronted by someone claiming to be Jason Todd, Batman's old sidekick who was killed years ago, however it turned out to be another ruse.
Frustrated and desperate to know who has been manipulating all these villains, Batman investigates further until the villain known as Hush finally makes his presence known and reveals that he is in fact, Tommy Elliot. Tommy had always hated his parents and wanted them dead to collect his inheritance, so he staged a car accident that caused his father's death but Bruce's father managed to save his mother, and because of this Tommy held a grudge against the entire Wayne family. He faked his death using Clayface to throw Batman off his trail, as he was the mastermind behind the entire ordeal. After the intervention of Gordon and a recovered Harvey Dent, Hush falls into a river and manages to escape.
In the aftermath, Batman learns that Riddler was the one who told Hush his secret having learned it after using the Lazarus Pit to cure himself of cancer. However, Batman warns Riddler that if he ever decides to reveal this information again, he will feel the wrath of Ra's Al Ghul, ensuring his silence. After all these events, Batman has become more suspicious, causing him to drive Catwoman away as he won't allow himself to fall in love again.
War Drums and War Games
When Tim Drake's father discovers his alter-ego, Tim is forced to retire as Robin and Batman goes back to working alone, that is until Stephanie Brown, aka the young vigilante known as Spoiler and Tim's ex-girlfriend, petitions to be the next Robin, and though reluctant at first, as he previously didn't see her as hero material, Bruce ends up accepting with the condition that she follow his every order. After training her, he hands her a costume and she officially becomes the fourth Robin. Though initially there were some problems, especially when she used lethal force on the villain Mr. Zsasz, she starts proving herself when she handily takes down Tiger Moth.
Stephanie's infectious energy and enthusiasm grow on Batman and he starts to see her as a worthy partner. However, while tracking down the assassin Scarab, she disobeys Batman's order to stay put and ends up getting herself held hostage and almost compromising the mission. Because of that, Batman ends her tenure as Robin. Determined to win back Batman's trust, Stephanie steals from the Bat-cave one of his contingency plans that was supposed to take place in case of crime in Gotham got too out of control. The plan, which she put into motion behind Batman's back, dealt with unifying all the Gotham crime-families under one man, Matches Malone.
What Stephanie didn't know was that Malone is actually one of Batman's underground alter-egos, and because Malone was not present at the staged meeting between crime-lords, things went awry and a huge gang war raged in Gotham, causing the deaths of many. Batman's reputation takes a major hit when he is seen by the media in broad day light holding the dead body of a young student who was killed in the crossfire of the gang war, and even more so when makes several morally questionable actions, including forcefully taking over command of the GCPD (which the results in the death of many), and attempting to put his underground ally, Orpheus, as the leader of all the gangs, but the Black Mask makes his move, kills Orpheus and becomes Gotham's kingpin of crime instead.
Another consequence of this war was Stephanie Brown's death after intense torture at the hands of Black Mask. Batman was at her side in her last moments and comforted her with the fact that she did earn her place as Robin.
Under the Red Hood
After the recent war, Batman has lost too much. Robin, Batgirl and Oracle have left Gotham City, Stephanie Brown is dead, Nightwing is injured, the GCPD sees Batman as a criminal and the Black Mask controls all crime in Gotham. However, a mysterious figure known as The Red Hood has been making his move on Black Mask's operations and taking control of his gangs.
While intercepting one of Black Mask's shipments, Batman and Nightwing encounter Red Hood for the first time, and as they chase after him, they encounter the cyborg Amazo, which they barely manage to defeat. The Red Hood then steals another one of Mask's shipments tries to blackmail him, but the meeting turns sour with Freeze and Batman and Nightwing getting involved, and all the villains end up escaping. However, during the battle, Batman is intrigued by Red Hood's skills, as he sees something familiar.
While intercepting another one of Black Mask's operations, Red Hood is confronted by Batman where they fight to a stalemate. Red Hood finally takes off his mask and to Batman's horror, reveals that he is in fact, Jason Todd, the Robin who apparently died many years ago and even gives him samples of his DNA to prove it before escaping.
It is revealed in the story that Jason came back after he was dipped in a Lazarus Pit by Talia Al Ghul. After this revelation, Alfred offers to remove Jason's memorial from the Cave, but Batman refuses, claiming that the recent developments don't change anything.
After Red Hood blows up Black Mask's penthouse, the desperate crime lord seeks the help of Deathstroke of the Secret Society, who sends Hyena, Captain Nazi and Count Vertigo to kill the Red Hood. Batman intervenes and together they manage to take down the trio of super-villains, but not without Red Hood killing one of them and escaping.
After tricking Black Mask into killing the last of his lieutenants, Red Hood, who has been holding the Joker captive, challenges Batman to come to Crime Alley to end things once and for all. After apprehending Black Mask, Batman complies and meets up with Jason. After an intense back and forth fight, Batman defeats Jason and apologizes for failing him.
Disgusted, Jason reveals that the reason he holds a grudge against Batman is that he never killed Joker to avenge his death. He then holds Joker hostage and throws Bruce a gun, and challenges him to make a choice: either kill Joker or kill him. Batman refuses both choices and ends up incapacitating Jason with a Batarang. An ecstatic Joker ends up blowing the entire place and in the aftermath, Jason manages to escape.
Infinite Crisis
Bruce also becomes more suspicious of other heroes, creating a super satellite called Brother Eye, which is stolen and eventually causes the death of Ted Kord. Things then hit a personal low for Bruce during the story Infinite Crisis when he almost murders megalomaniac Alex Luthor. Bruce realizes his morality is at an all-time low and decides to take a sabbatical from fighting crime.
⚡ Happy 🎯 Heroclix 💫 Friday! 👽
_____________________________
A year of the shows and performers of the Bijou Planks Theater.
Secret Identity: Bruce Wayne
Publisher: DC
First appearance: Detective Comics #27 (March 30, 1939)
Created by: Bob Kane (Writer)
Bill Finger (Artist)
DC Comics Nanoscene
The Batcave
2020, Jada Toys
First appearance cover:
Fort Starbucks synthesizes win-win-win synergies, driving efficiencies across the enterprise and delivering superior customer satisfaction!
Mankind and robots are becoming increasingly codependent, integrated, and, in some instances, interchangeable. Yet one powerful human quality remains impossible to replicate artificially: Emotion.
The Heart and The Hollow is a forced-perspective installation that explores the unique nature of human perception and emotion. Robots, with their increasing intelligence, can analyze and synthesize what they encounter, but only a living being can feel it.
Oil on canvas; 290.8 x 508 cm.
Chen Wenji’s works are synthesized to a very high degree, a formal language of realism and concepts of abstraction have been integrated into one space. The synthesis he demonstrates manifests itself on multiple levels: a synthesis of people and objects, history and symbols, materials and their implications; it also takes as its foundation what Lee Ambrozy calls “duality.” Significantly, Chen Wenji’s works simultaneously display the synthesis of presence and absence.
Taken from “Chen Wenji’s Art and Synthesis” written by Yin Jinan
Mia. This photo uploaded for inclusion in the "~Beyond Portraiture—a little further" pool.
Lloyd-Thrap-Creative-Photography
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© 2010 2025 Lloyd Thrap Photography for Halo Media Group
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No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
El parque fue concebido por Güell y Gaudí como un conjunto estructurado donde, dentro de un incomparable marco de belleza natural, se situarían unas viviendas de alto standing, con todos los adelantos tecnológicos de la época para procurar el máximo confort, con unos acabados de gran calidad artística. Asimismo, idearon un conjunto impregnado de un fuerte simbolismo, ya que procuraron sintetizar en los elementos comunes del parque muchos de los ideales tanto políticos como religiosos que compartían mecenas y arquitecto: así, son perceptibles en el conjunto conceptos procedentes del catalanismo político —sobre todo en la escalinata de acceso, donde se representan los Países catalanes—, y de la religión católica —en el Monumento al Calvario, ideado en principio como capilla—. También es importante el elemento mitológico: según parece, Güell y Gaudí se inspiraron en el Templo de Apolo de Delfos para su concepción del parque.
Por otro lado, numerosos expertos han querido ver en el parque una serie de referencias de variado signo, debido a la compleja iconografía aplicada por Gaudí al conjunto del proyecto urbanístico, referencias que van desde la reivindicación política hasta la exaltación religiosa, pasando por la mitología, la historia o la filosofía. En concreto, muchos estudiosos pretenden ver referencias a la masonería, hecho poco probable debido a las profundas creencias religiosas tanto de Gaudí como del conde Güell, y en todo caso no probado por ningún indicio objetivo en toda la historiografía del arquitecto modernista. La multiplicidad de símbolos desarrollada en el Parque Güell es, como se ha dicho, de signo político y religioso, en todo caso con cierto carácter mistérico debido al gusto de la época por los enigmas y acertijos.
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The park was conceived by Güell and Gaudí as a structured where, within a serene, natural beauty, would stand a luxury homes, with all the technological advances of the time to ensure maximum comfort, with great finishes artistic quality. Also devised a set imbued with a strong symbolism as it sought to synthesize the common elements of the park many of the political and religious ideals they shared patron and architect: well, are noticeable in the set from the Catalan political concepts, especially in the access stairway, which represent Catalans Countries, and the Catholic religion in Calvary Memorial, designed in principle as a chapel. Also important is the mythological element: it seems, Güell and Gaudí was inspired by the Temple of Apollo at Delphi to design the park.
On the other hand, many experts have wanted to see in the park a number of references varied sign, due to the complex iconography Gaudí applied by the entire development project, references ranging from politics to claim religious exaltation, through mythology , history or philosophy. In particular, many scholars claim to see references to the Masons, made unlikely because of deep religious beliefs both as of count Güell Gaudí, and in any case not proven by any objective evidence throughout the historiography of the modernist architect. The multiplicity of symbols developed in Park Guell is, as mentioned, political and religious sign, in any case due to certain mysterious character taste of the time for riddles and puzzles.
Pablo Picasso
I INTRODUCTION
Pablo Picasso (1881-1973), Spanish painter, who is widely acknowledged to be the most important artist of the 20th century. A long-lived and highly prolific artist, he experimented with a wide range of styles and themes throughout his career. Among Picasso’s many contributions to the history of art, his most important include pioneering the modern art movement called cubism, inventing collage as an artistic technique, and developing assemblage (constructions of various materials) in sculpture.
Picasso was born Pablo Ruiz in Málaga, Spain. He later adopted his mother’s more distinguished maiden name—Picasso—as his own. Though Spanish by birth, Picasso lived most of his life in France.
II FORMATIVE WORK (1893-1900)
Picasso’s father, who was an art teacher, quickly recognized that his child Pablo was a prodigy. Picasso studied art first privately with his father and then at the Academy of Fine Arts in La Coruña, Spain, where his father taught. Picasso’s early drawings, such as Study of a Torso, After a Plaster Cast (1894-1895, Musée Picasso, Paris, France), demonstrate the high level of technical proficiency he had achieved by 14 years of age. In 1895 his family moved to Barcelona, Spain, after his father obtained a teaching post at that city’s Academy of Fine Arts. Picasso was admitted to advanced classes at the academy after he completed in a single day the entrance examination that applicants traditionally were given a month to finish. In 1897 Picasso left Barcelona to study at the Madrid Academy in the Spanish capital. Dissatisfied with the training, he quit and returned to Barcelona.
After Picasso visited Paris in October 1900, he moved back and forth between France and Spain until 1904, when he settled in the French capital. In Paris he encountered, and experimented with, a number of modern artistic styles. Picasso’s painting Le Moulin de la Galette (1900, Guggenheim Museum, New York City) revealed his interest in the subject matter of Parisian nightlife and in the style of French painter Henri de Toulouse-Lautrec, a style that verged on caricature. In addition to café scenes, Picasso painted landscapes, still lifes, and portraits of friends and performers.
III BLUE PERIOD (1901-1903)
From 1901 to 1903 Picasso initiated his first truly original style, which is known as the blue period. Restricting his color scheme to blue, Picasso depicted emaciated and forlorn figures whose body language and clothing bespeak the lowliness of their social status. In The Old Guitarist (1903, Art Institute of Chicago, Illinois), Picasso emphasized the guitarist’s poverty and position as a social outcast, which he reinforced by surrounding the figure with a black outline, as if to cut him off from his environment. The guitarist is compressed within the canvas (no room is left in the painting for the guitarist to raise his lowered head), suggesting his helplessness: The guitarist is trapped within the frame just as he is trapped by his poverty. Although Picasso underscored the squalor of his figures during this period, neither their clothing nor their environment conveys a specific time or place. This lack of specificity suggests that Picasso intended to make a general statement about human alienation rather than a particular statement about the lower class in Paris.
Why blue dominated Picasso’s paintings during this period remains unexplained. Possible influences include photographs with a bluish tinge popular at the time, poetry that stressed the color blue in its imagery, or the paintings of French artists such as Eugène Carrière or Claude Monet, who based many of their works around this time on variations on a single color. Another explanation is that Picasso found blue particularly appropriate for his subject matter because it is a color associated with melancholy.
IV ROSE PERIOD (1904-1905)
In 1904 Picasso’s style shifted, inaugurating the rose period, sometimes referred to as the circus period. Although Picasso still focused on social outcasts—especially circus performers—his color scheme lightened, featuring warmer, reddish hues, and the thick outlines of the blue period disappeared. Picasso maintained his interest in the theme of alienation, however. In Two Acrobats and a Dog (1905, Museum of Modern Art, New York City), he represented two young acrobats before an undefined, barren landscape. Although the acrobats are physically close, they gaze in different directions and do not interact, and the reason for their presence is not made clear. Differences in the acrobats’ height also exaggerate their disconnection from each other and from the empty landscape. The dog was a frequent presence in Picasso’s work and may have been a reference to death as dogs appear at the feet of figures in many Spanish funerary monuments.
Picasso may have felt an especially deep sympathy for circus performers. Like artists, they were paid to entertain society, but their itinerant lifestyle and status as outsiders prevented them from becoming an integral part of the social fabric. It was this situation that made the sad clown an important figure in the popular imagination: Paid to make people laugh, he must keep hidden his real existence and true feelings. Living a life of financial insecurity himself, Picasso no doubt empathized with these performers. During this period Picasso met Fernande Olivier, the first of several women who shared his life and provided inspiration for his art. Olivier’s features appear in many of the female figures in his paintings over the next several years.
V CLASSICAL PERIOD (1905) AND IBERIAN PERIOD (1906)
Experimentation and rapid style changes mark the years from late 1905 on. Picasso’s paintings from late 1905 are more emotionally detached than those of the blue or rose periods. The color scheme lightens—beiges and light browns predominate—and melancholy and alienation give way to a more reasoned approach. Picasso’s increasing interest in form is apparent in his references to classical sculpture. The figure of a seated boy in Two Youths (1905, National Gallery, Washington, D.C.), for example, recalls an ancient Greek sculpture of a boy removing a thorn from his foot.
By 1906 Picasso had become interested in sculptures from the Iberian peninsula dating from about the 6th to the 3rd century bc. Picasso must have found them of particular interest both because they are native to Spain and because they display remarkable simplification of form. The Iberian influence is immediately visible in Self-Portrait (1906, Philadelphia Museum of Art, Pennsylvania), in which Picasso reduced the image of his head to an oval and his eyes to almond shapes, thus revealing his increasing fascination with geometric simplification of form.
VI AFRICAN PERIOD (1907)
Picasso’s predilection for experimentation and for drawing inspiration from outside the accepted artistic sources led to his most radical and revolutionary painting yet in 1907: Les Demoiselles d'Avignon (1907, Museum of Modern Art). The painting’s theme—the female nude—could not be more traditional, but Picasso’s treatment of it is revolutionary. Picasso took even greater liberties here with human anatomy than in his 1906 Self-Portrait . The figures on the left in the painting look flat, as if they have no skeletal or muscular structure. Faces seen from the front have noses in profile. The eyes are asymmetrical and radically simplified. Contour lines are incomplete. Color juxtapositions—between blue and orange, for instance—are intentionally strident and unharmonious. The representation of space is fragmented and discontinuous.
While the left side of the canvas is largely Iberian-influenced, the right side is inspired by African masks, especially in its striped patterns and oval forms. Such borrowings, which led to great simplification, distortion, and visual incongruities, were considered extremely daring in 1907. The head of the figure at the bottom right, for example, turns in an anatomically impossible way. These discrepancies proved so shocking that even Picasso’s fellow painters reacted negatively to Les Demoiselles d'Avignon. French painter Henri Matisse allegedly told Picasso that he was trying to ridicule the modern movement.
VII CUBISM (1908-1917)
For many scholars, Les Demoiselles d'Avignon—with its fragmented planes, flattened figures, and borrowings from African masks—marks the beginning of the new visual language, known as cubism. Other scholars believe that French painter Paul Cézanne provided the primary catalyst for this change in style. Cézanne’s work of the 1890s and early 1900s was noted both for its simplification and flattening of form and for the introduction of what art historians call passage, the interpenetration of one physical object by another. For example, in Mont Sainte-Victoire (1902-1906, Metropolitan Museum of Art, New York City), Cézanne left the outer edge of the mountain open, allowing the blue area of the sky and the gray area of the mountain to merge. This innovation—air and rock interpenetrating—was a crucial precedent for Picasso’s invention of cubism. First, it defied the laws of our physical experience, and second, it indicated that artists were viewing paintings as having a logic of their own that functioned independently of, or even contrary to, the logic of everyday experience.
Scholars generally divide the cubist innovations of Picasso and French painter Georges Braque into two stages. In the first stage, analytical cubism, the artists fragmented three-dimensional shapes into multiple geometric planes. In the second stage, synthetic cubism, they reversed the process, putting abstract planes together to represent human figures, still lifes, and other recognizable shapes.
A Analytical Cubism (1908-1912)
Profoundly influenced by Cézanne's later work, Picasso and Braque initiated a series of landscape paintings in 1908. These paintings approximated Cézanne’s both in their color scheme (dark greens and light browns) and in their drastic simplification of nature to geometric shapes. Upon seeing these paintings, French critic Louis Vauxelles coined the term cubism. In Picasso’s Houses on the Hill, Horta de Ebro (1909, Museum of Modern Art), he gave architectural structures a three-dimensional, cubic quality, but he abandoned conventional three-dimensional perspective: Instead of being depicted one behind the other, buildings appear one on top of the other. Moreover, he simplified every aspect of the painting according to a vocabulary of cubic shapes—not just the houses but the sky as well. By neutralizing differences between earth and sky, Picasso made the canvas appear more unified, but he also introduced ambiguity by not differentiating solid from void. In addition, Picasso often used inconsistent light sources. In some parts of a painting, light appears to come from the left; in other parts, it comes from the right, the top, or even the bottom. Spatial planes intersect in ways that leave the spectator guessing whether angles are concave or convex. Delight in confusing the viewer is a regular feature of cubism.
By 1910, it had become evident that cubism no longer had any cubes and that the illusion of three-dimensional space, or volume, was gone. Picasso seemed to have dismantled the very idea of solid form, not only by fragmenting the human figure and other shapes, but also by using Cézanne’s concept of passage to merge figure and environment, solid and void, background and foreground. In this way he created a visually consistent painting, yet the consistency does not conform to the physical consistency of the natural world as we experience it. Picasso’s decision to limit his color scheme to dark browns and grays also suggests that his paintings have initiated a radical departure from nature, rather than attempted to copy it.
The year 1912 marks another major development in the cubist language: the invention of collage. In Still Life with Chair Caning (1912, Musée Picasso), Picasso attached a piece of oilcloth (that depicts woven caning) to his work. With this action Picasso not only violated the integrity of the medium—oil painting on canvas—but also included a material that had no previous connection with high art. Art could now be created, Picasso seems to imply, with scissors and glue as well as with paint and canvas. By including pieces of cloth, newspaper, wallpaper, advertising, and other materials in his work, Picasso opened the door for any object or material, however ordinary, to be included in (or even replace) a work of art. This innovation had important consequences for later 20th-century art. Another innovation was including the letters JOU in the painting, possibly referring to the beginning of the word journal (French for “newspaper”) or to the French word jouer, meaning “to play,” as Picasso is playing with forms. These combinations reveal that cubism includes both visual and verbal references, and merges high art with popular culture.
B Synthetic Cubism (1912-1917)
By inventing collage and by introducing elements from the real world in his canvases, Picasso avoided taking cubism to the level of complete abstraction and remained in the domain of tangible objects. Collage also initiated the synthetic phase of cubism. Whereas analytical cubism fragmented figures into geometric planes, synthetic cubism synthesized (combined) near-abstract shapes to create representational forms, such as a human figure or still life. Synthetic cubism also tended toward multiplicity. In Guitar, Sheet Music, and Wine Glass (1912, McNay Art Museum, San Antonio, Texas), for instance, Picasso combined a drawing of a glass, several spots of color, sheet music, newspaper, a wallpaper pattern, and a cloth that has a wood–grain pattern. Synthetic cubism may also combine different textures, such as wood grain, sand, and printed matter. Sometimes Picasso applied these textures as collage, by gluing textured papers on the canvas. In other cases the artist painted an area to look like wood or wallpaper, fooling the spectator by means of visual puns.
VIII CONSTRUCTION AND AFTER (1912-1920)
In 1912 Picasso instigated another important innovation: construction, or assemblage, in sculpture. Before this innovation, sculpture, at least in the West, was primarily created in one of two ways: by carving a block of stone or wood or by modeling—shaping a form in clay and casting that form in a more durable material, such as bronze. In Guitar (1912, Museum of Modern Art), Picasso used a new additive process. He cut various shapes out of sheet metal and wire, and then reassembled those materials into a cubist construction. In other constructions, Picasso used wood, cardboard, string, and other everyday objects, not only inventing a new technique for sculpture but also expanding the definition of art by blurring the distinction between artistic and nonartistic materials.
From World War I (1914-1918) onward, Picasso moved from style to style. In 1915, for instance, Picasso painted the highly abstract Harlequin (Museum of Modern Art) and drew the highly realistic portrait of Ambroise Vollard (Metropolitan Museum of Art). During and after the war he also worked on stage design and costume design for the Ballets Russes, a modern Russian ballet company launched by the impresario Sergey Diaghilev. Inspired by his direct experience of the theater, Picasso also produced representations of performers, such as French clowns called Pierrot and Harlequin, and scenes of ballerinas.
Picasso separated from Olivier in 1912, after meeting Eva Gouel. Gouel died in 1915, and in 1918 Picasso married Olga Koklova, one of the dancers in Diaghilev’s company. Picasso created a number of portraits of her, and their son, Paulo, appears in works such as Paulo as Harlequin (1924, Musée Picasso).
IX CLASSICAL PERIOD (1920-1925)
After World War I, a strain of conservatism spread through a number of art forms. A motto popular among traditionalists was “the return to order.” For Picasso the years 1920 to 1925 were marked by close attention to three-dimensional form and to classical themes: bathers, centaurs (mythical creatures half-man and half horse), and women in classical drapery. He depicted many of these figures as massive, dense, and weighty, an effect intensified by strong contrasts of light and dark. But even as he moved toward greater realism, Picasso continued to play games with the viewer. In the classical and carefully composed The Pipes of Pan (1923, Musée Picasso), for example, he painted an area of the architectural framework in the foreground (which should be grayish) with the same color as the sea in the background, revealing again his pleasure in ambiguity.
X CUBISM AND SURREALISM (1925-1936)
From 1925 to 1936 Picasso again worked in a number of styles. He composed some paintings of tightly structured geometric shapes, limiting his color scheme to primary colors (red, blue, yellow), as in The Studio (1928, Museum of Modern Art). In other paintings, such as Nude in an Armchair (1929, Musée Picasso), he depicted contorted female figures whose open mouths and menacing teeth reveal a more emotional, less reasoned attitude. Picasso’s marriage broke up during this time, and some of the menacing female figures in his art of this period may represent Koklova.
The same diversity is visible in Picasso’s sculpture during this period. Bather (Metamorphosis II) (1928, Musée Picasso) represents the human body as a massive spherical shape with protruding limbs, whereas Wire Construction (1928, Musée Picasso) depicts it as a rigid, geometric configuration of thin wires. Picasso also experimented with welding in sculpture of this period and explored a variety of themes, including the female head, the sleeping woman, and the Crucifixion. The model for many of his sleeping women was Marie Thérèse Walter, a new love who had entered his life. Their daughter, Maia, was born in 1935.
In the early 1930s Picasso had increasing contact with the members of the surrealist movement (see Surrealism) and became fascinated with the classical myth of the Minotaur. This creature, which has the head of a man and the body of a bull, appears in a study by Picasso for the cover of the surrealist journal Minotaure (1933, Museum of Modern Art). Here Picasso affixed a classical drawing of a Minotaur to a collage of abstracted forms and debris. The Minotaur has numerous incarnations in Picasso’s work, both as an aggressor and a victim, as a violent character and a friendly one. It may represent the artist himself and frequently appears in the context of a bullfight, a typically Spanish scene close to Picasso’s heart.
XI GUERNICA (1937)
In 1937 the Spanish government commissioned Picasso to create a mural for Spain’s pavilion at an international exposition in Paris. Unsure about the subject, Picasso procrastinated. But he set to work almost immediately after hearing that the Spanish town of Guernica had been bombed by Nazi warplanes in support of Spanish general Francisco Franco’s plot to overthrow the Spanish republic. Guernica (1937, Prado, Madrid) was Picasso's response to, and condemnation of, that event. He executed the painting in black and white—in keeping with the seriousness of the subject—and transfigured the event according to his fascination with the bullfight theme.
At the extreme left is a bull, which symbolizes brutality and darkness, according to Picasso. At the center, a horse wounded by a spear most likely represents the Spanish people. At the center on top, an exploding light bulb possibly refers to air warfare or to evil coming from above (and putting out the light of reason). Corpses and dying figures fill the foreground: a woman with a dead child at the left, a dead warrior with a broken sword (from which a flower sprouts) at the center, a weeping woman and a figure falling through a burning building at the right. The distortion of these figures expresses the inhumanity of the event. To suggest the screaming of the horse and of the mother with the dead child, Picasso transformed their tongues into daggers. In the upper center, a tormented female figure holds an oil lamp that sheds light upon the scene, possibly symbolizing the light of truth revealing the brutality of the event to the outside world. In 1936 Picasso met Dora Maar, an artist who photographed Guernica as he painted it. She soon became his companion and the subject of his paintings, although he remained involved with Walter.
XII WORLD WAR II (1939-1945)
Picasso, unlike many artists, stayed in Paris during the German occupation of World War II. Some of his paintings from this time reveal the anxiety of the war years, as does the menacing Still Life with Steer's Skull (1942, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany). Other works, such as his sculpture Head of a Bull (1943, Musée Picasso), are more playful and whimsical. In this sculpture Picasso combined a bicycle seat and handlebars to represent the bull’s head. Upon receiving news of the Nazi death camps, Picasso also painted, although he did not finish, an homage to the victims of the Holocaust (mass murder of European Jews during the war). In this painting, called The Charnel House (1945, Museum of Modern Art), he restricted the color scheme to black and white (as in Guernica) and depicted an accumulation of distorted, mangled bodies. During the war Picasso joined the Communist Party, and after the war he attended several peace conferences.
XIII LATE WORK (1945-1973)
Picasso remained a prolific artist until late in his life, although this later period has not received universal acclaim from historians or critics. He made variations on motifs that had fascinated him throughout his career, such as the bullfight and the painter and his model, the latter a theme that celebrated creativity. And he continued to paint portraits and landscapes. Picasso also experimented with ceramics, creating figurines, plates, and jugs, and he thereby blurred an existing distinction between fine art and craft.
Picasso’s emotional life became more complicated after he met French painter Françoise Gilot in the 1940s, while he was still involved with Maar. He and Gilot had a son, Claude, and a daughter, Paloma, and both appear in many of his late works. Picasso and Gilot parted in 1953. Jacqueline Roque, whom Picasso married in 1961, became his next companion. They spent most of their time in the south of France.
Another new direction in Picasso’s work came from variations on well-known works by older artists that he recast in his own style. Among these works are Women on the Banks of the Seine, after Courbet (1950, Kunstmuseum, Basel, Switzerland) and Le Déjeuner sur l’Herbe after Manet (1960, Musée Picasso). What makes these works particularly significant is that they run counter to a basic premise of modern art, Picasso’s included: namely, originality. Although many modern painters were influenced by earlier artists, they rarely made such direct and obvious references to each other’s work because they deemed such references unoriginal. In the postmodern period, which began in the 1970s, artists and critics began to question the modernist directive to be original. In acts of deliberate defiance, many postmodern artists have appropriated (taken for their own use) well-known images from their predecessors or contemporaries. Seen against this context, Picasso’s later variations on paintings by earlier masters hardly seem out of place; on the contrary, they anticipate a key aspect of art in the 1980s.
One of Picasso’s late works, Head of a Woman (1967), was a gift to the city of Chicago. This sculpture of welded steel, 15 m (50 ft) tall, stands in front of Chicago’s Civic Center. Although its semiabstract form proved controversial at first, the sculpture soon became a city landmark.
Because of his many innovations, Picasso is widely considered to be the most influential artist of the 20th century. The cubist movement, which he and Braque inspired, had a number of followers. Its innovations gave rise to a host of other 20th-century art movements, including futurism in Italy, suprematism and constructivism in Russia, de Stijl in the Netherlands, and vorticism in England. Cubism also influenced German expressionism, dada, and other movements as well as early work of the surrealists (see Surrealism) and abstract expressionists (see Abstract Expressionism). In addition, collage and construction became key aspects of 20th-century art.
Contributed By:
Claude Cernuschi
Microsoft ® Encarta ® 2006. © 1993-2005 Microsoft Corporation. All rights reserved.
It is Labor Day...and I find this unique bush or weed? I'm amazed by its unusual appearance. I have 3 camera's with me. Let's see...is it going to be the G1X, SX60hs or the G7X Mark ii...
Well, the G7X Mark ii wins. Such a small camera, which is a little heavier then the S120. I am in love with how small Canon camera's are. So I snap the alien looking object.....
-rc
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Mysticism remains the great science and the great art, the only power capable of synthesizing the riches accumulated by other human forms of activity.
- A Mystic in Search of a Unifying Truth : Pierre Teilhard de Chardin
by Dr Ellen Galvin RSC
He spoke of fire as a spark, a glow, a blaze, as flames that illuminate, set alight, and consume. Nowhere is this vision more radiant and empowering than in the description of his mystical experiences. They truly express a vision of fire that filled him with wonder and amazement, ecstasy and joy, and made him see the world burst into flames. It is this fire that he wanted to pass on and kindle in others.
-Spirit of Fire: The Life and Vision of Pierre Teilhard De Chardin by Ursula King
These Seven Principles of Human Learning taken from the National Academies Press free ebook Learning and Understanding (2002).
"During the last four decades, scientists have engaged in research that has increased our understanding of human cognition, providing greater insight into how knowledge is organized, how experience shapes understanding, how people monitor their own understanding, how learners differ from one another, and how people acquire expertise. From this emerging body of research, scientists and others have been able to synthesize a number of underlying principles of human learning. This growing understanding of how people learn has the potential to influence significantly the nature of education and its outcomes."
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MUA / Stylist: Ric Kent.
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One of the most characteristic and poorly-understood features of the Mysteries is the naked lion-headed figure often found in Mithraic temples, named by the modern scholars with descriptive terms such as leontocephaline (lion-headed) or leontocephalus (lion-head). He is entwined by a serpent (or two serpents, like a caduceus), with the snake’s head often resting on the lion’s head. The lion’s mouth is often open, giving a horrifying impression. He is usually represented as having four wings, two keys (sometimes a single key), and a scepter in his hand. Sometimes the figure is standing on a globe inscribed with a diagonal cross. In the figure shown here, the four wings carry the symbols of the four seasons, and a thunderbolt is engraved on the breast. At the base of the statue are the hammer and tongs of Vulcan, the cock, and the wand of Mercury. A variation the same figure, but with a human head instead of the lion-mask, is also found, but is rare..Although animal-headed figures are prevalent in contemporary Egyptian and Gnostic mythological representations, an exact parallel to the Mithraic leontocephaline figure has not been found.[47] The name of the figure has been deciphered from dedicatory inscriptions to be Arimanius, a Latinized form of the name Ahriman – a demonic figure in the Zoroastrian pantheon. Arimanius is known from inscriptions to have been a god in the Mithraic cult as seen, for example, in images from the Corpus Inscriptionum et Monumentorum Religionis Mithriacae (CIMRM) such as 222 from Ostia, 369 from Rome, and 1773 and 1775 from Pannonia.Some scholars identify the lion-man as Aion, or Zurvan, or Cronus, or Chronos, while others assert that it is a version of the Zoroastrian Ahriman.[There is also speculation that the figure is the Gnostic demiurge, (Ariel) Ialdabaoth.[51] Although the exact identity of the lion-headed figure is debated by scholars, it is largely agreed that the god is associated with time and seasonal change.] An occultist, D. J. Cooper, speculates to the contrary that the lion-headed figure is not a god, but rather represents the spiritual state achieved in Mithraism's "adept" level, the Leo (lion) degree.
Mithraism, also known as the Mithraic mysteries, was a mystery religion centred around the god Mithras that was practised in the Roman Empire from about the 1st to the 4th century. The religion was inspired by Persian worship of the god Mithra (proto-Indo-Iranian Mitra), though the Greek Mithras was linked to a new and distinctive imagery, and the level of continuity between Persian and Greco-Roman practice is debated.[1] The mysteries were popular in the Roman military.Worshippers of Mithras had a complex system of seven grades of initiation and communal ritual meals. Initiates called themselves syndexioi, those “united by the handshake”.[3] They met in underground temples, called mithraea, which survive in large numbers. The cult appears to have had its centre in Rome.Numerous archaeological finds, including meeting places, monuments and artifacts, have contributed to modern knowledge about Mithraism throughout the Roman Empire. The iconic scenes of Mithras show him being born from a rock, slaughtering a bull, and sharing a banquet with the god Sol (the Sun). About 420 sites have yielded materials related to the cult. Among the items found are about 1000 inscriptions, 700 examples of the bull-killing scene (tauroctony), and about 400 other monuments.[6] It has been estimated that there would have been at least 680 mithraea in Rome. No written narratives or theology from the religion survive; limited information can be derived from the inscriptions and brief or passing references in Greek and Latin literature. Interpretation of the physical evidence remains problematic and contested.The Romans regarded the mysteries as having Persian or Zoroastrian sources. Since the early 1970s the dominant scholarship has noted dissimilarities between Persian Mithra-worship and the Roman Mithraic mysteries. In this context, Mithraism has sometimes been viewed as a rival of early Christianity with similarities such as liberator-saviour, hierarchy of adepts (bishops, presbyters, deacons), communal meal and a hard struggle of Good and Evil (bull-killing/crucifixion).The name Mithras (Latin, equivalent to Greek "Μίθρας",is a form of Mithra, the name of an Old Persian god – a relationship understood by Mithraic scholars since the days of Franz Cumont. An early example of the Greek form of the name is in a 4th century BCE work by Xenophon, the Cyropaedia, which is a biography of the Persian king Cyrus the Great.The exact form of a Latin or classical Greek word varies due to the grammatical process of declension. There is archeological evidence that in Latin worshippers wrote the nominative form of the god’s name as "Mithras". However, in Porphyry’s Greek text De Abstinentia («Περὶ ἀποχῆς ἐμψύχων»), there is a reference to the now-lost histories of the Mithraic mysteries by Euboulus and Pallas, the wording of which suggests that these authors treated the name "Mithra" as an indeclinable foreign word.Related deity-names in other languages include.Sanskrit Mitra (मित्रः), the name of a god praised in the Rig Veda. In Sanskrit, "mitra" means "friend" or "friendship".the form mi-it-ra-, found in an inscribed peace treaty between the Hittites and the kingdom of Mitanni, from about 1400 BCE.Iranian "Mithra" and Sanskrit "Mitra" are believed to come from an Indo-Iranian word mitra meaning contract / agreement / covenant.Modern historians have different conceptions about whether these names refer to the same god or not. John R. Hinnells has written of Mitra / Mithra / Mithras as a single deity worshipped in several different religions.On the other hand, David Ulansey considers the bull-slaying Mithras to be a new god who began to be worshipped in the 1st Century BCE, and to whom an old name was applied.Mary Boyce, a researcher of ancient Iranian religions, writes that even though Roman Empire Mithraism seems to have had less Iranian content than historians used to think, none the less “as the name Mithras alone shows, this content was of some importance.”.Mithra was the god of light, purity, goodness, truth and occupied an important place in the faith of the ancient India-European peoples.There are various opinions on the spread of the Mithra (or Mithras, Mitra) cult, but the most reliable one is the first written protocol about the Mithraic cult from 14th century BC.In the treaty text signed between the powerful kingdom of Mitanni (Mitanni was situated in the North of Armenian Plateau) of king Shativaza (unknown-1350 BC), and the Hittite king of Suppiluliuma (1380-1346 BC) we can see the name of Mithra. So the Mithraic cult was mentioned in Persian cuneiform inscriptions and in the Indian Vedic texts since the fourth century BC.As a result of the religious revolution of Ardashir II, the Sassanid King of Persia in 395 AD, the cults of Mithra and Anahita, the Iranian goddess, were imported to Persia and combined with Zoroastrianism. In the first century BC the cult of Mithra penetrated into Rome, and in the third century AD this religion had become international and spread from India to the Black Sea, from the Balkans to Britain and Spain. Now there are more than four hundred Mithraic temple ruins throughout the Europe.So at first, in fourth century BC this cult spread from the Armenian Plateau to South Persia and India and in first century BC to North-West Europe. The Mysteries of Mithras.....The upper grades, known as the “Participants,” were: 4th . Lion, of the element of FireI died as a mineral and became a vegetable, I passed away as vegetation and became animal. Leaving the animal state I became man. Why should I fear? When was I less through death? I shall once more die: from manhood, to soar with angels: and I must pass beyond angelhood—all perish but God. When I have given up my angel self, I shall be what no mind has conceived.—Jalaluddin Rum.Perhaps it was fitting to begin the following article on the Mithraic Mysteries on the day of the recent Winter Solstice. According to tradition, the god Mithras was born of (“sprang from”) the rock on the shortest day of the year, his birthday celebration occurring on December 25, marking the return of Sol Invictus, the Unconquered Sun.Prior to the vision of Roman Emperor Constantine later establishing Christianity as state religion, a fraternity centered upon the Rites of Mithras once captivated the Western world. Originating in India and later spreading to Persia, Mithraism moved across Europe along with the sprawl of the late Roman Empire.Plutarch, in his Life of Pompey credits the introduction of Mithraism in Rome to pirates arriving from Cilicia, an ancient region south of the Tarsus Mountains in southeast Asia Minor along the Mediterranean Sea.The Indo-Persian myth describing Ahura-Mazda’s battle of Light against Darkness casts Mithras as an associate of the Sun.As the tale begins, Mithras captures the wild bull, the first creation of Ahura-Mazda, and confines it within a cave. The bull escapes, and the Sun sends his messenger the Raven to look for it. Mithras is also sent by Ahura-Mazda and with the help of his dog, he recaptures the beast. He drags it back to the cave and straddles it, cutting the bull’s throat. From the resulting issue of blood springs corn, wheat, and other forms of life. In retaliation, Ahriman, the Chief of Darkness, orders his minions, the ant, snake, and scorpion, to drink up the miraculous fluid, but to no avail: it spreads all over the world giving it life. In a gesture of acknowledgement, the Sun kneels before Mithras offering a crown to seal a covenant with him. The two part ways after a sacramental meal.As we shall see, the reenactment of the myth in the rites of initiation involved passing through seven grades that correspond to seven planets. The worship of Mithras at this time required the construction of a Mithraea, a temple in the form of an underground vault or “cave.” The temple interior consisted of a torch-lit hall with side benches culminating in a central sculpted image of Mithras. Adorned with a Phrygian (“Persian”) cap, he is depicted holding a bull by the nostrils from behind in the act of stabbing it in the neck with a dagger. His image is often accompanied by two torchbearers, possibly representing the Sun and the Moon: Cautes, with upraised torch, and Cautopates, with torch pointed earthward. The ceiling of the sanctuary was painted to resemble the starry “cave” of the night sky. Franz Cumont has mapped the dispersion of various Mithraea across Europe and Asia Minor. The number of them, and of other related Mithraic artifacts is astounding, and indeed, many temples remain intact to this day.
Roman Mithraism appropriated and adapted occult knowledge from the Pythagorean Mysteries, through the astronomical revelations of Hipparchus and the later speculations of the Stoics.Accordingly, Mithraic scholar David Ulansey feels that The Rites of Mithra may be explained by examining the astral religion of the Hellenistic period. The position of the images depicted in the sanctuary suggest that they are directly related to constellations observable at that time: the bull to Taurus, scorpion to Scorpio, snake to Hydra, raven to Corvus, dog to Canus minor, lion to Leo major.Ulansey connects Mithras with the Greek god Perseus of the constellation just above Taurus, who was also known as “the Persian.” Perseus was popularly worshipped in Cilicia, home to the pirates described by Plutarch. In myth, Perseus kills the Gorgon and similarly, as we have seen, Mithras kills the bull. The astral adaptation is a metaphor for the precession of the equinoxes signaling the end of the Age of Taurus, and the beginning of the Age of Aries. Mithras is seen as a diety with the power to move the universe on its cosmic axis, one who controls Fate. Identification with such a God through ritual would seem to confer similar gifts upon the initiate, bestowing the promise of everlasting life.8)One writer has labeled Mithraism “the Alchemy of the Roman World.”
However, initiation into the Mysteries of Mithras in a Roman Mithraea involved austerities and hardships that would make the most rugged Freemason of today blanch.10) The candidate entered the ritual space blindfolded and naked. An oath of secrecy was obtained. Ordeals by fire, by branding upon the forehead, scourging, striking with the leg of a bull, as well as the laying on of hands, pouring on of water, and the bestowing of a solar crown upon the head are reported. Masks and costumes representing key figures found in the myth were worn by participants who had previously achieved the various grades in the hierarchy of the Rite.The “grades” accompanying initiation correspond to the principal participants and their activity found within the myth.The lower grades, known collectively as “Servitors” were in ascending order: 1st. Raven, of the element of Air, is under the sign of Mercury messenger of the gods. Symbols of this degree include the raven, cup, and caduceus of Mercury. 2nd. Bride(groom?), of the element of Water, is under the sign of Venus. Fragments suggest that symbols of this degree included a lamp and a crown. The joining of hands was part of this grade, hence the allusion to a “wedding ceremony.” 3rd. Soldier, of the element of Earth, is under the sign of Mars. Symbols are the soldier’s pouch worn over his shoulder, a helmet, and a lance.The upper grades, known as the “Participants,” were: 4th . Lion, of the element of Fire, under the sign of Jupiter. Symbols of this degree include a fire shovel, a sistrum, and thunderbolts. 5th. Persian, of the element of Water, under the sign of the Moon. Symbols include a hooked knife, a scythe or plow, and the moon and a star. 6th. Courier of the Sun, of the element of Fire, under the sign of the Sun. Symbols are a torch, crown, and a whip (to drive his chariot across the sky). 7th. Father (Pater) under the sign of Saturn. Symbols include a ring or dish, a staff, the Phrygian cap, and a sickle. The holder of this highest rank dressed like Mithras himself. During initiations and other regular ritual activity including sacramental meals, the holders of the various grades were regarded as the earthly representatives of celestial, archetypal participants in the myth.Were the Rites of Mithras “co-alchemic?” Not in the Roman rite, which was most popular among men in the military. At its peak, it was a warrior’s religion. However, evidence suggests that there were fraternal relationships with women from the Cybele-cult, who possibly shared the taurobolium—a “baptism” in bull’s blood, with initiates of Mithraism. This point is controversial, and it is not clear how it may have been performed in a typically small Mithraea.A final sculptural image of Mithras depicts him as the Aeonic Mithras, the Mithraic Cronus, representative of Boundless Time.According to Armenian ancient beliefs, 365 saints are living in the heart of the Sun and each of them is the owner of one day of the year, appointed in order to prevent evil.It is said that within the salty sea (Lake of the Van), there was a rock, and when heaven was darkened the light fell on the rock and shortly after was born Mithra, almost naked but with a Phrygian hat on his head, and torch in his left hand, and it illuminated the world. By killing the bull, Mithra was creating the world from its parts.Strabo chronicled that during the ruling of Achaemenid Empire the Armenian Satrap donated 20,000 horses to the annual Mithra celebration. The observations dedicated to Mithra were celebrated by Armenians in the Month of Areg, which coincided with Iranian month of Mithra. The Armenian seventh month is named Mehekan and each month’s eighth day was called Mithra.Mithra, the god of light, kindness and contracts was indeed born from the very rock—this characteristic is affirmed either by archaeological finds or by the Geghard temple in Armenia, which is carved into the rocky landscape.In 1953-54 during research in Eskikale (Turkey) a tunnel was unearthed which reached depths of 160 meters (525 feet) consisting of a long mountain slope ending with two circular rooms. It is similar to the tunnel at Bagaritch in Upper Armenia with the temple complex dedicated to Mithra.From the mythological point of view, tunnels are the place of birth of Mithra as it said “the beam, separated from the star, penetrates into the depths of the tunnel, giving birth to Mithra, from where he ascended to heaven.” The carved temple of Geghard has also been seen as the birthplace of Mithra during the pre-Christian period.In Vedic texts Mithra is the god who protected the Sun and is always mentioned with Varuna.In Indian sources Mithra is the god of love, light, tenderness and sun shine. The closeness and affection of Mithra and Varuna is inseparable and stable. Varuna is the god of heaven and night. Mithra is the god of light, sunshine and day. These gods of night and day are fellows in cult rituals. Varuna is also the god of waters and seas , and is the husband of Varun, god of wine.Vedic texts are notable for the main ritual of the Mithraic cult, such as sacrificing a bull, which penetrated to Europe. One of the noblest gods is Soma (in Avesta, the primary collection of religious texts of Zoroastrianism, he is instead named Haoma). Soma is the god of invincible power, the god who cures all the diseases. It is Soma who gave life, wealth, and wish fulfillment.In Sanskrit, the name Soma is used for the Moon. They are the same only by name, however, as all the characteristics of the Moon are attributed to a goddess of plants. So, they believed the moon presided over healing plants and thus sacrificed oblations and offerings in worship rituals.Also Soma is the name of a sacred plant. From the leaf of this plant was made a strong alcoholic beverage loved by the gods, and which was dedicated to the gods. During rituals, priests drank this beverage in order to come close to and join with the gods. Soma was the life deity and life essence, and even though the gods received their eternity from this beverage, mortal men could attain temporary ‘eternity’ by drinking the beverage too, allegorically meaning the joining with the God and Essence.According to legend a riot arose between the gods. The god Shiva got involved in the formidable fighting and in one stoke divided god Soma in two, which demonstrates the tradition of sacred bull killing.In other versions the gods decided to kill Soma. The god Wayuu ordered the execution and asked help from Mithra-Varuna. Mithra refused to help and said, “I wish love, boon and affection to everybody.” At the end Mithra agreed to participate in ritual killing in order to benefit from the sacrifice. After the killing they crushed Soma between two stones. It was Mithra’s responsibility to spill on the ground the part of his Soma juice from which would germinate the plants and the animals.In pictures and sculptures of the bull sacrifice ritual, Mithra is often seen turning his face and eyes away, indicating the rejection or distaste of this action. But the bull is the source of life, and the ritual is necessary.“A Being with lion’s head, and eagles wings, and brute’s feet, and human body, enwrapped with a serpent, standing on a globe and holding the keys of life and death in its two hands….The Autozoon, or Living Creature in itself the summation of all forms of life, including man.”14)“It was this God, that the adepts of the mysteries placed at the head of the celestial hierarchy, and considered the first Principal.”15) Surrounded by the signs of the zodiac, he is the winged, invincible Soul emerging from the Cosmic Egg, coiled in the form of the rising serpent representing the manifestation of matter out of the central mystery of Eternity.The fraternal Mithraic Rites fulfill the function of a Mystery School designed to join the temporal nature of the initiate with the Eternal Reality of Spiritual Truth. Establishing a Golden Chain linking Heaven and Earth through the intermediary of human experience, the follower of Mithras walks a path mirroring that of the stars moving through the Universe, and beyond, into a timeless realm that truly, no mind may conceive.Mithraism.......Lion-headed figure... He will say: 'Where ... ?One of the most characteristic and poorly-understood features of the Mysteries is the naked lion-headed figure often found in Mithraic temples, named by the modern scholars with descriptive terms such as leontocephaline (lion-headed) or leontocephalus (lion-head). He is entwined by a serpent (or two serpents, like a caduceus), with the snake’s head often resting on the lion’s head. The lion’s mouth is often open, giving a horrifying impression. He is usually represented as having four wings, two keys (sometimes a single key), and a scepter in his hand. Sometimes the figure is standing on a globe inscribed with a diagonal cross. In the figure shown here, the four wings carry the symbols of the four seasons, and a thunderbolt is engraved on the breast. At the base of the statue are the hammer and tongs of Vulcan, the cock, and the wand of Mercury. A variation the same figure, but with a human head instead of the lion-mask, is also found, but is rare.Although animal-headed figures are prevalent in contemporary Egyptian and Gnostic mythological representations, an exact parallel to the Mithraic leontocephaline figure has not been found.The name of the figure has been deciphered from dedicatory inscriptions to be Arimanius, a Latinized form of the name Ahriman – a demonic figure in the Zoroastrian pantheon. Arimanius is known from inscriptions to have been a god in the Mithraic cult as seen, for example, in images from the Corpus Inscriptionum et Monumentorum Religionis Mithriacae (CIMRM) such as 222 from Ostia, 369 from Rome, and 1773 and 1775 from Pannonia.Some scholars identify the lion-man as Aion, or Zurvan, or Cronus, or Chronos, while others assert that it is a version of the Zoroastrian Ahriman.There is also speculation that the figure is the Gnostic demiurge, (Ariel) Ialdabaoth.[51] Although the exact identity of the lion-headed figure is debated by scholars, it is largely agreed that the god is associated with time and seasonal change.[52] An occultist, D. J. Cooper, speculates to the contrary that the lion-headed figure is not a god, but rather represents the spiritual state achieved in Mithraism's "adept" level, the Leo (lion) degree. According to M. J. Vermaseren, the Mithraic New Year and the birthday of Mithras was on December 25.[54][55] However, Beck disagrees strongly.[56] Clauss states: "the Mithraic Mysteries had no public ceremonies of its own. The festival of Natalis Invicti, held on 25 December, was a general festival of the Sun, and by no means specific to the Mysteries of Mithras."Mithraic initiates were required to swear an oath of secrecy and dedication,[58] and some grade rituals involved the recital of a catechism, wherein the initiate was asked a series of questions pertaining to the initiation symbolism and had to reply with specific answers. An example of such a catechism, apparently pertaining to the Leo grade, was discovered in a fragmentary Egyptian papyrus (P.Berolinensis 21196), He will say: 'Where ... ?... he is/(you are?) there (then/thereupon?) at a loss?' Say: ... Say: 'Night'. He will say: 'Where ... ?' ... Say: 'All things ...' (He will say): '... you are called ... ?' Say: 'Because of the summery ...' ... having become ... he/it has the fiery ... (He will say): '... did you receive/inherit?' Say: 'In a pit'. He will say: 'Where is your ...?... (Say): '...(in the...) Leonteion.' He will say: 'Will you gird?' The (heavenly?) ...(Say): '... death'. He will say: 'Why, having girded yourself, ...?' '... this (has?) four tassels. Very sharp and ... '... much'. He will say: ...? (Say: '... because of/through?) hot and cold'. He will say: ...? (Say): '... red ... linen'. He will say: 'Why?' Say: '... red border; the linen, however, ...' (He will say): '... has been wrapped?' Say: 'The savior's ...' He will say: 'Who is the father?' Say: 'The one who (begets?) everything ...' (He will say): '('How ?)... did you become a Leo?' Say: 'By the ... of the father'. ... Say: 'Drink and food'. He will say '...Almost no Mithraic scripture or first-hand account of its highly secret rituals survives;[29] with the exception of the aforementioned oath and catechism, and the document known as the Mithras Liturgy, from 4th century Egypt, whose status as a Mithraist text has been questioned by scholars including Franz Cumont.[60][61] The walls of Mithraea were commonly whitewashed, and where this survives it tends to carry extensive repositories of graffiti; and these, together with inscriptions on Mithraic monuments, form the main source for Mithraic texts.Nevertheless, it is clear from the archeology of numerous Mithraea that most rituals were associated with feasting – as eating utensils and food residues are almost invariably found. These tend to include both animal bones and also very large quantities of fruit residues.[63] The presence of large amounts of cherry-stones in particular would tend to confirm mid-summer (late June, early July) as a season especially associated with Mithraic festivities. The Virunum album, in the form of an inscribed bronze plaque, records a Mithraic festival of commemoration as taking place on 26 June 184. Beck argues that religious celebrations on this date are indicative of special significance being given to the Summer solstice; but this time of the year coincides with ancient recognition of the solar maximum at midsummer, whilst iconographically identical holidays such as Litha, St John's Eve, and Jāņi are observed also.For their feasts, Mithraic initiates reclined on stone benches arranged along the longer sides of the Mithraeum – typically there might be room for 15 to 30 diners, but very rarely many more than 40 men.[64] Counterpart dining rooms, or triclinia, were to be found above ground in the precincts of almost any temple or religious sanctuary in the Roman empire, and such rooms were commonly used for their regular feasts by Roman 'clubs', or collegia. Mithraic feasts probably performed a very similar function for Mithraists as the collegia did for those entitled to join them; indeed, since qualification for Roman collegia tended to be restricted to particular families, localities or traditional trades, Mithraism may have functioned in part as providing clubs for the unclubbed.[65] However, the size of the Mithraeum is not necessarily an indication of the size of the congregation.Each Mithraeum had several altars at the further end, underneath the representation of the tauroctony, and also commonly contained considerable numbers of subsidiary altars, both in the main Mithraeum chamber and in the ante-chamber or narthex. These altars, which are of the standard Roman pattern, each carry a named dedicatory inscription from a particular initiate, who dedicated the altar to Mithras "in fulfillment of his vow", in gratitude for favours received. Burned residues of animal entrails are commonly found on the main altars indicating regular sacrificial use. However, Mithraea do not commonly appear to have been provided with facilities for ritual slaughter of sacrificial animals (a highly specialised function in Roman religion), and it may be presumed that a Mithraeum would have made arrangements for this service to be provided for them in co-operation with the professional victimarius[68] of the civic cult. Prayers were addressed to the Sun three times a day, and Sunday was especially sacred.It is doubtful whether Mithraism had a monolithic and internally consistent doctrine.It may have varied from location to location.However, the iconography is relatively coherent.[38] It had no predominant sanctuary or cultic centre; and, although each Mithraeum had its own officers and functionaries, there was no central supervisory authority. In some Mithraea, such as that at Dura Europos, wall paintings depict prophets carrying scrolls,[72] but no named Mithraic sages are known, nor does any reference give the title of any Mithraic scripture or teaching. It is known that intitates could transfer with their grades from one Mithraeum to another.HomeThe Red Cap of Liberty is also known as the Phrygian Cap, Mithraic Cap, sacrificial Cap, mitre and in French as the bonnet de laLiberté or bonnet rouge. It symbolizes the sacred acts of Initiation, Sacrifice, Liberty, Revolution, Enlightenment, and Brotherhood...It has been worn by various Abrahamic priesthoods over the last few thousand years and also newly emancipated slaves since the time of Ancient Rome. The red cap not only an ancient symbol, it is one of the oldest magical talismans that is still in use to this very day by various religions, secret societies, and governments all around the world.British Alchemist and Rosicrucian, Hargrave Jennings had written, "The Phrygian Cap, the classic Mithraic Cap, sacrificial Cap, and mitre all derive from one common ancestor." He continues, The whole is a sign of “initiation,” and of baptism of a peculiar kind. The Phrygian cap, ever after this first inauguration, has stood as the sign of the “Enlightened.” The heroic figures in most Gnostic Gems, which we give in our illustrations, have caps of this kind.""Mithras, God of the Sunset, low on the Western main. Thou descending immortal, immortal to rise again! Now when the watch is ended, now when the wine is drawn, Mithras, also a soldier, keep us pure till the dawn!”~From Song to Mithras, Rudyard Kipling."The significance of Mithraism as the first historical, pan-Eurasian religion has never been fully appreciated by European scholarship, which persistently has tried to draw an Iron Curtain between the East and West. In various forms, however, Mithraism has left an indelible and defining mark on the religious history of that vast continent. Christianity was at the same time the greatest benefactor as well as the most destructive scourge of Mithraic tradition. While destroying or vandalizing the material cultural remains of that once great religion, early Christians also copied and co-opted its outward forms in many details, building upon its successes and learning from its limitations. Indeed, both literally and figuratively, Christianity was built upon Mithraic foundations.2Such dependence was a great liability to a Church claiming a new and original dispensation, and every effort was made to suppress the commonalities. For the most part, this meant emphasizing the more obvious (and superficial) mythological and dogmatic differences, but this was hardly enough to demonstrate an essential practical difference between the visionary Eucharistic practices of the two competing Mystery Religions. In fact, the shared gnosis seemed to validate the syncretism and co-option that had so obviously occurred—even in the outward expressions—of the old and new “official” religions of the Empire. For the ancients, such a situation was the norm; that the unitive experiences elicited by the various Mysteries all demonstrated an essential and universal identification not only between the rites of particular gods and goddesses, but also between deities and the celebrant, and between the celebrant and the co-creative Cosmos as a whole.
Given such an underlying assumption of gnosis as a kind of basic and defining experience at the esoteric core of all the Mysteries, dogmatic and doctrinal differences were only of marginal concern and interest, and crass literal interpretations were easily abandoned in favor of a mythological richness infused and sacralized by a common gnosis.Mithraism, as we have shown, was a key and formative element in the radical syncretism that characterized much of Classical spirituality. Considered in these terms, it is important to note that Christianity came to stand in polar opposition to this synthesizing and comparatively tolerant attitude toward other religions. In fact, it is justifiable to consider the Christian claim, that of being the sole source of Salvation, as the only truly original and distinguishing characteristic of the new religion—this along with its insistence on the literal historical veracity of its Savior and His miracles. While Imperial Rome was singularly influential in popularizing and codifying both religions, we must recognize a common ecstatic and communal thread in them that starts in the earliest strata of Indo-European traditions and extends even into the present—intact in its esoteric, entheogenic essence.At the very root of the Mithraic Mysteries lay esoteric mythological, astrological, and pharmacological lore that was not easily to be suppressed, let alone destroyed. The long and almost unbelievably complex history of Mithraism in Eurasia had inseparably woven its mythopoeia into the very fabric of religious-intellectual, artistic, and literary culture throughout the Persian and Classical worlds. As Mithraism faded as a world religion, its venerable esoteric cannon became a river, fed by streams of derivative and original gnostic tradition. It is quite clearly this ancient torrent that sustained and characterized the post-Christian Hermetic and literary undercurrent, erupting throughout history in the various popular gnostic revivals, which were, repeatedly (and often violently), suppressed by the Church Triumphant, which opposed personal mysticism and insisted on imposing itself politically as the essential mediator with the deity.Surviving into modern times, and deriving from uncertain and legendary sources, Freemasonry3 is the most notable of the secret societies that have perpetuated the pre-Christian Mysteries. Although it is true that over the centuries the Masons have been accused of all manner of conspiratorial and diabolical activity (as has been the case with other ‘secret’ societies throughout history), this has been done with largely circumstantial evidence, partial understanding and paranoid zealotry. There can be no doubt, however, that Masonic lodges were indeed hotbeds of pro-revolutionary sentiment and the philosophies of the Enlightenment that opposed the feudal “Ancién Regime” with a “New World Order.”4 This new philosophy, in turn, was illuminated and inspired by the Classical Revival that had first found popular expression during the Renaissance. There can also be no doubt that Masonic membership was often made up of the social and intellectual elite who were the driving force behind the Revolutions that established the political reality of a new social paradigm—a paradigm that is at least as defining a characteristic of ‘modernity’ as the Industrial Revolution.Claiming to be the inheritors and preservers of ancient mysteries via direct lines of descent going back at least the time of the Knights Templar, Masonic symbolism does seem to betray a cohesive and accurate synopsis of the ancient Mysteries. Iconographic items such as the Sun, the all-seeing disembodied eye, the ouroboros, the sacred evergreen, and, most importantly for us, the red Phrygian cap atop a spear or Sword of the Accord are all elements well known to the ancient religions, possessing profound meanings to those initiates who learned of their true significance and interconnection.While most of these symbols are common to alchemical and Masonic imagery, the origins of the so-called ‘liberty pole’ and ‘liberty cap’ are less familiar. It goes without saying, however, that all elements are to be understood as cryptic references that simultaneously conceal and reveal arcane mysteries. The fundamental innovation promulgated in the revolutionary ideal is the dependence upon a kind of Natural Law—as well as the necessary and ongoing revelation of the natural, inalienable and sacred rights of citizens—as the nourishing and necessary spirit upon which a republican democracy might stand. Similarly, Thomas Jefferson appealed to the need for ‘eternal vigilance’ on the part of citizens in maintaining such a government.
While the American Revolution unfolded a world removed from the entrenched monarchies of Europe, the philosophical and political culture in which its revolutionary ideas fermented was fundamentally Continental. Encouraged by the American success, a democratic fervor set Europe—and especially France—ablaze with a call for an inevitable and radical reappraisal of basic political and social suppositions.The uncanny
correspondence between Mithraic, Alchemic, and revolutionary esoteric symbolism is clearly displayed in the various illuminated versions of the Declaration of the Rights of Man (Déclaration des droits de l’homme).
Some of my robots went on a rare outing this weekend to guest/exhibit at Barley (Pendleside) Lancashire May Bank Holiday model engineering show.
Enhanced Omnibot shows off the new grippers on his power arms. His brain is a stack of 5 UNOs - 1 master and 4 slaves which control his servos, his synthesized voice (SPO256 "Narrator" using allophones), and his front panel matrix display.
On the night of the new moon, I tried to capture the trajectory of the stars going around the Ferris wheel of Washuzan Highland in Okayama Prefecture. A little haze appeared but I managed to shoot it.
The facility here is quite seasonal and it is in a state that concerns the rust of the roller coaster. Well, I will not neglect the inspection but ...
It is a photograph which made 100 synthetic images clearly synthesized.
Europe's biggest Gay Pride event – EuroPride – came to Rome on Saturday 11th of June 2011.
Italy is one of the few EU Member States which refuses to recognize civil partnerships for same-sex couples and has no law against homophobia; the sight of a million of gay/lesbian/bisexual/transgender people marching, singing and dancing their way through the city centre, past the Colosseum, on their way to the ancient Roman arena of Circus Maximus, where the closing concert and rally was headlined by none other than vociferous gay rights campaigner Lady Gaga, must surely have given pause for thought amongst the ranks of Italy's homophobic politicians.
Dressed in vintage Gianna Versace, Lady Gaga gave a long and impassioned speech that demanded equal rights now and the defense of love before sitting at the piano and wowing the packed arena with spine tingling acoustic versions of her anthem to diversity Born This Way, followed by The Edge of Glory. Whilst television news reports usually give Gay Pride as little coverage as possible in Italy, this year the presence of a global superstar guaranteed live coverage on some channels and the focus of the entire world.
"...for the fifteen-year-old, who struggles with their identity, who and what will they have to look up to? Where is their wedding day? Where does the dream of their potential end and can it have no limits? Rome, how can we transform the oppression of the past into the liberation of the future? Let us give birth to a new and international ideology, let us come together and synthesize our histories into today. Let us be revolutionaries of love and use our human powers, our very strong human powers, to save lives and encourage unity around the world." Lady Gaga's closing words at EuroPride 2011
Pride parades for the LGBT community (also known as gay pride parades, pride events and pride festivals) are events celebrating lesbian, gay, bisexual and transgender (LGBT) culture. The events also at times serve as demonstrations for legal rights such as same-sex marriage. Most pride events occur annually and many take place around June to commemorate the Stonewall riots, a pivotal moment in the modern LGBT rights movement.
Early on the morning of Saturday, 28 June 1969, lesbian, gay, bisexual, transgender and questioning persons rioted following a police raid on the Stonewall Inn in the Greenwich Village neighborhood of New York City.[1] The Stonewall Inn was a gay bar which catered to an assortment of patrons, but which was popular with the most marginalized people in the gay community: transvestites, transgender people, effeminate young men, hustlers, and homeless youth.
The Stonewall riots are generally considered to be the beginning of the modern gay rights movement, as it was the first time in modern history that a significant body of LGBT people resisted arrest.
Hydrothermally synthesized microclusters of SrCuSi4O10 crystals. We are interesting in exploring the hydrothermal chemistry of the metal copper tetrasilicate system in order to better match the size and morphology of our NIR emitting crystals to application.
Courtesy of Dr. Eric Formo , UGA
Image Details
Instrument used: Teneo
The Postcard
The First Emperor of China controlled a vast territory, and wielded enormous power. He summoned 700,000 men to build his tomb and other structures.
These were designed to reproduce the First Emperor's empire underground for eternity.
These perfectly executed, life-size sculptures, some over 190cm in height, were an early feat of mass production: a small and quite limited repertoire of body parts were joined together in a multitude of combinations, with details worked by hand afterwards.
The Terracotta Army
The Terracotta Army is a collection of terracotta sculptures depicting the armies of Qin Shi Huang, the first emperor of China. It is a form of funerary art buried with the emperor in 210–209 BCE with the purpose of protecting the emperor in his afterlife.
The figures, dating from approximately the late third century BCE, were discovered in 1974 by local farmers in Lintong County, outside Xi'an, Shaanxi, China.
The figures vary in height according to their roles, the tallest being the generals. The figures include warriors, chariots and horses.
Estimates from 2007 were that the three pits containing the Terracotta Army held more than 8,000 soldiers, 130 chariots with 520 horses, and 150 cavalry horses, the majority of which remained buried in the pits near Qin Shi Huang's mausoleum.
Other terracotta non-military figures were found in other pits, including officials, acrobats, strongmen, and musicians.
History of the Terracotta Army
The construction of the tomb was described by historian Sima Qian (145–90 BCE) in Records of the Grand Historian, the first of China's 24 dynastic histories, which was written a century after the mausoleum's completion.
Work on the mausoleum began in 246 BCE soon after Emperor Qin (then aged 13) ascended the throne, and the project eventually involved 700,000 conscripted workers.
Geographer Li Daoyuan, writing six centuries after the first emperor's death, recorded in Shui Jing Zhu that Mount Li was a favoured location due to its auspicious geology:
"Famed for its jade mines, its northern side was
rich in gold, and its southern side rich in beautiful
jade; the first emperor, covetous of its fine reputation,
therefore chose to be buried there".
Sima Qian wrote that the first emperor was buried with palaces, towers, officials, valuable artifacts and wondrous objects. According to this account, 100 flowing rivers were simulated using mercury, and above them the ceiling was decorated with heavenly bodies, below which were the features of the land.
Some translations of this passage refer to "models" or "imitations"; however, those words were not used in the original text, which makes no mention of the terracotta army. High levels of mercury were found in the soil of the tomb mound, giving credence to Sima Qian's account.
Later historical accounts suggested that the complex and tomb itself had been looted by Xiang Yu, a contender for the throne after the death of the first emperor. However, there are indications that the tomb itself may not have been plundered.
Discovery of the Terracotta Army
The Terracotta Army was discovered on the 29th. March 1974 by a group of farmers—Yang Zhifa, his five brothers, and neighbour Wang Puzhi—who were digging a well approximately 1.5 kilometres (0.93 mi) east of the Qin Emperor's tomb mound at Mount Li (Lishan), a region riddled with underground springs and watercourses.
For centuries, occasional reports mentioned pieces of terracotta figures and fragments of the Qin necropolis – roofing tiles, bricks and chunks of masonry. The farmers' discovery prompted Chinese archaeologists, including Zhao Kangmin, to investigate, revealing the largest pottery figurine group ever found.
A museum complex has since been constructed over the area, the largest pit being enclosed by a roofed structure.
The Necropolis
The Terracotta Army is part of a much larger necropolis. Ground-penetrating radar and core sampling have measured the area to be approximately 98 square kilometers (38 square miles).
The necropolis was constructed as a microcosm of the emperor's imperial palace or compound, and covers a large area around the tomb mound of the first emperor.
The earthen tomb mound is located at the foot of Mount Li and built in a pyramidal shape, and is surrounded by two solidly built rammed earth walls with gateway entrances. The necropolis consists of several offices, halls, stables, and other structures as well as an imperial park placed around the tomb mound.
The warriors stand guard to the east of the tomb. Up to 5 metres of reddish, sandy soil had accumulated over the site in the two millennia following its construction, but archaeologists found evidence of earlier disturbances at the site.
During the excavations near the Mount Li burial mound, archaeologists found several graves dating from the 18th. and 19th. centuries, where diggers had apparently struck terracotta fragments. These were discarded as worthless and used along with soil to backfill the excavations.
Mausoleum of the First Qin Emperor
The tomb appears to be a hermetically sealed space roughly the size of a football pitch (c. 100 × 75 m). The tomb remains unopened, possibly due to concerns over the preservation of its artifacts. For example, after the excavation of the Terracotta Army, the painted surface present on some terracotta figures began to flake and fade. The lacquer covering the paint can curl in fifteen seconds once exposed to Xi'an's dry air, and can flake off in just four minutes.
The Pits at the Excavation Site
Four main pits approximately 7 metres (23 ft) deep have been excavated. These are located approximately 1.5 kilometres (0.93 mi) east of the burial mound. The soldiers within were laid out as if to protect the tomb from the east, where the Qin Emperor's conquered states lay.
-- Pit 1
Pit 1, which is 230 metres (750 ft) long and 62 metres (203 ft) wide, contains the main army of more than 6,000 figures. Pit 1 has eleven corridors, most more than 3 metres (10 ft) wide and paved with small bricks with a wooden ceiling supported by large beams and posts.
This design was also used for the tombs of nobles and would have resembled palace hallways when built. The wooden ceilings were covered with reed mats and layers of clay for waterproofing, and then mounded with more soil raising them about 2 to 3 metres (6 ft 7 in to 9 ft 10 in) above the surrounding ground level when completed.
-- Pit 2
Pit 2 has cavalry and infantry units as well as war chariots, and is thought to represent a military guard.
-- Pit 3
Pit 3 is the command post, with high-ranking officers and a war chariot.
-- Pit 4
Pit 4 is empty, perhaps left unfinished by its builders.
Some of the figures in Pits 1 and 2 show fire damage, while remains of burnt ceiling rafters have also been found. These, together with the missing weapons, have been taken as evidence of the reported looting by Xiang Yu and the subsequent burning of the site, which is thought to have caused the roof to collapse and crush the army figures below.
The terracotta figures currently on display have been restored from the fragments.
Additional Pits
Other pits that formed the necropolis have also been excavated. These pits lie within and outside the walls surrounding the tomb mound. They variously contain bronze carriages, terracotta figures of entertainers such as acrobats and strongmen, officials, stone armour suits, burial sites of horses, rare animals and labourers, as well as bronze cranes and ducks set in an underground park.
The Warrior Figures
The terracotta figures are life-sized, typically ranging from 175 cm (5.74 ft) to about 200 cm (6.6 ft) (the officers are typically taller). They vary in height, uniform, and hairstyle in accordance with rank.
Their faces appear to be different for each individual figure; scholars, however, have identified 10 basic face shapes. The figures are of these general types: armored infantry; unarmored infantry; cavalrymen who wear a pillbox hat; helmeted drivers of chariots with more armor protection; spear-carrying charioteers; kneeling crossbowmen or archers who are armored; standing archers who are not; as well as generals and other lower-ranking officers.
There are, however, many variations in the uniforms within the ranks: for example, some may wear shin pads while others not; they may wear either long or short trousers, some of which may be padded; and their body armors vary depending on rank, function, and position in formation.
There are also terracotta horses placed among the warrior figures.
Pigments Used on the Terracotta Warriors
Originally, the figures were painted with: ground precious stones, intensely fired bones (white), pigments of iron oxide (dark red), cinnabar (red), malachite (green), azurite (blue), charcoal (black), cinnabar barium copper silicate mix (Chinese purple or Han purple), tree sap from a nearby source, (more than likely from the Chinese lacquer tree) (brown).
Other colors used included pink, lilac, red, white, and one unidentified color. The colored lacquer finish and individual facial features would have given the figures a realistic feel, with eyebrows and facial hair in black and the faces done in pink.
However, in Xi'an's dry climate, much of the color coating would flake off in less than four minutes after removing the mud surrounding the army.
Some scholars have speculated a possible Hellenistic link to these sculptures, because of the lack of life-sized and realistic sculptures before the Qin dynasty. They argued that potential Greek influence is particularly evident in some of the terracotta figures such as those of acrobats, combined with rare bronze artifacts made with a lost wax technique known in Greece and Egypt.
However, this idea is disputed by scholars who claim that there is "no substantial evidence at all" for contact between ancient Greeks and Chinese builders of the tomb, and the bases of such speculation are often imprecise or false interpretation of source materials or far-fetched conjectures.
They argue that such speculations rest on flawed and old "Eurocentric" ideas that assumed other civilizations were incapable of sophisticated artistry and thus foreign artistry must be seen through Western traditions.
Fabrication of the Terracotta Army
The terracotta army figures were manufactured in workshops by government laborers and local craftsmen using local materials.
Heads, arms, legs, and torsos were created separately and then assembled by luting the pieces together. When completed, the terracotta figures were placed in the pits in precise military formation according to rank and duty.
The faces were created using molds, and at least ten face molds may have been used. Clay was then added after assembly to provide individual facial features to make each figure appear different.
It is believed that the warriors' legs were made in much the same way that terracotta drainage pipes were manufactured at the time. This would classify the process as assembly line production, with specific parts manufactured and assembled after being fired, as opposed to crafting a figure as one solid piece and subsequently firing it.
In those times of tight imperial control, each workshop was required to inscribe its name on items produced to ensure quality control. This has aided modern historians in verifying which workshops were commandeered to make tiles and other mundane items for the terracotta army.
Weaponry
Most of the figures originally held real weapons, which would have increased their realism. The majority of these weapons were looted shortly after the creation of the army or have rotted away.
Despite this, over 40,000 bronze items of weaponry have been recovered, including swords, daggers, spears, lances, battle-axes, scimitars, shields, crossbows, and crossbow triggers.
Most of the recovered items are arrowheads, which are usually found in bundles of 100 units. Studies of these arrowheads suggests that they were produced by self-sufficient, autonomous workshops using a process referred to as cellular production or Toyotism. Some weapons were coated with a 10–15 micrometer layer of chromium dioxide before burial that was believed to have protected them from any form of decay for the last 2200 years.
However, research in 2019 indicated that the chromium was merely contamination from nearby lacquer, not a means of protecting the weapons. The slightly alkaline pH and small particle size of the burial soil most likely preserved the weapons.
The swords contain an alloy of copper, tin, and other elements including nickel, magnesium, and cobalt. Some carry inscriptions that date their manufacture to between 245 and 228 BCE, indicating that they were used before burial.
Scientific Research
In 2007, scientists at Stanford University and the Advanced Light Source facility in Berkeley, California, reported that powder diffraction experiments combined with energy-dispersive X-ray spectroscopy and micro-X-ray fluorescence analysis showed that the process of producing terracotta figures colored with Chinese purple dye consisting of barium copper silicate was derived from the knowledge gained by Taoist alchemists in their attempts to synthesize jade ornaments.
Since 2006, an international team of researchers at the UCL Institute of Archaeology have been using analytical chemistry techniques to uncover more details about the production techniques employed in the creation of the Terracotta Army.
Using X-ray fluorescence spectrometry of 40,000 bronze arrowheads bundled in groups of 100, the researchers reported that the arrowheads within a single bundle formed a relatively tight cluster that was different to other bundles. In addition, the presence or absence of metal impurities was consistent within bundles.
Based on the arrows’ chemical compositions, the researchers concluded that a cellular manufacturing system similar to the one used in a modern Toyota factory, as opposed to a continuous assembly line in the early days of the automobile industry, was employed.
Grinding and polishing marks visible under a scanning electron microscope provide evidence for the earliest industrial use of lathes for polishing.
Terracotta Warrior Exhibitions
The first exhibition of the figures outside of China was held at the National Gallery of Victoria in Melbourne in 1982.
A collection of 120 objects from the mausoleum and 12 terracotta warriors were displayed at the British Museum in London as its special exhibition "The First Emperor: China's Terracotta Army" from 13 September 2007 to April 2008.
This exhibition made 2008 the British Museum's most successful year, and made the British Museum the UK's top cultural attraction between 2007 and 2008. The exhibition brought the most visitors to the museum since the King Tutankhamun exhibition in 1972. The 400,000 advance tickets sold out so fast that the museum extended its opening hours until midnight.
Many people had to be turned away, despite the extended hours. During the day of events to mark the Chinese New Year, the crush was so intense that the gates to the museum had to be shut.
The Terracotta Army has been described as the only other set of historic artifacts (along with the remnants from the wreck of the Titanic) that can draw a crowd by the name alone.
Warriors and other artifacts were exhibited to the public at the Forum de Barcelona in Barcelona between May and September 2004. It was their most successful exhibition ever.
The same exhibition was presented at the Fundación Canal de Isabel II in Madrid between October 2004 and January 2005, their most successful ever.
From December 2009 to May 2010, the exhibition was shown in the Centro Cultural La Moneda in Santiago de Chile.
The exhibition traveled to North America and visited museums such as the Asian Art Museum of San Francisco, Bowers Museum in Santa Ana, California, Houston Museum of Natural Science, High Museum of Art in Atlanta, National Geographic Society Museum in Washington, D.C. and the Royal Ontario Museum in Toronto.
Subsequently, the exhibition traveled to Sweden and was hosted in the Museum of Far Eastern Antiquities between August 2010 and January 2011.
An exhibition entitled 'The First Emperor – China's Entombed Warriors', presenting 120 artifacts was hosted at the Art Gallery of New South Wales, between December 2010 and March 2011.
An exhibition entitled "The Warrior-Emperor of China and his Terracotta Army, featuring artifacts including statues from the mausoleum, was hosted by the Montreal Museum of Fine Arts from February 2011 to June 2011.
In Italy, from July 2008 to November 2008, five of the warriors of the terracotta army were displayed in Turin at the Museum of Antiquities, and from April 2010 to September 2010 nine warriors were exhibited in Milan, at the Royal Palace, at the exhibition entitled "The Two Empires". The group consisted of a horse, a counselor, an archer and six lancers.
The "Treasures of Ancient China" exhibition, showcasing two terracotta soldiers and other artifacts, including the Longmen Grottoes Buddhist statues, was held between February 2011 and November 2011 in four locations in India.
Soldiers and related items were on display from March 2013 to November 2013 at the Historical Museum of Bern.
Several Terracotta Army figures were on display, along with many other objects, in an exhibit entitled "Age of Empires: Chinese Art of the Qin and Han Dynasties" at The Metropolitan Museum of Art in New York City from April to July 2017.
An exhibition featuring ten Terracotta Army figures and other artifacts, "Terracotta Warriors of the First Emperor," was on display at the Pacific Science Center in Seattle, Washington, from April 2017 to September 2017 before traveling to The Franklin Institute in Philadelphia, Pennsylvania, to be exhibited from September 2017 to March 2018 with the addition of augmented reality.
An exhibition entitled "China's First Emperor and the Terracotta Warriors" was at the World Museum in Liverpool from February 2018 to October 2018. This was the first time in more than 10 years that the warriors had travelled to the UK.
An exhibition tour of 120 real-size replicas of terracotta statues was displayed in the German cities of Frankfurt am Main, Munich, Oberhof, Berlin and Nuremberg between 2003 and 2004.
Uranus' moon Titania, imaged by Voyager 2 on 1-24-86.
This is an image captured by Voyager 2 on Jan. 24, 1986, with RGB channels synthesized from monochrome data and made to approximate natural color. South is up in this view; during Voyager's pass Uranus' northern hemisphere was in shadow.
Titania is 1,576 km (980 miles) in diameter and orbits Uranus at a distance of about 436,000 km (271,000 miles.) It's covered in craters and canyons; visible in Voyager's images is the 1,500-km-long Messina Chasmata, a chasm up to 6 km deep.
The concept of Death as a sentient entity has existed in many societies since the beginning of history. In English, Death is often given the name Grim Reaper ...
Location: modelshopstudio™
Albuquerque, New Mexico. USA
© 2013 2018 Photo by Lloyd Thrap Photography for modelshopstudio™
Lloyd-Thrap-Creative-Photography
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Lloyd Thrap's Public Portfolio
Model
Glacially eroded & striated columnar-jointed trachybasalt in the Pleistocene of California, USA.
Famous localities for seeing excellent columnar jointing include Giants Causeway (Ireland), Devils Tower (Wyoming, USA), and Devils Postpile (California, USA). Columnar jointing forms as a lava flow cools and contracts, resulting in the development of shrinkage cracks. As shrinkage cracks grow, they branch at ~120º angles (as seen in plan view). Crack networks merge with other networks to form columns having a polygonal cross-section shape. Most columns are hexagonal or pentagonal in shape. A few are 3-sided, 4-sided, or 7-sided.
Devils Postpile is a trachybasalt (or basaltic trachyandesite) lava flow with well-developed columnar jointing. Erosion has toppled many of the columns into a large pile at the base of the flow. The flow represents part of the activity of the Long Valley Volcano, which is now a large caldera in the eastern Sierra Nevada Mountains of California. The Devils Postpile lava flow erupted outside the southwestern margin of the Long Valley Caldera.
The top of the flow has been eroded by glaciers. Decent glacial striations and glacial polish are present in many places.
Stratigraphy: Postpile Flow, Upper Pleistocene, 82 ka
Locality: Devils Postpile National Monument, west of town of Mammoth Lakes, eastern California, USA
---------------
Info. synthesized from:
Huber et al. (2001) - The Story of Devils Postpile, a Land of Volcanic Fire, Glacial Ice and an Ancient River, Updated from the Original Edition.
Bailey (2004) - United States Geological Survey Professional Paper 1692.
Mahood et al. (2010) - Geological Society of America Bulletin 122: 396-407.
May 2009 Reptilian Lounge.
Tricklock theater group.
© 2009 2025 Photo by Lloyd Thrap Photography for Halo Media Group
Lloyd-Thrap-Creative-Photography
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Natural om in mount kailash from satellite google earth
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om".[26] It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).[27]
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song.[26][27] The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.[27][28]
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons).[29] Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively.[30] The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons".[31] The syllable Om is thus implied as that which inspires the good inclinations within each person.[30][31]
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes.[28][32] In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self,[33] and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".[34]
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation).[35] In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant,[36] that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.[37]
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M.[39] The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra[40] and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya;[41] as knowledge-endowed body - Rig, Saman and Yajur;[42] as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche.[39][43] Brahman exists in two forms - the material form, and the immaterial formless.[44] The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.[45][46]
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).[39]
Mundaka Upanishad[edit source]
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.[47][48]
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman.[49]
It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate[50] that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4[51][52]
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).[53]
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world".[54] Thereafter it presents various explanations and theories on what it means and signifies.[55] This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).[54][55]
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.[55]
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold.[54] Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.[56]
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self).[55] These four are A + U + M + "without an element" respectively.[55]
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first).[54] The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness).[55] The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation).[54] The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).[54][55]
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads.[57][58] The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).[59]
Epics[edit source]
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".[60]
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17, [60]
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,[61]
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis).
BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions.[1][2] It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.[3][4]
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism.[5][6] The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima).[7][8] It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge).[9][10][11] The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om".[26] It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).[27]
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song.[26][27] The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.[27][28]
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons).[29] Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively.[30] The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons".[31] The syllable Om is thus implied as that which inspires the good inclinations within each person.[30][31]
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes.[28][32] In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self,[33] and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".[34]
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation).[35] In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant,[36] that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.[37]
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M.[39] The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra[40] and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya;[41] as knowledge-endowed body - Rig, Saman and Yajur;[42] as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche.[39][43] Brahman exists in two forms - the material form, and the immaterial formless.[44] The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.[45][46]
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).[39]
Mundaka Upanishad[edit source]
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.[47][48]
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman.[49]
It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate[50] that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4[51][52]
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).[53]
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world".[54] Thereafter it presents various explanations and theories on what it means and signifies.[55] This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).[54][55]
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.[55]
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold.[54] Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.[56]
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self).[55] These four are A + U + M + "without an element" respectively.[55]
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first).[54] The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness).[55] The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation).[54] The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).[54][55]
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads.[57][58] The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).[59]
Epics[edit source]
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".[60]
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17, [60]
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,[61]
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis).
Burlesque Noir strives to depict women of all shapes, sizes, races, colors, sexual orientation, sub-cultures, and backgrounds that they can be beautiful, sexy, funny, silly, glamorous...
© 2008 2019 Lloyd Thrap Photography for Halo Media Group
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No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Outside the photographic Museum, Chalon sur saone, France
Birth of Photography Timeline:
1796 Alois Seneffelder invents lithography.
1802 Thomas Wedgwood produces images of porceliain miniatures by first tracing their silhouettes, then placing a sheet of tracing paper in contact with sensitized leather with silver nitrate. But cannot make them permanant or Fix the image.
1816 Nicephore Niepce obtains a negative image in the camera obscura, on paper sensitized with silver chloride.
1817 Niepce abandons silver chloride and experiments with various chemicals likely to fix the "action of light" such as bitumen of judea.
1819 John Herschel, a Chemist, synthesizes hyposulfite of soda (sodium thiosulfte)
1822 Niepce discovers a new photoengraving process which he calls "heliography"
1825 Chevalier, an optician hears of Nicephore's work and he talks to Daguerre about Niepces work.
1827 Niepce goes to England to visit his dying brother. He becomes friends with Francis Bauer and offers him some of his Heliographs among which;
"View of Birdcage".
1829 Niepce agrees to work with Daguerre. An agreement is concluded on Dec. 14th in Chalon sur Saone.
1830 Niepce combines iodine and silver (which is photo-sensitive) on copper plate.
1833 Niepce dies in St Loup de Verennes.
To be continued!...
This model is a very slight MOD: only a couple color changes and part removals to this vehicle. I also added laser guns to the model, which take the form of trans-yellow cones.
After the Planet Chima was discovered by humans, many of the species there decided to remain close to the source of the chi power supply and not leave the world. Eagle tribe member Eris was one of the few exceptions, when she found out how to synthesize Chi artificially. She left her home-world behind and made her way into the universe, becoming a outcast in the process by using the artificial Chi. To make her more like her human friends (and to lessen the cost of buying new clothes with wing holes built in), she had her wings removed by surgery, while adding hair to her head instead of the original feather crest. This brave figure also serves as a resistance member, and sometimes girlfriend of Analog the techno-mage, where she serves as his commander of their unit. Eris serves as both a brilliant tactician and inspirational leader, helping conduct both secret missions and public propaganda against the evil Space Police IV regime.
The Twin Jet-Bike can cover both air and ground easily, with it's wheels becoming hover pods with just a couple clicks of the hinges and a turntable. (When entering space's vacuum or unfriendly atmosphere's Eris dons a airtight helmet, as there is no cockpit canopy.)
The Sultan Ahmed Mosque (Turkish: Sultanahmet Camii) is an historical mosque in Istanbul. The mosque is popularly known as the Blue Mosque for the blue tiles adorning the walls of its interior. It was built from 1609 to 1616, during the rule of Ahmed I. Like many other mosques, it also comprises a tomb of the founder, a madrasah and a hospice. While still used as a mosque, the Sultan Ahmed Mosque has also become a popular tourist attraction.
The design of the Sultan Ahmed Mosque is the culmination of two centuries of both Ottoman mosque and Byzantine church development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect has ably synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour. It has one main dome, six minarets, and other eight secondary domes.
- Wikipedia -
Upper Nob Hill District. Albuquerque New Mexico .USA
© 2010 2013 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Model: Aliice Black
Photo By: Lloyd Thrap for Model Shop Studio.
Lloyd-Thrap-Creative-Photography
Location: Black Market Goods Gallery, Albuquerque, New Mexico. USA
A model shop studio joint.
© 2010 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Born: February 20, 1988
Rihanna established her dance-pop credentials in summer 2005 with her debut smash hit, "Pon de Replay," and continued to demonstrate hit potential in subsequent years (e.g., "S.O.S." in 2006; "Umbrella" in 2007; "Disturbia" in 2008). However, it was the singer's third album, Good Girl Gone Bad, that made her a full-fledged international pop star with a regular presence atop the charts. Born Robyn Rihanna Fenty on February 20, 1988, in Saint Michael, Barbados, she exhibited a certain star quality as a young child, often winning beauty and talent contests. Because she lived on the fairly remote island of Barbados in the West Indies, however, she never foresaw the sort of stardom that would later befall her.
That stardom came courtesy of a fateful meeting with Evan Rogers. The New Yorker was vacationing in Barbados with his wife, a native of the island, when he was introduced to Rihanna. Rogers had spent years producing pop hits for such superstars as *NSYNC, Christina Aguilera, Jessica Simpson, Kelly Clarkson, Laura Pausini, and Rod Stewart, and he offered the talented Rihanna a chance to record. Along with Rogers' production partner, Carl Sturken (the other half of Syndicated Rhythm Productions), Rihanna recorded several demos that sparked the interest of the Carter Administration -- that is, the newly appointed Def Jam president Shawn "Jay-Z" Carter. This led to an audition, and Rihanna both received and accepted an on-the-spot offer to sign with Def Jam.
Come summer 2005, Def Jam rolled out "Pon de Replay," the lively leadoff single from Music of the Sun. Produced almost entirely by Rogers and Sturken, the song synthesized Caribbean rhythms with urban-pop songwriting. "Pon de Replay" caught fire almost immediately, climbing all the way to number two on the Billboard Hot 100 and contesting the half-summer reign of Mariah Carey's "We Belong Together" atop the chart. The debut album spawned one other hit, "If It's Lovin' That You Want," which also broke the Top 40. Rihanna's follow-up effort, A Girl Like Me, saw even greater success and spawned three sizable singles: a chart-topper ("S.O.S.") and two Top Ten hits ("Unfaithful," "Break It Off").
Rihanna's third album, 2007's Good Girl Gone Bad, continued her success while signaling a change of direction. Whereas her past two albums had been imbalanced -- often weighed down by faceless balladry and canned Caribbean-isms -- Good Girl Gone Bad was a first-rate dance-pop album, stacked with several chart-topping singles and boasting collaborations with Jay-Z, Ne-Yo, Timbaland, and StarGate. The lead single, "Umbrella," shot to number one, as did "Take a Bow" and "Disturbia." Its success turned Rihanna into one of the planet's biggest pop stars.
Rated R was released in 2009 during the wake of a physical altercation with romantic interest Chris Brown, who pleaded guilty to felony assault. The album's lead single, "Russian Roulette" -- written with Ne-Yo -- was one of the year's most controversial singles, and it set the tone for the singer's new, dark direction. Rated R peaked within the Top Five of the Billboard 200, while another one of its singles, "Rude Boy," topped the Hot 100. Rated R: Remixed was released in the spring of 2010 and featured ten tracks from the album revamped for the dancefloor by Chew Fu. Loud, Rihanna's fifth studio album, followed in November and was led by the StarGate-produced "Only Girl (In the World)." Jason Birchmeier, Rovi
Bauhaus: a school of design noted especially for a program that synthesized technology, craftsmanship, and design aesthetics
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions.[1][2] It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.[3][4]
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism.[5][6] The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima).[7][8] It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge).[9][10][11] The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om".[26] It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).[27]
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song.[26][27] The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.[27][28]
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons).[29] Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively.[30] The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons".[31] The syllable Om is thus implied as that which inspires the good inclinations within each person.[30][31]
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes.[28][32] In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self,[33] and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".[34]
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation).[35] In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant,[36] that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.[37]
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M.[39] The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra[40] and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya;[41] as knowledge-endowed body - Rig, Saman and Yajur;[42] as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche.[39][43] Brahman exists in two forms - the material form, and the immaterial formless.[44] The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.[45][46]
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).[39]
Mundaka Upanishad[edit source]
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.[47][48]
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman.[49]
It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate[50] that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4[51][52]
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).[53]
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world".[54] Thereafter it presents various explanations and theories on what it means and signifies.[55] This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).[54][55]
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.[55]
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold.[54] Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.[56]
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self).[55] These four are A + U + M + "without an element" respectively.[55]
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first).[54] The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness).[55] The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation).[54] The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).[54][55]
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads.[57][58] The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).[59]
Epics[edit source]
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".[60]
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17, [60]
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,[61]
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis).