tag:blogger.com,1999:blog-2366878016847033232024-03-18T21:10:34.711-07:00Crystal ShipUnknownnoreply@blogger.comBlogger409125tag:blogger.com,1999:blog-236687801684703323.post-6637706544164733912013-02-01T15:47:00.000-08:002013-02-01T15:47:03.516-08:00The Hetoimasia, Etimasia<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGm6qsjyyCBpthkl_h6wMp04LhzDm0m9PR8gBidpnfpBMIqY4yv2WvxmeHaaV9DOS9lKNfNcWrImUWDnnMzV7GCY_G9hfTV42oc6urgYjO8a6UNRK21yNOTLMEeAMp1XFLR5MCXz-kdoaY/s1600/5315721489_de45696298_z.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="118" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGm6qsjyyCBpthkl_h6wMp04LhzDm0m9PR8gBidpnfpBMIqY4yv2WvxmeHaaV9DOS9lKNfNcWrImUWDnnMzV7GCY_G9hfTV42oc6urgYjO8a6UNRK21yNOTLMEeAMp1XFLR5MCXz-kdoaY/s320/5315721489_de45696298_z.jpg" width="320" /></a></div>
The <b>Hetoimasia</b>, <b>Etimasia</b> (Greek ἑτοιμασία, "preparation"), <b>prepared throne</b>, <b>Preparation of the Throne</b>, <b>ready throne</b> or <b>Throne of the Second Coming</b> is the Christian version of the symbolic subject of the <b>empty throne</b> found in the art of the ancient world, whose meaning has changed over the centuries. In <a href="http://en.wikipedia.org/wiki/Ancient_Greece" title="Ancient Greece">Ancient Greece</a> it represented <a href="http://en.wikipedia.org/wiki/Zeus" title="Zeus">Zeus</a>, chief of the gods, and in early <a href="http://en.wikipedia.org/wiki/Buddhist_art" title="Buddhist art">Buddhist art</a> it represented <a href="http://en.wikipedia.org/wiki/Gautama_Buddha" title="Gautama Buddha">the Buddha</a>. In <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Early_Christian_art" title="Early Christian art">Early Christian art</a> and Early <a href="http://en.wikipedia.org/wiki/Medieval_art" title="Medieval art">Medieval art</a> it is found in both the East and Western churches, and represents either <a href="http://en.wikipedia.org/wiki/Christ" title="Christ">Christ</a>, or sometimes <a href="http://en.wikipedia.org/wiki/God_the_Father" title="God the Father">God the Father</a> as part of the <a href="http://en.wikipedia.org/wiki/Trinity" title="Trinity">Trinity</a>. In the Middle Byzantine period, from about 1000, it came to represent more specifically the throne prepared for the <a href="http://en.wikipedia.org/wiki/Second_Coming" title="Second Coming">Second Coming</a> of Christ, a meaning it has retained in <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Eastern_Orthodox" title="Eastern Orthodox">Eastern Orthodox</a> art to the present.<sup class="reference" id="cite_ref-1"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-1"><span>[</span>1<span>]</span></a></sup> The motif consists of an empty <a href="http://en.wikipedia.org/wiki/Throne" title="Throne">throne</a> and various other symbolic objects, in later depictions surrounded when space allows by angels paying homage. It is usually placed centrally in schemes of composition, very often in a <a href="http://en.wikipedia.org/wiki/Roundel" title="Roundel">roundel</a>, but typically is not the largest element in a scheme of decoration.<sup class="reference" id="cite_ref-2"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-2"><span>[</span>2<span>]</span></a></sup><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW8U0fhFE1KaHDx7yF8Kq-8q6Im3Dt58jcRD-IT43yyulspHEaDyjDx-9D9-ZJcaZ535lG4SCzmYeeG6iq3vJw1z0G4ex8N7qVvZOYmtQ-_1ChZuqJ6Yp67lJStwG1OE3lkbuMaAW6yFMl/s1600/Last_Judgment_(Russia)_001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW8U0fhFE1KaHDx7yF8Kq-8q6Im3Dt58jcRD-IT43yyulspHEaDyjDx-9D9-ZJcaZ535lG4SCzmYeeG6iq3vJw1z0G4ex8N7qVvZOYmtQ-_1ChZuqJ6Yp67lJStwG1OE3lkbuMaAW6yFMl/s320/Last_Judgment_(Russia)_001.jpg" width="263" /></a>The "empty throne" had a long pre-Christian history. An <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Assyrian_Empire" title="Assyrian Empire">Assyrian</a> relief in Berlin of c. 1243 BCE shows King <a href="http://en.wikipedia.org/wiki/Tukulti-Ninurta_I" title="Tukulti-Ninurta I">Tukulti-Ninurta I</a> kneeling before the empty throne of the fire-god <a href="http://en.wikipedia.org/wiki/Nusku" title="Nusku">Nusku</a>, occupied by what appears to be a flame.<sup class="reference" id="cite_ref-4"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-4"><span>[</span>4<span>]</span></a></sup> The <a href="http://en.wikipedia.org/wiki/Hittites" title="Hittites">Hittites</a> put thrones in important shrines for the spirit of the dead person to occupy, and the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Etruscans" title="Etruscans">Etruscans</a> left an empty seat at the head of the table at religious feasts for the god to join the company.<sup class="reference" id="cite_ref-5"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-5"><span>[</span>5<span>]</span></a></sup> A somewhat controversial theory, held by many specialists, sees the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Israelite" title="Israelite">Israelite</a> <a href="http://en.wikipedia.org/wiki/Ark_of_the_Covenant" title="Ark of the Covenant">Ark of the Covenant</a>, or the figures of the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Cherubim" title="Cherubim">cherubim</a> above it, as an empty throne.<sup class="reference" id="cite_ref-6"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-6"><span>[</span>6<span>]</span></a></sup> A throne with a crown upon it had been a symbol for an absent monarch in Ancient Greek culture since at least the time of <a href="http://en.wikipedia.org/wiki/Alexander_the_Great" title="Alexander the Great">Alexander the Great</a>,<sup class="reference" id="cite_ref-7"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-7"><span>[</span>7<span>]</span></a></sup> whose deification allowed secular use for what had previously been a symbol for Zeus, where the attribute placed on the throne was a pair of zig-zag thunderbolts.<sup class="reference" id="cite_ref-8"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-8"><span>[</span>8<span>]</span></a></sup> Early <a href="http://en.wikipedia.org/wiki/Buddhist_art" title="Buddhist art">Buddhist art</a> used an empty throne, often under a <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Parasol" title="Parasol">parasol</a> or <a href="http://en.wikipedia.org/wiki/Bodhi_Tree" title="Bodhi Tree">Bodhi Tree</a>, from before the time of Christ. This was, in the traditional view, an <a href="http://en.wikipedia.org/wiki/Aniconism" title="Aniconism">aniconic</a> symbol for the Buddha; like early Christians with the deity they <a href="http://en.wikipedia.org/wiki/Aniconism_in_Buddhism" title="Aniconism in Buddhism">avoided depicting</a> the Buddha in human form. Alternatively, it has been argued that these images represent actual <a href="http://en.wikipedia.org/wiki/Cetiya" title="Cetiya">relic-thrones</a> at the major pilgrimage sites which were objects of worship.<sup class="reference" id="cite_ref-9"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-9"><span>[</span>9<span>]</span></a></sup> The throne often contains a symbol such as the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Dharma_wheel" title="Dharma wheel">dharma wheel</a> or <a href="http://en.wikipedia.org/wiki/Buddha_footprint" title="Buddha footprint">Buddha footprint</a>, as well as a cushion.<br />
Like the Greeks and other ancient peoples, the Romans held ritual banquets for the gods (a ritualized "<a class="mw-redirect" href="http://en.wikipedia.org/wiki/Theoxenia" title="Theoxenia">theoxenia</a>"), including the annual <a href="http://en.wikipedia.org/wiki/Epulum_Jovis" title="Epulum Jovis">Epulum Jovis</a>, and the <a href="http://en.wikipedia.org/wiki/Lectisternium" title="Lectisternium">lectisternium</a>, originally a rare event in times of crisis, first held in 399 BCE according to <a href="http://en.wikipedia.org/wiki/Livy" title="Livy">Livy</a>, but later much more common.<sup class="reference" id="cite_ref-10"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-10"><span>[</span>10<span>]</span></a></sup> A seat for these was called a <i>pulvinar</i>, from <i>pulvinus</i> ("cushion"), and many temples held these; at the banquets statues of the deity were placed on them. There was a pulvinar at the <a href="http://en.wikipedia.org/wiki/Circus_Maximus" title="Circus Maximus">Circus Maximus</a>, on which initially statues and attributes of the gods were placed after a procession during games, but <a href="http://en.wikipedia.org/wiki/Augustus" title="Augustus">Augustus</a> also occupied it himself (possibly copying <a href="http://en.wikipedia.org/wiki/Julius_Caesar" title="Julius Caesar">Julius Caesar</a>), building a temple-like structure in the seating to house it.<sup class="reference" id="cite_ref-11"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-11"><span>[</span>11<span>]</span></a></sup> Thrones with a jewelled wreath, portrait or <a href="http://en.wikipedia.org/wiki/Sceptre" title="Sceptre">sceptre</a> and <a href="http://en.wikipedia.org/wiki/Diadem" title="Diadem">diadem</a> sitting on them were among the symbols used in the Roman law courts and elsewhere to represent the authority of the absent emperor; this was one of the monarchical attributes awarded by the <a href="http://en.wikipedia.org/wiki/Roman_Senate" title="Roman Senate">Roman Senate</a> to Julius Caesar.<sup class="reference" id="cite_ref-12"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-12"><span>[</span>12<span>]</span></a></sup> A seat with jewelled wreath is seen on coins from the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Emperor_Titus" title="Emperor Titus">Emperor Titus</a> onwards, and on those of <a href="http://en.wikipedia.org/wiki/Diocletian" title="Diocletian">Diocletian</a> a seat with a helmet on it represents <a href="http://en.wikipedia.org/wiki/Mars" title="Mars">Mars</a>.<sup class="reference" id="cite_ref-13"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-13"><span>[</span>13<span>]</span></a></sup> <a href="http://en.wikipedia.org/wiki/Commodus" title="Commodus">Commodus</a> chose to be represented by a seat with the club and lion skin of <a href="http://en.wikipedia.org/wiki/Hercules" title="Hercules">Hercules</a>, with whom he identified himself. The empty throne continued to be used as a secular symbol of power by the first Christian Emperors, and appears on the <a href="http://en.wikipedia.org/wiki/Arch_of_Constantine" title="Arch of Constantine">Arch of Constantine</a>.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi184sH7sCbxJ_r9d7gbMpZhZG8Pq5-0o9s-6BmgVtxOZnTO7zhzdVRwXoRB72v_8KyzSDvX-PhU385RJYpMiB1T-dMxxLzZ1mxqJcFJaMbkrM7tkBXEfjUvUaWMELemeTriMBLyXBvSL_e/s1600/5936530370_9f3a05a31c_z.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi184sH7sCbxJ_r9d7gbMpZhZG8Pq5-0o9s-6BmgVtxOZnTO7zhzdVRwXoRB72v_8KyzSDvX-PhU385RJYpMiB1T-dMxxLzZ1mxqJcFJaMbkrM7tkBXEfjUvUaWMELemeTriMBLyXBvSL_e/s320/5936530370_9f3a05a31c_z.jpg" width="240" /></a>Later non-Christian uses of the empty throne motif include the "Bema Feast", the most important annual feast of Persian <a href="http://en.wikipedia.org/wiki/Manichaeism" title="Manichaeism">Manichaeism</a>, when a "bema" or empty throne represented the <a href="http://en.wikipedia.org/wiki/Mani_(prophet)" title="Mani (prophet)">prophet Mani</a> at a meal for worshippers.<sup class="reference" id="cite_ref-14"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-14"><span>[</span>14<span>]</span></a></sup> In the <a href="http://en.wikipedia.org/wiki/Bali" title="Bali">Balinese</a> version of <a href="http://en.wikipedia.org/wiki/Hinduism" title="Hinduism">Hinduism</a>, the most prominent element in most temples is the <i>padmasana</i> or "Lotus Throne", an empty throne for the supreme deity <a href="http://en.wikipedia.org/wiki/Acintya" title="Acintya">Acintya</a>.<sup class="reference" id="cite_ref-15"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-15"><span>[</span>15<span>]</span></a></sup><br />
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There are several elements found in the image which reflect its changing meaning. The throne itself is always present, and is often backless and armless. In Ancient Greek, a "thronos" was a specific but ordinary type of chair with a footstool, and there is very often a footstool in the image. There is often a prominent cushion, and a cloth variously interpreted as Christ's mantle (especially when of imperial purple) or a <a href="http://en.wikipedia.org/wiki/Sudarium" title="Sudarium">sudarium</a> may cover or sit on the throne.<sup class="reference" id="cite_ref-16"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-16"><span>[</span>16<span>]</span></a></sup> There may be a crown on the throne. There is often a book, often on the cushion and sometimes open; this represents the gospels in some examples, and in others the <a href="http://en.wikipedia.org/wiki/Book_of_Life" title="Book of Life">Book of Life</a>, always closed and distinguished by its seven seals, following the <a href="http://en.wikipedia.org/wiki/Book_of_Revelation" title="Book of Revelation">Book of Apocalypse</a>. There is nearly always a cross (except in images of councils), often a <a href="http://en.wikipedia.org/wiki/Crux_gemmata" title="Crux gemmata">crux gemmata</a>, and in later examples a <a href="http://en.wikipedia.org/wiki/Patriarchal_cross" title="Patriarchal cross">patriarchal cross</a> with two crossbars. The cloth may be draped round the cross, as may the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Crown_of_Thorns" title="Crown of Thorns">crown of thorns</a>, which first appears as an isolated motif in this context.<sup class="reference" id="cite_ref-17"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-17"><span>[</span>17<span>]</span></a></sup> This seems to have originated as a victor's wreath around or over the cross, part of the early emphasis on "Christ as Victor" found in much cross imagery, but later to have been transmuted into the crown of thorns. It has also been suggested that the wreathed cross motif also was the origin of the <a href="http://en.wikipedia.org/wiki/Celtic_cross" title="Celtic cross">Celtic cross</a>.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMZAycUceCZfGjg5hbxNOFBXsCgtHPvJLgHGAwILAusWo-tDUGJ6PPaR4IP7EKaj-9OjgDbyc7meiM_fbLzXHJ5IuUdaqYF9FVbxFmlTJm0w4Wt3gzlxiqb55iJmT-5UQJZVP_vAp-eWQX/s1600/MaraAssault.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMZAycUceCZfGjg5hbxNOFBXsCgtHPvJLgHGAwILAusWo-tDUGJ6PPaR4IP7EKaj-9OjgDbyc7meiM_fbLzXHJ5IuUdaqYF9FVbxFmlTJm0w4Wt3gzlxiqb55iJmT-5UQJZVP_vAp-eWQX/s320/MaraAssault.jpg" width="216" /></a>The dove of the <a href="http://en.wikipedia.org/wiki/Holy_Spirit" title="Holy Spirit">Holy Spirit</a> may be present. In later versions two of the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Instruments_of_the_Passion" title="Instruments of the Passion">instruments of the Passion</a>, the <a href="http://en.wikipedia.org/wiki/Holy_Lance" title="Holy Lance">Spear</a> and sponge on a stick, stand behind or beside the throne, or are held by angels. The nails from the cross and crown of thorns may sit on the throne, as in the Russian icon illustrated. If angels or archangels are included they are symmetrically placed on either side, either facing the throne or facing out and gesturing towards it; if there is a roundel they may be outside it. In earlier depictions other figures may surround the throne, for example Saints <a href="http://en.wikipedia.org/wiki/Saint_Peter" title="Saint Peter">Peter</a> and <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Saint_Paul" title="Saint Paul">Paul</a> in <a href="http://en.wikipedia.org/wiki/Santa_Prassede" title="Santa Prassede">Santa Prassede</a>, Rome (9th century). An alternative to the angels is kneeling figures of <a href="http://en.wikipedia.org/wiki/Adam_and_Eve" title="Adam and Eve">Adam and Eve</a> in old age paying homage on either side of the throne. These are found in several large wall-paintings and <a href="http://en.wikipedia.org/wiki/Mosaic" title="Mosaic">mosaics</a>, from the 12th century mosaics in <a href="http://en.wikipedia.org/wiki/Cathedral_of_Santa_Maria_Assunta" title="Cathedral of Santa Maria Assunta">Torcello Cathedral</a>,<sup class="reference" id="cite_ref-18"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-18"><span>[</span>18<span>]</span></a></sup> the paintings in the <a href="http://en.wikipedia.org/wiki/Chora_Church" title="Chora Church">Chora Church</a>, and the painted church exterior at <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Vorone%C5%A3_Monastery" title="Voroneţ Monastery">Voroneţ Monastery</a> in <a href="http://en.wikipedia.org/wiki/Romania" title="Romania">Romania</a> of 1547.<sup class="reference" id="cite_ref-19"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-19"><span>[</span>19<span>]</span></a></sup><br />
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The image was one of many aspects of imperial <a href="http://en.wikipedia.org/wiki/Iconography" title="Iconography">iconography</a> taken up by Early Christians after the <a href="http://en.wikipedia.org/wiki/Edict_of_Milan" title="Edict of Milan">Edict of Milan</a> in 313, when the <a href="http://en.wikipedia.org/wiki/Depiction_of_Jesus" title="Depiction of Jesus">depiction of Jesus</a> as a human figure, especially as a large figure detached from narrative contexts, was still a matter of controversy within Christianity. At the <a href="http://en.wikipedia.org/wiki/First_Council_of_Nicaea" title="First Council of Nicaea">First Council of Nicaea</a> in 325 an empty throne had the imperial insignia on it, representing the emperor <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Constantine_I" title="Constantine I">Constantine I</a> when he was not present.<sup class="reference" id="cite_ref-20"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-20"><span>[</span>20<span>]</span></a></sup> However within a few decades an empty throne with a book of the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Gospels" title="Gospels">gospels</a> on it was being placed in the chamber of church councils to represent Christ, as at the <a href="http://en.wikipedia.org/wiki/First_Council_of_Ephesus" title="First Council of Ephesus">First Council of Ephesus</a> in 431. It has been suggested that the <a href="http://en.wikipedia.org/wiki/Ivory" title="Ivory">ivory</a> <a href="http://en.wikipedia.org/wiki/Throne_of_Maximian" title="Throne of Maximian">Throne of Maximian</a> in <a href="http://en.wikipedia.org/wiki/Ravenna" title="Ravenna">Ravenna</a>, probably a gift from the Eastern Emperor <a href="http://en.wikipedia.org/wiki/Justinian_I" title="Justinian I">Justinian I</a>, was not made as a throne for personal use by <a href="http://en.wikipedia.org/wiki/Maximianus_of_Ravenna" title="Maximianus of Ravenna">Maximian</a>, who was both <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Archbishop_of_Ravenna" title="Archbishop of Ravenna">Archbishop of Ravenna</a> and the viceroy of the Byzantine territories in North Italy, but as an empty throne to symbolize either the imperial or divine power; Byzantine imagery at this period was sometimes ready to conflate the two.<sup class="reference" id="cite_ref-21"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-21"><span>[</span>21<span>]</span></a></sup> A comparable symbol is the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Bishop%27s_throne" title="Bishop's throne">bishop's throne</a> from which the <a href="http://en.wikipedia.org/wiki/Cathedral" title="Cathedral">cathedral</a> takes its name, which, unless the bishop happens to be present and sitting in it, functions as a permanent reminder of his authority in his <a href="http://en.wikipedia.org/wiki/Diocese" title="Diocese">diocese</a>.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-EAEE-9mV3q2EBJIfeqcN7k-wH2oufDfrfVORLUiHTXWl_FevjNKNYw5jPX43uEBYEiuSp90RJso6oM60hzKGFcGqh2oi5hzvzcm-Duwhnx1z5tolW4rT-jBcLmcgCP1kyqppT4UuFEKU/s1600/6260377030_0a20ae742c_z.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-EAEE-9mV3q2EBJIfeqcN7k-wH2oufDfrfVORLUiHTXWl_FevjNKNYw5jPX43uEBYEiuSp90RJso6oM60hzKGFcGqh2oi5hzvzcm-Duwhnx1z5tolW4rT-jBcLmcgCP1kyqppT4UuFEKU/s320/6260377030_0a20ae742c_z.jpg" width="162" /></a>In the earlier versions the throne is most often accompanied by a cross and a scroll or book, which at this stage represents the Gospels. In this form the whole image represents Christ, but when the dove of the Holy Spirit and the cross are seen, the throne appears to represent God the Father, and the whole image the <a href="http://en.wikipedia.org/wiki/Trinity" title="Trinity">Trinity</a>, a subject that Christian art did not represent directly for several centuries, as showing the <a href="http://en.wikipedia.org/wiki/God_the_Father_in_Western_art" title="God the Father in Western art">Father as a human figure</a> was objectionable. An example of a Trinitarian <i>hetoimasia</i> is in the Church of the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Dormition" title="Dormition">Dormition</a> in <a href="http://en.wikipedia.org/wiki/Nicaea" title="Nicaea">Nicaea</a>.<sup class="reference" id="cite_ref-22"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-22"><span>[</span>22<span>]</span></a></sup> From about 1000 the image may bear the title <i>hetoimasia</i>,<sup class="reference" id="cite_ref-23"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-23"><span>[</span>23<span>]</span></a></sup> literally "preparation", meaning "that which has been prepared" or "that which is made ready", and specifically refers to the "sign of the Son of Man" and the Last Judgement. By this time the image usually occurs in the West only under direct Byzantine influence, as in Venice and Torcello.<br />
Some Early Christians had believed that the True Cross had miraculously ascended to Heaven, where it remained in readiness to become the glorified "sign of the Son of man" (see below) at the Last Judgement. The Discovery by Helena had displaced this view as to the fate of the actual cross, but the idea of the return at the Last Judgement of the glorified cross remained, as in a <a href="http://en.wikipedia.org/wiki/Homily" title="Homily">homily</a> by Pope <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Leo_the_Great" title="Leo the Great">Leo the Great</a> (d. 461), which was incorporated in the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Roman_Breviary" title="Roman Breviary">Roman Breviary</a>.<sup class="reference" id="cite_ref-24"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-24"><span>[</span>24<span>]</span></a></sup><br />
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Although it is assumed that other examples existed earlier, the earliest surviving Christian <i>hetoimasia</i> is in the earliest major scheme of church decoration to survive, the mosaics in <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Basilica_of_Santa_Maria_Maggiore" title="Basilica of Santa Maria Maggiore">Santa Maria Maggiore, Rome</a> (432-40), where it occupies the narrow centre of the "triumphal arch" separating nave and <a href="http://en.wikipedia.org/wiki/Apse" title="Apse">apse</a>, flanked by angels,<sup class="reference" id="cite_ref-25"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-25"><span>[</span>25<span>]</span></a></sup> a typical placement. It is shown, with a procession of Apostles, on a panel of the <a href="http://en.wikipedia.org/wiki/Pula" title="Pula">Pola</a> ivory casket from <a href="http://en.wikipedia.org/wiki/Istria" title="Istria">Istria</a>.<sup class="reference" id="cite_ref-26"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-26"><span>[</span>26<span>]</span></a></sup> Three now displaced stone reliefs of the subject with other symbols are among the earliest indications of Christian architectural sculpture at this period; they are in Berlin, <a class="mw-redirect" href="http://en.wikipedia.org/wiki/San_Marco,_Venice" title="San Marco, Venice">San Marco, Venice</a> and <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Nicosia,_Cyprus" title="Nicosia, Cyprus">Nicosia, Cyprus</a>.<sup class="reference" id="cite_ref-27"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-27"><span>[</span>27<span>]</span></a></sup> Elsewhere it may occupy the centre of a frieze below a larger composition in the apse <a href="http://en.wikipedia.org/wiki/Semi-dome" title="Semi-dome">semi-dome</a>, or a position on the main axis of a circular frieze round a central scene in the roof of a dome, as in the <a href="http://en.wikipedia.org/wiki/Arian_Baptistry" title="Arian Baptistry">Arian Baptistry</a> (start of 6th century) in Ravenna. At <a href="http://en.wikipedia.org/wiki/Castelseprio" title="Castelseprio">Castelseprio</a> it occupies the centre of the apse-side (west-facing) of the triumphal arch. All are central positions, prominent but not dominant. The <a href="http://en.wikipedia.org/wiki/Baptistry_of_Neon" title="Baptistry of Neon">Baptistry of Neon</a> (late 5th century) in Ravenna is exceptional in using repeated <i>hetoimasia</i> images in a circular dome frieze of eight images, four each of two types appearing alternately: a hetoimasia with cross in a garden and an altar containing an open book, flanked by two chairs.<sup class="reference" id="cite_ref-28"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-28"><span>[</span>28<span>]</span></a></sup><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCZW4-8MKP-4xrr2ksweHbi_CdWDbhQQSIzwUwdM6d4NygbUYr67DhnuJVCEXPSdY0uRFtWKo_GmOpqyFASLD8iK6YCqIBbF7C5PffF3SaK7YNVYZ0W9-1w_xY2d2CF_dxYgh2vE0Vgq9A/s1600/Hetimasia_warrior_saints_Louvre_OA11152.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCZW4-8MKP-4xrr2ksweHbi_CdWDbhQQSIzwUwdM6d4NygbUYr67DhnuJVCEXPSdY0uRFtWKo_GmOpqyFASLD8iK6YCqIBbF7C5PffF3SaK7YNVYZ0W9-1w_xY2d2CF_dxYgh2vE0Vgq9A/s320/Hetimasia_warrior_saints_Louvre_OA11152.jpg" width="211" /></a>During the Middle Byzantine period the etimasia became a standard feature of the evolving subject of the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Last_Judgement" title="Last Judgement">Last Judgement</a>, found from the 11th century onwards.<sup class="reference" id="cite_ref-29"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-29"><span>[</span>29<span>]</span></a></sup> As in the Western versions descended from the Byzantine images, this was on several tiers, with Christ in Judgement at the top, and in the East the etimasia almost always in the centre of the tier below, but occasionally above Christ. This basic layout has remained in use in <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Eastern_Orthodoxy" title="Eastern Orthodoxy">Eastern Orthodoxy</a> to the present day, and is found both on church walls and as a painted panel icon. The etimasia was normally omitted in Western versions, except in works under direct Byzantine influence, such as the early 12th century west wall of <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Torcello_Cathedral" title="Torcello Cathedral">Torcello Cathedral</a>.<br />
Another context in which the etimasia sometimes appears from the Middle Byzantine period is <a href="http://en.wikipedia.org/wiki/Pentecost" title="Pentecost">Pentecost</a>, in Orthodoxy also the Feast of the Trinity. Here a trinitarian etimasia with the dove representing the Holy Spirit may be found, as in the 12th century mosaics on the roof of the west dome of <a class="mw-redirect" href="http://en.wikipedia.org/wiki/St_Mark%27s,_Venice" title="St Mark's, Venice">St Mark's, Venice</a>, where the centre is an etimasia with book and dove, with the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Twelve_apostles" title="Twelve apostles">twelve apostles</a> seated round the outer rims, with flames on their heads and rays connecting them to the central throne. Below the apostles pairs of figures representing the "nations", with <i>tituli</i>, stand between the windows. Similar images are found in the <a href="http://en.wikipedia.org/wiki/Chludov_Psalter" title="Chludov Psalter">Chludov Psalter</a> and elsewhere. However in this case the etimasia did not become part of a conventional composition, and it is not found in modern icons of the Pentecost.<sup class="reference" id="cite_ref-30"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-30"><span>[</span>30<span>]</span></a></sup><br />
It has been suggested that the empty stool with a cushion in the foreground of <a href="http://en.wikipedia.org/wiki/Jan_van_Eyck" title="Jan van Eyck">Jan van Eyck</a>'s <a href="http://en.wikipedia.org/wiki/Annunciation_(van_Eyck,_Washington)" title="Annunciation (van Eyck, Washington)"><i>Annunciation</i> in Washington</a> may suggest the empty throne; van Eyck characteristically uses domestic fittings to represent doctrinal references.<sup class="reference" id="cite_ref-31"><a href="http://en.wikipedia.org/wiki/Hetoimasia#cite_note-31"><span>[</span>31<span>]</span></a></sup><br />
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<sup>Found Here: <a href="http://en.wikipedia.org/wiki/Hetoimasia">http://en.wikipedia.org/wiki/Hetoimasia</a></sup><br />
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-236687801684703323.post-35041195486361063432013-01-31T14:30:00.001-08:002013-01-31T14:30:24.790-08:00The Kensington Rune Stone<div style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4MTQFv1QQqGslDM7yO_CpcMXj3zp_Ttuip0NBEHRNp8yzYnfUcV6u03EXQeC6IVfKJIuLjdwhKt25rsdQdEpdfKnzBmfslXL07KpP4lfCHeqYfGF6WQdbVv4leVWUUvXjFcmiLrGFv4FR/s1600/kens6.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4MTQFv1QQqGslDM7yO_CpcMXj3zp_Ttuip0NBEHRNp8yzYnfUcV6u03EXQeC6IVfKJIuLjdwhKt25rsdQdEpdfKnzBmfslXL07KpP4lfCHeqYfGF6WQdbVv4leVWUUvXjFcmiLrGFv4FR/s320/kens6.gif" width="320" /></a>The <b>Kensington Runestone</b> is a 200-pound slab of <a href="http://en.wikipedia.org/wiki/Greywacke" title="Greywacke">greywacke</a> covered in <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Runic_alphabet" title="Runic alphabet">runes</a> on its face and side, believed to have been created in modern times to claim that <a href="http://en.wikipedia.org/wiki/Scandinavia" title="Scandinavia">Scandinavian</a> explorers reached the middle of <a href="http://en.wikipedia.org/wiki/North_America" title="North America">North America</a> in the 14th century. It was found in 1898 in the largely rural township of <a href="http://en.wikipedia.org/wiki/Solem_Township,_Douglas_County,_Minnesota" title="Solem Township, Douglas County, Minnesota">Solem</a>, <a href="http://en.wikipedia.org/wiki/Douglas_County,_Minnesota" title="Douglas County, Minnesota">Douglas County</a>, <a href="http://en.wikipedia.org/wiki/Minnesota" title="Minnesota">Minnesota</a>, and named after the nearest settlement, <a href="http://en.wikipedia.org/wiki/Kensington,_Minnesota" title="Kensington, Minnesota">Kensington</a>. Almost all <a href="http://en.wikipedia.org/wiki/Runology" title="Runology">Runologists</a> and experts in Scandinavian <a href="http://en.wikipedia.org/wiki/Linguistics" title="Linguistics">linguistics</a> consider the runestone to be a <a href="http://en.wikipedia.org/wiki/Hoax" title="Hoax">hoax</a>.<sup class="reference" id="cite_ref-2"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-2"><span>[</span>2<span>]</span></a></sup><sup class="reference" id="cite_ref-Gustavson_3-0"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-Gustavson-3"><span>[</span>3<span>]</span></a></sup> The runestone has been analyzed and dismissed repeatedly without local effect.<sup class="reference" id="cite_ref-Wahlgren1958_4-0"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-Wahlgren1958-4"><span>[</span>4<span>]</span></a></sup><sup class="reference" id="cite_ref-Blegen1960_5-0"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-Blegen1960-5"><span>[</span>5<span>]</span></a></sup><sup class="reference" id="cite_ref-Fridley1976_6-0"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-Fridley1976-6"><span>[</span>6<span>]</span></a></sup><sup class="reference" id="cite_ref-Wallace1971_7-0"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-Wallace1971-7"><span>[</span>7<span>]</span></a></sup><sup class="reference" id="cite_ref-Wahlgren_8-0"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-Wahlgren-8"><span>[</span>8<span>]</span></a></sup> The community of Kensington is solidly behind the runestone, which has transcended its asserted cultural importance to the Scandinavian community and has "taken on a life of its own".<sup class="reference" id="cite_ref-Michlovic1990_9-0"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-Michlovic1990-9"><span>[</span>9<span>]</span></a></sup><sup class="reference" id="cite_ref-Hughey1989_10-0"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-Hughey1989-10"><span>[</span>10<span>]</span></a></sup></div>
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<a href="http://en.wikipedia.org/wiki/Swedish_American" title="Swedish American">Swedish American</a> farmer Olof Ohman (he appears to have dropped the Swedish spelling Öhman when moving to the US) asserted that he found the stone late in 1898 while clearing his land of trees and stumps before plowing, having recently taken over an 80-acre (320,000 m<sup>2</sup>) parcel of <a href="http://en.wikipedia.org/wiki/Public_domain_(land)" title="Public domain (land)">public domain</a> that had for years been left unallocated as "Internal Improvement Land".<sup class="reference" id="cite_ref-11"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-11"><span>[</span>11<span>]</span></a></sup><sup class="reference" id="cite_ref-12"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-12"><span>[</span>12<span>]</span></a></sup> The stone was said to be near the crest of a small knoll rising above the wetlands, lying face down and tangled in the root system of a stunted poplar tree, estimated to be from less than 10 to about 40 years old.<sup class="reference" id="cite_ref-13"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-13"><span>[</span>13<span>]</span></a></sup> The artifact is about 30 × 16 × 6 inches (76 × 41 × 15 cm) in size and weighs about 200 pounds (90 kg). Ohman's ten-year-old son, Edward Ohman, noticed some markings<sup class="reference" id="cite_ref-14"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-14"><span>[</span>14<span>]</span></a></sup> and the farmer later said he thought they had found an "Indian <a href="http://en.wikipedia.org/wiki/Almanac" title="Almanac">almanac</a>."<br />
Unfortunately for <a href="http://en.wikipedia.org/wiki/Provenance" title="Provenance">provenance</a> purposes, the only witnesses cited for the finding were family members, although people who later saw the cut roots said that some were flattened, consistent with having held a stone. Also, there are many different versions describing when the stone was found (August or November, right after lunch or near the end of work for the evening), who discovered the stone (Olof Ohman and Edward Ohman; Olof Ohman, Edward Ohman and two workmen; Olof Ohman, Edward Ohman, and his neighbor Nils Flaten), when the stone was taken to the nearby town of Kensington, and who made the first transcriptions that were sent to a regional Scandinavian-language newspaper. Soon after it was found, the stone was displayed at a local bank. There is no evidence Ohman tried to make money from his find.<sup class="Template-Fact" style="white-space: nowrap;">[<i><a href="http://en.wikipedia.org/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources from December 2010">citation needed</span></a></i>]</sup><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5V_uKsX9_uIB1T-dlkpCz1Yj4pb-tnuOTMs7nhAFP0U74AiQpQTEAjEuz_IHSJh1ZwX1_6UnejRdn2m1S1gnEkz4nvbZ3BDeEAa-DrNs_K4r5R8u_HwZzavxo4LC9L-G1Rb2IxEFEr1QF/s1600/Kensington-runestone_flom-1910.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5V_uKsX9_uIB1T-dlkpCz1Yj4pb-tnuOTMs7nhAFP0U74AiQpQTEAjEuz_IHSJh1ZwX1_6UnejRdn2m1S1gnEkz4nvbZ3BDeEAa-DrNs_K4r5R8u_HwZzavxo4LC9L-G1Rb2IxEFEr1QF/s320/Kensington-runestone_flom-1910.jpg" width="270" /></a>It can be claimed that at the period when Ohman discovered the stone, the journey of <a href="http://en.wikipedia.org/wiki/Leif_Ericson" title="Leif Ericson">Leif Ericson</a> to <a href="http://en.wikipedia.org/wiki/Vinland" title="Vinland">Vinland</a> (North America) was being widely discussed and there was renewed interest in the <a href="http://en.wikipedia.org/wiki/Viking" title="Viking">Vikings</a> throughout Scandinavia, stirred by the <a href="http://en.wikipedia.org/wiki/Romantic_nationalism" title="Romantic nationalism">National Romanticism</a> movement. Five years earlier <a href="http://en.wikipedia.org/wiki/Norway" title="Norway">Norway</a> had participated in the <a href="http://en.wikipedia.org/wiki/World%27s_Columbian_Exposition" title="World's Columbian Exposition">World's Columbian Exposition</a> by sending the <i><a href="http://en.wikipedia.org/wiki/Viking_(ship)" title="Viking (ship)">Viking</a></i>, a replica of the <i><a href="http://en.wikipedia.org/wiki/Gokstad_ship" title="Gokstad ship">Gokstad ship</a></i> to <a href="http://en.wikipedia.org/wiki/Chicago" title="Chicago">Chicago</a>. There was also friction between <a href="http://en.wikipedia.org/wiki/Sweden" title="Sweden">Sweden</a> and <a href="http://en.wikipedia.org/wiki/Norway" title="Norway">Norway</a> (which ultimately led to <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Norway%27s_independence" title="Norway's independence">Norway's independence</a> from Sweden in 1905). Some Norwegians claimed the stone was a Swedish hoax and there were similar Swedish accusations because the stone references a joint expedition of Norwegians and Swedes at a time when they were both ruled by the same king, after the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Union_of_Kalmar" title="Union of Kalmar">Union of Kalmar</a>. It is thought to be more than coincidental that the stone was found among Scandinavian newcomers in Minnesota, still struggling for acceptance, and quite naturally proud of its Nordic heritage.<sup class="reference" id="cite_ref-15"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-15"><span>[</span>15<span>]</span></a></sup><br />
An error-ridden<sup class="Template-Fact" style="white-space: nowrap;">[<i><a href="http://en.wikipedia.org/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources from August 2010">citation needed</span></a></i>]</sup> copy of the inscription made its way to the <a href="http://en.wikipedia.org/wiki/University_of_Minnesota" title="University of Minnesota">University of Minnesota</a>. <a class="new" href="http://en.wikipedia.org/w/index.php?title=Olaus_J._Breda&action=edit&redlink=1" title="Olaus J. Breda (page does not exist)">Olaus J. Breda</a> (1853–1916), Professor of Scandinavian Languages and Literature in the Scandinavian Department made a translation, declared the stone to be a forgery and published a discrediting article which appeared in <i><a href="http://en.wikipedia.org/wiki/Symra" title="Symra">Symra</a></i> during 1910. Breda also forwarded copies of his translation to fellow linguists in Scandinavia. The Norwegian archeologist <a href="http://en.wikipedia.org/wiki/Oluf_Rygh" title="Oluf Rygh">Oluf Rygh</a> also concluded the stone was a fraud, as did several other noted linguists.<sup class="reference" id="cite_ref-16"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-16"><span>[</span>16<span>]</span></a></sup><br />
The stone was then sent to <a href="http://en.wikipedia.org/wiki/Northwestern_University" title="Northwestern University">Northwestern University</a> in <a href="http://en.wikipedia.org/wiki/Evanston,_Illinois" title="Evanston, Illinois">Evanston, Illinois</a>. Scholars either dismissed it as a prank or felt unable to identify a sustainable historical context, and the stone was returned to Ohman, who is said to have placed it face down near the door of his granary as a "stepping stone" which he also used for straightening out nails. Years later, his son said this was an "untruth" and that they had it set up in an adjacent shed, but he appears to have been referring only to the way the stone was treated before it started to attract interest at the end of 1898.<br />
In 1907 the stone was purchased, reportedly for ten dollars, by <a href="http://en.wikipedia.org/wiki/Hjalmar_Holand" title="Hjalmar Holand">Hjalmar Holand</a>, a former graduate student at the <a href="http://en.wikipedia.org/wiki/University_of_Wisconsin%E2%80%93Madison" title="University of Wisconsin–Madison">University of Wisconsin–Madison</a>. Holand renewed public interest with an article<sup class="reference" id="cite_ref-17"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-17"><span>[</span>17<span>]</span></a></sup> enthusiastically summarizing studies that were made by geologist <a href="http://en.wikipedia.org/wiki/Newton_Horace_Winchell" title="Newton Horace Winchell">Newton Horace Winchell</a> (<a href="http://en.wikipedia.org/wiki/Minnesota_Historical_Society" title="Minnesota Historical Society">Minnesota Historical Society</a>) and linguist <a href="http://en.wikipedia.org/wiki/George_T._Flom" title="George T. Flom">George T. Flom</a> (<a href="http://en.wikipedia.org/wiki/Philological_Society" title="Philological Society">Philological Society</a> of the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/University_of_Illinois_at_Urbana-Champaign" title="University of Illinois at Urbana-Champaign">University of Illinois</a>), who both published opinions in 1910.<sup class="reference" id="cite_ref-mhs1910_18-0"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-mhs1910-18"><span>[</span>18<span>]</span></a></sup><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoUqiFqXJL4CdHra4qsaNtuzFN9rBfT3lQ7S841Aebrfn6sicmI_u_3GiP5OHCT_pJ3EWVLHJgfwNT4Gy0HsiUPhSK-fvxvYxAW8xRPpBaNT8Xym70kj1eXCVLpAo-iEizfAZ-R3qx-CXf/s1600/kens3.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoUqiFqXJL4CdHra4qsaNtuzFN9rBfT3lQ7S841Aebrfn6sicmI_u_3GiP5OHCT_pJ3EWVLHJgfwNT4Gy0HsiUPhSK-fvxvYxAW8xRPpBaNT8Xym70kj1eXCVLpAo-iEizfAZ-R3qx-CXf/s320/kens3.gif" width="295" /></a>According to Winchell, the tree under which the stone was allegedly found had been destroyed before 1910, but several nearby poplars that witnesses estimated as being about the same size were cut down, and by counting their rings it was determined they were indeed around 30–40 years old (NB: letters were written to members of a team which had excavated at the find site in 1899, and their estimates from memory, without any reference to tree rings, ranged as low as 10–12 years in the case of county schools superintendent Cleve Van Dyke).<sup class="reference" id="cite_ref-19"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-19"><span>[</span>19<span>]</span></a></sup> The surrounding county had not been settled until 1858, and settlement was severely restricted for a time by the <a href="http://en.wikipedia.org/wiki/Dakota_War_of_1862" title="Dakota War of 1862">Dakota War of 1862</a> (although it was reported that the best land in the township adjacent to <a href="http://en.wikipedia.org/wiki/Solem_Township,_Douglas_County,_Minnesota" title="Solem Township, Douglas County, Minnesota">Solem</a>, <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Holmes_City" title="Holmes City">Holmes City</a>, was already taken by 1867, by a mixture of Swedish, Norwegian and "Yankee" settlers.<sup class="reference" id="cite_ref-20"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-20"><span>[</span>20<span>]</span></a></sup>)<br />
Winchell also concluded that the weathering of the stone indicated the inscription was roughly 500 years old. Meanwhile, Flom found a strong apparent divergence between the runes used in the Kensington inscription and those in use during the 14th century. Similarly, the language of the inscription was modern compared to the Nordic languages of the 14th century.<sup class="reference" id="cite_ref-mhs1910_18-1"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-mhs1910-18"><span>[</span>18<span>]</span></a></sup> The Kensington Runestone is currently on display at the Runestone Museum in <a href="http://en.wikipedia.org/wiki/Alexandria,_Minnesota" title="Alexandria, Minnesota">Alexandria, Minnesota</a>.<sup class="reference" id="cite_ref-21"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-21"><span>[</span>21<span>]</span></a></sup><br />
<br />
In 1577, cartographer <a href="http://en.wikipedia.org/wiki/Gerardus_Mercator" title="Gerardus Mercator">Gerardus Mercator</a> wrote a letter containing the only detailed description of the contents of a geographical text about the <a href="http://en.wikipedia.org/wiki/Arctic" title="Arctic">Arctic</a> region of the <a href="http://en.wikipedia.org/wiki/Atlantic_Ocean" title="Atlantic Ocean">Atlantic</a>, possibly written over two centuries earlier by one Jacob Cnoyen. Cnoyen had learned that in 1364, eight men had returned to Norway from the Arctic islands, one of whom, a priest, provided the King of Norway with a great deal of geographical information.<sup class="reference" id="cite_ref-taylor_22-0"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-taylor-22"><span>[</span>22<span>]</span></a></sup> Books by scholars such as <a href="http://en.wikipedia.org/wiki/Carl_Christian_Rafn" title="Carl Christian Rafn">Carl Christian Rafn</a> early in the 19th century revealed hints of reality behind this tale. A priest named <a class="new" href="http://en.wikipedia.org/w/index.php?title=Ivar_Bardarsson&action=edit&redlink=1" title="Ivar Bardarsson (page does not exist)">Ivar Bardarsson</a>, who had previously been based in <a href="http://en.wikipedia.org/wiki/Greenland" title="Greenland">Greenland</a>, did turn up in Norwegian records from 1364 onward and copies of his geographical description of <a href="http://en.wikipedia.org/wiki/Greenland" title="Greenland">Greenland</a> still survive. Furthermore, in 1354, King <a href="http://en.wikipedia.org/wiki/Magnus_IV_of_Sweden" title="Magnus IV of Sweden">Magnus Eriksson</a> of Sweden and Norway had issued a letter appointing a law officer named <a href="http://en.wikipedia.org/wiki/Paul_Knutson" title="Paul Knutson">Paul Knutsson</a> as leader of an expedition to the colony of <a href="http://en.wikipedia.org/wiki/Greenland" title="Greenland">Greenland</a>, to investigate reports that the population was turning away from Christian culture.<sup class="reference" id="cite_ref-23"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-23"><span>[</span>23<span>]</span></a></sup> Another of the documents reprinted by the 19th century scholars was a scholarly attempt by Icelandic Bishop Gisli Oddsson, in 1637, to compile a history of the Arctic colonies. He dated the Greenlanders' fall away from Christianity to 1342, and claimed that they had turned instead to America. Supporters of a 14th century origin for the Kensington runestone argue that Knutson may therefore have travelled beyond Greenland to North America, in search of renegade Greenlanders, most of his expedition being killed in Minnesota and leaving just the eight voyagers to return to Norway.<sup class="reference" id="cite_ref-24"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-24"><span>[</span>24<span>]</span></a></sup><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgClzX99ezWhi7hnkHFglj1MWC5UA1JvJZ5aIdFoiZzQ5pLqUGkvg82cYug7hTvMOpzxqlZiSCJ8BDQNCd0qEL4qD304rojlI1PrRvp1LMHJbLI_b_BibfyXPjrKvkTV9pyimhOav4C83U1/s1600/imagesCA85COFO.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgClzX99ezWhi7hnkHFglj1MWC5UA1JvJZ5aIdFoiZzQ5pLqUGkvg82cYug7hTvMOpzxqlZiSCJ8BDQNCd0qEL4qD304rojlI1PrRvp1LMHJbLI_b_BibfyXPjrKvkTV9pyimhOav4C83U1/s1600/imagesCA85COFO.jpg" /></a>However, there is no evidence that the Knutson expedition ever set sail (the government of Norway went through considerable turmoil in 1355) and the information from Cnoyen as relayed by Mercator states specifically that the eight men who came to Norway in 1364 were not survivors of a recent expedition, but descended from the colonists who had settled the distant lands, generations earlier.<sup class="reference" id="cite_ref-taylor_22-1"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-taylor-22"><span>[</span>22<span>]</span></a></sup> Also, those early 19th century books, which aroused a great deal of interest among <a href="http://en.wikipedia.org/wiki/Scandinavia" title="Scandinavia">Scandinavian Americans</a> would have been available to a late 19th century hoaxer.<br />
Hjalmar Holand had proposed that interbreeding with Norse survivors might explain the "blond" Indians among the <a href="http://en.wikipedia.org/wiki/Mandan" title="Mandan">Mandan</a> on the Upper Missouri River,<sup class="reference" id="cite_ref-25"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-25"><span>[</span>25<span>]</span></a></sup> but in a multidisciplinary study of the stone, anthropologist Alice Beck Kehoe dismissed, as "tangential" to the Runestone issue, this and other historical references suggesting pre-Columbian contacts with 'outsiders', such as the Hochunk (Winnebago) story about an ancestral hero "<a href="http://en.wikipedia.org/wiki/Red_Horn_(Siouan_deity)" title="Red Horn (Siouan deity)">Red Horn</a>" and his encounter with "red-haired giants".<sup class="reference" id="cite_ref-26"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone#cite_note-26"><span>[</span>26<span>]</span></a></sup><br />
<br />
<sup>Found Here: </sup><span style="font-size: small;"><a href="http://en.wikipedia.org/wiki/Kensington_Runestone">http://en.wikipedia.org/wiki/Kensington_Runestone</a></span><br />
<br />
<b><span style="color: #450b0d; font-family: Arial,Helvetica,Geneva,Sans-serif; font-size: 11pt;">The
Kensington Rune Stone is a medieval artifact recently proven to be authentic.
Read the story here of how, for over 100 years, repeated claims of hoax have
been debunked forcing a major rewrite of American history.</span></b><br />
<br />
<b><span style="color: #450b0d; font-family: Arial,Helvetica,Geneva,Sans-serif; font-size: 11pt;">In
1898, a Minnesota farmer unearthed this carved stone while felling a tree. It
unleashed a storm of controversy that has still not abated today. Branded a
hoax, the family of Olof Ohman endured scorn, ridicule and lies. The stone
itself was “borrowed” by an unscrupulous researcher and never
returned.</span></b><br />
<br />
<b><span style="color: #450b0d; font-family: Arial,Helvetica,Geneva,Sans-serif; font-size: 11pt;">Over
100 years later, the stone rests in a small museum. While it had many adherents
through the years, today new technology and newly discovered documents are
tilting the scales sharply away from the possibility that the rune stone is the
product of Olof’s hoax. These pages provide an overview of where we are with
Kensington Rune Stone research. The information here is factual and correct but
we do not claim to be unbiased - we believe the rune stone is
genuine.</span></b><br />
<br />
Found Here: <a href="http://www.kensingtonrunestone.us/">http://www.kensingtonrunestone.us/</a><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-86337722174571618302012-11-14T16:11:00.001-08:002012-11-14T16:11:23.984-08:00Sergey Prokudin-Gorsky<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ul9edgoEp-zwHBW5MCWpg_P6h648Epy6JlJ9yZhViUI9mt7ocjidYxjtE_zfbSOMcrSNVHACBZdYNk5n_drUnaU31tVuLkId7W207gQsocqznV9M68lLNTw1DjrHrCHmnLdSRsLmADTq/s1600/Sergei-Prokudin-Gorski-Larg.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ul9edgoEp-zwHBW5MCWpg_P6h648Epy6JlJ9yZhViUI9mt7ocjidYxjtE_zfbSOMcrSNVHACBZdYNk5n_drUnaU31tVuLkId7W207gQsocqznV9M68lLNTw1DjrHrCHmnLdSRsLmADTq/s320/Sergei-Prokudin-Gorski-Larg.jpg" width="235" /></a><strong>Sergey Mikhaylovich Prokudin-Gorsky</strong> (<a href="http://en.wikipedia.org/wiki/Russian_language" title="Russian language">Russian</a>: <span class="unicode"><a href="http://en.wikipedia.org/wiki/File:Ru-Prokudin-Gorskii.ogg" title="About this sound"><img alt="About this sound" height="11" src="http://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Loudspeaker.svg/11px-Loudspeaker.svg.png" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Loudspeaker.svg/17px-Loudspeaker.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Loudspeaker.svg/22px-Loudspeaker.svg.png 2x" width="11" /></a> <a class="internal" href="http://upload.wikimedia.org/wikipedia/commons/e/e5/Ru-Prokudin-Gorskii.ogg" title="Ru-Prokudin-Gorskii.ogg"><span class="unicode" lang="ru" style="white-space: normal;" xml:lang="ru">Серге́й Миха́йлович Проку́дин-Го́рский</span></a><small class="metadata audiolinkinfo" style="cursor: help;"> (<a href="http://en.wikipedia.org/wiki/Wikipedia:Media_help" title="Wikipedia:Media help"><span style="cursor: help;">help</span></a>·<a href="http://en.wikipedia.org/wiki/File:Ru-Prokudin-Gorskii.ogg" title="File:Ru-Prokudin-Gorskii.ogg"><span style="cursor: help;">info</span></a>)</small></span>, August 30 <small>[<a href="http://en.wikipedia.org/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> August 18]</small> 1863 <a href="http://en.wikipedia.org/wiki/Russian_Empire" title="Russian Empire">Russian Empire</a> – September 27, 1944) was a Russian <a href="http://en.wikipedia.org/wiki/Chemist" title="Chemist">chemist</a> and <a href="http://en.wikipedia.org/wiki/Photography" title="Photography">photographer</a>. He is best known for his pioneering work in <a href="http://en.wikipedia.org/wiki/Color_photography" title="Color photography">color photography</a> of early 20th-century Russia.<sup class="reference" id="cite_ref-loc_1-0"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-loc-1"><span>[</span>1<span>]</span></a></sup><br />
<sup></sup><br />
<span class="mw-headline" id="Early_life">Early life</span><br />
Prokudin-Gorsky was born in the ancestral estate of <a href="http://en.wikipedia.org/wiki/Kirzhachsky_District" title="Kirzhachsky District">Funikova Gora</a>, in what is now <a href="http://en.wikipedia.org/wiki/Kirzhachsky_District" title="Kirzhachsky District">Kirzhachsky District</a>, <a href="http://en.wikipedia.org/wiki/Vladimir_Oblast" title="Vladimir Oblast">Vladimir Oblast</a>. His parents were of the Russian <a href="http://en.wikipedia.org/wiki/Nobility" title="Nobility">nobility</a>, and the family had a long military history.<sup class="reference" id="cite_ref-2"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-2"><span>[</span>2<span>]</span></a></sup> They moved to <a href="http://en.wikipedia.org/wiki/Saint_Petersburg" title="Saint Petersburg">Saint Petersburg</a>, where Prokudin-Gorsky enrolled in <a href="http://en.wikipedia.org/wiki/Saint_Petersburg_State_Institute_of_Technology" title="Saint Petersburg State Institute of Technology">Saint Petersburg State Institute of Technology</a> to study chemistry under <a href="http://en.wikipedia.org/wiki/Dmitri_Mendeleev" title="Dmitri Mendeleev">Dmitri Mendeleev</a>. He also studied music and painting at the <a href="http://en.wikipedia.org/wiki/Imperial_Academy_of_Arts" title="Imperial Academy of Arts">Imperial Academy of Arts</a>.<br />
<br />
<span class="mw-headline" id="Marriage_and_career_in_photography">Marriage and career in photography</span><br />
In 1890, Prokudin-Gorsky married Anna Aleksandrovna Lavrova, and later the couple had two sons, Mikhail and Dmitri, and a daughter, Ekaterina.<sup class="reference" id="cite_ref-biogaranina_3-0"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-biogaranina-3"><span>[</span>3<span>]</span></a></sup> Anna was the daughter of the Russian industrialist Aleksandr Stepanovich Lavrov, an active member in the Imperial Russian Technical Society (IRTS).<sup class="reference" id="cite_ref-biogaranina_3-1"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-biogaranina-3"><span>[</span>3<span>]</span></a></sup> Prokudin-Gorsky subsequently became the director of the executive board of Lavrov's metal works near <a href="http://en.wikipedia.org/wiki/Saint_Petersburg" title="Saint Petersburg">Saint Petersburg</a> and remained so until the <a href="http://en.wikipedia.org/wiki/October_Revolution" title="October Revolution">October Revolution</a>. He also joined Russia's oldest photographic society, the photography section of the IRTS, presenting papers and lecturing on the science of photography.<sup class="reference" id="cite_ref-ica_4-0"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-ica-4"><span>[</span>4<span>]</span></a></sup> In 1901, he established a photography studio and laboratory in Saint Petersburg. In 1902, he traveled to Berlin and spent six weeks studying color sensitization and three-color photography with <a href="http://en.wikipedia.org/wiki/Photochemistry" title="Photochemistry">photochemistry</a> professor <a href="http://en.wikipedia.org/wiki/Adolf_Miethe" title="Adolf Miethe">Adolf Miethe</a>, the most advanced practitioner in Germany at that time.<sup class="reference" id="cite_ref-pgochron_5-0"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-pgochron-5"><span>[</span>5<span>]</span></a></sup> Throughout the years, Prokudin-Gorsky's photographic work, publications and slide shows to other scientists and photographers in Russia, Germany and France earned him praise,<sup class="reference" id="cite_ref-biogaranina_3-2"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-biogaranina-3"><span>[</span>3<span>]</span></a></sup> and in 1906 he was elected the president of the IRTS photography section and editor of Russia's main photography journal, the <i>Fotograf-Liubitel</i>.<sup class="reference" id="cite_ref-ica_4-1"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-ica-4"><span>[</span>4<span>]</span></a></sup><br />
<sup></sup><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPNYqdopgyqNoMLM8tkhOObqdc7IkS5QxeRGBvV4Wtsyi-m6ToXlDLndSFBRGwpuL62R9aOhTVMlAm_3oma2-zCmF4KFUn50__9YMj6I5LdE53D1QJczNOGsRhm5u0Y_PftqtHn3779JlW/s1600/V_ITAL~1.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPNYqdopgyqNoMLM8tkhOObqdc7IkS5QxeRGBvV4Wtsyi-m6ToXlDLndSFBRGwpuL62R9aOhTVMlAm_3oma2-zCmF4KFUn50__9YMj6I5LdE53D1QJczNOGsRhm5u0Y_PftqtHn3779JlW/s320/V_ITAL~1.JPG" width="320" /></a>Perhaps Prokudin-Gorsky's best-known work during his lifetime was his color portrait of <a href="http://en.wikipedia.org/wiki/Leo_Tolstoy" title="Leo Tolstoy">Leo Tolstoy</a>,<sup class="reference" id="cite_ref-6"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-6"><span>[</span>6<span>]</span></a></sup> which was reproduced in various publications, on postcards, and as larger prints for framing.<sup class="reference" id="cite_ref-biogaranina_3-3"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-biogaranina-3"><span>[</span>3<span>]</span></a></sup><sup class="reference" id="cite_ref-utoronto_7-0"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-utoronto-7"><span>[</span>7<span>]</span></a></sup> The fame from this photo and his earlier photos of Russia's nature and monuments earned him invitations to show his work to the Russian <a href="http://en.wikipedia.org/wiki/Grand_Duke_Michael_Alexandrovich_of_Russia" title="Grand Duke Michael Alexandrovich of Russia">Grand Duke Michael Alexandrovich</a> and <a href="http://en.wikipedia.org/wiki/Maria_Feodorovna_(Dagmar_of_Denmark)" title="Maria Feodorovna (Dagmar of Denmark)">Dowager Empress Maria Feodorovna</a> in 1908, and to <a href="http://en.wikipedia.org/wiki/Tsar" title="Tsar">Tsar</a> <a href="http://en.wikipedia.org/wiki/Nicholas_II_of_Russia" title="Nicholas II of Russia">Nicholas II</a> and his family in 1909.<sup class="reference" id="cite_ref-ica_4-2"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-ica-4"><span>[</span>4<span>]</span></a></sup> The Tsar enjoyed the demonstration, and, with his blessing, Prokudin-Gorsky got the permission and funding to document Russia in color.<sup class="reference" id="cite_ref-8"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-8"><span>[</span>8<span>]</span></a></sup> In the course of ten years, he was to make a collection of 10,000 photos.<sup class="reference" id="cite_ref-9"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-9"><span>[</span>9<span>]</span></a></sup> Prokudin-Gorsky considered the project his life's work and continued his photographic journeys through Russia until after the October Revolution.<sup class="reference" id="cite_ref-biogaranina_3-4"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-biogaranina-3"><span>[</span>3<span>]</span></a></sup> He was appointed to a new professorship under the new regime, but he left the country in August 1918.<sup class="reference" id="cite_ref-10"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-10"><span>[</span>10<span>]</span></a></sup> He still pursued scientific work in color photography, published papers in English photography journals and, together with his colleague S. O. Maksimovich, obtained patents in Germany, England, France and Italy.<sup class="reference" id="cite_ref-biogaranina_3-5"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-biogaranina-3"><span>[</span>3<span>]</span></a></sup><br />
<sup></sup><br />
<span class="mw-headline" id="Later_life_and_death">Later life and death</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP_AYI0d3iWAMJ4Qis0q5lEBpCDpUeGtvwakVRiUDzDQbRjTbvZV7e4ecXRjluuXRv4mAt4upZo1zcFaxxmtKOoR8quXzL9y33fqmXYIPY_xmKfyrCjdMCcTvNU2_QUxXAQOW8xsGHm2PP/s1600/Sergei_Mikhailovich_Prokudin-Gorskii_-_Razguliai,_outskirts_of_the_city_of_Perm_(1910).jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP_AYI0d3iWAMJ4Qis0q5lEBpCDpUeGtvwakVRiUDzDQbRjTbvZV7e4ecXRjluuXRv4mAt4upZo1zcFaxxmtKOoR8quXzL9y33fqmXYIPY_xmKfyrCjdMCcTvNU2_QUxXAQOW8xsGHm2PP/s320/Sergei_Mikhailovich_Prokudin-Gorskii_-_Razguliai,_outskirts_of_the_city_of_Perm_(1910).jpg" width="320" /></a>In 1920, Prokudin-Gorsky remarried and had a daughter with his assistant Maria Fedorovna née Schedrimo. The family finally settled in <a href="http://en.wikipedia.org/wiki/Paris" title="Paris">Paris</a> in 1922, reuniting with his first wife and children.<sup class="reference" id="cite_ref-ica_4-3"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-ica-4"><span>[</span>4<span>]</span></a></sup> Prokudin-Gorsky set up a photo studio there together with his three adult children, naming it after his fourth child, Elka. In the 1930s, the elderly Prokudin-Gorsky continued with lectures showing his photographs of Russia to young Russians in France, but stopped commercial work and left the studio to his children, who named it Gorsky Frères. He died at Paris on September 27, 1944, and is buried in the <a href="http://en.wikipedia.org/wiki/Sainte-Genevi%C3%A8ve-des-Bois_Russian_Cemetery" title="Sainte-Geneviève-des-Bois Russian Cemetery">Sainte-Geneviève-des-Bois Russian Cemetery</a>.<sup class="reference" id="cite_ref-biogaranina_3-6"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-biogaranina-3"><span>[</span>3<span>]</span></a></sup><br />
<sup></sup><br />
<br />
<span class="mw-headline" id="The_three-color_principle">The three-color principle</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRPAvQMcH6ZJANWs6_tWcegtjgs6fOD5f7ON8I1iap5urQh9RiIBCha_0SzT55dKe1bGcFUp48ehVykWudBDOWqdYWWwX-45S0IU_pyNA6JurG49wMd9yjwOh3pJokoiqA-x7fxKMmzS_f/s1600/Rgb-compose-Alim_Khan.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRPAvQMcH6ZJANWs6_tWcegtjgs6fOD5f7ON8I1iap5urQh9RiIBCha_0SzT55dKe1bGcFUp48ehVykWudBDOWqdYWWwX-45S0IU_pyNA6JurG49wMd9yjwOh3pJokoiqA-x7fxKMmzS_f/s320/Rgb-compose-Alim_Khan.jpg" width="320" /></a>The method of <a href="http://en.wikipedia.org/wiki/Color_photography" title="Color photography">color photography</a> used by Prokudin-Gorsky was first suggested by <a href="http://en.wikipedia.org/wiki/James_Clerk_Maxwell" title="James Clerk Maxwell">James Clerk Maxwell</a> in 1855 and demonstrated in 1861, but good results were not possible with the photographic materials available at that time. In imitation of the way a normal human eye <a href="http://en.wikipedia.org/wiki/Color_vision" title="Color vision">senses color</a>, the <a href="http://en.wikipedia.org/wiki/Visible_spectrum" title="Visible spectrum">visible spectrum</a> of colors was divided into three channels of information by capturing it in the form of three <a href="http://en.wikipedia.org/wiki/Black-and-white" title="Black-and-white">black-and-white</a> photographs, one taken through a red <a href="http://en.wikipedia.org/wiki/Filter_(optics)" title="Filter (optics)">filter</a>, one through a green filter, and one through a blue filter. The resulting three photographs could either be projected through filters of the same colors and exactly superimposed on a screen, synthesizing the original range of color <a href="http://en.wikipedia.org/wiki/Additive_color" title="Additive color">additively</a>; viewed as an additive color image by one person at a time through an optical device known generically as a chromoscope or photochromoscope, which contained colored filters and transparent reflectors that visually combined the three into one full-color image; or used to make photographic or mechanical prints in the <a href="http://en.wikipedia.org/wiki/Complementary_colors" title="Complementary colors">complementary colors</a> cyan, magenta and yellow, which, when superimposed, reconstituted the color <a href="http://en.wikipedia.org/wiki/Subtractive_color" title="Subtractive color">subtractively</a>.<sup class="reference" id="cite_ref-Coe_11-0"><a href="http://en.wikipedia.org/wiki/Prokudin-Gorsky#cite_note-Coe-11"><span>[</span>11<span>]</span></a></sup><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-37800617101594196922012-10-17T07:33:00.001-07:002012-10-17T07:33:30.426-07:00The Nag Hammadi library<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjO4QzP2wzcLgRUHyjHERCmiXuKKsKw9yfeRVe4cA5zABXlkrXZh8vFdfdiYbUUuAryVbu-BkFmOvA82YQbWJc7I7uYe0Cv1xkYY_nW4J4zu59ED2g4fGV05SAMTqalFE3vOehP7GCxkEr/s1600/NagHammadi_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjO4QzP2wzcLgRUHyjHERCmiXuKKsKw9yfeRVe4cA5zABXlkrXZh8vFdfdiYbUUuAryVbu-BkFmOvA82YQbWJc7I7uYe0Cv1xkYY_nW4J4zu59ED2g4fGV05SAMTqalFE3vOehP7GCxkEr/s320/NagHammadi_1.jpg" width="320" /></a><strong>The Nag Hammadi library</strong><sup class="reference" id="cite_ref-0"><a href="http://en.wikipedia.org/wiki/Nag_Hammadi_library#cite_note-0">[1]</a></sup> is a collection of <a href="http://en.wikipedia.org/wiki/Early_Christianity" title="Early Christianity">early Christian</a> <a href="http://en.wikipedia.org/wiki/Gnosticism" title="Gnosticism">Gnostic</a> <a href="http://en.wikipedia.org/wiki/Gnostic_texts" title="Gnostic texts">texts</a> discovered near the <a href="http://en.wikipedia.org/wiki/Upper_Egypt" title="Upper Egypt">Upper Egyptian</a> town of <a href="http://en.wikipedia.org/wiki/Nag_Hammadi" title="Nag Hammadi">Nag Hammadi</a> in 1945. Twelve leather-bound <a href="http://en.wikipedia.org/wiki/Papyrus" title="Papyrus">papyrus</a> <a href="http://en.wikipedia.org/wiki/Codex" title="Codex">codices</a> buried in a sealed jar were found by a local peasant named Mohammed Ali Samman.<sup class="reference" id="cite_ref-1"><a href="http://en.wikipedia.org/wiki/Nag_Hammadi_library#cite_note-1">[2]</a></sup><sup class="reference" id="cite_ref-2"><a href="http://en.wikipedia.org/wiki/Nag_Hammadi_library#cite_note-2">[3]</a></sup> The writings in these codices comprised fifty-two mostly Gnostic <a href="http://en.wikipedia.org/wiki/Treatise" title="Treatise">treatises</a>, but they also include three works belonging to the <i><a href="http://en.wikipedia.org/wiki/Hermetica" title="Hermetica">Corpus Hermeticum</a></i> and a partial translation/alteration of <a href="http://en.wikipedia.org/wiki/Plato" title="Plato">Plato</a>'s <a href="http://en.wikipedia.org/wiki/The_Republic_(Plato)" title="The Republic (Plato)"><i>Republic</i></a>. In his "Introduction" to <i>The Nag Hammadi Library in English</i>, James Robinson suggests that these codices may have belonged to a nearby <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Saint_Pachomius" title="Saint Pachomius">Pachomian</a> monastery, and were buried after <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Athanasius" title="Athanasius">Bishop Athanasius</a> condemned the use of <a href="http://en.wikipedia.org/wiki/Biblical_canon" title="Biblical canon">non-canonical</a> books in his <a href="http://en.wikipedia.org/wiki/Easter_letter" title="Easter letter">Festal Letter of 367 AD</a>.<br />
The contents of the codices were written in the <a href="http://en.wikipedia.org/wiki/Coptic_language" title="Coptic language">Coptic language</a>, though the works were probably all translations from <a href="http://en.wikipedia.org/wiki/Greek_language" title="Greek language">Greek</a>.<sup class="reference" id="cite_ref-3"><a href="http://en.wikipedia.org/wiki/Nag_Hammadi_library#cite_note-3">[4]</a></sup> The best-known of these works is probably the <i><a href="http://en.wikipedia.org/wiki/Gospel_of_Thomas" title="Gospel of Thomas">Gospel of Thomas</a></i>, of which the Nag Hammadi codices contain the only complete text. After the discovery it was recognized that fragments of these sayings attributed to Jesus appeared in manuscripts discovered at <a href="http://en.wikipedia.org/wiki/Oxyrhynchus" title="Oxyrhynchus">Oxyrhynchus</a> in 1898 (<a href="http://en.wikipedia.org/wiki/Papyrus_Oxyrhynchus_1" title="Papyrus Oxyrhynchus 1">P. Oxy. 1</a>), and matching quotations were recognized in other early Christian sources. Subsequently, a 1st or 2nd century date of composition circa 80 <a class="mw-redirect" href="http://en.wikipedia.org/wiki/AD" title="AD">AD</a> has been proposed for the lost Greek originals of the <a href="http://en.wikipedia.org/wiki/Gospel_of_Thomas" title="Gospel of Thomas">Gospel of Thomas</a>. The buried manuscripts themselves date from the third and fourth centuries.<br />
The Nag Hammadi codices are housed in the <a href="http://en.wikipedia.org/wiki/Coptic_Museum" title="Coptic Museum">Coptic Museum</a> in <a href="http://en.wikipedia.org/wiki/Cairo" title="Cairo">Cairo</a>, <a href="http://en.wikipedia.org/wiki/Egypt" title="Egypt">Egypt</a>. To read about their significance to modern scholarship into early <a href="http://en.wikipedia.org/wiki/Christianity" title="Christianity">Christianity</a>, see the <a href="http://en.wikipedia.org/wiki/Gnosticism#Significance_of_the_Nag_Hammadi_library" title="Gnosticism">Gnosticism article</a>.<br />
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<span class="mw-headline" id="Discovery_at_Nag_Hammadi"><strong>Discovery at Nag Hammadi</strong></span><br />
The story of the discovery of the Nag Hammadi library in 1945 has been described as 'exciting as the contents of the find itself'.<sup class="reference" id="cite_ref-4"><a href="http://en.wikipedia.org/wiki/Nag_Hammadi_library#cite_note-4">[5]</a></sup> In December of that year, two Egyptian brothers found several papyri in a large earthenware vessel while digging for fertilizer around the <a href="http://en.wikipedia.org/wiki/Jabal_al-%E1%B9%AC%C4%81rif" title="Jabal al-Ṭārif">Jabal al-Ṭārif caves</a> near present-day <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Hamra_Dom" title="Hamra Dom">Hamra Dom</a> in Upper Egypt. The find was not initially reported by either of the brothers, who sought to make money from the manuscripts by selling them individually at intervals. It is also reported that the brothers' mother burned several of the manuscripts, worried, apparently, that the papers might have 'dangerous effects' (Markschies, <i>Gnosis</i>, 48). As a result, what came to be known as the Nag Hammadi library (owing to the proximity of the find to Nag Hammadi, the nearest major settlement) appeared only gradually, and its significance went unacknowledged until some time after its initial uncovering.<br />
In 1946, the brothers became involved in a <a href="http://en.wikipedia.org/wiki/Feud" title="Feud">feud</a>, and left the manuscripts with a <a href="http://en.wikipedia.org/wiki/Coptic_language" title="Coptic language">Coptic</a> <a href="http://en.wikipedia.org/wiki/Priest" title="Priest">priest</a>, whose brother-in-law in October that year sold a <a href="http://en.wikipedia.org/wiki/Codex" title="Codex">codex</a> to the Coptic Museum in Old Cairo (this tract is today numbered Codex III in the collection). The resident <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Coptologist" title="Coptologist">Coptologist</a> and religious historian Jean Doresse, realizing the significance of the artifact, published the first reference to it in 1948. Over the years, most of the tracts were passed by the priest to a Cypriot antiques dealer in Cairo, thereafter being retained by the Department of Antiquities, for fear that they would be sold out of the country. After the <a href="http://en.wikipedia.org/wiki/Egyptian_Revolution_of_1952" title="Egyptian Revolution of 1952">revolution</a> in 1952, these texts were handed to the Coptic Museum in Cairo, and declared national property.<sup class="reference" id="cite_ref-The_Nag_Hammadi_Library_5-0"><a href="http://en.wikipedia.org/wiki/Nag_Hammadi_library#cite_note-The_Nag_Hammadi_Library-5">[6]</a></sup> <a href="http://en.wikipedia.org/wiki/Pahor_Labib" title="Pahor Labib">Pahor Labib</a>, the director of the Coptic Museum at that time, was keen to keep these manuscripts in their country of origin.<br />
Meanwhile, a single codex had been sold in Cairo to a <a href="http://en.wikipedia.org/wiki/Belgium" title="Belgium">Belgian</a> <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Antiques" title="Antiques">antique dealer</a>. After an attempt was made to sell the codex in both <a href="http://en.wikipedia.org/wiki/New_York" title="New York">New York</a> and <a href="http://en.wikipedia.org/wiki/Paris" title="Paris">Paris</a>, it was acquired by the <a href="http://en.wikipedia.org/wiki/C._G._Jung_Institute_in_Z%C3%BCrich" title="C. G. Jung Institute in Zürich">Carl Gustav Jung Institute</a> in <a href="http://en.wikipedia.org/wiki/Zurich" title="Zurich">Zurich</a> in 1951, through the mediation of <a href="http://en.wikipedia.org/wiki/Gilles_Quispel" title="Gilles Quispel">Gilles Quispel</a>. There it was intended as a birthday present to the famous <a href="http://en.wikipedia.org/wiki/Psychologist" title="Psychologist">psychologist</a>; for this reason, this codex is typically known as the <a href="http://en.wikipedia.org/wiki/Jung_Codex" title="Jung Codex">Jung Codex</a>, being Codex I in the collection.<sup class="reference" id="cite_ref-The_Nag_Hammadi_Library_5-1"><a href="http://en.wikipedia.org/wiki/Nag_Hammadi_library#cite_note-The_Nag_Hammadi_Library-5">[6]</a></sup><br />
Jung's death in 1961 caused a quarrel over the ownership of the Jung Codex, with the result that the pages were not given to the Coptic Museum in Cairo until 1975, after a first edition of the text had been published. Thus the papyri were finally brought together in Cairo: of the 1945 find, eleven complete books and fragments of two others, 'amounting to well over 1000 written pages' are preserved there.<a href="http://en.wikipedia.org/wiki/Nag_Hammadi_library#cite_note-6"><sup>[7]</sup></a><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_T5HJDTe0mSSwEnKRI_VaoxHqF6zKb3sQuOtcY2IiOyvncMay4GFi0nAhanSbfmc39f3RAg-bfqLALZ8-rpV2S8Fyu6Tg2qd3o0QHfCZxs-VgVOqS8JI2AdTsA7u2M3hrl1k6WqHGmuMf/s1600/coptic.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_T5HJDTe0mSSwEnKRI_VaoxHqF6zKb3sQuOtcY2IiOyvncMay4GFi0nAhanSbfmc39f3RAg-bfqLALZ8-rpV2S8Fyu6Tg2qd3o0QHfCZxs-VgVOqS8JI2AdTsA7u2M3hrl1k6WqHGmuMf/s1600/coptic.gif" /></a><span class="mw-headline" id="Translation"><strong>Translation</strong><br /><br />The first edition of a text found at Nag Hammadi was from the Jung Codex, a partial translation of which appeared in Cairo in 1956, and a single extensive facsimile edition was planned. Due to the difficult political circumstances in Egypt, individual tracts followed from the Cairo and Zurich collections only slowly.</span><br />
This state of affairs changed only in 1966, with the holding of the <a class="new" href="http://en.wikipedia.org/w/index.php?title=Messina_Congress&action=edit&redlink=1" title="Messina Congress (page does not exist)">Messina Congress</a> in <a href="http://en.wikipedia.org/wiki/Italy" title="Italy">Italy</a>. At this conference, intended to allow scholars to arrive at a group consensus concerning the definition of gnosticism, <a href="http://en.wikipedia.org/wiki/James_M._Robinson" title="James M. Robinson">James M. Robinson</a>, an expert on religion, assembled a group of editors and translators whose express task was to publish a <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Bilingual" title="Bilingual">bilingual</a> edition of the Nag Hammadi codices in English, in collaboration with the <a class="external text" href="http://iac.cgu.edu/" rel="nofollow">Institute for Antiquity and Christianity</a> at the <a href="http://en.wikipedia.org/wiki/Claremont_Graduate_University" title="Claremont Graduate University">Claremont Graduate University</a> in <a href="http://en.wikipedia.org/wiki/Claremont,_California" title="Claremont, California">Claremont, California</a>. Robinson had been elected secretary of the <a class="new" href="http://en.wikipedia.org/w/index.php?title=International_Committee_for_the_Nag_Hammadi_Codices&action=edit&redlink=1" title="International Committee for the Nag Hammadi Codices (page does not exist)">International Committee for the Nag Hammadi Codices</a>, which had been formed in 1970 by <a href="http://en.wikipedia.org/wiki/UNESCO" title="UNESCO">UNESCO</a> and the Egyptian Ministry of Culture; it was in this capacity that he oversaw the project. In the meantime, a facsimile edition in twelve volumes did appear between 1972 and 1977, with subsequent additions in 1979 and 1984 from publisher <a class="mw-redirect" href="http://en.wikipedia.org/wiki/E.J._Brill" title="E.J. Brill">E.J. Brill</a> in <a href="http://en.wikipedia.org/wiki/Leiden" title="Leiden">Leiden</a>, called <i>The Facsimile Edition of the Nag Hammadi Codices</i>, making the whole find available for all interested parties to study in some form.<br />
At the same time, in the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/German_Democratic_Republic" title="German Democratic Republic">German Democratic Republic</a> a group of scholars—including <a class="new" href="http://en.wikipedia.org/w/index.php?title=Alexander_Bohlig&action=edit&redlink=1" title="Alexander Bohlig (page does not exist)">Alexander Bohlig</a>, Martin Krause and <a href="http://en.wikipedia.org/wiki/New_Testament" title="New Testament">New Testament</a> scholars <a class="new" href="http://en.wikipedia.org/w/index.php?title=Gesine_Schenke&action=edit&redlink=1" title="Gesine Schenke (page does not exist)">Gesine Schenke</a>, <a class="new" href="http://en.wikipedia.org/w/index.php?title=Hans-Martin_Schenke&action=edit&redlink=1" title="Hans-Martin Schenke (page does not exist)">Hans-Martin Schenke</a> and <a class="new" href="http://en.wikipedia.org/w/index.php?title=Hans-Gebhard_Bethge&action=edit&redlink=1" title="Hans-Gebhard Bethge (page does not exist)">Hans-Gebhard Bethge</a>--were preparing the first German language translation of the find. The last three scholars prepared a complete scholarly translation under the auspices of the <a href="http://en.wikipedia.org/wiki/Berlin" title="Berlin">Berlin</a> <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Humboldt_University" title="Humboldt University">Humboldt University</a>, which was published in 2001.<br />
The James M. Robinson translation was first published in 1977, with the name <i>The Nag Hammadi Library in English</i>, in collaboration between E.J. Brill and <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Harper_%26_Row" title="Harper & Row">Harper & Row</a>. The single-volume publication, according to Robinson, 'marked the end of one stage of Nag Hammadi scholarship and the beginning of another' (from the Preface to the third revised edition). Paperback editions followed in 1981 and 1984, from E.J. Brill and Harper respectively. A third, completely revised edition was published in 1988. This marks the final stage in the gradual dispersal of gnostic texts into the wider public arena—the full complement of codices was finally available in unadulterated form to people around the world, in a variety of languages. A cross reference apparatus for Robinson's translation and the Biblical canon also exists.<sup class="reference" id="cite_ref-7"><a href="http://en.wikipedia.org/wiki/Nag_Hammadi_library#cite_note-7">[8]</a></sup><a class="external autonumber" href="http://www.accordancebible.com/Comprehensive-Crossreferences" rel="nofollow">[1]</a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAc7-gUnOR3jfOEFRrls6VUy6dW9Rt5WxrUL3aACV_aA4E3BZCPCy0SXSaW9yT21MGSLHbY8-nKGcgkAgSY0eCBAo9qAdIxUZyRQAq8UGSpG8jV8k8zh9IkqYFTKqY8CrcT3VlZxee5Mwg/s1600/15a.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAc7-gUnOR3jfOEFRrls6VUy6dW9Rt5WxrUL3aACV_aA4E3BZCPCy0SXSaW9yT21MGSLHbY8-nKGcgkAgSY0eCBAo9qAdIxUZyRQAq8UGSpG8jV8k8zh9IkqYFTKqY8CrcT3VlZxee5Mwg/s1600/15a.jpg" /></a>A further English edition was published in 1987, by <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Yale" title="Yale">Yale</a> scholar <a href="http://en.wikipedia.org/wiki/Bentley_Layton" title="Bentley Layton">Bentley Layton</a>, called <i>The Gnostic Scriptures: A New Translation with Annotations</i> (Garden City: Doubleday & Co., 1987). The volume unified new translations from the Nag Hammadi Library with extracts from the <a href="http://en.wikipedia.org/wiki/Heresiology" title="Heresiology">heresiological</a> writers, and other gnostic material. It remains, along with <i>The Nag Hammadi Library in English</i> one of the more accessible volumes translating the Nag Hammadi find, with extensive historical introductions to individual gnostic groups, notes on translation, annotations to the text and the organization of tracts into clearly defined movements.<br />
Not all scholars, however, agree that the entire library should be considered Gnostic. Paterson Brown has argued forcefully that the three Nag Hammadi Gospels of Thomas, Philip and Truth cannot be so labeled, since each explicitly affirms the basic reality and sanctity of incarnate life, which Gnosticism by definition considers illusory or evil: <a class="external text" href="http://www.metalog.org/files/gnostic.html" rel="nofollow">'Are the Coptic Gospels Gnostic?'</a>.<a href="http://en.wikipedia.org/wiki/Nag_Hammadi_library#cite_note-8">[9]</a><br />
<br />
Found Here: <a href="http://en.wikipedia.org/wiki/Nag_Hammadi_library">http://en.wikipedia.org/wiki/Nag_Hammadi_library</a><br />
<br />
<strong>The Nag Hammadi Library</strong><br />
<br />
The collection of books contains religious and hermetic texts, works of
moral maxims, Apocryphal texts, and more curiously, a rewriting of Plato's
Republic. <br />
<br />
In addition to the importance of the manuscripts for the
history of books (they are the oldest known books to date) and Coptic
palaeography, they represent a key source of evidence for the history of
philosophy and primitive Christianity. <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_VWUVScC3DsBFBuPKrMWgOvk9RD6fuUtFOXI7_UaXAW_05lnAKo4zITAswhDzaYCU5eBMYAb0yDEWFr7mn6RPZKrdboXB5WjiqIA8L-WVWko3Pe8wLwmhaTSmlVs4q1dONqIOFbN7kILJ/s1600/Nag%2520Hammadi%2520Codex%2520II%2520opened.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_VWUVScC3DsBFBuPKrMWgOvk9RD6fuUtFOXI7_UaXAW_05lnAKo4zITAswhDzaYCU5eBMYAb0yDEWFr7mn6RPZKrdboXB5WjiqIA8L-WVWko3Pe8wLwmhaTSmlVs4q1dONqIOFbN7kILJ/s320/Nag%2520Hammadi%2520Codex%2520II%2520opened.jpg" width="320" /></a></div>
<br />
Nevertheless, it is extremely
difficult to analyse them, because we know nothing of their authors,
circumstances or place where they were written. <br />
<br />
On the other hand,
they can currently be considered as a decisive element in the research of the
beginnings of gnosticism. <br />
<br />
The Gnostic texts of Nag Hammadi<br />
<br />
These religious (or Gnostic) texts propose interpretations and Christian
rituals that are different from those officialised in 325 AC and which were
immediately rejected as heretical at the time. That is why they were gathered
together, protected and hidden by the so-called deviant communities.
<br />
<br />
Gnosis means knowledge. In this respect, Gnostics differed from
Christians in their relation to the sacred texts, given that they attached
importance to the esoteric, and not the historical sense. Gnostics consequently
considered the divine to include aspects like interior and secret knowledge,
which is passed on by tradition and initiation. <br />
<br />
The Nag Hammadi
library offers a wealth of evidence of such trends in Gnosticism that claim to
contain a secret teaching whilst sometimes drawing inspiration from the Old
Testament. <br />
<br />
Nag Hammadi and Hermetisme<br />
<br />
The corpus of the collection contains so-called hermetic books in line with
the tradition of the Corpus Hermeticum. <br />
<br />
Codex VI actually comprises
an untitled treatise, known as The Discourse on the Eighth and Ninth, a prayer
of thanksgiving and a long fragment of the Perfect Discourse. These last two
texts are partly included in the Asclepius, whereas the first one is a
completely original work. <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijUllEfWAtPfULv7btqaTudjftxuPt9C6h8k5g-DL9HweOqMnuiXglHkMZ7r0LaJ3KeBnGHeUSelkB3rjrr-awryH-ycIU4F-H4UB_7lBP7hY3nfr7I37ApBuIlMozRd1U297l_2rf76Sx/s1600/Nag+Hammadi+Texts.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijUllEfWAtPfULv7btqaTudjftxuPt9C6h8k5g-DL9HweOqMnuiXglHkMZ7r0LaJ3KeBnGHeUSelkB3rjrr-awryH-ycIU4F-H4UB_7lBP7hY3nfr7I37ApBuIlMozRd1U297l_2rf76Sx/s320/Nag+Hammadi+Texts.jpg" width="320" /></a>These texts can be sidelined, as they
digress from the Gnostic theories widely spread in the rest of the collection.
Their main interest, however, lies in their highly pronounced Egyptian
inspiration, compared to the Greek and Latin texts currently known. Furthermore,
they do not reject the Egyptian religion, but offer to spiritualise it.
Hermetism is more than a Christian-like religious system, is it a way.
<br />
<br />
These three texts provide a complementary and sufficient overview of
the entire hermetic doctrine, the initiatory path supposed to lead to divine
enlightenment. It represents one of the fundamental differences between
Christians and Gnostics (or Hermetics). Whereas Christianity is based on the
historical truth, the Gnostic and hermetic trends attach great importance to
symbolism and even the allegorical <br />
<br />
Apocryphal:<br />
<br />
refers to texts that bear a resemblance to canonical books and present
figures from Christianity, but do not belong to the New Testament.
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAqrEkXKNkwOwqpzvQ4QbYGWYEaaKqw9sIyv1sU0HhO-3gwpXnlaeH8fgmnvZ0pMW9L_ofQavrfUcT1PmYhDakZxJqT5qoo8T1_-grX_LfE5JoBtaNxtvznYwxynphdk91A4Q_0uAB2q5v/s1600/image001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAqrEkXKNkwOwqpzvQ4QbYGWYEaaKqw9sIyv1sU0HhO-3gwpXnlaeH8fgmnvZ0pMW9L_ofQavrfUcT1PmYhDakZxJqT5qoo8T1_-grX_LfE5JoBtaNxtvznYwxynphdk91A4Q_0uAB2q5v/s320/image001.jpg" width="320" /></a>Coptic:<br />
<br />
refers to the Christians originating from Egypt. <br />
<br />
Esotericism:<br />
<br />
a doctrine according to which some types of knowledge must not be disclosed
to the general public, but reserved for a closed group of disciples.
<br />
<br />
Gnosticism:<br />
<br />
Gnosticism encompasses the various forms of religious thought in the Roman
empire between the 1st century BC and the 4th century AC, and was mainly based
in Alexandria. All these forms are strongly characterised by the duality between
the material, which was rejected, and the spiritual. Gnostic thought was
declared heretical by the Church. <br />
<br />
Heresy:<br />
<br />
all the religious trends running parallel to Catholicism, but condemned by
the Church as corrupting the dogma. <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUFi3bf3Vx_xyZQoQ-C1Dq7R65UZyifB3eLN9z8GJ7PMB9miUxxOvLXZPKVwsqkA4fyuUUK8f0EE2UVLYc1IyLD4GUlJv2hcMcXXqf2oNeGb6q7mAVcbORt7KPY-ckE_NNQ2cpAaYusNRX/s1600/Nag_Hammadi2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUFi3bf3Vx_xyZQoQ-C1Dq7R65UZyifB3eLN9z8GJ7PMB9miUxxOvLXZPKVwsqkA4fyuUUK8f0EE2UVLYc1IyLD4GUlJv2hcMcXXqf2oNeGb6q7mAVcbORt7KPY-ckE_NNQ2cpAaYusNRX/s1600/Nag_Hammadi2.jpg" /></a><br />
Hermetism:<br />
<br />
a doctrine resulting from a series of texts traditionally attributed to
Hermes. <br />
<br />
Source Q:<br />
<br />
this term comes from the German Quelle, meaning source, and refers to the
passages common to the Gospels of Matthew and Luke, also known as the double
tradition.<br />
<br />
Content of the Nag Hammadi Library<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHt7PBUp9INMVwhonmklxZIR7kse0SPyAzxgnZCB1k4iEU40Y3zcVB8s03FhZxgrUwsGUkqViOTfvlBhX2dsCFJjDQL3EOnql8nOzWkWsv9IBpTnIMP8U0HBnq9dOAtO0ErTwtbh3HGm0h/s1600/nag-hammadi_library.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHt7PBUp9INMVwhonmklxZIR7kse0SPyAzxgnZCB1k4iEU40Y3zcVB8s03FhZxgrUwsGUkqViOTfvlBhX2dsCFJjDQL3EOnql8nOzWkWsv9IBpTnIMP8U0HBnq9dOAtO0ErTwtbh3HGm0h/s320/nag-hammadi_library.jpg" width="320" /></a><br />
<br />
<br />
The library comprises 13 books, known as codices according to the scientific
name given to any collection of sheets folded in two and sown together. These
books represent the oldest known specimens to date. <br />
<br />
<strong>Found Here: </strong><a href="http://www.bing.com/images/search?q=Nag+Hammadi+library+&view=detail&id=904379D6AA639BADC762CFF777D2B30212136FBF"><strong>http://www.bing.com/images/search?q=Nag+Hammadi+library+&view=detail&id=904379D6AA639BADC762CFF777D2B30212136FBF</strong></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-39032162273381303222012-10-10T11:50:00.000-07:002012-10-10T11:50:01.758-07:00Nude Descending a Staircase, No. 2 by Marcel Duchamp<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi97lumUjuAgBuRM4ZdKc1fboQnruXm28gbX4agviLFwwFdKuWlQ-zrQi2BwFMh59-JlDhqwVLCes_KaDRrwJ_SlS29JhY7vXInTotXugFdFdJG01hdQce_4F8GqwLFUCIHnsRGY3fLKcKD/s1600/Duchamp_-_Nude_Descending_a_Staircase.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi97lumUjuAgBuRM4ZdKc1fboQnruXm28gbX4agviLFwwFdKuWlQ-zrQi2BwFMh59-JlDhqwVLCes_KaDRrwJ_SlS29JhY7vXInTotXugFdFdJG01hdQce_4F8GqwLFUCIHnsRGY3fLKcKD/s320/Duchamp_-_Nude_Descending_a_Staircase.jpg" width="194" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://en.wikipedia.org/wiki/Marcel_Duchamp" title="Marcel Duchamp">Marcel Duchamp</a><br />1912<br /><a class="mw-redirect" href="http://en.wikipedia.org/wiki/Oil_on_canvas" title="Oil on canvas">Oil on canvas</a><br />147 cm × 89.2 cm (<span class="frac nowrap">57 <sup><span style="font-size: x-small;">7</span></sup>⁄<sub><span style="font-size: x-small;">8</span></sub></span> in × <span class="frac nowrap">35 <sup><span style="font-size: x-small;">1</span></sup>⁄<sub><span style="font-size: x-small;">8</span></sub></span> in)</td></tr>
</tbody></table>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg59z9nTYyVHe8vmfLUB0tQsoRH8C4tckt6_GBeqe8UlNwphCWRs2zgz5SI84HfgGX_GkcaA7C8TrT9M4Arx01bEE_heGPP4-IpBEmyUgzV5xVpNB-fBncvRD_EqgM2WDrCflAHQOmzyqhz/s1600/nude2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg59z9nTYyVHe8vmfLUB0tQsoRH8C4tckt6_GBeqe8UlNwphCWRs2zgz5SI84HfgGX_GkcaA7C8TrT9M4Arx01bEE_heGPP4-IpBEmyUgzV5xVpNB-fBncvRD_EqgM2WDrCflAHQOmzyqhz/s320/nude2.jpg" width="193" /></a> <strong><em>Nude Descending a Staircase, No. 2</em></strong> (French: <i>Nu descendant un escalier n° 2</i>) is a 1912 painting by <a href="http://en.wikipedia.org/wiki/Marcel_Duchamp" title="Marcel Duchamp">Marcel Duchamp</a>. The work is widely regarded as a <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Modernist" title="Modernist">Modernist</a> classic and has become one of the most famous of its time. In its first presentation at the Parisian <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Salon_des_Ind%C3%A9pendants" title="Salon des Indépendants">Salon des Indépendants</a>, it was rejected by the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Cubists" title="Cubists">Cubists</a> and caused a huge stir during its exhibition at the 1913 <a href="http://en.wikipedia.org/wiki/Armory_Show" title="Armory Show">Armory Show</a> in New York following a press copy of an abuse scandal. The work is now found in permanent exhibition at the <i>Louis and Walter Arensberg Collection</i> of the <a href="http://en.wikipedia.org/wiki/Philadelphia_Museum_of_Art" title="Philadelphia Museum of Art">Philadelphia Museum of Art</a> in <a href="http://en.wikipedia.org/wiki/Philadelphia" title="Philadelphia">Philadelphia</a>.<br /><br />The work, an <a href="http://en.wikipedia.org/wiki/Oil_painting" title="Oil painting">oil painting</a> on canvas with dimensions of 147 cm × 89.2 cm (57.9 in × 35.1 in) in portrait, seemingly depicts a figure demonstrating an abstract movement in its <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Ochres" title="Ochres">ochres</a> and browns. The discernable "body parts" of the figure are composed of nested, <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Cone_(geometry)" title="Cone (geometry)">conical</a> and <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Cylindrical" title="Cylindrical">cylindrical</a> abstract elements, assembled together in such a way as to suggest rhythm and convey the movement of the figure merging into itself. Dark outlines limit the contours of the body while serving as <a href="http://en.wikipedia.org/wiki/Motion_lines" title="Motion lines">motion lines</a> that emphasize the dynamics of the moving figure, while the accented arcs of the dotted lines seem to suggest a thrusting pelvic motion. The movement seems to be rotated <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Counter-clockwise" title="Counter-clockwise">counter-clockwise</a> from the upper left to the lower right corner to move, where the <a href="http://en.wikipedia.org/wiki/Image_gradient" title="Image gradient">gradient</a> of the apparently frozen sequence corresponding to the bottom right to top left dark, respectively, becomes more <a href="http://en.wikipedia.org/wiki/Transparency_and_translucency" title="Transparency and translucency">transparent</a>, the fading of which is apparently intended to simulate the "older" section. At the edges of the picture, the steps which are indicated in darker colors. The middle of the image is an amalgam of light and dark, that becomes more piqued as one approaches the edges. The overall warm, monochrome bright <a href="http://en.wikipedia.org/wiki/Palette_(painting)" title="Palette (painting)">palette</a> of the painting ranges from yellow ocher, to dark, almost black tones. The colors are translucent applied. At the bottom left of the painting Duchamp placed as title, "NU DESCENDANT UN ESCALIER" in block letters, which may or may not be related to the work, as the question of whether the figure represents a human body remains open; the figure viewers infer gives little clue to its age, individuality, character, or sex (though the work's title has the masculine gender).<br /><br />
The painting combines elements of both the <a href="http://en.wikipedia.org/wiki/Cubism" title="Cubism">Cubist</a> and <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Futurism_(art)" title="Futurism (art)">Futurist</a> movements. In the composition, Duchamp depicts motion by successive superimposed images, similar to stroboscopic motion photography. Duchamp also recognized the influence of the stop-motion photography of <a href="http://en.wikipedia.org/wiki/%C3%89tienne-Jules_Marey" title="Étienne-Jules Marey">Étienne-Jules Marey</a>, particularly <a href="http://en.wikipedia.org/wiki/Eadweard_Muybridge" title="Eadweard Muybridge">Muybridge</a>'s <i>Woman Walking Downstairs</i> from his 1887 picture series, published as <i>The Human Figure in Motion</i>.<sup class="reference" id="cite_ref-0"><a href="http://en.wikipedia.org/wiki/Nude_Descending_a_Staircase,_No._2#cite_note-0"><span>[</span>1<span>]</span></a></sup><br />
Duchamp first submitted the work to appear in a Cubist show at the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Salon_des_Ind%C3%A9pendants" title="Salon des Indépendants">Salon des Indépendants</a> in Paris, but jurist <a href="http://en.wikipedia.org/wiki/Albert_Gleizes" title="Albert Gleizes">Albert Gleizes</a> asked Duchamp's brothers, <a href="http://en.wikipedia.org/wiki/Jacques_Villon" title="Jacques Villon">Jacques Villon</a> and <a href="http://en.wikipedia.org/wiki/Raymond_Duchamp-Villon" title="Raymond Duchamp-Villon">Raymond Duchamp-Villon</a>, to have him voluntarily withdraw the painting, or paint over the title that he had painted on the work and rename it something else. The hanging committee objected to the work on the grounds that it had "too much of a literary title", and that "a nude never descends the stairs—a nude reclines".<sup class="reference" id="cite_ref-1"><a href="http://en.wikipedia.org/wiki/Nude_Descending_a_Staircase,_No._2#cite_note-1"><span>[</span>2<span>]</span></a></sup><br />
Of the incident Duchamp recalled,<br />
<dl><dd><i>I said nothing to my brothers. But I went immediately to the show and took my painting home in a taxi. It was really a turning point in my life, I can assure you. I saw that I would not be very much interested in groups after that.</i><sup class="reference" id="cite_ref-2"><a href="http://en.wikipedia.org/wiki/Nude_Descending_a_Staircase,_No._2#cite_note-2"><span>[</span>3<span>]</span></a></sup></dd></dl>
He submitted the painting to the 1913 <a href="http://en.wikipedia.org/wiki/Armory_Show" title="Armory Show">Armory Show</a> in New York City located where Americans, accustomed to naturalistic art, were scandalized. <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Julian_Street" title="Julian Street">Julian Street</a>, an art critic for the <i><a class="mw-redirect" href="http://en.wikipedia.org/wiki/New_York_Times" title="New York Times">New York Times</a></i> wrote that the work resembled "an explosion in a shingle factory," and cartoonists satirized the piece. It spawned dozens of parodies in the years that followed.<sup class="reference" id="cite_ref-3"><a href="http://en.wikipedia.org/wiki/Nude_Descending_a_Staircase,_No._2#cite_note-3"><span>[</span>4<span>]</span></a></sup><br />
After attending the <a href="http://en.wikipedia.org/wiki/Armory_Show" title="Armory Show">Armory Show</a> and seeing Marcel Duchamp's Nude Descending a Staircase, President Theodore Roosevelt wrote (using his own, also valid translation): "Take the picture which for some reason is called 'A Naked Man Going Down Stairs'. There is in my bathroom a really good Navajo rug which, on any proper interpretation of the Cubist theory, is a far more satisfactory and decorative picture. Now, if, for some inscrutable reason, it suited somebody to call this rug a picture of, say, 'A Well-Dressed Man Going Up a Ladder', the name would fit the facts just about as well as in the case of the Cubist picture of the 'Naked Man Going Down Stairs'. From the standpoint of terminology each name would have whatever merit inheres in a rather cheap straining after effect; and from the standpoint of decorative value, of sincerity, and of artistic merit, the Navajo rug is infinitely ahead of the picture." <sup class="reference" id="cite_ref-4"><a href="http://en.wikipedia.org/wiki/Nude_Descending_a_Staircase,_No._2#cite_note-4"><span>[</span>5<span>]</span></a><br /><br /><strong>Found Here: </strong><a href="http://en.wikipedia.org/wiki/Nude_Descending_a_Staircase,_No._2"><strong>http://en.wikipedia.org/wiki/Nude_Descending_a_Staircase,_No._2</strong></a></sup><br /><br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-35780956209449244502012-09-27T23:38:00.005-07:002012-09-27T23:39:32.888-07:00 The Ephesian Artemis<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMpxcs7EcKxQONpaWem9UrMymgxqsBbsd6XCjKo-OSVPpvyYOBEfnFDu58RNNw0lmiBVsNCoYwRwMV8kFEqm_Dj4EdonBRJUH0mI0ApmdKnrn2ztwEdduAsC3a27JleoJKpylXoN_yuLqp/s1600/ephesus_artemis_selcuk_s.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a>The Ephesian Artemis, the "great mother goddess" also mentioned in the New Testament(Acts,19), was extremely popular in the ancient world, as we might deduce from the fact that copies of her cult statue have been excavated in many parts of the Roman Empire. The first photo on this page is a statue from the Amphitheater of Lepcis Magna and is now in the Archaeological Museum of Tripoli.The goddess was originally, before her cult was taken over by the Greeks, called Artimus, and her temple -one of the Seven Wonders of the Ancient World- received gifts from the Lydian king Croesus (c.560-c.547). She is related to other Anatolian mother goddesses, like Cybele. The Ephesians believed that Artemis was born in Ephesus (and not on Delos, as was commonly assumed), and accepted the shrine as an asylum (Tacitus, Annals,3.61). Later, the Persians patronized the cult; the high priest was called theMegabyxus, a Persian name that means "the one set free for the cult of the divinity". The original cult statue was made of wood, but was probably lost after the great fire of 356 BCE.Although the statue as we know it was a substitute for the lost original, it retains several archaic <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF0mytV6e-QdG4g9Nhyphenhyphen6vTxap-Y8FUYasPFcgbbxvuiORRL6T_c7l2KLxrfT532G-WFO8ybujQsSg7J3PTeM5cw1sQojqj4GEAHtghSDYo1kDYyrRLI5waTdUJYJNLlzEGUhbZuCVc_cY-/s1600/artemis_ephesus_mus_tripoli4.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF0mytV6e-QdG4g9Nhyphenhyphen6vTxap-Y8FUYasPFcgbbxvuiORRL6T_c7l2KLxrfT532G-WFO8ybujQsSg7J3PTeM5cw1sQojqj4GEAHtghSDYo1kDYyrRLI5waTdUJYJNLlzEGUhbZuCVc_cY-/s320/artemis_ephesus_mus_tripoli4.jpeg" width="268" /></a>traits (e.g., her static pose). Still, many aspects can not be dated before the fourth century, and the statue from Lepcis illustrates this very well: it shows a zodiac on the dress that covers the upper part of her chest. On some copies, Artemis wears a mural crown, a Mesopotamian and Syrian motif that became popular in the Hellenistic age. The winged Victories to the left and right appear to be innovations as well, although they have archaic antecedents.On other copies, these elements are absent (e.g., instead of the Victories, we see lions), and they may be closer representations of the original. However, the fact that a statue with zodiac had been found in Ephesus (photo), strongly suggests that the astrological aspect was not altogether absent from the Ephesian cult.One of Artemis' characteristics is that she protects fertility. This may be symbolized by the spherical objects that cover the lower part of <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMpxcs7EcKxQONpaWem9UrMymgxqsBbsd6XCjKo-OSVPpvyYOBEfnFDu58RNNw0lmiBVsNCoYwRwMV8kFEqm_Dj4EdonBRJUH0mI0ApmdKnrn2ztwEdduAsC3a27JleoJKpylXoN_yuLqp/s1600/ephesus_artemis_selcuk_s.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMpxcs7EcKxQONpaWem9UrMymgxqsBbsd6XCjKo-OSVPpvyYOBEfnFDu58RNNw0lmiBVsNCoYwRwMV8kFEqm_Dj4EdonBRJUH0mI0ApmdKnrn2ztwEdduAsC3a27JleoJKpylXoN_yuLqp/s1600/ephesus_artemis_selcuk_s.jpeg" /></a>her chest, but the common assumption that they are female breasts is incorrect. They probably represent the testicles of a bull, although they may also be gourds, which were known in Asia as fertility symbols for centuries. Artemis' robe is always decorated with lions, leopards, goats, griffins, and bulls, which represent Artemis' title of Lady of the Animals.<br />
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Found Here: <a href="http://www.livius.org/ei-er/ephesus/ephesus_artemis.html">http://www.livius.org/ei-er/ephesus/ephesus_artemis.html</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7i3Z_fzYsNF6qGuaDCb852djSIXzfS7fOqnr-4K8yH6K_lVsCSlghbSY0-yl5Dn8XM6HoCgsZQqMFl3jMcd03_kMWCkauMPjgUwGl3PLTfhM8HQGoNJeWSTQYS4tRhKuXrWInBX5fyYLH/s1600/artemis_ephesus_mus_tripoli1.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7i3Z_fzYsNF6qGuaDCb852djSIXzfS7fOqnr-4K8yH6K_lVsCSlghbSY0-yl5Dn8XM6HoCgsZQqMFl3jMcd03_kMWCkauMPjgUwGl3PLTfhM8HQGoNJeWSTQYS4tRhKuXrWInBX5fyYLH/s320/artemis_ephesus_mus_tripoli1.jpeg" width="255" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuAIY0m2BUtMKWkEi973iBKzJ38LTtvrW_BPEzfJBkF3jynObgV-8KBeqODy3OIMFOMGpdDDjTnw_X0ibMh8wKgCwnHyr7rYaK22Uzw33Hh_nlUOOlTyuXcZ-MlsRWaOFFXWIV1ECbg-jq/s1600/artemis_ephesus.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuAIY0m2BUtMKWkEi973iBKzJ38LTtvrW_BPEzfJBkF3jynObgV-8KBeqODy3OIMFOMGpdDDjTnw_X0ibMh8wKgCwnHyr7rYaK22Uzw33Hh_nlUOOlTyuXcZ-MlsRWaOFFXWIV1ECbg-jq/s320/artemis_ephesus.jpeg" width="180" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhokcgsobYtY2K_eNLv7VmSGzdOr0a6hhgvkvSd_lTop9xGIbYZvC4obiS_Uh6mHDsAOGr-BOrdip65WJDkq6hykEVadl94nf1sM9ZOxh7DOT3vsSfPS_q9dFtwI1c06V_L6mexFkbTMbCC/s1600/artemis_ephesus_mus_tripoli3.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhokcgsobYtY2K_eNLv7VmSGzdOr0a6hhgvkvSd_lTop9xGIbYZvC4obiS_Uh6mHDsAOGr-BOrdip65WJDkq6hykEVadl94nf1sM9ZOxh7DOT3vsSfPS_q9dFtwI1c06V_L6mexFkbTMbCC/s320/artemis_ephesus_mus_tripoli3.jpeg" width="212" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-62538458340356798202012-06-15T14:15:00.000-07:002012-06-15T14:15:05.360-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLE5IX61G3J5ms7GJQlliXIe_OZEJrnWCQGB69R-UUym6bqX5FTv8ulJPDADjJxFDmdsyG1FGeYwfiAIKvNl-hTqyUscCsb_BTeJYgUyBMpXOK7LOgyGy8g5hKWqaYUsQ7loxuTJR8PmJQ/s1600/0db826be4419ad47062b3c4b4d.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-size: x-small;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLE5IX61G3J5ms7GJQlliXIe_OZEJrnWCQGB69R-UUym6bqX5FTv8ulJPDADjJxFDmdsyG1FGeYwfiAIKvNl-hTqyUscCsb_BTeJYgUyBMpXOK7LOgyGy8g5hKWqaYUsQ7loxuTJR8PmJQ/s320/0db826be4419ad47062b3c4b4d.jpg" width="213" /></span></a></div>
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<span style="font-size: x-small;">The <b>Maijishan Grottoes</b> (<a href="http://en.wikipedia.org/wiki/Simplified_Chinese_characters" style="background-image: none; color: #0b0080; text-decoration: none;" title="Simplified Chinese characters">simplified Chinese</a>: <span lang="zh-Hans" xml:lang="zh-Hans">麦积山石窟</span>; <a href="http://en.wikipedia.org/wiki/Traditional_Chinese_characters" style="background-image: none; color: #0b0080; text-decoration: none;" title="Traditional Chinese characters">traditional Chinese</a>: <span lang="zh-Hant" xml:lang="zh-Hant">麥積山石窟</span>; <a href="http://en.wikipedia.org/wiki/Pinyin" style="background-image: none; color: #0b0080; text-decoration: none;" title="Pinyin">pinyin</a>: <em>Màijīshān Shíkū</em>) are a series of 194 <a href="http://en.wikipedia.org/wiki/Cave" style="background-image: none; color: #0b0080; text-decoration: none;" title="Cave">caves</a> cut in the side of the hill of Majishan in <a href="http://en.wikipedia.org/wiki/Tianshui" style="background-image: none; color: #0b0080; text-decoration: none;" title="Tianshui">Tianshui</a>, <a href="http://en.wikipedia.org/wiki/Gansu" style="background-image: none; color: #0b0080; text-decoration: none;" title="Gansu">Gansu</a> Province, northwest<a href="http://en.wikipedia.org/wiki/China" style="background-image: none; color: #0b0080; text-decoration: none;" title="China">China</a>. This example of <a href="http://en.wikipedia.org/wiki/Rock_cut_architecture" style="background-image: none; color: #0b0080; text-decoration: none;" title="Rock cut architecture">rock cut architecture</a> contains over 7,200 <a href="http://en.wikipedia.org/wiki/Buddhist_art" style="background-image: none; color: #0b0080; text-decoration: none;" title="Buddhist art">Buddhist</a> sculptures and over 1,000 square meters of <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Murals" style="background-image: none; color: #0b0080; text-decoration: none;" title="Murals">murals</a>. Construction began in the <a href="http://en.wikipedia.org/wiki/Later_Qin" style="background-image: none; color: #0b0080; text-decoration: none;" title="Later Qin">Later Qin</a> era (384-417 CE).</span></div>
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<span style="font-size: x-small;">They were first properly explored in 1952-53 by a team of Chinese archeologists from Beijing, who devised the numbering system still in use today. Caves #1-50 are on the western cliff face; caves #51-191 on the eastern cliff face. They were later photographed by Michael Sullivan and Dominique Darbois, who subsequently published the primary English-language work on the caves noted in the footnotes below.</span></div>
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<span style="font-size: x-small;">The name Maijishan consists of three Chinese words (<span lang="zh-Hans-CN" xml:lang="zh-Hans-CN">麦积山</span>) that literally translate as "Wheatstack Mountain", but because the term "mai" (<span lang="zh-Hans-CN" xml:lang="zh-Hans-CN">麦</span>) is the generic term in Chinese used for most grains, one also sees such translations as "Corn rick mountain". Mai means "grain". Ji (<span lang="zh-Hans-CN" xml:lang="zh-Hans-CN">积</span>) means "stack" or "mound". Shan (<span lang="zh-Hans-CN" xml:lang="zh-Hans-CN">山</span>) means "mountain". The mountain is formed of purplish red sandstone.</span></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLE5IX61G3J5ms7GJQlliXIe_OZEJrnWCQGB69R-UUym6bqX5FTv8ulJPDADjJxFDmdsyG1FGeYwfiAIKvNl-hTqyUscCsb_BTeJYgUyBMpXOK7LOgyGy8g5hKWqaYUsQ7loxuTJR8PmJQ/s1600/0db826be4419ad47062b3c4b4d.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><span style="background-color: white; font-family: sans-serif; line-height: 19px; text-align: -webkit-auto;"><span style="font-size: x-small;">They are just one of the string of Buddhist grottoes that can be found in this area of northwest China, lying more or less on the main routes connecting China and Central Asia.</span></span></a><br />
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<span style="font-size: x-small;">Maijishan has an especially interesting location as it is located close to the E-W route that connected Xi'an with Lanzhou and eventually Dunhuang, as well as the route that veers off to the south that connected (and still connects) <a href="http://en.wikipedia.org/wiki/Xi%27an" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Xi'an">Xi'an</a> with <a href="http://en.wikipedia.org/wiki/Chengdu" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Chengdu">Chengdu</a> in <a href="http://en.wikipedia.org/wiki/Sichuan" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Sichuan">Sichuan</a> and regions as far south as India. This crossroads location is interesting as several of the sculptures in Maijishan that appear around the 6th Century, appear to have Indian—and even SE Asian—features that could have come north via these N-S routes. The earliest artistic influence came, however, from the northwest, through Central Asia along the Silk Road. Later, during the Sung and Ming Dynasties, as the caves were renovated and repaired, the influences came from central and eastern China and the sculpture is more distinctly Chinese.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMPWlGYuJt7n_5lCiM1XsMBX8eM4gy_i3h9_3UAd6djo6gMcf9mNb2XxQ4x6N3j4o8-YLozvdGAf7PJ7CHeWtDfdN3tGL6mBgkmazWbNYBYW6hdb2DiiZpZDoPHXJdlIJDiKYIgROgI25R/s1600/Majishan_angry_20090226.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMPWlGYuJt7n_5lCiM1XsMBX8eM4gy_i3h9_3UAd6djo6gMcf9mNb2XxQ4x6N3j4o8-YLozvdGAf7PJ7CHeWtDfdN3tGL6mBgkmazWbNYBYW6hdb2DiiZpZDoPHXJdlIJDiKYIgROgI25R/s320/Majishan_angry_20090226.jpg" width="240" /></a><span style="font-size: x-small;">Cave shrines in China probably served two purposes: originally, before Buddhism came to China, they may have been used as local shrines to worship one's ancestors or various nature deities.<sup class="reference" id="cite_ref-0" style="line-height: 1em;"><a href="http://en.wikipedia.org/wiki/Maijishan_Grottoes#cite_note-0" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none; white-space: nowrap;">[1]</a></sup> With the coming of Buddhism to China, however, influenced by the long tradition of cave shrines from India (such as <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Ajanta" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Ajanta">Ajanta</a>) and Central Asia (primarily Afghanistan), they became part of China's religious architecture.</span></div>
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<span style="font-size: x-small;">Buddhism in this part of China spread through the support of the <a href="http://en.wikipedia.org/wiki/Northern_Liang" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Northern Liang">Northern Liang</a> (北凉), which was the last of the "<a class="mw-redirect" href="http://en.wikipedia.org/wiki/16_Kingdoms" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="16 Kingdoms">16 Kingdoms</a>" that existed from 304-439 CE—a collection of numerous short-lived sovereign states in China. The Northern Liang were Xiongnu, "barbarians". It was during their rule that cave shrines first appeared in Gansu Province, the two most famous sites being Tiandishan ("Celestial Ladder Mountain") south of their capital at Yongcheng, and Wenshushan ("Manjusri's Mountain" ), halfway between Yongcheng and Dunhuang. Maijishan was most likely started during this wave of religious enthusiasm.</span></div>
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<span style="font-size: x-small;">Sometime between 420 and 422 CE, a monk by the name of Tanhung arrived at Maijishan and proceeded to build a small monastic community. One of the legends is that he had previously been living in Chang'an but had fled to Maijishan when the city was invaded by the Sung army. Within a few years he was joined by another senior monk, Xuangao, who brought 100 followers to the mountain. Both are recorded in a book entitled <i><a href="http://en.wikipedia.org/wiki/Memoirs_of_Eminent_Monks" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Memoirs of Eminent Monks">Memoirs of Eminent Monks</a></i>; eventually their community grew to 300 members. Xuangao later moved to the court of the local king where he remained until its conquest by the <a href="http://en.wikipedia.org/wiki/Northern_Wei" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Northern Wei">Northern Wei</a>, when he, together with all the other inhabitants of the court, were forced to migrate and settle in the Wei capital. He died in 444 during a period of Buddhist persecution. Tanhung also left Maijishan during this period and travelled south, to somewhere in Cochin China, when in approximately 455, he burned himself to death.<sup class="reference" id="cite_ref-1" style="line-height: 1em;"><a href="http://en.wikipedia.org/wiki/Maijishan_Grottoes#cite_note-1" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none; white-space: nowrap;">[2]</a></sup></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBx5rRmvqrWyETm1cdMIAfIOEbgf-CyqfumWWCqpFqLgPyILjw2w10Q4_-6RlKBguHfI6b-g_yA0IvAB8mID_Auw6OrPxHaDSZENjXePLaQsJhrugbRYwB6Xh5kqLYHVO837JVAefJvfcy/s1600/Maijishan-Grottoes.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBx5rRmvqrWyETm1cdMIAfIOEbgf-CyqfumWWCqpFqLgPyILjw2w10Q4_-6RlKBguHfI6b-g_yA0IvAB8mID_Auw6OrPxHaDSZENjXePLaQsJhrugbRYwB6Xh5kqLYHVO837JVAefJvfcy/s320/Maijishan-Grottoes.jpg" width="320" /></a><span style="font-size: x-small;">How the original community was organized or looked, we don't know. "Nor is there any evidence to show whether the settlement they founded was destroyed and its members scattered in the suppression of 444 and the ensuring years, or whether it was saved by its remoteness to become a heaven of refuse, as was to happen on several later occasions in the history of Maijishan".<sup class="reference" id="cite_ref-2" style="line-height: 1em;"><a href="http://en.wikipedia.org/wiki/Maijishan_Grottoes#cite_note-2" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none; white-space: nowrap;">[3]</a></sup></span></div>
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<span style="font-size: x-small;">The Wei Dynasty was good to Maijishan and the grottoes existence close to the Wei capital city of Loyang and the main road west brought the site recognition and, most likely, support. The earliest dated inscription is from 502, and records the excavation of what is now identified as Cave 115. Other inscriptions record the continued expansion of the grottoes, as works were dedicated by those with the financial means to do so.</span></div>
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<span style="font-size: x-small;">These Wei caves are fairly simple and most follow the pattern of a seated Buddha flanked by bodhisattvas and other attendants, sometimes by monks or lay worshippers. The most common Buddha is <a href="http://en.wikipedia.org/wiki/Amit%C4%81bha" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Amitābha">Amitābha</a>, the principal Buddha of the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Pure_Land" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Pure Land">Pure Land</a> sect. <a href="http://en.wikipedia.org/wiki/Amit%C4%81bha" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Amitābha">Amitābha</a> enables all who call upon him to be reborn into his heaven, the "Pure Land". There they undergo instruction by him ultimately to become bodhisattvas and buddhas in their own right. This was a very popular school of Mahayana Buddhism during this period.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0OdwjfNTAYbbO6lf3dBzkwtVcblyujVTS_BeABcEWrQWULbCcCUCoIk54ObnWU1bcoqYfdWorF-xAvV1xzvyF7JCPbxn0NBL-_dzo5EaKtdDxgpxSJx8KPY5va5Iz9-03ljCRuUIHXipL/s1600/maijishan-grottoes-142m-high1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0OdwjfNTAYbbO6lf3dBzkwtVcblyujVTS_BeABcEWrQWULbCcCUCoIk54ObnWU1bcoqYfdWorF-xAvV1xzvyF7JCPbxn0NBL-_dzo5EaKtdDxgpxSJx8KPY5va5Iz9-03ljCRuUIHXipL/s320/maijishan-grottoes-142m-high1.jpg" width="320" /></a><span style="font-size: x-small;">The bodhisattvas who accompany him are usually Avalokitesvara on the Buddha's right, and Mahasthamaprapta on his left. Avalokitesvara can be identified by his headdress which holds a small image of the Buddha Amitābha, and the fact that he often carries a small water flask. Sometimes he holds a heart-shaped, or pippala-leaf shaped object (which art historians still can't positively identify). Mahasthamaprapta is slightly more difficult to identify, but this is the usual pairing with Avalokitesvara (who will, in a few hundred more years, change gender and morph into the Goddess or Bodhisattva of Mercy, <a href="http://en.wikipedia.org/wiki/Guanyin" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Guanyin">Guanyin</a>).</span></div>
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<span style="font-size: x-small;">The monks are usually the two most famous associated with the historical Buddha: the younger <a href="http://en.wikipedia.org/wiki/Ananda" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Ananda">Ananda</a>, and the older <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Kasyapa" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Kasyapa">Kasyapa</a>, although sometimes the monks are simply generic monks. We also find statuary of nuns and lay worshippers and donors.</span></div>
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<span style="font-size: x-small;">Standing near the doorways guarding the Buddha and his entourage are often pairs of dvarapala or the four Heavenly Kings (<i>lokapala</i>).</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSDWpGE3sz-2UW4DSpRtj4BDox6jVv_cDMJXNh3MPoKjlu4ikep6qIlDP88RIOlmbY-lAFGQ8j126IwCTXZiNRK1a1POR0o3t8C8du0JKiPv9oMmX_mrFFh8Ig2bcaOK-NFGFMrInrMDU/s1600/Majishan_huge_sculptures_20090226.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSDWpGE3sz-2UW4DSpRtj4BDox6jVv_cDMJXNh3MPoKjlu4ikep6qIlDP88RIOlmbY-lAFGQ8j126IwCTXZiNRK1a1POR0o3t8C8du0JKiPv9oMmX_mrFFh8Ig2bcaOK-NFGFMrInrMDU/s320/Majishan_huge_sculptures_20090226.jpg" width="165" /></a><span style="font-size: x-small;">There are also statues of the historical Buddha, Sakyamuni, and the Buddha of the Future, <a href="http://en.wikipedia.org/wiki/Maitreya" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Maitreya">Maitreya</a>, recognizable by his seated position, legs crossed at the ankle. Some of the statues of the historical Buddha show Gandharan influences from Central Asia. The clue is in the volume and drapery of the robes as well as the shape and proportions of the statue's body and head.</span></div>
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<span style="font-size: x-small;">Nearly all of the statuary at Maijishan is made of clay with the addition of some sort of binding agent to help preserve the sculpture. When stone sculptures appear (for example, in caves 117, 127, 133 and 135), they are generally made of sandstone, and many are exquisite. The sandstone is reported not to be indigenous and we don't know its origin, where the statues were made, or how they were hauled up into the caves. Of special note is Cave 133 with 23 stone stele.</span><br />
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The <a href="http://en.wikipedia.org/wiki/Tang_Dynasty" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Tang Dynasty">Tang</a> was also an era of noteworthy earthquakes, including a very severe one in the region in 734. The Tang poet <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Tu_Fu" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Tu Fu">Tu Fu</a> visited the site 25 years later, and wrote a poem entitled "Mountain Temples" that probably is a description of Maijishan. It translates:</div>
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<tr><td style="border: none; color: #b2b7f2; font-family: 'Times New Roman', serif; font-size: 35px; font-weight: bold; padding: 10px; text-align: left;" valign="top" width="20">“</td><td style="border: none; padding: 4px 10px;" valign="top">There are few monks left in these remote shrines,<div style="line-height: 1.5em; margin-bottom: 0.5em; margin-top: 0.4em;">
And in the wilderness the narrow paths are high.<br />The musk-deer sleep among the stones and bamboo,<br />The cockatoos peck at the golden peaches.<br />Streams trickle down among the paths;<br />Across the overhanging cliff the cells are ranged,<br />Their tiered chambers reaching to the very peak;<br />And for a 100 <i>li</i> one can make out the smallest thing.<sup class="reference" id="cite_ref-3" style="line-height: 1em;"><a href="http://en.wikipedia.org/wiki/Maijishan_Grottoes#cite_note-3" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none; white-space: nowrap;">[4]</a></sup></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir5ds0kKqUxwqc6TaRbiCZPodDzcEt1UfK72wx5i7oRwEV0_mkQjkAly3osYVYmmetPUmNQo4V4f8dCpow7jFr3ttGXyqXkAvocYgb-yULQhOFyJx49mP4DQCrtu0W0nzb631tu02elVQE/s1600/maijishan-grottoes-shape3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir5ds0kKqUxwqc6TaRbiCZPodDzcEt1UfK72wx5i7oRwEV0_mkQjkAly3osYVYmmetPUmNQo4V4f8dCpow7jFr3ttGXyqXkAvocYgb-yULQhOFyJx49mP4DQCrtu0W0nzb631tu02elVQE/s320/maijishan-grottoes-shape3.jpg" width="320" /></a>The Sung Dynasty brought major restoration initiatives to Maijishan so that much of what visitors see today are older grottoes with new or replaced Sung-period sculpture. The most notable change in this period is the shift in emphasis from the Buddha to the bodhisattvas "shown most dramatically in Cave 191 on the extreme western [cliff] face....</div>
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"The middle Ming was a period of revival and restoration [remember this is prime earthquake zone]—the last to make any significant mark on Maijishan before the present century."<sup class="reference" id="cite_ref-4" style="line-height: 1em;"><a href="http://en.wikipedia.org/wiki/Maijishan_Grottoes#cite_note-4" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none; white-space: nowrap;">[5]</a></sup> It was also during this period that the two huge triads of statues on the eastern and western faces of the cliff were repaired—on the southeast cliff face, a seated Maitreya with legs pendant, flanked by two standing bodhisattvas; and on the southwest cliff face, an incomplete triad of a tall standing Buddha flanked by two attendants.</div>
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In summary, construction and restoration extended over 12 dynasties at Maijishan: over the course of the Later Qin, Northern Wei, Western Wei, Northern Zhou, Sui, Tang, Period of the Five Dynasties, Song, Yuan, Ming and Qing.</div>
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Although the region has fallen victim to many earthquakes and other natural and man-made disasters, 194 caves remain, encompassing 7200 pieces of sculpture, and 1000 square meters of frescoes, all excavated on a cliff face 30 to 80 meters above ground.</div>
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Caves #1-50 are on the western cliff face; caves #51-191 on the eastern cliff face. These numbers were given the caves by the original 1952-53 Chinese archaeological team.</div>
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<span style="background-color: transparent; font-size: x-small; line-height: 1.5em; text-align: center;">Found here: </span><span style="background-color: transparent; font-size: x-small; text-align: center;"><span style="line-height: 24px;"><a href="http://en.wikipedia.org/wiki/Maijishan_Grottoes">http://en.wikipedia.org/wiki/Maijishan_Grottoes</a></span></span></div>
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<span style="font-family: 'Footlight MT Light';">The Maijishan Grottoes</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXxP61aswJwDgemJSazgwGE9HYGzu4hFWKXJ-tRiJC19epPLGDvS-wmt7NA8XvPa5b2qQ0GtoxiWgoObkZaBeEMWmbzsMGng56omBCWH1-MEw3nqluFH7hcO2Db8hVonT13O6hEMwPBMHX/s1600/tumblr_lygus0vUZ51ql5onvo1_1280.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXxP61aswJwDgemJSazgwGE9HYGzu4hFWKXJ-tRiJC19epPLGDvS-wmt7NA8XvPa5b2qQ0GtoxiWgoObkZaBeEMWmbzsMGng56omBCWH1-MEw3nqluFH7hcO2Db8hVonT13O6hEMwPBMHX/s320/tumblr_lygus0vUZ51ql5onvo1_1280.jpg" width="228" /></a><span style="font-family: 'Footlight MT Light';">Located Southeast of Tianshyui City in Gansu Province on a 142 meters high hill named Maijishan, meaning "Wheat-pile Hill". Work on the grottoes started in the late 4th century and continued through successive North Wei (386-534 A.D.) and Song (960-1279 A.D.) dynasties until the 19th century. There are 194 existing caves, in which are preserved more than 7,000 sculptures made of terra cotta and over 1,000 square meters of murals. Earthquakes, rain and fire have damaged a large part of the caves and wooden structures.</span></div>
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<span style="font-family: 'Footlight MT Light';">This photo is from a 2001 book published by the Asian Society called Monks & Merchants, Silk Roads Treasures from Northwest China, which has been accompanied by a traveling world exhibit. </span></div>
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<span style="font-family: 'Footlight MT Light'; line-height: 1.5em;">For more information go to:</span></div>
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<span style="font-family: 'Footlight MT Light'; line-height: 1.5em;"><a href="http://www.asiasociety.org/arts/monksandmerchants/temples.htm">http://www.asiasociety.org</a></span><span style="line-height: 1.5em;"> </span></div>
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<span style="line-height: 1.5em;">also:</span></div>
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<a href="http://www.chinaknowledge.de/Art/Sculpture/grottoes.htm"></a><a href="http://www.chinaknowledge.de/Art/Sculpture/grottoes.htm" style="line-height: 1.5em;">http://www.chinaknowledge.de</a></div>
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<span style="font-family: 'Footlight MT Light';">More than 120 artifacts from the regions where the Silk Road wound through Chinese territory were on view at the <a href="http://www.britannica.com/magazine/article?query=world+art+treasures&id=6&smode=1">Norton Museum of Art</a>, West Palm Beach, Fla. March/April 2002.</span></div>
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<span style="font-family: 'Footlight MT Light';">This distinctive portrait of Buddha's oldest disciple, marked here as a foreigner - an Indian - by the beaklike nose, is found in Cave 87 at Maijishan. The King who built the temple on top of the giant rock at<a href="http://www.remyc.com/sigiriya.html">Sigiriya</a> was also called <a href="http://www.pantheon.org/articles/k/kasyapa.html">Kasyapa</a>:</span></div>
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<span style="font-family: 'Footlight MT Light';">"In pre-Vedic times, Kasyapa was a primordial god. He was the father of the devas, the asuras, the nagas, and mankind. His name means tortoise, and he was connected to the cosmic tortoise which made up the universe. In Vedic times Kasyapa had Aditi as his consort, and he was the father of the Adityas. In later times he became equated with Prajapati and Brahma, and was also named as one of the rishis."</span></div>
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<span style="font-family: 'Footlight MT Light';">Are there deeper connections between Maijishan and Sigiriya besides the obvious giant rock architecture?</span></div>
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<i><span style="font-family: 'Footlight MT Light';">(I'm researching this... Come back to this page for more on this question later. Remy C.)</span></i></div>
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Found Here: <a href="http://www.remyc.com/maijishan.html"> http://www.remyc.com/maijishan.html</a><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-82165803890965354152012-05-29T21:17:00.000-07:002012-05-29T21:24:31.107-07:00COMIC STRIP TOUR - Brussels Murals 2009<div class="column three" style="float: left; margin: 10px 0px; padding: 0px; width: 665px;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgipFdsGMxbdxOvPtYkJQHw4z0ZmRZitG-AyayDnllz3O1FZZqXkRB4ta13n33sxso_HaSCunlEtHycsCqQN3UXn-54k7_Kwve4BzBHT3YbrC6Z_Ak9m-tFZhCeG4IMo8CsWGC6eTD6No_V/s1600/022012Comics3.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgipFdsGMxbdxOvPtYkJQHw4z0ZmRZitG-AyayDnllz3O1FZZqXkRB4ta13n33sxso_HaSCunlEtHycsCqQN3UXn-54k7_Kwve4BzBHT3YbrC6Z_Ak9m-tFZhCeG4IMo8CsWGC6eTD6No_V/s320/022012Comics3.jpeg" width="247" /></a><br />
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Brussels has a long tradition of murals. For the 2009 comic strips theme, the City of Brussels will again add to its comic strip tour, with two or three murals.</div>
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One of these murals will be devoted to Rabaté for the album ‘Les petits ruisseaux’ (small streams), which won the latest City of Brussels prize. This prize is awarded annually to an author and an original work that opens up new perspectives for comic strips (in terms of graphics, stories or story-telling technique). Artists from abroad are also invited to Brussels for this, to participate in the city’s beautification and to make it more attractive.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis9y-8lVJ285Fs_mVy-Zqv7OGGLp86HZ-bQFRu_GDoEOvDfY507sxI1xHhU15z0bEYtbkBVkimhenEMQlJMtQ61nK02BYJoD4_Pk7E22_S6Vu6UD_dvcQ0INaSG97rjgkFBB_7DNOHkTQ2/s1600/127782151.R7T96LBk.DSC_2299.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis9y-8lVJ285Fs_mVy-Zqv7OGGLp86HZ-bQFRu_GDoEOvDfY507sxI1xHhU15z0bEYtbkBVkimhenEMQlJMtQ61nK02BYJoD4_Pk7E22_S6Vu6UD_dvcQ0INaSG97rjgkFBB_7DNOHkTQ2/s320/127782151.R7T96LBk.DSC_2299.jpg" width="212" /></a>The City of Brussels started producing its own comic strip murals in 1993. They have been included in a tour that stretches across the city. Now very popular with tourists, the tour includes 31 walls in the central Pentagon area and four walls in Laeken. People following it can therefore take a nice stroll and discover Brussels in a different manner. This tour is today an integral part of the city’s heritage. It is something we would like to spotlight during the comic strips theme year, by ensuring the murals are known and recognised by everyone and by turning them into some of the most popular tourist attractions of our capital – the home of comic strips! Besides the murals, some streets in Brussels will be given two plaques, one of which is fictional. This will be an amusing reference to Belgian comic strips.</div>
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These ‘comic strip’ streets make up a second comic strip tour across the city, as the guiding thread for a nice walk.</div>
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Found Here: <a href="http://brusselscomics.com/en/route_bd.cfm">http://brusselscomics.com/en/route_bd.cfm</a></div>
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<b>The Brussels' Comic Book Route</b> (or also <i>The comic strip route in Brussels</i>) is a path composed by several <a href="http://en.wikipedia.org/wiki/Comic_strip" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Comic strip">comic strip</a> murals which deck the walls of several buildings throughout the inner city of <a href="http://en.wikipedia.org/wiki/City_of_Brussels" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="City of Brussels">Brussels</a> as well as the neighborhoods of <a href="http://en.wikipedia.org/wiki/Laeken" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Laeken">Laeken</a> and <a href="http://en.wikipedia.org/wiki/Auderghem" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Auderghem">Auderghem</a>. The large comic strip murals show motifs of the main characters of the most famous and popular Belgian comic artist, for instance <a href="http://en.wikipedia.org/wiki/Lucky_Luke" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Lucky Luke">Lucky Luke</a>, <a href="http://en.wikipedia.org/wiki/Tintin_(character)" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Tintin (character)">Tintin</a>, <a href="http://en.wikipedia.org/wiki/Gaston_(comics)" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Gaston (comics)">Gaston</a>, <a href="http://en.wikipedia.org/wiki/Marsupilami" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Marsupilami">Marsupilami</a> or <a href="http://en.wikipedia.org/wiki/Gil_Jourdan" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Gil Jourdan">Gil Jourdan</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDxXz-MRsFp954AL1cwvoqVAZdjLX2qVNwGxEH_B3gxc51JA8ZuLMzlyMPR90Fy8FASt9fPy4u9vZbxhgkc8_4JGDykWzRDIDrht16MsnQT1Ec0eBmKNv3ZNAe-PyPXu0Cb5xk56eu_4cH/s1600/images-mural.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDxXz-MRsFp954AL1cwvoqVAZdjLX2qVNwGxEH_B3gxc51JA8ZuLMzlyMPR90Fy8FASt9fPy4u9vZbxhgkc8_4JGDykWzRDIDrht16MsnQT1Ec0eBmKNv3ZNAe-PyPXu0Cb5xk56eu_4cH/s1600/images-mural.jpeg" /></a>The project began in 1991 by initiative of the local authorities of the <a href="http://en.wikipedia.org/wiki/City_of_Brussels" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="City of Brussels">city of Brussels</a> in collaboration with the <a href="http://en.wikipedia.org/wiki/Belgian_Comic_Strip_Center" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Belgian Comic Strip Center">Belgian Comic Strip Center</a>. At its beginning, the project was just aimed to mask or embellish empty walls and gables of the buildings of the city, but it became also an opportunity to remember to its citizens and tourists that many well-known comic artists around the world were born or linked to the Belgium's capital, which at the same time claims to be also the capital of the <a href="http://en.wikipedia.org/wiki/Comic_strip" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Comic strip">comic strip</a>.<sup class="reference" id="cite_ref-Comic_0-0" style="line-height: 1em;"><a href="http://en.wikipedia.org/wiki/Brussels'_Comic_Book_Route#cite_note-Comic-0" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none; white-space: nowrap;">[1]</a></sup><sup class="reference" id="cite_ref-1" style="line-height: 1em;"><a href="http://en.wikipedia.org/wiki/Brussels'_Comic_Book_Route#cite_note-1" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none; white-space: nowrap;">[2]</a></sup></div>
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Today, the Brussels' Comic Book Route offers more than 50 mural paintings, most of them located inside the Pentagon (as the city center is often called due to its geometrical shape). Following its trail, the Comic Book Route is a good way to discover the capital and even penetrate some neighborhoods less crowded by tourists. The Brussels tourist association <i>Pro Velo</i> organizes a 2 hours bike tour starting at the <i>Bicycle Riders House</i> (<i>Maison des cyclists</i>).</div>
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<i>Broussaille</i> was the first comic book wall to be painted,<sup class="reference" id="cite_ref-2" style="line-height: 1em;"><a href="http://en.wikipedia.org/wiki/Brussels'_Comic_Book_Route#cite_note-2" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none; white-space: nowrap;">[3]</a></sup> based on an original project of the Belgian comic book artist <a href="http://en.wikipedia.org/wiki/Frank_P%C3%A9" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Frank Pé">Frank Pé</a>. With its surface of about 35 m2, the mural painting was inaugurated in July 1991 at the intersection between the central streets <i>Marché au Charbon</i> and <i>Teinturiers</i>. As most of the mural paintings, the Belgian association «Art Mural» was in charge for the execution of the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Fresco_painting" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Fresco painting">fresco painting</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAUtStFWkz_NNFGYcmT8RK7LviXPQGYgL17c3PIqwKJKfR6ao0tWvtcsWODB3cwpmhSYgnEKIy8m6Ni1mS1msSekBapMXImm3iFOsNYK08KDfBZolsM_i_WlQrnE-wSSgiEuHPRu6fm_eY/s1600/Tin-Tin-Mural-Brussels.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAUtStFWkz_NNFGYcmT8RK7LviXPQGYgL17c3PIqwKJKfR6ao0tWvtcsWODB3cwpmhSYgnEKIy8m6Ni1mS1msSekBapMXImm3iFOsNYK08KDfBZolsM_i_WlQrnE-wSSgiEuHPRu6fm_eY/s320/Tin-Tin-Mural-Brussels.jpg" width="240" /></a>«Art Mural» is an association created by five artists in 1984, mainly aimed to realize mural painting in public areas. Since 1993 it has been devoted to the creation and realization of the fresco paintings belonging to the Brussels' Comic Book Route, with a rhythm of 2 to 3 works per year.<sup class="reference" id="cite_ref-3" style="line-height: 1em;"><a href="http://en.wikipedia.org/wiki/Brussels'_Comic_Book_Route#cite_note-3" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none; white-space: nowrap;">[4]</a></sup> Georgios Oreopoulos and David Vandegeerde are the only two remaining founder members of the association who have been always involved in all the projects and mural paintings, helped with a large number of other artists who have collaborated and worked together with them.</div>
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Found Here: <a href="http://en.wikipedia.org/wiki/Brussels'_Comic_Book_Route">http://en.wikipedia.org/wiki/Brussels'_Comic_Book_Route</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2MOTKjZrZGUfi0FqUzbzG7kVZQA0GQ3hV9RI52ZYO9LCagjvuSX1ng63y7JXl8m-7Tjwb7pljCNvMtTYpzgjJOjYLthaXLnPdQQFT0SmXtZ9adSl_5lN3TpENlVIx84mrXl4SfMtfFWTu/s1600/Brussels+2010+465.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2MOTKjZrZGUfi0FqUzbzG7kVZQA0GQ3hV9RI52ZYO9LCagjvuSX1ng63y7JXl8m-7Tjwb7pljCNvMtTYpzgjJOjYLthaXLnPdQQFT0SmXtZ9adSl_5lN3TpENlVIx84mrXl4SfMtfFWTu/s320/Brussels+2010+465.JPG" width="240" /></a><span style="font-family: georgia, serif; font-size: 14px; line-height: 23px;">Brussels has undergone many architectural face-lifts and artistic design. None are quite like the cartoon characters that adorn the sides of buildings throughout Brussels. The brainstorm of someone with a bit of sense of humor and taste for the playful came up with the brilliant idea of transforming dull and grey buildings into eye-catching works of artistic expression. Local residences are being treated to the brightly colored displays across the city. Much to their delight the murals are said to being smiles to all who catch glimpse of them</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxthbYamZvCUwhVnHmCrOO9CuzFEPpPdjh4xXJ_QsZRy3Bj1ha3r0MIHaks2JJgOzQDY0reUDz4MGfGWloFlzCp0m9RsmxtkGcv4i70ZfTR-OUbsTCgEyGMmjt4bBLI5JRZrLjXUSPaT_b/s1600/Lucky-Luke-Mural-Brussels+(3).jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxthbYamZvCUwhVnHmCrOO9CuzFEPpPdjh4xXJ_QsZRy3Bj1ha3r0MIHaks2JJgOzQDY0reUDz4MGfGWloFlzCp0m9RsmxtkGcv4i70ZfTR-OUbsTCgEyGMmjt4bBLI5JRZrLjXUSPaT_b/s320/Lucky-Luke-Mural-Brussels+(3).jpg" width="320" /></a>As you make your way through the city to streets such as 33 rue de la Buanderie you will find a cartoon mural featuring The Adventures of Asterix. This particular mural is located on the wall a public soccer and basketball playground. Artists Albert Uderzo who provided the text and René Goscinny who created the illustrations have together created a masterpiece of sorts. The Stockel Metro Station is another location featuring the cartoons character The Adventures of Tintin Mural. It is considered to be the most grand of all the murals in the city of Brussels.</div>
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This beautifully illustrated mural is featured on duel sides of 135 meters of underground station wall. Considered one of the most renowned as it was drawn by the late Hergé prior to his death in 1983. The actual completion of the mural was not until five year later. In 1988, Studio Hergé and Bob de Moor successfully completed the task in honor of the Stockel train station's grand opening.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRiSwkeGvEhXbfeLqM-VZbKWxrScZ6g69Dz9EGjtUFuP-IA-bOR9vZ_AVlmr8BCTHUiBFclnvEaHlEpxVq5gK6AiYvMDI6OO919vkvxISKcarwzAYYHO0MKdzKFvuxR-W-uX9uLUs3t2uL/s1600/DSCF1055.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRiSwkeGvEhXbfeLqM-VZbKWxrScZ6g69Dz9EGjtUFuP-IA-bOR9vZ_AVlmr8BCTHUiBFclnvEaHlEpxVq5gK6AiYvMDI6OO919vkvxISKcarwzAYYHO0MKdzKFvuxR-W-uX9uLUs3t2uL/s320/DSCF1055.jpg" width="240" /></a>The Lucky Luke Comic Strip is one of the most beloved comic strips in Europe. As a local featured favorite in the city of Brussels, the mural stands at 180 meters of magnificent stature. Lucky Luke Comic Strip mural beheld as a most wondrous mural was painted by D. Vandegeerde and G. Oreopoulos in 1992. While the happiest mural in the city could be disputable, there is no mistaking the humor provided by the mural known as the "Happy Metro to You."</div>
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Created in 1974, artist Marc Mendelson hoped the mural would bring a more humorous side to the daily commute of onlookers making their way through the Park Metro Station. Stroll along the streets in Brussels and you can observe this fun and exciting way to liven up the dullness of old Brussels city walls. Five more vibrant and energizing murals have been commissioned for this year with another 10 expected by 2010.</div>
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Found Here: <a href="http://voices.yahoo.com/eye-catching-murals-brussels-3944300.html">http://voices.yahoo.com/eye-catching-murals-brussels-3944300.html</a></div>
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-7911838754912869592012-05-01T15:04:00.003-07:002012-05-01T15:04:53.948-07:00Rem Koolhaas<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFcH6DlIo4GP298O9aaTF3xYdI3Bqe_fY7F16E8XnkNSR7uEhMlwfIqAqDRVDnZZOVGtGwVtNFhO52F-p3kEuzUU6Rl8Z898O3CtfVNX6SCU7PKSyo4laXjz9lDQhUnzApv4zFQdUSSmhb/s1600/hh.jpg" imageanchor="1" style="background-color: white; clear: left; display: inline !important; float: left; font-family: sans-serif; font-size: 13px; line-height: 19px; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwFVQMEoweeOiaWS_ajTgeSW_AE97r3mrqbWoxuj2Hipx0ts2IUO7oY5YZ17FSQDGxSCtZh38nsD6YXCx6UIweC-XaPOCL8fXnk3gF8Q4IYtlT0vZ81YdGMQTpcC5bXievBkZ5DfN6uk5f/s1600/scl3.jpg" imageanchor="1" style="clear: right; float: right; font-family: Times; font-size: medium; line-height: normal; margin-bottom: 1em; margin-left: 1em; text-align: left;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwFVQMEoweeOiaWS_ajTgeSW_AE97r3mrqbWoxuj2Hipx0ts2IUO7oY5YZ17FSQDGxSCtZh38nsD6YXCx6UIweC-XaPOCL8fXnk3gF8Q4IYtlT0vZ81YdGMQTpcC5bXievBkZ5DfN6uk5f/s320/scl3.jpg" width="240" /></a><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFcH6DlIo4GP298O9aaTF3xYdI3Bqe_fY7F16E8XnkNSR7uEhMlwfIqAqDRVDnZZOVGtGwVtNFhO52F-p3kEuzUU6Rl8Z898O3CtfVNX6SCU7PKSyo4laXjz9lDQhUnzApv4zFQdUSSmhb/s320/hh.jpg" width="270" /><br />
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<b>Remment Lucas Koolhaas</b> (<small>English pronunciation:</small> <span class="IPA" title="Representation in the International Phonetic Alphabet (IPA)"><a href="http://en.wikipedia.org/wiki/Wikipedia:IPA_for_English" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none !important;" title="Wikipedia:IPA for English">/ˈrɛm ˈkɔːlhɑːs/</a></span>; born 17 November 1944) is a Dutch <a href="http://en.wikipedia.org/wiki/Architect" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Architect">architect</a>, <a href="http://en.wikipedia.org/wiki/Architectural_theory" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Architectural theory">architectural theorist</a>, <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Urbanist" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Urbanist">urbanist</a> and "Professor in Practice of Architecture and Urban Design" at the Graduate School of Design at <a href="http://en.wikipedia.org/wiki/Harvard_University" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Harvard University">Harvard University</a>, USA. Koolhaas studied at the <a href="http://en.wikipedia.org/wiki/Netherlands_Film_and_Television_Academy" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Netherlands Film and Television Academy">Netherlands Film and Television Academy</a> in <a href="http://en.wikipedia.org/wiki/Amsterdam" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Amsterdam">Amsterdam</a>, at the <a href="http://en.wikipedia.org/wiki/Architectural_Association_School_of_Architecture" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Architectural Association School of Architecture">Architectural Association School of Architecture</a> in <a href="http://en.wikipedia.org/wiki/London" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="London">London</a> and at <a href="http://en.wikipedia.org/wiki/Cornell_University" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Cornell University">Cornell University</a> in <a href="http://en.wikipedia.org/wiki/Ithaca,_New_York" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Ithaca, New York">Ithaca, New York</a>. Koolhaas is the founding partner of<a href="http://en.wikipedia.org/wiki/Office_for_Metropolitan_Architecture" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Office for Metropolitan Architecture">OMA</a>, and of its research-oriented counterpart AMO, currently based in Rotterdam, Netherlands. In 2005 he co-founded <a href="http://en.wikipedia.org/wiki/Volume_Magazine" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Volume Magazine">Volume Magazine</a> together with <a href="http://en.wikipedia.org/wiki/Mark_Wigley" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Mark Wigley">Mark Wigley</a> and <a class="new" href="http://en.wikipedia.org/w/index.php?title=Ole_Bouman&action=edit&redlink=1" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #a55858; text-decoration: none;" title="Ole Bouman (page does not exist)">Ole Bouman</a>.</div>
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In 2000 Rem Koolhaas won the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Pritzker_Prize" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Pritzker Prize">Pritzker Prize</a>. In 2008 <i><a href="http://en.wikipedia.org/wiki/Time_(magazine)" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Time (magazine)">Time</a></i> put him in their top 100 of <i><a href="http://en.wikipedia.org/wiki/Time_100" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Time 100">The World's Most Influential People</a></i>.<br />
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Found Here: <a href="http://en.wikipedia.org/wiki/Rem_Koolhaas">http://en.wikipedia.org/wiki/Rem_Koolhaas</a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh56O2Akx5TniqY20HfyIIHhc_8i9TPN6MNASM2j-PemJNO4X_PSJSH_KEYKUIWIPt22CB0T8tYkzf8GPbuZtTOQPGAddxNGcpMFmfpxrX7wFztQPuL-I15ra9aooLzKD27t8olxMYwMMQx/s1600/DSC00038-782996.JPG" imageanchor="1" style="background-color: white; clear: left; float: left; font-family: Times; font-size: medium; line-height: normal; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh56O2Akx5TniqY20HfyIIHhc_8i9TPN6MNASM2j-PemJNO4X_PSJSH_KEYKUIWIPt22CB0T8tYkzf8GPbuZtTOQPGAddxNGcpMFmfpxrX7wFztQPuL-I15ra9aooLzKD27t8olxMYwMMQx/s320/DSC00038-782996.JPG" width="320" /></a><span style="background-color: white; color: #333333; font-family: verdana; font-size: 12px; line-height: 18px; text-align: left;"><br />In their Citation, the Pritzker Prize Jury described Rem Koolhaas as a visionary and a philosopher. Critics have argued that Koolhaas ignores all consideration for beauty and taste. And, in our </span><a href="http://forums.about.com/n/pfx/forum.aspx?tsn=1&nav=messages&webtag=ab-architecture&tid=270" style="background-color: white; color: #3366cc; cursor: pointer; font-family: verdana; font-size: 12px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left;">discussion forum</a><span style="background-color: white; color: #333333; font-family: verdana; font-size: 12px; line-height: 18px; text-align: left;">, one reader responded that Koolhaas designs are "the result of architecture that wants to be different, only different."</span><br />
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Rem Koolhaas is, in fact, so different that scholars have difficulty classifying him. Is Koolhaas's work:</div>
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<li style="font-family: inherit; font-style: inherit; list-style-type: disc; margin-bottom: 0px; margin-left: 18px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: inherit;"><a href="http://architecture.about.com/od/20thcenturytrends/ig/Modern-Architecture/Deconstructivism.htm" style="color: #3366cc; cursor: pointer; font-family: inherit; font-style: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Deconstructivist</a>?</li>
<li style="font-family: inherit; font-style: inherit; list-style-type: disc; margin-bottom: 0px; margin-left: 18px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: inherit;"><a href="http://architecture.about.com/od/20thcenturytrends/ig/Modern-Architecture/Modernism.htm" style="color: #3366cc; cursor: pointer; font-family: inherit; font-style: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Modernist</a>?</li>
<li style="font-family: inherit; font-style: inherit; list-style-type: disc; margin-bottom: 0px; margin-left: 18px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: inherit;"><a href="http://architecture.about.com/od/20thcenturytrends/ig/Modern-Architecture/Structuralism.htm" style="color: #3366cc; cursor: pointer; font-family: inherit; font-style: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Structuralist</a>?</li>
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<span style="background-color: white; color: #333333; font-family: verdana; font-size: 12px; line-height: 18px; text-align: left;">A design like the </span><a href="http://architecture.about.com/library/blkoolhaas-seattlelibrary.htm" style="background-color: white; color: #3366cc; cursor: pointer; font-family: verdana; font-size: 12px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left;">Seattle Public Library</a><span style="background-color: white; color: #333333; font-family: verdana; font-size: 12px; line-height: 18px; text-align: left;"> defies labels. The Library appears to be made up of unrelated, disharmonious abstract forms, having no visual logic. And yet the free-flowing arrangement of rooms is founded in logic and functionality.</span><br />
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But never mind the theoretical mumbo-jumbo. How are we to respond to structures with glass floors or erratically zigzagging stairs or shimmering translucent walls? Has Koolhaas ignored the needs and aesthetics of the people who will occupy his buildings? Or, is he using technology to show us better ways to live?</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLhmWkyPQ_2CViWHrimhVuYoDJHGBpgalFHKFJ4IUB6v-yLkhI1dyYtMkUo7vqdujE8b6OsD0F3HltUQsrmsM_KyE3HE8ei3AesaonO7KP5NBhe9F8BxgsnEg0vO41TgaLX3jl2sEWZyCv/s1600/131009516_03369e93e7_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLhmWkyPQ_2CViWHrimhVuYoDJHGBpgalFHKFJ4IUB6v-yLkhI1dyYtMkUo7vqdujE8b6OsD0F3HltUQsrmsM_KyE3HE8ei3AesaonO7KP5NBhe9F8BxgsnEg0vO41TgaLX3jl2sEWZyCv/s320/131009516_03369e93e7_o.jpg" width="320" /></a></div>
According to the Pritzker Prize Jury, Koolhaas's work is as much about ideas as it is buildings. He became famous for his writings and social commentary before any of his designs were constructed. And, some of his most celebrated designs are still only on the drawing board.</div>
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Now it's your turn to be the judge. Join us on a virtual tour of architecture by Rem Koolhaas. View photos of his work and read about his life and his ideas. Then, answer our Rem Koolhaas poll, or log onto our discussion forum and tell us what you think.</div>
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Found Here: <a href="http://architecture.about.com/od/ideasapproaches/a/koolhaas.htm">http://architecture.about.com/od/ideasapproaches/a/koolhaas.htm</a></div>
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One of the most prominent aspects of a design, if not the most important, is the consideration of the context and environment in which the proposed design will be found. In the case of the <a class="st_tag internal_tag" href="http://www.archdaily.com/tag/dutch-house/" rel="tag" style="border-bottom-width: 0px; border-color: initial; border-image: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #037dbc; font-family: inherit; font-style: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none; vertical-align: baseline;" title="Posts tagged with Dutch House">Dutch House</a> by <strong style="border-bottom-width: 0px; border-color: initial; border-image: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #444444; font-family: inherit; font-style: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><a class="st_tag internal_tag" href="http://www.archdaily.com/tag/rem-koolhaas/" rel="tag" style="border-bottom-width: 0px; border-color: initial; border-image: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #037dbc; font-family: inherit; font-style: inherit; font-weight: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none; vertical-align: baseline;" title="Posts tagged with Rem Koolhaas">Rem Koolhaas</a></strong>, the unique and very challenging environmental conditions and topography of the site led to a design with interesting conditions that respond to these conditions.</div>
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More on the Dutch House in The Netherlands after the break.</div>
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Not only is the design limited to a four-meter height restriction, it was to be situated on a highly uneven topography yet maximize space for specific program in the private-residence. Given the difficult site, Koolaas took it upon himself to incorporate a house both above and below ground, accommodating four bedrooms, a kitchen, living room, study and two terraces.</div>
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Program is based on the permanent occupancy of the two parents and the temporary and visiting occupancy of their three grown-up daughters. For times without visitors or daughters, the house is kept at a manageable scale through a programmatic split and literal slab. The intentions remained to maximize the total program while minimizing the amount of formal gestures.</div>
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<a href="http://www.archdaily.com/120340/dutch-house-rem-koolhaas/dutch25/" rel="attachment wp-att-120361" style="border-bottom-width: 0px; border-color: initial; border-image: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #037dbc; font-family: inherit; font-style: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none; vertical-align: baseline;"><img alt="" class="size-medium wp-image-120361" height="394" src="http://ad009cdnb.archdaily.net/wp-content/uploads/2011/03/1300317030-dutch25-528x394.jpg" style="border-bottom-color: rgb(3, 125, 188); border-bottom-style: solid; border-bottom-width: 1px; border-color: initial; border-image: initial; border-left-color: rgb(3, 125, 188); border-left-style: solid; border-left-width: 1px; border-right-color: rgb(3, 125, 188); border-right-style: solid; border-right-width: 1px; border-style: initial; border-top-color: rgb(3, 125, 188); border-top-style: solid; border-top-width: 1px; font-family: inherit; font-style: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;" width="528" /></a><br />
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At the most basic level, one wall appears to wrap around as it defines a continuity of interior spaces and patios that function as the living spaces for the visiting daughters, remaining introverted and grounded. The wall contains all of the functional elements which allows the space surrounding it to be free and open within their glass box enclosure. A deck which appears to float becomes the supporting structure for the program of the parent’s living quarters. Connecting the two is a pivoting bridge and horizontal door that contributes patio spaces and service entries to both bedroom units.</div>
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This dual relationship is further emphasized and expressed through the use of multiple different treatments of glass and uses of shadings according to program and orientation. Bridging the dichotomy (literally and figuratively) is a central ramp, which provides functional and visual connections between the two separate programmatic systems.</div>
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© Christian Ritchers</div>
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The site, totaling 5,000 square meters, is embedded in golden “beachsand” in a forest of pine in The Netherlands. Restrictions were not limited to the difficult site, but were found in the requirements of maximum height and distance from the adjacent road (both four meters). The literal interpretation of the regulations gave Koolhaas a fundamental frame which would dictate the boundaries of possible length and height.</div>
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In terms of vehicular circulation, a drive-through path was carved out to enable successful and efficient accessibility and exiting.</div>
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Architect: <strong style="border-bottom-width: 0px; border-color: initial; border-image: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #444444; font-family: inherit; font-style: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Rem Koolhaas</strong><br />
Location: <strong style="border-bottom-width: 0px; border-color: initial; border-image: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #444444; font-family: inherit; font-style: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">The Netherlands</strong><br />
Project Year: <strong style="border-bottom-width: 0px; border-color: initial; border-image: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #444444; font-family: inherit; font-style: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">1995</strong><br />
Photographs: <strong style="border-bottom-width: 0px; border-color: initial; border-image: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #444444; font-family: inherit; font-style: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><a href="http://www.oma.eu/index.php?option=com_projects&view=portal&id=68&Itemid=10" style="border-bottom-width: 0px; border-color: initial; border-image: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #037dbc; font-family: inherit; font-style: inherit; font-weight: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">OMA</a></strong><br />
References: <strong style="border-bottom-width: 0px; border-color: initial; border-image: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #444444; font-family: inherit; font-style: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><a href="http://www.oma.eu/index.php?option=com_projects&view=portal&id=68&Itemid=10" style="border-bottom-width: 0px; border-color: initial; border-image: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #037dbc; font-family: inherit; font-style: inherit; font-weight: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">OMA</a>, <a href="http://books.google.com/books?id=EYNMAAAAYAAJ&q=el+croquis+oma+dutch+house&dq=el+croquis+oma+dutch+house&hl=en&ei=TEmBTdPQI4SusAP_n_XlAQ&sa=X&oi=book_result&ct=result&resnum=4&ved=0CEgQ6AEwAw" style="border-bottom-width: 0px; border-color: initial; border-image: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #037dbc; font-family: inherit; font-style: inherit; font-weight: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">El Croquis</a>, <a href="http://books.google.com/books?id=A5H5npImILgC&pg=PT246&dq=el+croquis+oma+dutch+house&hl=en&ei=TEmBTdPQI4SusAP_n_XlAQ&sa=X&oi=book_result&ct=result&resnum=2&ved=0CD4Q6AEwAQ" style="border-bottom-width: 0px; border-color: initial; border-image: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #037dbc; font-family: inherit; font-style: inherit; font-weight: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Lucy Bullivant</a></strong></div>
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Found Here: <a href="http://www.archdaily.com/120340/dutch-house-rem-koolhaas/">http://www.archdaily.com/120340/dutch-house-rem-koolhaas/</a></div>
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<ul style="background-color: white; color: #333333; font-family: verdana; font-size: 12px; line-height: 18px; margin-bottom: 1.5em; margin-left: 0px; margin-right: 0px; margin-top: 1.5em; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; position: relative; text-align: left; text-decoration: inherit; z-index: 0;"></ul>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-5528797744592557282012-01-21T16:57:00.000-08:002012-01-21T17:19:12.254-08:00Louis Wain (5 August 1860 – 4 July 1939)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid2B8UFBzupD9xgG0LzXFcmkmbWQuiKFe3tA0ipw7VfryiFzWQdf1TccXKIVKC1MUIbAuNUD-0Y1VJcOZhrU3Gk7qiIQDQMjyuikhDOhp1u8khnshn50u6Rvo2qSmVNJMnbqtXgOO7l49Q/s1600/louis_wain_-_katzen3.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 213px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid2B8UFBzupD9xgG0LzXFcmkmbWQuiKFe3tA0ipw7VfryiFzWQdf1TccXKIVKC1MUIbAuNUD-0Y1VJcOZhrU3Gk7qiIQDQMjyuikhDOhp1u8khnshn50u6Rvo2qSmVNJMnbqtXgOO7l49Q/s320/louis_wain_-_katzen3.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700256494633620898" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9RBgLEZ2SvJfw7m13chyBDzpO0qUW8mKsQGmuaxcQHtpU6vXM5fx8nb7EqFap5Kpr6pAkCCjkF2scmwlkbMAX4HeE99lWqlrIpr_A0H0KUh5dEbaGkhck-WToDUm6TmrlEgPMVbrtyUV1/s1600/louis_wain_-_katzen4.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 213px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9RBgLEZ2SvJfw7m13chyBDzpO0qUW8mKsQGmuaxcQHtpU6vXM5fx8nb7EqFap5Kpr6pAkCCjkF2scmwlkbMAX4HeE99lWqlrIpr_A0H0KUh5dEbaGkhck-WToDUm6TmrlEgPMVbrtyUV1/s320/louis_wain_-_katzen4.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700256493495554162" /></a>The British artist Louis Wain was a highly successful illustrator whose reputation was made on his singular and gently humorous pictures of cats. A cat-lover himself and sometime President of The National Cat Club, Wain claimed in an interview in 1896 that his "fanciful cat creations" were first suggested to him by Peter, his black & white cat. Demand for Wain's work diminished in the decade after the outbreak of the First World War, leaving him progressively impoverished. He began to show signs of mental disorder, including becoming aggressive,babusive and sometimes violent.<br />In 1924 he was certified insane and placed in the paupers' ward of Springfield Hospital at Tooting. Despite his delusional state, Wain continued to draw and paint, which led a year later to him being recognised by one of the hospital guardians and transferred to a private roomat the Royal Bethlem Hospital in Southwark, with money raised through public appeal.<br />In Bethlem he was allowed to draw as much as he liked, and it was here that he produced the first of his facinating series of "kaleidoscope" cats. These ranged from relatively straightforward renderings of the cat itself, though painted in intense, non-naturalistic colour and surrounded by intricate geometric patterns which deny any illusion of spatial depth, to images in which the figure of the cat is exploded in a burst of geometric fragments, the like of which are not to be found in any of Wain's work before his illness. In 1930he was moved to Napsbury in Hertfordshire, where he continued to work sporadically until his death in 1939.<br /><br /><span style="font-weight:bold;">Found Here:</span> http://www.outsiderart.co.uk/wain.htm<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUxSjMUwBjAWEvi-Z-OqKC6a4hdVFBN6_NrUGSaOOzEnw_5Mv71hthDxp_qvBTmTeF3AHMCgf9j-pMlzbatf6Q7MqbHGjGuXX59QKmFLjUlfX_86_aht3U7JTSPA458FY_MFyRuA5MMNOg/s1600/louis-wain2.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 222px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUxSjMUwBjAWEvi-Z-OqKC6a4hdVFBN6_NrUGSaOOzEnw_5Mv71hthDxp_qvBTmTeF3AHMCgf9j-pMlzbatf6Q7MqbHGjGuXX59QKmFLjUlfX_86_aht3U7JTSPA458FY_MFyRuA5MMNOg/s320/louis-wain2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700256498559023554" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmWy9XmuHjuyDTvwpz6utE7PVm5n6VH58jfkPRZHgXp182Gp8RoQSN92nZisa-eQhINYQ8ZH5O5VVQWEdgDBWJBJ3qsDhpUSK1hPC6Hi4w68JctgUSngd7Dud825NEf-O-otzpaTfRambl/s1600/wain_cat1.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 246px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmWy9XmuHjuyDTvwpz6utE7PVm5n6VH58jfkPRZHgXp182Gp8RoQSN92nZisa-eQhINYQ8ZH5O5VVQWEdgDBWJBJ3qsDhpUSK1hPC6Hi4w68JctgUSngd7Dud825NEf-O-otzpaTfRambl/s320/wain_cat1.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700255885241373746" /></a><br />From this point, Wain's popularity began to decline. He returned from New York broke, and his mother had died of Spanish Influenza while he was abroad. His mental instability also began around this time, and increased gradually over the years. He had always been considered quite charming, but odd, and often had difficulty in distinguishing between fact and fantasy. Others frequently found him incomprehensible, due to his way of speaking tangentially. His behaviour and personality changed, and he began to suffer from delusions, with the onset of schizophrenia. Whereas he had been a mild-mannered and trusting man, he became hostile and suspicious, particularly towards his sisters. He claimed that the flickering of the cinema screen had robbed the electricity from their brains. He began wandering the streets at night, rearranging furniture within the house, and spent long periods locked in his room, writing incoherently.<br />Some speculate that the onset of Wain's schizophrenia was precipitated by toxoplasmosis, a parasitic infection that can be contracted from cats. The theory that toxoplasmosis can trigger schizophrenia is the subject of ongoing research, though the origins of the theory can be traced back as early as 1953.[3][4][5][6]<br />When his sisters could no longer cope with his erratic and occasionally violent behavior, he was finally committed, in 1924, to a pauper ward of Springfield Mental Hospital in Tooting. A year later, he was discovered there and his circumstances were widely publicized, leading to appeals from such figures as H. G. Wells and the personal intervention of the Prime Minister. Wain was transferred to the Bethlem Royal Hospital in Southwark, and again in 1930 to Napsbury Hospital near St Albans in Hertfordshire, north of London. This hospital was relatively pleasant, with a garden and colony of cats, and he spent his final 15 years there in peace. While he became increasingly deluded, his erratic mood swings subsided, and he continued drawing for pleasure. His work from this period is marked by bright colours, flowers, and intricate and abstract patterns, though his primary subject remained the same.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWeSlU3b6jLGTUtsTxHqTpcIgYeoSUkpnXXixnI4CiWiVOj7J84U7UWz2EYgHwOmNWkRlkszP8_HIFheQrZLVeq81_0dh1Fwe-oY8KC_IE3NyKGQfcb6ZDvlu_d-jmkoRitw8W8qpz6LgR/s1600/Louis+Wain+cat+Postcard+Football.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 206px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWeSlU3b6jLGTUtsTxHqTpcIgYeoSUkpnXXixnI4CiWiVOj7J84U7UWz2EYgHwOmNWkRlkszP8_HIFheQrZLVeq81_0dh1Fwe-oY8KC_IE3NyKGQfcb6ZDvlu_d-jmkoRitw8W8qpz6LgR/s320/Louis+Wain+cat+Postcard+Football.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700256290637479650" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDllJXCiAwAiAzesH0EHNgO5pIYr7BXyw6anLG9oYwgAYyPpuHqbYe_-X1bap_g9XZ21mftgc9aDqDSXnSyS6HoL3smSeCi6vdH2EYZOquumBI050zNDNF3TJrlIdT_yr2tToTWONq3mhQ/s1600/wain_louis_1909.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 231px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDllJXCiAwAiAzesH0EHNgO5pIYr7BXyw6anLG9oYwgAYyPpuHqbYe_-X1bap_g9XZ21mftgc9aDqDSXnSyS6HoL3smSeCi6vdH2EYZOquumBI050zNDNF3TJrlIdT_yr2tToTWONq3mhQ/s320/wain_louis_1909.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700256294189582962" /></a>Dr. Michael Fitzgerald disputes the claim of schizophrenia, indicating Wain more than likely had Asperger's Syndrome (AS). Of particular note, Fitzgerald indicates that while Wain's art took on a more abstract nature as he grew older, his technique and skill as a painter did not diminish, as one would expect from a schizophrenic.[7] Moreover, elements of visual agnosia are demonstrated in his painting, a key element in some cases of AS. If Wain had visual agnosia, it might have manifested itself merely as an extreme attention to detail.[8]<br />A series of five of his paintings is commonly used as an example in psychology textbooks to putatively show the change in his style as his psychological condition deteriorated. However, it is not known if these works were created in the order usually presented, as Wain did not date them. Rodney Dale, author of Louis Wain: The Man Who Drew Cats, has criticised the belief that the five paintings can be used as an example of Wain's deteriorating mental health, writing: "Wain experimented with patterns and cats, and even quite late in life was still producing conventional cat pictures, perhaps 10 years after his [supposedly] 'later' productions which are patterns rather than cats."[9]<br />H. G. Wells said of him, "He has made the cat his own. He invented a cat style, a cat society, a whole cat world. English cats that do not look and live like Louis Wain cats are ashamed of themselves."<br />His work is now highly collectible but care is needed as forgeries are common.<br /><br /><span style="font-weight:bold;">Found Here:</span> http://en.wikipedia.org/wiki/Louis_Wain<br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgPgZKwXSL33ubRar8muty2cvnzVc3ztfM_fiv4xNLs9BAqeJxxSVQObG23KUbOvTbdXp3Kq-evWJoRiXqcqO0_Ae9iKdj-vxrqADFiKi-6VFTVHjJ5MnlLgr9zHUK44h5rIs9Hx7NL4_t/s1600/f0d3a6c3-94ea-41e3-a348-e05bb831ccd4.jpeg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 246px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgPgZKwXSL33ubRar8muty2cvnzVc3ztfM_fiv4xNLs9BAqeJxxSVQObG23KUbOvTbdXp3Kq-evWJoRiXqcqO0_Ae9iKdj-vxrqADFiKi-6VFTVHjJ5MnlLgr9zHUK44h5rIs9Hx7NL4_t/s320/f0d3a6c3-94ea-41e3-a348-e05bb831ccd4.jpeg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700256084627168226" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIs-9gJ_teT-Uv3GH8gd1fTtJApvcl8q7GXjeejZoyIpkXsT-5xwXAGsHX0hoOw41CN-i5Zy1i4_rembjgfz0ZpHMNd-sGRW7hWZescztGj32zQiz4DdxIi5AQSgLfgKyVR530If1eo2sX/s1600/wain5.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 240px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIs-9gJ_teT-Uv3GH8gd1fTtJApvcl8q7GXjeejZoyIpkXsT-5xwXAGsHX0hoOw41CN-i5Zy1i4_rembjgfz0ZpHMNd-sGRW7hWZescztGj32zQiz4DdxIi5AQSgLfgKyVR530If1eo2sX/s320/wain5.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700256079619566130" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF06sXDKfW4jm3-6jDxiyblek9vZ1qR2VS9w-yHabdEXqc46r7Wwb02EjklbRncSFGWP6ILXckAK1KwOQWvpAm2twbps7da143E2eDMLxfl2MBQyX9bsu26LaWUiIMvYyudx9wFMytVAJG/s1600/louis-wain-cat-fully-iterated.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 241px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF06sXDKfW4jm3-6jDxiyblek9vZ1qR2VS9w-yHabdEXqc46r7Wwb02EjklbRncSFGWP6ILXckAK1KwOQWvpAm2twbps7da143E2eDMLxfl2MBQyX9bsu26LaWUiIMvYyudx9wFMytVAJG/s320/louis-wain-cat-fully-iterated.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700256082839972482" /></a>Louis Wain was born in the Clerkenwell district in London and became an artist, selling his sketches of dog shows to the Illustrated Sporting News. He married his youngest sister's governess, Emily Richardson, which caused quite a scandal. Unfortunately, his wife fell ill with breast cancer and died three years later. To entertain her on her sickbed, Louis Wain started drawing their cat, Peter.<br /><br />Emily encouraged him to send these drawings to newspapers and magazines, and soon the Louis Wain cat was a household name, not only in Britain but also in America, where his comics and drawings of cats appeared in several newspapers. Louis Wain was elected as President of the National Cat Club and wrote the book 'In Animal Land with Louis Wain' in 1904.<br /><br />After the First World War, the public's interest in cats diminished, and Wain reached a personal crisis, falling into poverty and being affected by schizophrenia when he was 57 years old. In 1924, he was certified insane and admitted to the pauper's wing of a mental hospital in Tooting.<br /><br />Years later, he was recognized and a fund was set up for him (by prominents such as H.G. Wells), enabling Louis Wain to spent his last years, until his death in 1939, in comfortable asylums in Southwark and Napsbury, where he continued to draw and paint cats.<br /><br /><span style="font-weight:bold;">Found Here:</span> http://lambiek.net/artists/w/wain_louis.htm<br /><br />Among other things, the British artist Louis Wain (1860-1939) painted cats. Although he had formally studied at the West London School of Art and specialized in animal paintings and nature scenes, the cat paintings which would eventually define him began to spring from his brush soon after his marriage in 1883 – his wife was diagnosed with cancer soon after their nuptials, and during the period of illness, she being much comforted by cats, he began to paint cats for her in a comic and anthropomorphic style, until the time of her death, only three years after their marriage.<br /><br />He continued painting cats after her death, but as the years progressed, his “style” began to change, even as his normally gentle personality transformed into a hostile and paranoid one. This was around the year 1907, and given his age at this time (47), as well as the fact that he seemed to have become profoundly mentally ill at this time, it is widely supposed that he must have been the victim of an atypical, late-onset schizophrenia (schizophrenia usually develops in the late teens and early twenties). Due his close association with cats and a probable infection with toxoplasmosis, which can be acquired from cat feces, a link between toxoplasmosis and schizophrenia has been suggested, but no definitive link has been established, to date. Other authorities have disputed that he had schizophrenia at all, because a diminishment of style often results in artists who develop the disease, and Wain’s art, while increasingly bizarre in appearance, retained its technically competent character.<br /><br />Asperger’s Syndrome – a form of autism – has been suggested, and this would help explain a certain “eccentricity” and oddness of manner and speech he had possessed much of his life.<br /><br />Whatever the case, as Wain’s “illness” progressed, his paintings became increasingly bizarre and abstracted in appearance, to the point where they were almost frightening, and often not even recognizable as cats. His work is commonly shown as a progression, to illustrate the changes, as I have done below.<br /><br /><span style="font-weight:bold;">Found Here:</span> http://rodscuriosityshop.wordpress.com/2011/05/13/the-curious-cats-of-louis-wain/<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFZAEcz9yxhNns49CG7OPibIolmddIe__OOU-eFCNk6yf7CPDTUgGMWl2aukBaY3WTiHlj99756GTrioh5ffBjCTwoRsBNa3om0Ya-Jydv4cS576PxqcQ6LjMJc3Zi41GV8DZtx3p_wOx6/s1600/220px-Wain_cat_--_representative.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 220px; height: 292px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFZAEcz9yxhNns49CG7OPibIolmddIe__OOU-eFCNk6yf7CPDTUgGMWl2aukBaY3WTiHlj99756GTrioh5ffBjCTwoRsBNa3om0Ya-Jydv4cS576PxqcQ6LjMJc3Zi41GV8DZtx3p_wOx6/s320/220px-Wain_cat_--_representative.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700256294518549506" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilokJ7GZgSPGAyKdgKeExAhyphenhyphenKhrrZ_4dS1Z8AX5jGLP-aVNmYpQCeNEsvx6ddN_pF0p8W_u6HAmN48fchYgcW6VGSOcUnz6iH-AmqRoIL-dZxVhZNqUs_p7YUpMhDSs2ESO4ajD65g9ECZ/s1600/220px-Wain_cat.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 220px; height: 192px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilokJ7GZgSPGAyKdgKeExAhyphenhyphenKhrrZ_4dS1Z8AX5jGLP-aVNmYpQCeNEsvx6ddN_pF0p8W_u6HAmN48fchYgcW6VGSOcUnz6iH-AmqRoIL-dZxVhZNqUs_p7YUpMhDSs2ESO4ajD65g9ECZ/s320/220px-Wain_cat.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700256296476390722" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIEuvtKsdu6Zb5GMr8YcHGHCHDk__0wRl27dmY-DF9uSccoFnOdsO1sC8iNFe1Th-XgyyNGJMtVKKzfv4ugAI7-nyOq6XkroKJAgqfmlC3Z0gT1MwgXiDl-Mmdl1o4iFE6K6mnsrYMJzM2/s1600/wain-cat-late-stage.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 212px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIEuvtKsdu6Zb5GMr8YcHGHCHDk__0wRl27dmY-DF9uSccoFnOdsO1sC8iNFe1Th-XgyyNGJMtVKKzfv4ugAI7-nyOq6XkroKJAgqfmlC3Z0gT1MwgXiDl-Mmdl1o4iFE6K6mnsrYMJzM2/s320/wain-cat-late-stage.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700256089286187890" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_a_sVwuf5FlRuAa5qG16cORHDZK5fRWI0J8KhopUW_puhfbpHVvFeBjZg_q81RPFJ9-R0KGhYLDa1B0II_w7dJ-PqQqNgdGacNzPUcs96icveJnV6HCddA7KG7hECH-ZzC7_iMlkHNs5F/s1600/2881462206_8fdfb394ed.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 237px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_a_sVwuf5FlRuAa5qG16cORHDZK5fRWI0J8KhopUW_puhfbpHVvFeBjZg_q81RPFJ9-R0KGhYLDa1B0II_w7dJ-PqQqNgdGacNzPUcs96icveJnV6HCddA7KG7hECH-ZzC7_iMlkHNs5F/s320/2881462206_8fdfb394ed.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700256079710442610" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEbqvtU-lOhOwrwPgr3yZeN2oPDZKTDxJFaFok-VI_1xRRxdgBLo9N-HnC6Qjr50hmSBslijbPEyNpLagHJWcTpQi3vS9HSrtJenUMI0L0es1VISkgaqYjaXm0joUDRBcJvftJ6tLsLyYN/s1600/lw_louis_wain.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 234px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEbqvtU-lOhOwrwPgr3yZeN2oPDZKTDxJFaFok-VI_1xRRxdgBLo9N-HnC6Qjr50hmSBslijbPEyNpLagHJWcTpQi3vS9HSrtJenUMI0L0es1VISkgaqYjaXm0joUDRBcJvftJ6tLsLyYN/s320/lw_louis_wain.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700255893271210738" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhavETjyvc6zgYtrO58Cqp5wpThKrgkgP-lrg1U7FnVcb5ySivR2-Ic6miQoRW-rmurYZaUsUgREGJ3wd0yFoMndP8FLNOaMvio2wp2mwPEXz-jB0Ub2_KDTAI7xPb3Qs58fsBJGC5U-R2L/s1600/louis+wain.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 245px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhavETjyvc6zgYtrO58Cqp5wpThKrgkgP-lrg1U7FnVcb5ySivR2-Ic6miQoRW-rmurYZaUsUgREGJ3wd0yFoMndP8FLNOaMvio2wp2mwPEXz-jB0Ub2_KDTAI7xPb3Qs58fsBJGC5U-R2L/s320/louis+wain.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700255887239156034" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMTQhtXG6UuJrbiGAH-gKWWacU3hMV8umfPOwiqrHv3oqc5XsIHfVxNJhRdamdLk6Yz1H-sAJZrFibB7-rNioFlhOkk5XdTHE9w840uVU9dTShMhQ8M3gGYb5JmwMwh_cOmy7qg4gxT2yU/s1600/louis-wain-cat.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 218px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMTQhtXG6UuJrbiGAH-gKWWacU3hMV8umfPOwiqrHv3oqc5XsIHfVxNJhRdamdLk6Yz1H-sAJZrFibB7-rNioFlhOkk5XdTHE9w840uVU9dTShMhQ8M3gGYb5JmwMwh_cOmy7qg4gxT2yU/s320/louis-wain-cat.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700255882469982658" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiylLnq5T16hK5OVz1MPb1RvDwMmSCVJBSKNXFJnwJovpbvQxp2aWBPhNJ8ltBdI8-t_vVsI7WMFCsv-dI53-0wHC0hAS5gd4Jur9jgzKSeQyXoQERykqoFFhvlS9HLaFFjFNQ08aKVtv7S/s1600/louiswainandpeter.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 232px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiylLnq5T16hK5OVz1MPb1RvDwMmSCVJBSKNXFJnwJovpbvQxp2aWBPhNJ8ltBdI8-t_vVsI7WMFCsv-dI53-0wHC0hAS5gd4Jur9jgzKSeQyXoQERykqoFFhvlS9HLaFFjFNQ08aKVtv7S/s320/louiswainandpeter.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5700255884088072690" /></a>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-236687801684703323.post-62212893917017165292012-01-15T19:05:00.000-08:002012-01-15T19:15:18.969-08:00Keret House by Jakub Szczesny / Centrala<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFLOnXXqZ-m3DQBhSD2P8kH4uV0R2ApGcaOhsBt0mmYWp3JCXWf8Xgcdi76EnfvvyKhUQ9ONVOEeCtm7TzZgZZ3bgnL2hHllBr4rnGnWJD-VzN7id2kSk_jDbIIyCHwLAsNrGkO5AZCR6h/s1600/Keret-House-by-Jakub-Szczesny01.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 180px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFLOnXXqZ-m3DQBhSD2P8kH4uV0R2ApGcaOhsBt0mmYWp3JCXWf8Xgcdi76EnfvvyKhUQ9ONVOEeCtm7TzZgZZ3bgnL2hHllBr4rnGnWJD-VzN7id2kSk_jDbIIyCHwLAsNrGkO5AZCR6h/s320/Keret-House-by-Jakub-Szczesny01.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5698061448257736114" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVoM9gNv6WPyF8_lFfs2CpSgkW85qNunEylC44BYp1MjSp1lDLVBchUM-JuyaU45TuDN9dP0AQVXbmpyQUxDz32QspzsaZG-Hz2gsxzCbPHFyg9kAu5WlAbelA8wgiv4cvtDvnvhjoHalK/s1600/Keret-House-by-Jakub-Szczesny02.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 226px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVoM9gNv6WPyF8_lFfs2CpSgkW85qNunEylC44BYp1MjSp1lDLVBchUM-JuyaU45TuDN9dP0AQVXbmpyQUxDz32QspzsaZG-Hz2gsxzCbPHFyg9kAu5WlAbelA8wgiv4cvtDvnvhjoHalK/s320/Keret-House-by-Jakub-Szczesny02.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5698061440586018066" /></a><br />Polish architect Jakub Szczesny (Centrala) has designed an extremely narrow — but still liveable — house in Warsaw, Poland. Located in an alleyway between two buildings, the house will have ladders instead of stairs to walk up and down its four floors.<br /><br />The house upon completion shall become the narrowest house in Warsaw, measuring an interior that will vary between 122 centimeters and 72 centimeters in its narrowest spot.<br /><br />Mr. Szczesny built the house for Israeli writer, Etgar Keret, the symbolic patron of the project. Although Mr. Keret is Israeli, his parents met in Warsaw, which is why Mr. Szczesny wanted to build the house there.<br /><br />Mr Keret will receive a key to the house and move in for the month of February, before deciding who will occupy the house next. The house will be completed by February 2012 and includes a kitchen, a bedroom, a lounge and a bathroom.<br /><br />Architects: Centrala<br /><br />Location: Wola, Poland<br /><br />Designer: Jakub Szczęsny<br /><br />Project Area: 14,5 sqm<br /><br />Project Year: December 2011<br /><br />Project Curators: Sarmen Beglarian, Sylwia Szymaniak<br /><br />Project Announcement: Wola Art Festival “CityProjectWola“<br /><br />Organizers: Modern Polish Art Foundation, President Piotr Nowicki, Wola District Office of the Capital City of Warsaw; Coordinator Anna Fiszer-Nowacka; Gmina Wyznaniowa Żydowska w Warszawie, Coordinator Judyta Nekanda-Trepka<br /><br />Found Here: <a href="http://www.sinbadesign.com/architecture/keret-house-by-jakub-szczesny-centrala/">http://www.sinbadesign.com/architecture/keret-house-by-jakub-szczesny-centrala/</a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVSKECAYd9aPzVTl-yb1jNUhSKbo8YhH99n0WNVQiWNK-M334mQX9Dso-tuQQDy6-W2b9E7B1-QMRYyhPBek5P-0usbod9_gKYHCi3WAQ9DTiS0r6XObI9xZywIJOAOjfLVvsjDTa7GnI7/s1600/Keret-House-by-Jakub-Szczesny05.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 226px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVSKECAYd9aPzVTl-yb1jNUhSKbo8YhH99n0WNVQiWNK-M334mQX9Dso-tuQQDy6-W2b9E7B1-QMRYyhPBek5P-0usbod9_gKYHCi3WAQ9DTiS0r6XObI9xZywIJOAOjfLVvsjDTa7GnI7/s320/Keret-House-by-Jakub-Szczesny05.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5698061436379972098" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH1JtzwC2WBYGYaJCUZLX3Q6ucRWG_Mvdn9EKsGB3liG3p96qF2vQGPg641cVZmXMQunMBilsnlfGKww_FA0Z3PzsDIrgsOB7jOY4xN8jahsFxoM8EWQwDL7aJUTnAuHwYkOZ92KXpsIS-/s1600/Keret-House-by-Jakub-Szczesny06.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 226px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH1JtzwC2WBYGYaJCUZLX3Q6ucRWG_Mvdn9EKsGB3liG3p96qF2vQGPg641cVZmXMQunMBilsnlfGKww_FA0Z3PzsDIrgsOB7jOY4xN8jahsFxoM8EWQwDL7aJUTnAuHwYkOZ92KXpsIS-/s320/Keret-House-by-Jakub-Szczesny06.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5698061434074427346" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4wAauDu4Cx_n27y-XpllkB_pxW42M5ljnkB2q08p7NHyQpxj8ipA91Xa1RjYgEJsko1s93DKYr4PWR4S4oJpbVR_3VCQuI4W_O6c5dLnZnFi3LqUWfnWrrTTYtaGAUYxhUFILSugCzzKQ/s1600/Keret-House-by-Jakub-Szczesny04.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 226px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4wAauDu4Cx_n27y-XpllkB_pxW42M5ljnkB2q08p7NHyQpxj8ipA91Xa1RjYgEJsko1s93DKYr4PWR4S4oJpbVR_3VCQuI4W_O6c5dLnZnFi3LqUWfnWrrTTYtaGAUYxhUFILSugCzzKQ/s320/Keret-House-by-Jakub-Szczesny04.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5698061433823797874" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-4526884033720300032011-12-16T23:28:00.000-08:002011-12-16T23:50:54.175-08:00Maps - Heights of Mountains, Lengths of Rivers<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOOSAX2DMlwqu3gXrEHzftx0gWT_gcTL6E-3dvImUXVLb0ozl2JDnZoaSoT4kBAvUtPmwq0XSrCvcSN3pau5GCCcwwhpkzLbg3TJ5XXpjwLxXD5pvEvUb_HzxRRoIuTXcWvU2c8lGASvLN/s1600/tumblr_lod5ifYPic1qz8j06o1_1280.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 271px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOOSAX2DMlwqu3gXrEHzftx0gWT_gcTL6E-3dvImUXVLb0ozl2JDnZoaSoT4kBAvUtPmwq0XSrCvcSN3pau5GCCcwwhpkzLbg3TJ5XXpjwLxXD5pvEvUb_HzxRRoIuTXcWvU2c8lGASvLN/s320/tumblr_lod5ifYPic1qz8j06o1_1280.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5686997989023220962" /></a>For over 100 years, atlas and map publishers in the United States and Europe published a style of map that was a visualization of the heights and lengths of the world's mountains and rivers. Some of the earliest examples appeared in Europe towards the end of the 18th century. In the United States, the form was popular throughout the 19th century and the early part of the 20th. These maps appeared in atlases, as wall maps, and as pocket maps. One of the most elegant examples was engraved originally on copper by map publisher Henry Tanner in Philadelphia in 1836 and then continued by S. Augustus Mitchell, also of Philadelphia, in lithographic versions into the 1850's.<br /><br />The Mountains and Rivers maps appeared in several styles and formats. One of the earliest styles was to show just mountains, piled up in a landscape, with a key of mountain heights on the left and right sides of the illustration. Also listed on the side would be the highest flights of the Condor, limits of plants and trees, elevations of lakes, elevation of certain high altitude cites, and climate zones. An early example in the Rumsey collection is Charles Smith's Comparative View of the Heights of the Principal Mountains &c. In The World, published in London in 1816.<br /><br />Another popular style combined heights of mountains and lengths of rivers in one view. The rivers are stretched out in single lines, with the longest on the left combining with the shortest mountains, while the shortest rivers combine with the highest mountains on the right. The visual result is very compelling. One of the earliest examples was W.R. Gardner's Comparative Heights of the Principal Mountains and Lengths of the Principal Rivers, published by William Darton in London in 1823.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBHnM6Jp76WJI9vJweO6nbNVgkCVC_fWEIou4fglQr7-wTvEs-H4uheZ-GSs4O8-nOSdsGhSGnqeA2uaB-fy_jlRgt5XeJU-UfOKh5uL9tnObh81QtplfydXKnHQfYDNUiAycIGY-KfJHl/s1600/tumblr_lkf37qqT5J1qjp54mo1_1280.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 270px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBHnM6Jp76WJI9vJweO6nbNVgkCVC_fWEIou4fglQr7-wTvEs-H4uheZ-GSs4O8-nOSdsGhSGnqeA2uaB-fy_jlRgt5XeJU-UfOKh5uL9tnObh81QtplfydXKnHQfYDNUiAycIGY-KfJHl/s320/tumblr_lkf37qqT5J1qjp54mo1_1280.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5686997976093045730" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJdMUMAqHkZPPbRrIcMAnjh81GZAiGgnZq98FR5e_gwrh8sryanqkBgdq9iYYS73UkSFZfvyKbvifQhBYXBobO9Q_5YOBOMusDCsZE-R_bF5z8HNnpy7lnITtTt_IRfm3WrNNmJ01bLugJ/s1600/4574i.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 198px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJdMUMAqHkZPPbRrIcMAnjh81GZAiGgnZq98FR5e_gwrh8sryanqkBgdq9iYYS73UkSFZfvyKbvifQhBYXBobO9Q_5YOBOMusDCsZE-R_bF5z8HNnpy7lnITtTt_IRfm3WrNNmJ01bLugJ/s320/4574i.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5686997608523041778" /></a><br />A third variation of the mountain and rivers designs was putting the mountains in the center of the view with the rivers extending downward on each side. One of the earliest examples of this type was published by Henry Tanner in 1836, Heights of the Principal Mountains in the World.<br /><br />John Dower and Henry Teasdale published another version in London in 1844 titled Principal Mountains and Rivers of the World. It is possible that there was an earlier version of this London map that Tanner copied from - a common practice of American mapmakers in the first half of the 19th century - but Tanner's map is centered on information important to American readers and the Dower/Teasdale map is oriented to England and Europe.<br /><br />Gray's new map of the World in hemispheres, with comparative views of the heights of the principal mountains and lengths of the principal rivers on the globe, of 1885, provided a simplified view of the mountains and rivers. It appeared in George N. Colby's Atlas of the State of Maine, 1885.<div><br /></div><div>Found Here: <a href="http://www.davidrumsey.com/blog/2009/9/5/heights-of-mountains-lengths-of-rivers">http://www.davidrumsey.com/blog/2009/9/5/heights-of-mountains-lengths-of-rivers</a><br /><br /><br />earliest known map is a matter of some debate, both because the definition of "map" is not sharp and because some artifacts speculated to be maps might actually be something else. A wall painting, which may depict the ancient Anatolian city of Çatalhöyük (previously known as Catal Huyuk or Çatal Hüyük), has been dated to the late 7th millennium BCE.[1][2] Other known maps of the ancient world include the Minoan "House of the Admiral" wall painting from c. 1600 BCE, showing a seaside community in an oblique perspective and an engraved map of the holy Babylonian city of Nippur, from the Kassite period (14th – 12th centuries BCE).[3] The oldest surviving world maps are the Babylonian world maps from the 9th century BCE.[4] One shows Babylon on the Euphrates, surrounded by a circular landmass showing Assyria, Urartu[5] and several cities, in turn surrounded by a "bitter river" (Oceanus), with seven islands arranged around it.[6] Another depicts Babylon as being further north from the center of the world.[4]<br /><br />The ancient Greeks and Romans created maps, beginning at latest with Anaximander in the 6th century BC.[7] In the 2nd century AD, Ptolemy produced his treatise on cartography, Geographia.[8] This contained Ptolemy's world map - the world then known to Western society (Ecumene). As early as the 8th century, Arab scholars were translating the works of the Greek geographers into Arabic.[9]<br /><br />In ancient China, geographical literature spans back to the 5th century BC. The oldest extant Chinese maps come from the State of Qin, dated back to the 4th century BC, during the Warring States Period. In the book of the Xin Yi Xiang Fa Yao, published in 1092 by the Chinese scientist Su Song, a star map on the equidistant cylindrical projection.[10][11] Although this method of charting seems to have existed in China even prior to this publication and scientist, the greatest significance of the star maps by Su Song is that they represent the oldest existent star maps in printed form.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp4uEKtgEAsjomlUkZCooEUG89QABZn4mMkH8SnhEFfffIEpgzrh3SDMq8SqovrCMOIfs3XKR0j-HItYOqWj2xWC2w1ZS-SfQnU7Fb9pOBOFewpfMxAKb140OcudXOFiDlFVp7G7u7rOiP/s1600/tumblr_lkeurxa2ki1qjp54mo1_1280.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 206px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp4uEKtgEAsjomlUkZCooEUG89QABZn4mMkH8SnhEFfffIEpgzrh3SDMq8SqovrCMOIfs3XKR0j-HItYOqWj2xWC2w1ZS-SfQnU7Fb9pOBOFewpfMxAKb140OcudXOFiDlFVp7G7u7rOiP/s320/tumblr_lkeurxa2ki1qjp54mo1_1280.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5686997978307233874" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2LRMQN90qJKFEptoJNS1R_fXiipo6hQV8qa1SoUlDmU8Wk8M8OIbbg-KLDsx2XtuREnqWr_6CZkPa2Z1J4ExzOoMP3NsRew9VioLNKzOhyphenhyphenqURyIdBpugLc6vnLZRJ5fmtkgr_Pn_9oXyU/s1600/tumblr_lkev6xdIfq1qjp54mo1_1280.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 226px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2LRMQN90qJKFEptoJNS1R_fXiipo6hQV8qa1SoUlDmU8Wk8M8OIbbg-KLDsx2XtuREnqWr_6CZkPa2Z1J4ExzOoMP3NsRew9VioLNKzOhyphenhyphenqURyIdBpugLc6vnLZRJ5fmtkgr_Pn_9oXyU/s320/tumblr_lkev6xdIfq1qjp54mo1_1280.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5686997974573727378" /></a>Early forms of cartography of India included the locations of the Pole star and other constellations of use.[12] These charts may have been in use by the beginning of the Common Era for purposes of navigation.[12]Mappa mundi is the general term used to describe Medieval European maps of the world. Approximately 1,100 mappae mundi are known to have survived from the Middle Ages. Of these, some 900 are found illustrating manuscripts and the remainder exist as stand-alone documents.[13]<br /><br />The Arab geographer Muhammad al-Idrisi produced his medieval atlas Tabula Rogeriana in 1154. He incorporated the knowledge of Africa, the Indian Ocean and the Far East, gathered by Arab merchants and explorers with the information inherited from the classical geographers to create the most accurate map of the world up until his time. It remained the most accurate world map for the next three centuries.[14]<br /><br />In the Age of Exploration, from the 15th century to the 17th century, European cartographers both copied earlier maps (some of which had been passed down for centuries) and drew their own based on explorers' observations and new surveying techniques. The invention of the magnetic compass, telescope and sextant enabled increasing accuracy. In 1492, Martin Behaim, a German cartographer, made the oldest extant globe of the Earth.[15]<br /><br />Found Here: http://en.wikipedia.org/wiki/Cartography<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicqv7yU5Te0yb7AN4GXqGmcz1mDhORZKANXpym7kVWFwU8sb9zGGlj9Kl9n8njYFW8ESiqt2_Vp-lti-CGeeUHvZ02I8m355p7FLLdCPxjkllsni9c1x7h8HmC0saD0jYFDK4Xb57FptoR/s1600/tumblr_lkf37qqT5J1qjp54mo1_1280+%25281%2529.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 270px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicqv7yU5Te0yb7AN4GXqGmcz1mDhORZKANXpym7kVWFwU8sb9zGGlj9Kl9n8njYFW8ESiqt2_Vp-lti-CGeeUHvZ02I8m355p7FLLdCPxjkllsni9c1x7h8HmC0saD0jYFDK4Xb57FptoR/s320/tumblr_lkf37qqT5J1qjp54mo1_1280+%25281%2529.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5686997621220140898" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmuawKBw92IFyF9VLECRQ_pxZamTOA-iySn5HLCHk6Gu6Kb1lVua42jembZQgMSZIAYUPJUkQoN1fl61AVr6kvZ7qeWpO3dQA08zlncDNOTbkxrcUEn6orznxIebfdf0ru3YOsnBNzGbk3/s1600/tumblr_lkeujqRIvS1qjp54mo1_1280.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 174px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmuawKBw92IFyF9VLECRQ_pxZamTOA-iySn5HLCHk6Gu6Kb1lVua42jembZQgMSZIAYUPJUkQoN1fl61AVr6kvZ7qeWpO3dQA08zlncDNOTbkxrcUEn6orznxIebfdf0ru3YOsnBNzGbk3/s320/tumblr_lkeujqRIvS1qjp54mo1_1280.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5686997622274746434" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN4KCbaR67MlN0tbNjH_7LyhI9l8w0ZTxoDq6vdzjgotTmgFXxNRS1bb4kjMuXd6T0JuFliRM1hYPTWPFLO2IsjcXnC2G9Vb5nxBG9-x_jyu1duwBXOHApAGuO5X3ogJY2Bkpu4cTikA9s/s1600/World_1849__Mountains___Rivers__f.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 255px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN4KCbaR67MlN0tbNjH_7LyhI9l8w0ZTxoDq6vdzjgotTmgFXxNRS1bb4kjMuXd6T0JuFliRM1hYPTWPFLO2IsjcXnC2G9Vb5nxBG9-x_jyu1duwBXOHApAGuO5X3ogJY2Bkpu4cTikA9s/s320/World_1849__Mountains___Rivers__f.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5686997613549970770" /></a><br /></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-236687801684703323.post-36420238298340338922011-12-09T18:34:00.000-08:002011-12-09T18:36:59.949-08:00MVRDV designs The Cloud for Seoul’s Yongsan Dreamhub<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXI0KGEhRZIr4QYDEWePKF8_gsVL3Pp-Hh17IYU6uRQwIu_8OvwLuXQHnvtbLuSVhoQS1bRAisUc21uEPdlMgbtTtIn_Cir5HTCZPSxjj4Pu1-_JVN0TRHk6_jQWqRvWQRq4JbVYOKFK8/s1600/mvrdv_the_cloud_3.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 223px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXI0KGEhRZIr4QYDEWePKF8_gsVL3Pp-Hh17IYU6uRQwIu_8OvwLuXQHnvtbLuSVhoQS1bRAisUc21uEPdlMgbtTtIn_Cir5HTCZPSxjj4Pu1-_JVN0TRHk6_jQWqRvWQRq4JbVYOKFK8/s320/mvrdv_the_cloud_3.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5684322663562128850" /></a><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 269px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0kvbEl_UFQ-jp6UEww-IJR79wlRxnd1PItTDahhrhLIJn3N7T1opNjxwpSCeQajQNbdZG8PFBInMnil16BO6eJLR_z_2CCc477ap5LhxALE4wG6XUIRVfgBr78-FLEo3uMwVp-KRsNwKZ/s320/mvrdv_the_cloud_4.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5684322645385104626" /><p style="margin-bottom: 0px; font-family: 'Lucida Sans', 'Lucida Grande', Arial, Verdana, sans-serif; font-size: 12px; line-height: 16px; text-align: -webkit-auto; background-color: rgb(255, 255, 255); ">And here's another Dutch firm that just designed an unusual residential tower for a booming Asian metropolis: <a href="http://www.dreamhub21.com/" target="_blank" style="border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; outline-style: none; outline-width: initial; outline-color: initial; border-width: initial; border-color: initial; color: rgb(255, 0, 0); text-decoration: none; ">Yongsan Dreamhub</a> corporation presented the <a href="http://www.mvrdv.nl/" target="_blank" style="border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; outline-style: none; outline-width: initial; outline-color: initial; border-width: initial; border-color: initial; color: rgb(255, 0, 0); text-decoration: none; ">MVRDV</a>-designed residential development of the Yongsan Business district in Seoul, South Korea: two connected luxury residential high-rises. A 260 meter tall tower and a 300 meter tall tower are connected in the center by a pixelated cloud of additional program offering amenities and outside spaces with wide views. The towers with a total surface of 128,000m2 are expected to be completed in 2015.</p><p style="margin-bottom: 0px; font-family: 'Lucida Sans', 'Lucida Grande', Arial, Verdana, sans-serif; font-size: 12px; line-height: 16px; text-align: -webkit-auto; background-color: rgb(255, 255, 255); "></p><p style="margin-bottom: 0px; "><strong>Project Description from the Architects:</strong></p><p style="margin-bottom: 0px; ">The two towers are positioned at the entrance of the Yongsan Dreamhub project, a master plan designed by Studio Libeskind, extending the business district of the South Korean capital Seoul. The southern tower reaches a height of 260 meters with 54 floors, the northern tower 300 meters with 60 floors. Halfway, at the level of the 27th floor the cloud is positioned, a 10 floor tall pixelated volume, connecting the two towers. The cloud differentiates the project from other luxury developments, it moves the plinth upwards and makes space on ground floor level for public gardens, designed by Martha Schwartz.</p><div><p style="margin-bottom: 0px; ">Usually a high-rise adds little to the immediate surrounding city life, by integrating public program to the cloud the typology adds in a more social way to the city. Inside the cloud, besides the residential function, 14,357m2 of amenities are located: the sky lounge - a large connecting atrium, a wellness centre, conference centre, fitness studio, various pools, restaurants and cafes. On top of the cloud are a series of public and private outside spaces, patios, decks, gardens and pools. To allow fast access the cloud is accessible by special express elevators.</p><p style="margin-bottom: 0px; ">The luxurious apartments range from 80m2 to 260m2 of which some offer double height ceilings , patios or gardens. The towers with a perfect square floor plan contain four corner apartments per floor offering each fine daylight conditions and cross ventilation. Each tower is accessed via a grand lobby at ground level; the rest of the ground floor is divided into town houses. In addition to the amenities the Cloud furthermore contains 9,000m2 of Officetel (Office-Hotel) a typical Korean typology and 25,000m2 panoramic apartments with specific lay-outs. The top floors of both towers are reserved for penthouse apartments of 1200m2 with private roof gardens.</p><p style="margin-bottom: 0px; ">Found Here: <a href="http://www.bustler.net/index.php/article/mvrdv_designs_the_cloud_for_seouls_yongsan_dreamhub/">http://www.bustler.net/index.php/article/mvrdv_designs_the_cloud_for_seouls_yongsan_dreamhub/</a></p></div><p></p><div class="TextBodyRelated" style="margin-top: 20px; margin-right: 0px; margin-bottom: 20px; margin-left: 0px; padding-top: 0px; padding-right: 20px; padding-bottom: 0px; padding-left: 20px; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: rgb(255, 255, 255); border-left-width: 1px; border-left-style: solid; border-left-color: rgb(229, 229, 229); font-family: 'Lucida Sans', 'Lucida Grande', Arial, Verdana, sans-serif; font-size: 12px; line-height: 16px; text-align: -webkit-auto; "></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5FQ1oKYuNkZ5nakVxAz61iTdzwMYI3KobnC_a1bYUmPPMkBF2V-fCVmGevZjfQ8IYw3X08Pf5IVhRaXx6ZhCxjwPq4Oj3Qdo-QKCC9-ySjXiTsUQccPn5T9AsYk0wfcrJmjGXHD2bv-DB/s1600/mvrdv_the_cloud_1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5FQ1oKYuNkZ5nakVxAz61iTdzwMYI3KobnC_a1bYUmPPMkBF2V-fCVmGevZjfQ8IYw3X08Pf5IVhRaXx6ZhCxjwPq4Oj3Qdo-QKCC9-ySjXiTsUQccPn5T9AsYk0wfcrJmjGXHD2bv-DB/s320/mvrdv_the_cloud_1.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5684322641659181298" /> </a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj9A_CcJKGMBZqc2YtOvJ5abYf7VAAhrgvVqk8jcG98XMzaMwgpozT-0qmkt5N4MJNNq4TorSjbrgLWc0qAjljaLJSjMCgYx7Xcobb4bphuA0WYrUTDcpLhPFUjSpc56MRNNptofiSC4Xn/s1600/gedrs9116uikrrs4.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 160px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj9A_CcJKGMBZqc2YtOvJ5abYf7VAAhrgvVqk8jcG98XMzaMwgpozT-0qmkt5N4MJNNq4TorSjbrgLWc0qAjljaLJSjMCgYx7Xcobb4bphuA0WYrUTDcpLhPFUjSpc56MRNNptofiSC4Xn/s320/gedrs9116uikrrs4.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5684322636409520098" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUaj225N6-eAjhZj1HpSJSE_CuDK7sg45P0FrPxELvjOmkarYT7wqfDGS_10tOmcNk62hCibDm-tWgP6TKbksZNzf7WMNJ0hWdqsQYVc47dPLmgQ6lregFPou_hTPVm4rtHu1K-RCchnu4/s1600/9iqf8gom1u8ffryd.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 140px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUaj225N6-eAjhZj1HpSJSE_CuDK7sg45P0FrPxELvjOmkarYT7wqfDGS_10tOmcNk62hCibDm-tWgP6TKbksZNzf7WMNJ0hWdqsQYVc47dPLmgQ6lregFPou_hTPVm4rtHu1K-RCchnu4/s320/9iqf8gom1u8ffryd.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5684322633663202770" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-56783432840587880982011-12-06T14:53:00.000-08:002011-12-06T15:01:21.341-08:00Albert Dorne<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbanLOAkyqTgBdAEYvT5KvLV11iOytbekX-QSDbIJMql7izAamSYOHP9T2MkaQvZall3eqW4RBzabUfWyMNutLaJYGn2Eg9yml3xi9Xt6A4BB87Amw_tUmluGrPbYt7KzYsrnBvcfLbGa-/s1600/albertdorne_001_famousartistsmagazine.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 234px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbanLOAkyqTgBdAEYvT5KvLV11iOytbekX-QSDbIJMql7izAamSYOHP9T2MkaQvZall3eqW4RBzabUfWyMNutLaJYGn2Eg9yml3xi9Xt6A4BB87Amw_tUmluGrPbYt7KzYsrnBvcfLbGa-/s320/albertdorne_001_famousartistsmagazine.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5683153355272198274" /></a><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 258px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifcx0Qrhri33wmnykI_8t2xz5PE1k10tGSlt5h6IisWgJFuIW3QiDsglshOdvfudaZkStMGergzZco_YVnjBfGZN9TP6ao6Tm5vqoJxQur3YC5MMaaNX4yZJHW5nTk4M3MNYLPcLxQx2W0/s320/albertdorne_004_cowboy.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5683153346937733554" /><br /><br /><br /><br /><br /><br /><br /><br /><br />Albert Dorne’s success as an illustrator, and later as a businessman, is a resounding testament<br />to good old-fashioned hard work and perseverance. Born into the slums of New York’s East Side in 1904, Dorne’s childhood was marred by severe poverty and illness. Overcoming tuberculosis, a heart condition, as well as a thoroughly inadequate education, Albert Dorne never lost sight of the artistic ambitions of his childhood.<br /><br />Dorne was forced to quit school at the age of thirteen, managing four newsstands in order<br />to support his mother and family. Over the next fewyears he would work as an office boy,<br />salesman, shipping clerk and for a brief period–an amateur boxer. Taking a job as an unpaid<br />artist’s assistant, Dorne would rise through the ranks of the illustration world, to become one of the highest-paid advertising artists of his day. His work would appear regularly in magazines<br />such as Life, Collier’s and The Saturday Evening Post.<br /><br />In 1948, Albert Dorne would turn his attention to education, starting the Famous Artists School correspondence course, enlisting twelve of the most successful current illustrators as instructors– including Norman Rockwell, Al Parker andRobert Fawcett. The inspiration for this business venture was born out of the continuous stream of young artists beseeching Dorne for advice, as well as his great personal desire to share his knowledge and valuable experience. He would later start the Famous Writers School and Famous Photographers School in the early 1950′s, which, combined with the artists course, would reach over 50,000 students worldwide.<br /><br />Dorne was also instrumental in founding the Code of Ethics and Fair Practices of the Profession of Commercial Art and Illustration, and also served as the President of the Society of Illustrators from 1947-1948. Dorne received an Honorary Doctorate of Fine Arts in 1958, from Adelphi College and later in 1963, he was awarded the Horatio Alger Award for Achievement by the American Schools and Colleges Association. Albert Dorne passed away on December 15, 1965 at the University Hospital in New York.<div><br /></div><div>Found Here: <a href="http://illostribute.com/">http://illostribute.com/</a></div><div><br /><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVEQR4hK9VR7giYMf_q2QvvFFqxLs9R-BC0MH7AWhbxcGT9MSD8B8NfONbiZw1uMRtF8SlQBrZU-9IV_p1GiILSmV2-qVH7HbyKtNzPkz5nMa3zzjso5RSs3mnoyxXQQ7y35r8YR0WkqUp/s320/albertdorne_003_clutteredesk.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5683153351043030114" style="float: left; margin-top: 0px; margin-right: 10px; margin-bottom: 10px; margin-left: 0px; cursor: pointer; width: 320px; height: 258px; " /><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 264px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirwFMI6M1wQC3_zPUGtMIpL0MHiwx3XOv6KPgKS6OyNaYIu2R6cwPJcPINvbG3oRS-11mydghi3tCcWUsQadGOUsUCKyFUv-N6MX-qDGMdu7zWfwu-eaIto5tbIQt5iAHxo69subO-2i15/s320/albertdorne_005_cowboycrowd.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5683153346637071410" /><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 319px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPlPDRH4cJqEwwMq9R9PgRzB2h1UXcLpbdXKeYlDLLxP588dxU7svqWewpdSdlhrVGmvk-p40yJzNCF0HtnYQSI9q0EZQ-67qQa2JfbahJYckdXPZQ4fJAgGsxq0HS5KeX2S7hwfAnmPYA/s320/albertdorne_009_farmers.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5683153342858092242" /><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 248px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7VV4zF1jWVpP_-hFnDWtGPUJW43VQvwp9ZFYvUZIWTtAioAx7lZced7tUr8dd29YDg-7jAyRuTu_UL0iHbVtDE4TfTVkVIxDlK1sJEOyXKTQwDvPTszrawmI0EY8jTDNzquLbM2NNZ8Qn/s320/albertdorne_012_missbroadway.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5683153143222873730" /><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 248px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy0o7aUFsVlAMHqbRpi-C4EY7Xxvrdsft0mHq8neWg-54GX5paj1uK4k2hwVaBMfTL0TG_vptgqGkWvveNR0uNmMFIblLFnDYAsL-B51_-arPGW5k_AlYLGGg8AThzi31p5t7bPkuWRHIr/s320/albertdorne_011_missbroadway.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5683153139272020146" /><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 250px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoikUAuD9Lr0UxZ6cMnant3RTuKpOALEPpqZruTb9Y8XCichTXE56IFs7iTihsoC1Q98Dktwfe6qfijXoTq_oCdkXr7mXpI0tzrmuv7maSK7AXD2NJMc96wrICYLkswsQqUaFF7AfEziIj/s320/albertdorne_015_generalstore.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5683153135742418050" /><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 248px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJJGudQzIo6QnhWr_TjlQjzh0yPiprxs-CJA5PJ-zb7NhZKucXcotK8az-RZA8-cn8BPnHMpOCpfTPT4hxa7ewcJjanoQy0P_nur1v0v9tME_EM3lqsCwrq9qCTwKaLY0qwotlHku5Vi54/s320/albertdorne_016_generalstore.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5683153133252819858" /><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 201px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwUgR4mDud3n8Qa7EQ1U4oTki-cuQkSs0gzBXM6vQ6za82GQ-F88xPwPElURcVV0YA4E6mvTzq7uFjMDiByLkDdU4i3OXrEE_OWdBUl7t9RLuqEhA_jTAsrQ_3h4ujdDqQzlqewuRWA3Xb/s320/albertdorne_017_gooddrawing.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5683153129179708050" /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-41675976277530012942011-11-02T23:02:00.001-07:002011-11-07T12:17:27.919-08:00Laura LaineLaura Laine is a Helsinki based illustrator. <br />She has studied fashion design at University of Art and Design Helsinki, but during her studies focused on fashion illustration. After completing her studies she has been working full-time as a freelance illustrator and is also teaching fashion illustration at the university. <br /><br />Her recent clients include Vogue Nippon, GAP, I.T. store, Elle, Zara, Telegraph, Rad Hourani, The New York Times T magazine, Tommy Hilfiger, Muse magazine, The Guardian, I.T. Post magazine, Iben Hoej, and Daniel Palillo. She has also exhibited in San Francisco and Los Angeles.<br /><br />Found Here: <a href="http://www.lauralaine.net/">http://www.lauralaine.net/</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqNZ_bkk9NXnsf_Q7mraZO-4gxtu7kChjteO5OgkVMKXuR5ZUpbwRV27Dx-j6sI3rGihKCCpgLSHFSSd7jXV3ayykktTWP3tGCyQPWe9Z6kJC4tFWp3Rn-aNIcPRuyKivgYJszHOxhWXDS/s1600/wunder_10.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 283px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqNZ_bkk9NXnsf_Q7mraZO-4gxtu7kChjteO5OgkVMKXuR5ZUpbwRV27Dx-j6sI3rGihKCCpgLSHFSSd7jXV3ayykktTWP3tGCyQPWe9Z6kJC4tFWp3Rn-aNIcPRuyKivgYJszHOxhWXDS/s320/wunder_10.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646694908990002" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiohaqon_8OIq5W1QVzH6UMY9grZqHLFwo0Sjjgziw46hTEYUKZc7jxpCTnJ8-tWybihP2o7VCFrbfqc6jpdOiMS63Zv2Q5DndUCAm1aHqoDHSeUozlEtdpZ5M_Xmgd_H8JdNsEZxicVzv6/s1600/wata.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 225px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiohaqon_8OIq5W1QVzH6UMY9grZqHLFwo0Sjjgziw46hTEYUKZc7jxpCTnJ8-tWybihP2o7VCFrbfqc6jpdOiMS63Zv2Q5DndUCAm1aHqoDHSeUozlEtdpZ5M_Xmgd_H8JdNsEZxicVzv6/s320/wata.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646693723354002" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjtHLkfopI3mElPsajzbkANxl4dEzevgFEeCoH5_CcKUVkoq-v5upfNk0tH8pwoCTlBoyeHL9oTsLfFkobrcU1Vr5JkTlruCuHSNb-i5jUpqwfpO348o818hrWmPJdklAkpq-hcMXFGXoN/s1600/twin2.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 210px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjtHLkfopI3mElPsajzbkANxl4dEzevgFEeCoH5_CcKUVkoq-v5upfNk0tH8pwoCTlBoyeHL9oTsLfFkobrcU1Vr5JkTlruCuHSNb-i5jUpqwfpO348o818hrWmPJdklAkpq-hcMXFGXoN/s320/twin2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646687867056402" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6rLqhcC_FXEhQCdbGOuD_YuXL47aY9_jGG4Mx_HwUgZ1LztyBNpgndsl9vK3GKvrjoHwJlV-LDabb2gkFfyoiLMl_iPgjyShbdBGrVPlbu8v4BKpq8yCP1tc-2DAk0EUmSir6aq-fqQtQ/s1600/TIGEROFSWEDEN.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 226px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6rLqhcC_FXEhQCdbGOuD_YuXL47aY9_jGG4Mx_HwUgZ1LztyBNpgndsl9vK3GKvrjoHwJlV-LDabb2gkFfyoiLMl_iPgjyShbdBGrVPlbu8v4BKpq8yCP1tc-2DAk0EUmSir6aq-fqQtQ/s320/TIGEROFSWEDEN.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646678990105378" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrX0Z14bPAprB1dx9EXMsC5XHxZM1yACllAGKKcbkHWJI4D19T7tAnISeac4yqS11D4iY6vwU5WG3fKF9VnaHjnpT3OSBCyqkl9p4ISQvKaCNUecaMy1BzubnXNBnOj3C5_7Xrdt9Z1PDn/s1600/mmm.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 210px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrX0Z14bPAprB1dx9EXMsC5XHxZM1yACllAGKKcbkHWJI4D19T7tAnISeac4yqS11D4iY6vwU5WG3fKF9VnaHjnpT3OSBCyqkl9p4ISQvKaCNUecaMy1BzubnXNBnOj3C5_7Xrdt9Z1PDn/s320/mmm.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646678823807618" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiH5QQ7oDSeR5Yhmd9kp2WF4kIMDIYSj3JIdxdplw0t57HBrChsIZSKiVIH7kOAfEra5EdBCSM-HSlVW-v7l2OJCEx4YiQ6dvRX6cyjMblVfoCw5AJVzZdQHixPYIAfe2uFEy80AgR9PTh/s1600/hide_chic.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 226px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiH5QQ7oDSeR5Yhmd9kp2WF4kIMDIYSj3JIdxdplw0t57HBrChsIZSKiVIH7kOAfEra5EdBCSM-HSlVW-v7l2OJCEx4YiQ6dvRX6cyjMblVfoCw5AJVzZdQHixPYIAfe2uFEy80AgR9PTh/s320/hide_chic.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646519106299010" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDGRSLKjGbVZHhF5wI3xYP4mHrcyt3yJKXdoXbGSrzsG7gzHAxG7HJ0JLy0ksgMxjVah6K85OHc4gi_D_JinL6rKa4rWmNJzvoGZRVNkb6k8XBevfdNfjDZcNhru3IYkAeFC45yTOu57jG/s1600/drawings15.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 147px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDGRSLKjGbVZHhF5wI3xYP4mHrcyt3yJKXdoXbGSrzsG7gzHAxG7HJ0JLy0ksgMxjVah6K85OHc4gi_D_JinL6rKa4rWmNJzvoGZRVNkb6k8XBevfdNfjDZcNhru3IYkAeFC45yTOu57jG/s320/drawings15.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646509322545538" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw7XopJZ9-3WYBzu99x6B3NQaNqo_VISXo1xJT9L4VN7NKSdioj2nTam_iMR0tvsu8CkaHJm6jTAgXjlsZB2czUT1yKq-uQgrmunOYLF_37Vz9TPtdpCqmOcKvwJtgYVipwuB5Yu8dXfr8/s1600/drawings14.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 173px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw7XopJZ9-3WYBzu99x6B3NQaNqo_VISXo1xJT9L4VN7NKSdioj2nTam_iMR0tvsu8CkaHJm6jTAgXjlsZB2czUT1yKq-uQgrmunOYLF_37Vz9TPtdpCqmOcKvwJtgYVipwuB5Yu8dXfr8/s320/drawings14.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646499243717954" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpXt9vgS9xhpco3YKIJH6luJM0gr9YwLSuYClZ1t4E7N_jQ8E14FvDxo4EIpIWbpAVfjlMR2vYcNFUUjxcxJksb1OV2hZCv9KR99NjwkYdDgfnLVHydDeD85THFqJsR533QlrS4hvZTuVE/s1600/drawings_ll09.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 230px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpXt9vgS9xhpco3YKIJH6luJM0gr9YwLSuYClZ1t4E7N_jQ8E14FvDxo4EIpIWbpAVfjlMR2vYcNFUUjxcxJksb1OV2hZCv9KR99NjwkYdDgfnLVHydDeD85THFqJsR533QlrS4hvZTuVE/s320/drawings_ll09.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646497491343490" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi15XeWUmhJc3t_I6GC42gb98NXEr-QhoKzgDwBV9cUkZGGkvigOEFRnf6og5qmLgd2Ef5K1GhjqaruBHtMIq2BAO2MZDAebt_LU2JGT0XiasyZczlsVLL3prWb2527ontqBxfRzq0NMg1u/s1600/drawings10.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi15XeWUmhJc3t_I6GC42gb98NXEr-QhoKzgDwBV9cUkZGGkvigOEFRnf6og5qmLgd2Ef5K1GhjqaruBHtMIq2BAO2MZDAebt_LU2JGT0XiasyZczlsVLL3prWb2527ontqBxfRzq0NMg1u/s320/drawings10.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646494982227730" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc5T2zTX5P1gbmfyQdxmL8Y3GVMYhrebMz7D3tuogK6M9Aj_30cZZDBg1hUzTZ8Rgkmjvx819CiuehCGBpZw8-hx265t1pI-OIzZj4HNyfO56Z1VWTVFBRZyEKukoUjfjTWOLgCFPuslbL/s1600/drawings_ll09.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 230px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc5T2zTX5P1gbmfyQdxmL8Y3GVMYhrebMz7D3tuogK6M9Aj_30cZZDBg1hUzTZ8Rgkmjvx819CiuehCGBpZw8-hx265t1pI-OIzZj4HNyfO56Z1VWTVFBRZyEKukoUjfjTWOLgCFPuslbL/s320/drawings_ll09.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646268410555282" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPRJi8jv-bI9wZnK0zKj4vaQJkGhd_4KatUHQ_jiOfNzTmA2sW9lRoVwaXQTBF22iM7pN35nnsgrdl7PqqbCbh1FqcAZzD85f2SjVel8WGGKq6yqU0xyZIFJ-uTjiYZAuCGRvH3M9Rzroe/s1600/drawings_ll06.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 230px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPRJi8jv-bI9wZnK0zKj4vaQJkGhd_4KatUHQ_jiOfNzTmA2sW9lRoVwaXQTBF22iM7pN35nnsgrdl7PqqbCbh1FqcAZzD85f2SjVel8WGGKq6yqU0xyZIFJ-uTjiYZAuCGRvH3M9Rzroe/s320/drawings_ll06.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646265204102994" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIAmp1Wv-NnwmELXaiE7HpYOUkdFToFoVWqwkfvm11XFJZPh1whdIp4AvMX5na7mH9Y04wByRXX0-NSexqP6-6Qwjr2Yb_mBePacb5B7imWE2uJ4VOgsVycICVuY9pxqRa7lUogyuBJ1XV/s1600/Drawings_LL02.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 162px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIAmp1Wv-NnwmELXaiE7HpYOUkdFToFoVWqwkfvm11XFJZPh1whdIp4AvMX5na7mH9Y04wByRXX0-NSexqP6-6Qwjr2Yb_mBePacb5B7imWE2uJ4VOgsVycICVuY9pxqRa7lUogyuBJ1XV/s320/Drawings_LL02.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646258419096402" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_XiS3XqYpmPEXZqQf7MXpKBYF60M__Jqogve5iy686HRPaAkJYPwi5nOgd3DezeslLcDzHkCrIWszkYgFCHSkvXgEi45y3NFxp4GacA5ZwcSDnq1nS4vZshfOEsPrbKynvEBAqsHlcsMq/s1600/drawings_ll-08.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 152px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_XiS3XqYpmPEXZqQf7MXpKBYF60M__Jqogve5iy686HRPaAkJYPwi5nOgd3DezeslLcDzHkCrIWszkYgFCHSkvXgEi45y3NFxp4GacA5ZwcSDnq1nS4vZshfOEsPrbKynvEBAqsHlcsMq/s320/drawings_ll-08.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646252223085794" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1xoGGyi_FQ3dwZaesbzjZuhP6y0jpe_dbPrSsHrwo3nY9vV-U79FP5MkKMM2VIzET2e8dK4qVjRyAoWwPol2xM54UXwAstjLvD3HJhgx1N-deUF6xxS5pSJmSmTZIFkLw5trLFsCQo45c/s1600/Comme.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 222px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1xoGGyi_FQ3dwZaesbzjZuhP6y0jpe_dbPrSsHrwo3nY9vV-U79FP5MkKMM2VIzET2e8dK4qVjRyAoWwPol2xM54UXwAstjLvD3HJhgx1N-deUF6xxS5pSJmSmTZIFkLw5trLFsCQo45c/s320/Comme.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5670646244698964034" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-14623969560376066012011-09-01T22:53:00.000-07:002011-12-17T21:56:13.658-08:00Stan Mott<a style="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZZGv6EzreFCaa-jNY-BeosV9mDW6Cw8Wyi6u-OcOXP24RlGXlt7fq0blpO-foRIV5sYb2BF_eMkj0WnHkEjjRZhpyKipVQ2qjgK02NgBvUVM_yggYYwPJroKRMxYQ_v5tc2o5lu1r2Y-D/s1600/xpthrls2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 234px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZZGv6EzreFCaa-jNY-BeosV9mDW6Cw8Wyi6u-OcOXP24RlGXlt7fq0blpO-foRIV5sYb2BF_eMkj0WnHkEjjRZhpyKipVQ2qjgK02NgBvUVM_yggYYwPJroKRMxYQ_v5tc2o5lu1r2Y-D/s320/xpthrls2.jpg" alt="" id="BLOGGER_PHOTO_ID_5647639625177671778" height="351" width="480" border="0" /></a><a style="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE47iWDryL0vf17sd7LPQVuFZOPfatRqxdD-IFy-p-zmg3zx_BRRhxo9acL1XN2BlRtsB6LmZTkTjPN-CXarmBWNhO9RgdzL9zUYEGm2xq_s0yQjr_-8USFcvioHganj7OwCm1U9oWZeZe/s1600/tnkhist8.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 182px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE47iWDryL0vf17sd7LPQVuFZOPfatRqxdD-IFy-p-zmg3zx_BRRhxo9acL1XN2BlRtsB6LmZTkTjPN-CXarmBWNhO9RgdzL9zUYEGm2xq_s0yQjr_-8USFcvioHganj7OwCm1U9oWZeZe/s320/tnkhist8.jpg" alt="" id="BLOGGER_PHOTO_ID_5647637021425868754" height="273" width="480" border="0" /></a> <b style="">Mind-bending images and ideas from a fabulous cartoonist and a superb illustrator</b> If you ever wondered what a steam locomotive racing might look like, or fantasized about driving the biggest baddest vehicle across the desert with its own supply of sharks and waterplanes, look no further - the eccentric imagination of <b style="">Stan Mott</b> might prove simply unmatched. We'll start with the (probably) the most outrageous picture we've seen this month: "The Supertanker Chopper"! - It's hard to summarize Stan Mott's interests in a few words. The man is brilliant and has done some really amazing things ... like ride a go-cart around the world!! Here is an info that appeared in the "Road & Track" Magazine, June 1979: <a style="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBV4gRUWXsVgmoaV_HZ_hb_WpIoNf_FAUIo4dXmE95Mu0yTP0YocYznyZtXiQCOk1Q7uqWdHOjESYC13IwKTgoedNA6H6zWmPCuQS_L6f2nwlrPTQnVRvEDvZ2jTaQuYZ-EmPBlRVzERGT/s1600/s1nglx05.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 233px; height: 320px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBV4gRUWXsVgmoaV_HZ_hb_WpIoNf_FAUIo4dXmE95Mu0yTP0YocYznyZtXiQCOk1Q7uqWdHOjESYC13IwKTgoedNA6H6zWmPCuQS_L6f2nwlrPTQnVRvEDvZ2jTaQuYZ-EmPBlRVzERGT/s320/s1nglx05.jpg" alt="" id="BLOGGER_PHOTO_ID_5647637345029319138" height="480" width="349.5" border="0" /></a><a style="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh7g8oLB8L4tzG3nG_OQpEdOkEpuAas_bIZ47DsjZ5L8MKCAybjYPIDq4aisX-kSG6GOU-0fYd1n1Beojzgmk0Q2DUCZ5FRApgv8QP1Ji0CnQ99vP-qv5cOwE67T9fxPyyN3UsVe59suWc/s1600/xpthrls5.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 225px; height: 320px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh7g8oLB8L4tzG3nG_OQpEdOkEpuAas_bIZ47DsjZ5L8MKCAybjYPIDq4aisX-kSG6GOU-0fYd1n1Beojzgmk0Q2DUCZ5FRApgv8QP1Ji0CnQ99vP-qv5cOwE67T9fxPyyN3UsVe59suWc/s320/xpthrls5.jpg" alt="" id="BLOGGER_PHOTO_ID_5647637016091866626" height="480" width="337.5" border="0" /></a>"It's impossible to type the zany, crazy Mott (who lives on a yacht - sometimes), one of our readers' favorite cartoonists / writers and co-founder of Automobili Cyclops, the firm that rocketed to fame in its first appearance in R&T in 1957. When we asked Stan to tell us about his life, he said, <i style="">"Well, I escaped Flint, Michigan at an early age, owned 50-percent interest in a Cragar flathead A-bone roadster at 12, ran at El Mirage at 15, had first automotive cartoons published in Rosetta Timing Association's program in 1948. Went to Art Center College, developed sense of humor working in World's Greatest Rolling Clown Show (GM Styling Section). Then worked as fry cook, mercenary, airline pilot, art director of R&T, farmer, Wall Street broker, poet. Drove go kart around the world, became an Alpine guide, did freelance art work and smuggled. Helped found Automobili Cyclops SpA and hold position of propaganda minister in perpetuity. Now working philantropically to solve moral situations in Southern Mediterranian waters for the U.N."</i> Stan refuses to talk about his CIA work, arctic exploration or his stint as a human cannon ball." <b style="">From "The History of Tanks" (Racing Tanks, that is) </b>When asked by our DRB team for an update on his life, Stan adds: <i style="">"Since '79 I learned to fly gliders in Cyprus, did a "Captain Stan Show" in 1983-4 for Radio 103.2 in Mallorca, Spain, sailed the first Turkish caique across the Atlantic, roamed the Caribbean for seven years, settled here in Neuss, Germany. Also, I'm working on a 76-page graphic novel."</i>. According to the Top Gear Magazine (Dec 2001): <i style="">"The Captain Stan Show was a Pythonesque consciousness weird-out which must have left baffled tourists wondering if their Watney Red Barrel had been spiked."</i> <a style="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIug9A6uIQmqaFwoDtmNqwb9jP7my5xLm0RFQXMV7u0mHp2FmnYAPWFcl0kQQhtuH0RBAFMU6aOq2qGhxusfMrmp6AmWPx9Zy_EyozUM1w2SuLylyqnxitm78GdSCeUiRsARVv5LwNFdPb/s1600/single10.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 239px; height: 320px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIug9A6uIQmqaFwoDtmNqwb9jP7my5xLm0RFQXMV7u0mHp2FmnYAPWFcl0kQQhtuH0RBAFMU6aOq2qGhxusfMrmp6AmWPx9Zy_EyozUM1w2SuLylyqnxitm78GdSCeUiRsARVv5LwNFdPb/s320/single10.jpg" alt="" id="BLOGGER_PHOTO_ID_5647637326456470690" height="480" width="358.5" border="0" /></a><a style="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitHN0bA0aDgDos_AoGRF3209Xa3pcaygF-tED9EH1A9ez8jOfAb2dWz0PqW6ib9dY4tsWHbmRR679niK8Znoqym4aFi2Q4W7UMgqGQqQTvs4DdAilTqYbWm1obFs7KcZ474u0myfkIEOLV/s1600/xpthrls1.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 245px; height: 320px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitHN0bA0aDgDos_AoGRF3209Xa3pcaygF-tED9EH1A9ez8jOfAb2dWz0PqW6ib9dY4tsWHbmRR679niK8Znoqym4aFi2Q4W7UMgqGQqQTvs4DdAilTqYbWm1obFs7KcZ474u0myfkIEOLV/s320/xpthrls1.jpg" alt="" id="BLOGGER_PHOTO_ID_5647637020151494466" height="480" width="367.5" border="0" /></a>All images and artwork are copyright <a style="" href="http://sbiii.com/cyclops/stmott-1.html" target="_blank">Stan Mott</a>, used by permission. You can see more at S. Berliner's wonderful archive site of Stan's artwork - <a style="" href="http://sbiii.com/cyclops/stmott-1.html" target="_blank">click here</a>. <b style="">Fantasy Steam Racing Locomotives</b> "Les 24 Heures de Choo-Choo" ("The 24 Hours of Choo-Choo" - as in Le Mans): <b style="">Other Wicked Fantasy Vehicles</b> Here is the <b style="">personal aircraft carrier</b> for the impossibly wealthy Oil Sheik. The Sheik is sea-sick, so the carrier rolls on the dry ground, while the seaplanes land on its deck filled with water. Some sharks were provided to keep the waters free of Russian scuba diving spies. Of course, some may remember Stan Mott as the creator of <b style="">"Cyclops"</b> series of cartoons (a few "Cyclops" mini-cars were even manufactured by Automobili Cyclops SpA), which blessed the John Bond's great <a style="" href="http://roadandtrack.com/" target="_blank">Road & Track</a> Magazine with much fun and colour in the 60s. <a style="" href="http://home.att.net/~Berliner-Ultrasonics/autocycl.html" target="_blank">S. Berliner, III</a> again provides an extensive coverage of this series - <a style="" href="http://sbiii.com/cyclops/cyclops.html" target="_blank">click here</a>. Don't miss Stan's tongue-in-cheek tribute to the Soviet aircraft designer <a style="" href="http://sbiii.com/cyclops/stmott-1.html#isokerov" target="_blank">Igor Sokerov</a>. It's brimming with radical aircraft technology ideas and is a lot of fun. And here is the man himself, surveying the terrain outside Quarzazate, Morrocco:<a style="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8OriuDSMW7nclSDWs6J2LJeM0FxsujyxRFYBCihx9TehpZJVzl2uPxTjUy5sWoz3h-n5l8lfSEcKi_mPYDjdIy0haJsH_Bj7BdeRy4Izw3qy_DOJisU3i2kVLPY6liocx5jzS0JJefT43/s1600/e56ewt5rersthdfbgfx.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 174px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8OriuDSMW7nclSDWs6J2LJeM0FxsujyxRFYBCihx9TehpZJVzl2uPxTjUy5sWoz3h-n5l8lfSEcKi_mPYDjdIy0haJsH_Bj7BdeRy4Izw3qy_DOJisU3i2kVLPY6liocx5jzS0JJefT43/s320/e56ewt5rersthdfbgfx.jpg" alt="" id="BLOGGER_PHOTO_ID_5647637012883365666" height="261" width="480" border="0" /></a><a style="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ_PCtam_8kMTaa-8uXWE_LJDEa3rD2yECVlKddWYAPL9i_TCVHSsO4JP9h_SreAjzfOItrmyjCnT33GJOh728PNUenUOEprd8exSqcKa70uGDniLAnldkNbvggg6O6md3qdal49-Q-3rC/s1600/i67t876utiuygkjhgk.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 188px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ_PCtam_8kMTaa-8uXWE_LJDEa3rD2yECVlKddWYAPL9i_TCVHSsO4JP9h_SreAjzfOItrmyjCnT33GJOh728PNUenUOEprd8exSqcKa70uGDniLAnldkNbvggg6O6md3qdal49-Q-3rC/s320/i67t876utiuygkjhgk.jpg" alt="" id="BLOGGER_PHOTO_ID_5647637877733479538" height="282" width="480" border="0" /></a> <a style="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDcYXHrrpsNaB-BZsMVuBCc221s-G0EN9px8DDEZp0UQCUOQPgthIxW0Jx4h3FmB-V3vP4OlWPcsf6F8rY-uqC7BVBrVsqMNnB91tlX2kPXrNO5aWYA9f7d1_yMt4SgM5rWt8W2w-LMGF_/s1600/single16.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 248px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDcYXHrrpsNaB-BZsMVuBCc221s-G0EN9px8DDEZp0UQCUOQPgthIxW0Jx4h3FmB-V3vP4OlWPcsf6F8rY-uqC7BVBrVsqMNnB91tlX2kPXrNO5aWYA9f7d1_yMt4SgM5rWt8W2w-LMGF_/s320/single16.jpg" alt="" id="BLOGGER_PHOTO_ID_5647637367957244162" height="372" width="480" border="0" /></a><a style="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3K5joTwu2J0JWwWvrbUZsYQSJsVRkPNAsZ3W8B9eZkvTC8v4BztRKhJCFp10jOXEMbeim3lFSn8VRbouHuEZ2xil5nY1m0AIkpbnu8-pEotMq_MPl1kRkSmeH-7o9U5HZFVnAFR3A4dwH/s1600/stan-mott-hot-rods-incredible-vehicles-2.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 208px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3K5joTwu2J0JWwWvrbUZsYQSJsVRkPNAsZ3W8B9eZkvTC8v4BztRKhJCFp10jOXEMbeim3lFSn8VRbouHuEZ2xil5nY1m0AIkpbnu8-pEotMq_MPl1kRkSmeH-7o9U5HZFVnAFR3A4dwH/s320/stan-mott-hot-rods-incredible-vehicles-2.jpg" alt="" id="BLOGGER_PHOTO_ID_5647637387544839874" height="312" width="480" border="0" /></a><a style="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8bt0cHxC2l70j396O-N-L8JtSUX0A3_TQCVv3KXM5UVmk43nqKHu5B5ppNqiKNV095HybYoA37CkBBCvzx595JPUr0_h6i1rJfBR5gaD8taA0cUHFfTyDcgnZ_3-00q8ugj4nh29lokd3/s1600/ethrthsdfdxf.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 254px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8bt0cHxC2l70j396O-N-L8JtSUX0A3_TQCVv3KXM5UVmk43nqKHu5B5ppNqiKNV095HybYoA37CkBBCvzx595JPUr0_h6i1rJfBR5gaD8taA0cUHFfTyDcgnZ_3-00q8ugj4nh29lokd3/s320/ethrthsdfdxf.jpg" alt="" id="BLOGGER_PHOTO_ID_5647638085596237554" height="381" width="480" border="0" /></a><a style="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNe2FFhz1_r_vJ7_HK3oR_FkLxbD6soqISqzEfVtsOitoKQfVs4DAtAPj4AOb6l-cmg8ZznyGiFmVd7IMUJNHsIpUbkr1HHmjtGRqDBCTWOwr4oy3hATm8vPqy-xDqUD3egdoBbOjvP5F3/s1600/tnkhist31.jpg"><img style="float: left; 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margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 210px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrDRVsuB8VjZMCGIItC7kFCweSlo1jXB1UiWA0PS0OsC0LT37Uw7RXKoBiE7NP7bO7GLPL3WzOpAIkGJGIlNHIlM6K0bQpgxbz7qUQ1mKzaZifRiQXRhrw-DiFffhZmyVoe_uH-axbZD3m/s320/stan-mott+%252813%2529%255B2%255D.jpg" alt="" id="BLOGGER_PHOTO_ID_5647637871674083138" height="315" width="480" border="0" /></a><a style="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgupFwqRlByCs4404kfYbiKl45pmkF_fWADcHwwlGRKM_3GTXsAak3jAG56lLe19j4T9RyW87FaI1EMDRUoxXsnfpcpPUsUyqPnGoPmo-qdZ0wJUOnOy8D_7uiS4HLjxBLvzCfs5X9PVPqc/s1600/i8t67iuytiuytiuyk-650x423.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 208px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgupFwqRlByCs4404kfYbiKl45pmkF_fWADcHwwlGRKM_3GTXsAak3jAG56lLe19j4T9RyW87FaI1EMDRUoxXsnfpcpPUsUyqPnGoPmo-qdZ0wJUOnOy8D_7uiS4HLjxBLvzCfs5X9PVPqc/s320/i8t67iuytiuytiuyk-650x423.jpg" alt="" id="BLOGGER_PHOTO_ID_5647638081879899026" height="312" width="480" border="0" /></a><a style="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt_7-iEBe-13YuHmqcp8M1S_66ax86PBudo5qaomv7-LTn6OXGrmCsmIxEwePAdxJSia2S-E9QOUQz3njBO_gdx6Rd5fmnXOjFXIjE3eqvz9BCoYCtAJOpTEf7mqQ8zl2RqNDbnAtGaxLD/s1600/sokerov1.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 202px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt_7-iEBe-13YuHmqcp8M1S_66ax86PBudo5qaomv7-LTn6OXGrmCsmIxEwePAdxJSia2S-E9QOUQz3njBO_gdx6Rd5fmnXOjFXIjE3eqvz9BCoYCtAJOpTEf7mqQ8zl2RqNDbnAtGaxLD/s320/sokerov1.jpg" alt="" id="BLOGGER_PHOTO_ID_5647637870923173778" height="303" width="480" border="0" /></a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-236687801684703323.post-67529515119557872582011-08-24T06:58:00.000-07:002011-08-24T07:39:32.885-07:00Ben Grasso<span style="color: rgb(0, 0, 0);font-size:100%;" ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIX7RcjQebqsgemCKMeZIpyQI9v2glSoPCMp8ToCAS6KFfQyByo8L35P9K4aA934k0l_-pGJsSGIS0XNhSygOhauvJIWLM7TgdGBH0zk7VyIFnW1NfAf0U2AwylX0XWHntbHODltmXWsEK/s1600/20072.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 257px; line-height: 42.75px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIX7RcjQebqsgemCKMeZIpyQI9v2glSoPCMp8ToCAS6KFfQyByo8L35P9K4aA934k0l_-pGJsSGIS0XNhSygOhauvJIWLM7TgdGBH0zk7VyIFnW1NfAf0U2AwylX0XWHntbHODltmXWsEK/s320/20072.jpg" alt="" id="BLOGGER_PHOTO_ID_5644423684368614050" border="0" height="385.5" width="480" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCCZ4h2hg02m9VBugI_4uxxsXozZfMKagAWer1tFvoZgtZnQrTFjz5_nzetB7DDTNqyEzO1ehITDCwydjJdk7D8-iRKr_tCyu5TurMjPD30vBumJ176_q-dHJbj0UU3ez13YoenaYoN0N3/s1600/2014.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 306px; height: 320px; line-height: 42.75px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCCZ4h2hg02m9VBugI_4uxxsXozZfMKagAWer1tFvoZgtZnQrTFjz5_nzetB7DDTNqyEzO1ehITDCwydjJdk7D8-iRKr_tCyu5TurMjPD30vBumJ176_q-dHJbj0UU3ez13YoenaYoN0N3/s320/2014.jpg" alt="" id="BLOGGER_PHOTO_ID_5644423398094113458" border="0" height="480" width="459" /></a></span> <p style="color: rgb(0, 0, 0);"><span style="font-size:100%;">Brooklyn-based <a href="http://bengrasso.com/">Ben Grasso</a> paints these wonderful suspended architectural structures frozen somewhere between construction and deconstruction. It’s rare that I encounter oil paintings and have a strong reaction, Grasso’s work is definitely an exception. Via his web site:</span></p> <blockquote style="color: rgb(0, 0, 0);"><p style=""><span style="font-size:100%;">Grasso’s paintings are feats of engineering. His is an architecture of the apocalypse, but one whose seams thread shapes we can as yet not fully determine. Excitement and surprise are as much part of this wildly imagined landscape as is a more measured, even nightmarish, uncertainty. Here the whacky, the sublime, and the catastrophic converge upon us unremittingly, but not without grace.</span></p> </blockquote> <p style="color: rgb(0, 0, 0);"><span style="font-size:100%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7XrXKuZM7nVgCqT3U2Mnh22nF6Bw5I77RvUMeadriaFbjzuKfnoIXVc2q5zZ7lm0NPVMUhIuR4T5S_YW6rl6A8ECeHwneKCcaNd09pIgKdvSqcbA6QCVrT_1fyv3c8b25FXUJlJuzctPQ/s1600/2009091.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 237px; line-height: 42.75px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7XrXKuZM7nVgCqT3U2Mnh22nF6Bw5I77RvUMeadriaFbjzuKfnoIXVc2q5zZ7lm0NPVMUhIuR4T5S_YW6rl6A8ECeHwneKCcaNd09pIgKdvSqcbA6QCVrT_1fyv3c8b25FXUJlJuzctPQ/s320/2009091.jpg" alt="" id="BLOGGER_PHOTO_ID_5644423676013272978" border="0" height="355.5" width="480" /></a>T<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc3x2WKjMCDk2fIcLSlcxv7UVh5I6NMqP8EDtAp1U1OMSB_zPhijv5FGxVLaAH1ySvCRNe8acfRfyz5hzVByZTgND_H79HelSaMKU4aBZ5134moTsSPtERgEMEyMYYN8RdEFLCmt77si0D/s1600/spiral.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 238px; line-height: 42.75px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc3x2WKjMCDk2fIcLSlcxv7UVh5I6NMqP8EDtAp1U1OMSB_zPhijv5FGxVLaAH1ySvCRNe8acfRfyz5hzVByZTgND_H79HelSaMKU4aBZ5134moTsSPtERgEMEyMYYN8RdEFLCmt77si0D/s320/spiral.jpg" alt="" id="BLOGGER_PHOTO_ID_5644424276520375570" border="0" height="357" width="480" /></a>here’s <a href="http://bengrasso.com/?cat=6">much, much more</a> to see on his site. (via <a href="http://www.hardfeelingsblog.com/2011/06/ben-grasso/#more-8184">hard feelings</a>)</span></p><p style="color: rgb(0, 0, 0);"><span style="font-size:100%;">Found Here: <a href="http://thisiscolossal.com/2011/06/ben-grassos-exploded-structures/">http://thisiscolossal.com/2011/06/ben-grassos-exploded-structures/</a></span></p><div style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:100%;"> Ben Grasso is a New York based artist who creates paintings that are absolutely beautiful and carry a strong attraction power. It is really difficult to differentiate whether they are photographed or really painted. The details in each painting is very fine and one can quickly fall in love with his creations. </span></div> <div style="text-align: justify; color: rgb(0, 0, 0);"> </div> <div style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:100%;"> The theme of the paintings are abstract but the deeper look you give to them, the more you will find them beautiful. They are truly surreal! </span></div> <div style="text-align: justify; color: rgb(0, 0, 0);"> </div> <div style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:100%;"> Well, I have become a great fan of his paintings that led me to contact him for an interview. He has been so kind to accept the offer. Catch his interview and some beautiful painting by him below:</span></div> <span style="color: rgb(0, 0, 0);font-size:100%;" ><a name="more"></a></span><div style="text-align: justify; color: rgb(0, 0, 0);"> </div> <div style="text-align: justify; color: rgb(0, 0, 0);"> <span style="font-size:100%;"> Ben, please introduce yourself to E-junkies. </span> </div> <div style="text-align: justify; color: rgb(0, 0, 0);"> </div> <div style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:100%;"> I am a painter working in Brooklyn, NY. </span></div> <div style="text-align: justify; color: rgb(0, 0, 0);"> </div> <div style="text-align: justify; color: rgb(0, 0, 0);"> <span style="font-size:100%;">Your paintings look amazing!! What motivates or influences the artist within you? </span> </div> <div style="text-align: justify; color: rgb(0, 0, 0);"> </div><span style="color: rgb(0, 0, 0);font-size:100%;" > If there is an artist inside me he's probably motivated by the desire to see the outside world. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2PohvNzC8KgFhZRLdrMBEbIq0Y9NrLkbCM_2ZaKniqXYyEtJiqaXTbKOpSpDGj3svQozEq8EooaooGU11OBxVwYIGDt22spyd98mKwzytUaP9DSvf4yUhmOuw0qWS10grVL-whvmAryCW/s1600/200720.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 213px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2PohvNzC8KgFhZRLdrMBEbIq0Y9NrLkbCM_2ZaKniqXYyEtJiqaXTbKOpSpDGj3svQozEq8EooaooGU11OBxVwYIGDt22spyd98mKwzytUaP9DSvf4yUhmOuw0qWS10grVL-whvmAryCW/s320/200720.jpg" alt="" id="BLOGGER_PHOTO_ID_5644423682274733922" border="0" height="319.5" width="480" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwQXfpWyb0vVhgbAMGIXfG8JOBkgZCNEkBd8xs2Z_ZbcmNUYTpePLAcnRMGULUOggdIlKOmBDUgMWyLHs-vPZZknMRETNq47FQE_lqP3CuSQ7N5DujTR5izN6EPQtEZXamLvYfRSsmZNau/s1600/falltogether.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 202px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwQXfpWyb0vVhgbAMGIXfG8JOBkgZCNEkBd8xs2Z_ZbcmNUYTpePLAcnRMGULUOggdIlKOmBDUgMWyLHs-vPZZknMRETNq47FQE_lqP3CuSQ7N5DujTR5izN6EPQtEZXamLvYfRSsmZNau/s320/falltogether.jpg" alt="" id="BLOGGER_PHOTO_ID_5644423968203220066" border="0" height="303" width="480" /></a>Is there anyone whom you idolize? </span> <div style="text-align: justify; color: rgb(0, 0, 0);"> </div> <div style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:100%;"> Charles Burchfield. I've loved his work forever. There was recently a fantastic show curated by Robert Gober at the Whitney museum. He's one of a small number of painters whose work really took off towards the end of his career. </span></div> <div style="text-align: justify; color: rgb(0, 0, 0);"> </div> <div style="text-align: justify; line-height: 42.75px; color: rgb(0, 0, 0);"> <span style="font-size:100%;">When did you start painting? Do you remember your first painting? </span> </div> <div style="text-align: justify; line-height: 42.75px; color: rgb(0, 0, 0); font-size: 36px;"> </div><span style="color: rgb(0, 0, 0);font-size:100%;" > I started drawing and painting as a kid. I remember my first painting; I think it started off as a man and a car and then turned brown. And I had a hard time deciding what to do with the oil and the turpentine and all the colors. I remember drawing with paint and the process feeling clumsy. It was really difficult and I decided to stick to drawing with pencils and sculpting things with modeling clay until I was much older. Most of your paintings have abstract theme that appear visually attractive and very realistic. How do you manage to give them so unique look? </span> <div style="text-align: justify; line-height: 42.75px; color: rgb(0, 0, 0);font-size:36px;"> </div><span style="color: rgb(0, 0, 0);font-size:100%;" > I have no idea. I intend to make things that are personal and unique but invariably someone annoyingly says "this looks like such and such." I'm glad to hear they seem unique. Mostly I work from images I take when I'm visiting cleveland, where i grew up. A lot of the city is slowly disappearing and evolving into something else. I find this endlessly fascinating. Which is your favourite painting; a piece of your work that you will always cherish? </span> <div size="36px" style="text-align: justify; line-height: 42.75px; color: rgb(0, 0, 0);"> </div><span style="color: rgb(0, 0, 0);font-size:100%;" > I don't really cherish my own work. But I remember a drawing I made of my dad when I was six and my parents kept it. I really like this drawing. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPH_erf2kvM3xOCMWtroOBzHkUdnHVDhQnCVP7d5UH4E3TCrWMIgI21HPAVrvJmByolycmKvZxmxwTxO9_cNfLpaiewgjys3oysS_4N2VkslNncyVRne-TV8qVKGA28kw-bEAt7yzWA80u/s1600/200820.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 228px; font-size: 36px; line-height: 42.75px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPH_erf2kvM3xOCMWtroOBzHkUdnHVDhQnCVP7d5UH4E3TCrWMIgI21HPAVrvJmByolycmKvZxmxwTxO9_cNfLpaiewgjys3oysS_4N2VkslNncyVRne-TV8qVKGA28kw-bEAt7yzWA80u/s320/200820.jpg" alt="" id="BLOGGER_PHOTO_ID_5644424801301306194" border="0" height="342" width="480" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV84eU6O97ogyybsk_PSrAeJ8nsMPJOZLmY4KyBpOKb6lejThImsIsPhsi-J0w_NzL7xfx8MSXmFmgD-TiV9EnEy-4FVm4_UWXUIgLxNK25ue3Jh6l8f-QxBGfqCTbigZ72WaRpGE3cvMa/s1600/2009071.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 223px; font-size: 36px; line-height: 42.75px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV84eU6O97ogyybsk_PSrAeJ8nsMPJOZLmY4KyBpOKb6lejThImsIsPhsi-J0w_NzL7xfx8MSXmFmgD-TiV9EnEy-4FVm4_UWXUIgLxNK25ue3Jh6l8f-QxBGfqCTbigZ72WaRpGE3cvMa/s320/2009071.jpg" alt="" id="BLOGGER_PHOTO_ID_5644423398898269634" border="0" height="334.5" width="480" /></a>What are the other things that interests you? </span> <div size="36px" style="text-align: justify; line-height: 42.75px; color: rgb(0, 0, 0);"> </div> <div style="text-align: justify; color: rgb(0, 0, 0);"> I'm building a bicycle frame as a hobby. I've been building and riding bikes forever. I think my bike is like a part of me or something. I anyways love fixing bikes. I've been building bikes and wheels for friends, mostly out of things other people throw away. I decided to learn how to gas weld and am in the process of putting the frame together. I love making things; its learning how to work with a new material and how to deal with having only a few tools that I really enjoy. </div> <div size="36px" style="text-align: justify; line-height: 42.75px; color: rgb(0, 0, 0);"> </div> <div size="36px" style="text-align: justify; line-height: 42.75px; color: rgb(0, 0, 0);"> <span style="font-size:100%;">Many other artists would draw inspiration from you. What message do you have for them?<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihdjga9ySyMTclnoxE_1cmOMSoBPtpygjXePNG0rJGO5KI64r4JPCi6wSjNjfVmTidgq8SOGhc8AYg00cjZA1V5KcVnbh4G4NX-RxJCNQ1qDNAteX-CH0Pv6hI1PMPCupP86eU7d7m2t7y/s1600/proposal5.jpg"> </a></span> </div> <div size="36px" style="text-align: justify; line-height: 42.75px; color: rgb(0, 0, 0);"> </div> <div style="text-align: justify; font-size: 36px; line-height: 42.75px; color: rgb(0, 0, 0);"><span style="font-size:100%;"> My favorite bit of advice came from an undergraduate teacher and of course I forgot the actual quote and only remember the message; its was something like "go through life like a duck on water; appear to glide across the surface while treading like hell underneath." </span></div> <div style="text-align: justify; font-size: 36px; line-height: 42.75px; color: rgb(0, 0, 0);"> </div> <div style="text-align: justify; line-height: 42.75px; color: rgb(0, 0, 0);"> <span style="font-size:100%;">Ben, that's a wonderful advice given by you. Thanks for sparing time to us. It was a pleasure to have you with us. All the very best!</span> </div> <div style="text-align: justify; line-height: 42.75px; color: rgb(0, 0, 0);"> </div><span style="color: rgb(0, 0, 0);font-size:100%;" > Visit Ben's <a href="http://bengrasso.com/" target="_blank">website</a> and catch up some really cool paintings.<i> Found Here: <a href="http://www.e-junkie.info/2011/05/interview-with-ben-grasso-artist-who.html">http://www.e-junkie.info/2011/05/interview-with-ben-grasso-artist-who.html</a></i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAY5vDpMQZ8gfjBOBMr69pESSCC3KDeBZJAg4IGRIeeik61jYO1v2eh15EmlICjlLr6_D4AL0MVY6lshf6bvMAXCBmBK5JjLRQ9bAVbBXZNiEwJbeZIFetimREuud_iqI9-A4cTBb56Xjr/s1600/2015.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 201px; font-size: 36px; line-height: 42.75px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAY5vDpMQZ8gfjBOBMr69pESSCC3KDeBZJAg4IGRIeeik61jYO1v2eh15EmlICjlLr6_D4AL0MVY6lshf6bvMAXCBmBK5JjLRQ9bAVbBXZNiEwJbeZIFetimREuud_iqI9-A4cTBb56Xjr/s320/2015.jpg" alt="" id="BLOGGER_PHOTO_ID_5644423390579226434" border="0" height="301.5" width="480" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi431r2y21Urkd1Cx6gSMGIJuSAF0pdR3M6sQC0ixLknalHLCk0TLNDkadI7zE8Gn658dUllNYRcsPTJFe3HI-kma9ZBAWUIQVsVa_RlrizY2V0jnw946IIConRcVIphOVdqsLtE8sMJkyd/s1600/proposal4.jpg"><img style="float: left; 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margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 245px; font-size: 36px; line-height: 42.75px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK7utzyudM52PsWGNaeB74TRUvJTj97bp9dledRD-2hllKtLy6hxR7mrvxPuTv8wHfDqgyhSJjYi_qfc7yA_e_rm0lMh4fHbAmCeC4uoDsxbUlE78Mz29i_I5EuxL16U-pOgVCQjWYq_d5/s320/study.jpg" alt="" id="BLOGGER_PHOTO_ID_5644424797756164498" border="0" height="367.5" width="480" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihdjga9ySyMTclnoxE_1cmOMSoBPtpygjXePNG0rJGO5KI64r4JPCi6wSjNjfVmTidgq8SOGhc8AYg00cjZA1V5KcVnbh4G4NX-RxJCNQ1qDNAteX-CH0Pv6hI1PMPCupP86eU7d7m2t7y/s1600/proposal5.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 220px; font-size: 36px; line-height: 42.75px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihdjga9ySyMTclnoxE_1cmOMSoBPtpygjXePNG0rJGO5KI64r4JPCi6wSjNjfVmTidgq8SOGhc8AYg00cjZA1V5KcVnbh4G4NX-RxJCNQ1qDNAteX-CH0Pv6hI1PMPCupP86eU7d7m2t7y/s320/proposal5.jpg" alt="" id="BLOGGER_PHOTO_ID_5644424585760094034" border="0" height="330" width="480" /></a></span> Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-71590650169392844782011-08-21T01:31:00.000-07:002011-08-21T02:08:20.973-07:00Tim Hawkinson<div style="text-align: left;"><span style="font-size:85%;"><img src="http://www.thecityreview.com/thawkin13.jpg" alt="Tim Hawkinson" align="BOTTOM" border="0" height="374" width="261" /></span> <span style="font-size:85%;"><b><i>Tim Hawkinson in front of "Wall Chart of World History from Ancient Times to the Present," 1997</i></b></span> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;"><b>By Michele Leight</b></span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">In ancient times, Tim Hawkinson might have rubbed shoulders with alchemists, artists, monks, magicians and flute and lute players. Merlin might be called a scientist today instead of a magician or alchemist, but the word 'scientist' had not been culled for contemporary usage in medieval times.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">When the Director of the Whitney Museum of Art in New York called Hawkinson a "modern medievalist," not a mad scientist, it struck the right chord. The artist's first major retrospective is a wildly imaginative rollercoaster ride of emotions, artistry, mechanics, materials, self-examination and a beguiling blend of ancient and modern references and inspirations, grounded in solid classical traditions.</span></p><div style="text-align: left;"> <span style="font-size:85%;"><img src="http://www.thecityreview.com/thawkin7.jpg" alt="Divan" align="BOTTOM" border="0" height="360" width="480" /></span> <span style="font-size:85%;"><b><i>"Divan," pastel and paper on foam core on panel, 1997, collection Tony and Gail Ganz</i></b></span> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Fine artistry is always close at hand in Tim Hawkinson's work despite the deliberately distracting wizardry, mechanical dexterity and complexity of some of the constructions, not to mention the sheer wealth and variety of materials, both found and fashioned, that make up the majority of the pieces. There is one work that might be called a "painting," a gorgeously subdued, fantastical work featuring multiple shrinking Tinkerbells - fairies - in monochromatic colors: "Divan" (1997) in the hands of Hawkinson, becomes a sofa extraordinaire. Now in the collection of Tony and Gail Ganz, it is one of the most straightforward pieces in the show in terms of materials, created from pastel and paper on board mounted on wood.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Fascinated by cartoon and Hollywood magicians, I have always relished the way a person or thing becomes humongous or miniscule with a simple wave of technology, often disguised as the 'magic wand': Tim Hawkinson's works generate the same sense of wonder as they veer from gargantuan and humongous to minutely detailed and tiny. For example, the drop in scale from the colossal "Pentecost" in the opening gallery of the show to the tiniest "Feather" (1997), created from a strand of the artists own hair - or a eensy "Bird," (1997), artfully constructed from the artist's own superglued nail clippings.</span></p><div style="text-align: left;"> <span style="font-size:85%;"><img src="http://www.thecityreview.com/thawkin1.jpg" align="BOTTOM" border="0" height="360" width="378" /></span> <span style="font-size:85%;"><b><i>"Emoter," altered ink-jet print, monitor, stepladder and mechanical components, Andrea Nasher Collection, 2002</i></b></span> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">It is just not possible to walk past a work by Tim Hawkinson without reacting. Familiar with his mechanical face, "Emoter," 2002, (included in this show), from The Whitney Biennial in 2002 (see <a href="http://www.thecityreview.com/biennial.html">The City Review article</a>), I was even more drawn in by "Uberorgan" in the Atrium of the IBM Building on Madison Avenue in New York.</span></p><div style="text-align: left;"> <span style="font-size:85%;"><img src="http://www.thecityreview.com/thawkin16.jpg" align="BOTTOM" border="0" height="360" width="531" /></span> <span style="font-size:85%;"><b><i>"Uberorgan," (following three images) in the IBM Building Atrium, Madison Avenue and 56th Street, New York, woven polythylene baloons, nylon, cardboard tubing, mechanical components and air.Andrea Nasher Collection, commissioned for exhibition at MASS MoCA, North Adams, Massachusetts, 2000.</i></b></span> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">I was on my way to an event but stopped dead in my tracks, smitten by the huge multi-armed aerial octopus, or tree-branch - or whatever the gigantic construction reminds you of on a particular day - with inflated organs trailing entrails, anchored by pipes which invoke Tibetan horns if your imagination is ignited. The sound this modernist organ makes in one musical segment is just like the Tibetan horns I heard in Ghoom Monastary not far from Kurseong, clinging to the mountainside on the dizzy ride up to Darjeeling, in the foothills of the Himalayas. There are no monks, or mountain mists, here in the heart of Manhattan's vertical columns of commerce and enterprise, but the sounds generated by this work are eerily similar. "Uberorgan" unlocks different memories and associations for different situations.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">If, like some, you are more perplexed than impressed by the aerial construction in the IBM Atrium, you will still probably stop and look at the massive contemporary art organ mated with a wind instrument for a giant, if for no other reason than fascination that it is constructed of all kinds of wonderful media - found, man-made and deftly fashioned. I connected the name of the artist on the description of the piece in the IBM Atrium to an upcoming press preview at The Whitney. The "Uberorgan" made me mark my calendar in bold script - go see this show. I wondered what else this witty Merlin of contemporary art had to offer.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">I was not disappointed; the show at the Whitney appeared at first to be about many wildly imaginative things, including "Uberorgan" installed down the avenue at IBMs headquarters, but the more I looked at, smiled at and absorbed Tim Hawkinson's work the more seriousness I found. The playfulness is winsome, especially when you are all grown up now, and the unselfconscious approach of the works - mirrored in the artist himself - makes it okay to have fun, to be young again, but the seriousness comes later.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Smart, playful, witty and original, Hawkinson's multi-disciplinary approach belies a keen intelligence. While it is easy to be taken in by the playfulness and leave it at that, spending more than just superficial time with some of the constructions at the show recalls life- preserving and life-threatening equipment, all under the innocent guise of a mechanical face, or musical instrument, or weird contraptions that blip water via a computer simultaneously into several steel buckets with the pulsating accuracy of a plasma drip.</span></p><div style="text-align: left;"> <span style="font-size:85%;"><img src="http://www.thecityreview.com/thawkin14.jpg" alt="World Chart of World History from Earliest Times to the Present" align="BOTTOM" border="0" height="360" width="506" /></span> <span style="font-size:85%;"><b><i>Detail of Wall Chart of World History From Earliest Times to the Present," 1997. Ink and colored pencil on paper. Private collection, courtesy Ace Gallery</i></b></span> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Speaking with Tim Hawkinson was effortless and he was good-humored about having his picture taken in front of "Wall Chart of World History From Earliest Times to the Present," (1997), a gorgeous and obsessively detailed pink, red and gray scroll, reminiscent of the ancient Chinese variety, of enormous length - 51 inches wide by 420 inches long.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">"Let's take the photograph here, so the red shows up," he said, ever aware of the impact of color. The result is the photo at the top of the story. The artist smiled when I said his work was both playful and serious. "Yes," he replied, eyes gleaming.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Hawkinson has a keen sense of humor, and our conversation somehow turned to children: I said how wonderful it must be for his daughter - Claire, just 16 months old - to have a father who makes such fantastical constructions and artworks.</span></p><div style="text-align: left;"> <span style="font-size:85%;"><img src="http://www.thecityreview.com/thawkin12.jpg" alt="Balloon Self-Portrait" align="BOTTOM" border="0" height="360" width="238" /></span> <span style="font-size:85%;"><b><i>"Balloon Self-Portrait," 72 by 48 by 33 incyhes, 1993, refabricated 2005, Ace Gallery</i></b></span> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">"Actually, that one scared her," said Hawkinson, indicating "Balloon Self-Portrait," (1993), an inflated latex human form suspended from the ceiling above our heads.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">"I had covered myself in latex and was waiting for it to dry and she walked in on me in the bathroom," he explained, revealing the process of the aerial baloon man above us. Little Claire did not go for "Balloon Self-Portrait" - but the other works in the show do not involve her father becoming smothered in grungy fluids that must have looked pretty strange to a toddler - so they must delight.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Through the centuries serious issues and messages have lurked behind humorous and playful facades - Shakespeare's buffoons and clowns for example. They get to say what Shakespeare himself wanted to say about many things: they were safe to hide behind. The bard knew only too well how the public could be. Hawkinson's work has the same banter and buffoonery.</span></p><div style="text-align: left;"> <span style="font-size:85%;"><img src="http://www.thecityreview.com/thawkin4.jpg" alt="H.M.S.O." align="BOTTOM" border="0" height="360" width="382" /></span> <span style="font-size:85%;"><b><i>"H.M.S.O.," wood, fabric and string, 90 inches diameter, 1995, collection Dean Valentine and Amy Adelson</i></b></span> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Imbedding seriousness in humor makes it infinitely more palatable. That takes a lot of savviness these days, with all of us so bored and over stimulated by everything. We are in perpetual visual surround-sound, and therfore in danger of over-dosing. Most of us would rather have fun, then - if we absolutely must - deal with reality. We <i>know </i>cod liver oil is good for us, but we can't see the good it is doing and who really likes to ingest that awful tasting stuff anyway? My son used to ask in his blunt childlike way:</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">"How do I know it is good for me? I can't see it. Show me."</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Confronted with this ingenius form of kid logic I ended up promising my son chocolate cake in return for taking the foul tasting mixture (without spitting it out) which worked far better than the "it's good for you" approach. I have not drifted away from the subject: the "chocolate for ikky tasting vitamin or medicine" trade is just how I felt about the approach Hawkinson takes to engage the viewer - humorously, gently, cleverly - and then the seriousness, the idea or underlying message emerges, by which time it is far easier to deal with.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">The following three photographs show Hawkinson's "Uberorgan" with tentacles outstretched in the IBM Atrium on Madison Avenue and 56th street in New York City. Here is how the artist describes his creation:</span></p><div style="text-align: left;"> <span style="font-size:85%;"><img src="http://www.thecityreview.com/thawkin15.jpg" alt="Detail of Uberorgan" align="BOTTOM" border="0" height="360" width="480" /></span> <span style="font-size:85%;"><b><i>Detail of "Uberorgan"</i></b></span> <span style="font-size:85%;"><img src="http://www.thecityreview.com/thawkin11.jpg" alt="Another view of Uberorgan" align="BOTTOM" border="0" height="360" width="480" /></span> <span style="font-size:85%;"><b><i>Another view of Uberorgan</i></b></span> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">"Several bus-size biomorphic baloons, each with its horn tuned to a different in the octave, make up a walk-in self-playing organ. A 200 foot-long scroll of dots and dashes encodes a musical score of old hymns, pop classics, and improvisional ditties. This score is deciphered by the organ's brain - a bank of light sensitive switches - and then reinterpreted by a series of switches and relays that translate the original patterns into non-repeating vairations of the score."</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Uberorgan, 2000, is constructed of woven polythylene balloons, nylon, cardboard tubing, mechanical components, and air. Andrea Nasher Collection, commissioned for exhibition at MASS MoCA, North Adams, Massachusetts, 2000.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">There were a couple of dazed and confused looking ladies with grey hair peering up at the gigantic "Uberorgan" octopus in the Atrium of the IBM Building the first evening I saw it. No doubt the cost of the piece was running through their minds, and what is the point of it? what does it mean? has the world gone mad if this is art? But they stopped and reacted - they did not just walk on by. They even smiled after a while.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Great and good art should produce a reaction; anger and outrage is better than no reaction at all. Worst of all is catatonic acceptance and boredom. Anyone who goes to "Tim Hawkinson" at the Whitney will react and not be bored or disappointed, even if they don't 'get' the art. That might come later. The kids will love it too - that is a certainty. For one who has been to many contemporary art and sculpture shows, I was pleased to discover that I could still be altered by a show. I am frequently moved and exalted by art, but to be altered even in a small way is challenging these days. Changing the way one thinks, even slightly, is something. I found the show opened up whole areas of thought that had lain fallow after years of neglect - I became connected to my art school days. Happy times.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Tim Hawkinson explores the ins and outs of the world, emotions, bodies, perceptions and the inner self with quixotic grace and intelligence - then sews or knits his discoveries into the wider fabric of our existence, revealing the magic and madness, beauty and barbarism that is the 21st century. The seeming innocence of much of his works makes the viewer long for that state of innocence, now gone from ourselves and our vision. But the latent seriousness in many of the pieces is a reminder that seriousness has after all preserved civilizations - and our acknowledgement of the need for a "classical order" is historically proven.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Above all, the devotion and often myopic diligence required of many of Tim Hawkinson's works recalls the excellence and discipline required of artists, goldsmiths and sculptors in medieval and ancient times. The artisans guilds or monastaries that were a hot-bed of fully funded patronage and support; the inter-action between artist and the "work" is reminiscent of the Zen monks of olden times who painted the most awesome calligraphic artworks with their own hair and squid ink; a time when apprenticeship as an artist entailed back-breaking attention to detail and surface preparation - often as many as 24 coats of gesso, fine sanded between each layer, for a Renaissance master's gilded triptych. As we explore a Hawkinson work in front of us we understand the exactitude and focus beneath the playfulness. Our role changes - viewing and having fun is not enough and we start to engage in the rigour of "making" and the mental gymnastics required in the process of understanding.</span></p><div style="text-align: left;"> <span style="font-size:85%;"><img src="http://www.thecityreview.com/thawkin2.jpg" alt="Pentecost" align="BOTTOM" border="0" height="360" width="480" /></span> <span style="font-size:85%;"><b><i>"Pentecost," polyurethane foam, sonotubes, solenoids, found computer program and mechanical components. Dimensions variable. Andrea Nasher Collection, 1999</i></b></span> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Works like <i>Uberorgan</i> and the fantastical "Pentecost," 1999,(Andrea Nasher Collection) in the opening gallery at The Whitney make us by their sheer size step back, as well as engage, as one does when confronted by a sight as awe-inspiring as The Grand Canyon or The Eiffel Tower. The huge works push the viewer away, yet they are strangely cosy and accessible. The minute "Bird," 1997, (fingernail pairings and superglue, Andrea Nasher Collection), seems innocent enough: it's tiny scale is inviting - then close inspection reveals it is made of clipped finger nails, and we are momentarily startled, taken unawares and off-guard. Fingernail clippings? Eek!</span></p><div style="text-align: left;"> <span style="font-size:85%;"><img src="http://www.thecityreview.com/thawkin3.jpg" alt="Life-size mirror self portrait" align="BOTTOM" border="0" height="374" width="183" /></span> <span style="font-size:85%;"><b><i>"Life-Size Mirror Self-Portrait," Synthetic polymer and aluminium foil on polyester. Frederick R. Weisman Art Foundation, Los Angeles, 2000</i></b></span> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Hawkinson knows the power of positive/negative: attract/repel. But he pulls back just in time so that things don't get too disturbing. A strange tune emerges from an even stranger looking construction that suddenly emits a well known and comforting passage by Bach, or a recognizable pop song!</span></p><div style="text-align: left;"> <span style="font-size:85%;"><img src="http://www.thecityreview.com/thawkin6.jpg" alt="Armor Ooze and Volume Control" align="BOTTOM" border="0" height="360" width="323" /></span> <span style="font-size:85%;"><b><i>Background, "Volume Control," paper, aluminium foil and glue on panel, 1992, private Collection, courtesy Ace Gallery; Foreground, "Armor Ooze," aluminium foil, synthetic ploymer on urethane foam, and brass brads, 1996, collection of Eileen-Harris Norton and Peter Norton</i></b></span> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">History is important to Hawkinson, as well as our place in it; in the process of engaging our focus with a simulated CD made of luscious aluminium foil, (in front of which lies what looks like a latter day fallen knight in shining armor), or "Drip," with its fine, vein-like tubes of blipping fluid, we accept that there is a steady, consistent flow, a stabilizing physical, emotional and mental "classical order," that has been passed on through the centuries.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">Preserving the past while making his mark in the present and moving into the future is a constant theme in Hawkinson's work; continuity is cleverly packaged in startling 21st century objects fashioned from found and ready made materials that are non-threatening, often strangely familiar and therefore re-assuring. It can also be eerie, surreal, disquieting - like all great art.</span></p><div style="text-align: left;"> <span style="font-size:85%;"><img src="http://www.thecityreview.com/thawkin9.jpg" alt="Drip" align="BOTTOM" border="0" height="374" width="314" /></span> <span style="font-size:85%;"><b><i>"Drip," 2002, polythene, mechanical component, and water. Dimensions variable. Collection Steven Neu.</i></b></span> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">When one of the constructions abrubtly stops working for instance, we are uneasy: the voice inside says:</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">"It has stopped." Like a heart beat, a pulse.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">What if everything we have come to rely upon stopped working? How reliable is what we know, feel , see and touch - everything that is our world? How permanent is all this? </span><span style="font-size:85%;">Hawkinson's constructions make you stop and stare, no matter how busy or preoccupied your mind is.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">One of my favorite exchanges about his work took place between two thirty-something businessmen, intent in conversation, striding purposefully through the IBM Atrium, thankfully right past my alert ears.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">As if to exert its magic over two diligent souls too busy to notice its presence, "Uberorgan" began its whizzing, gas-emitting, soft-strangulation, sublimely sonorous and extra-terrestrial sounds, accompanied by ever-so subtle bumps and mechanical grinds.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">"What's that?" asked one businessman, amazed, momentarily rooted to the ground.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">That's art," his colleague replied seriously.</span></p><div style="text-align: left;"> </div><p style="color: rgb(51, 51, 51); text-align: left;"><span style="font-size:85%;">"Really," he said, looking up in wonder at "Uberorgan," suspended like some extra-terrestrial above the bamboo trees.
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<br />Found Here: <a href="http://www.thecityreview.com/thawkins.html">http://www.thecityreview.com/thawkins.html</a></span></p><p style="color: rgb(51, 51, 51); text-align: left;"><iframe src="http://www.youtube.com/embed/ZVNI6OZwyJc" allowfullscreen="" frameborder="0" height="345" width="560"></iframe>
<br /></p>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-236687801684703323.post-31984231813395658022011-08-21T01:20:00.000-07:002011-08-21T01:28:58.065-07:00PHILIP GUSTON EXHIBITED AT THE SAATCHI GALLERY<span style="font-size: 11px;">A Day's Work 1970 Oil on canvas 198 x 279 cm 78 x 109¾"
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<br /></span><span style="font-size: 11px;">Painter in Bed 1973 Oil on canvas 152.4 x 264.2 cm 60 x 104"
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<br /></span><span style="font-size: 11px;">The Magnet 1975 Oil on canvas 171.5 x 204.5 cm 67½ x 80½"
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<br /></span><span style="font-size: 11px;">Friend - to M. F. 1978 Oil on canvas 172.7 x 223.5 cm 68 x 88"
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<br /></span><span style="font-size: 11px;">Edge 1976 Oil on canvas 203.3 x 316.9 cm 80 × 124¾"
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<br /></span><span style="font-size: 11px;">Frame 1976 Oil on canvas 188 x 294.6 cm 74 x 116"
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<br /></span><span style="font-size: 11px;">Rug III 1976 Oil on canvas 175.3 x 280.7 cm 69 x 110½"
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<br /></span><span style="font-size: 11px;">Head, Bottle, Light 1969 Oil on canvas 50.8 x 55.9 cm 20 x 22"</span>
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<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK74JyJknVOT_Z1Z46oF85T1SPMq7rugBSSl_J38DpCwHpMUksJnFtklMEuVr7OWUCERX-F6E1htEA6by6QGWtNxPywS9AVbGvGXbJYo8Evr-Mg1rJmb4BmzpXuFMv7_CsFyq2S_HWKclB/s1600/CS06_0035_Guston_OH_GCR.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 163px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK74JyJknVOT_Z1Z46oF85T1SPMq7rugBSSl_J38DpCwHpMUksJnFtklMEuVr7OWUCERX-F6E1htEA6by6QGWtNxPywS9AVbGvGXbJYo8Evr-Mg1rJmb4BmzpXuFMv7_CsFyq2S_HWKclB/s320/CS06_0035_Guston_OH_GCR.jpg" alt="" id="BLOGGER_PHOTO_ID_5643222679036580194" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirX-79ul1wnuJ9Z4R1TwGitZqcrTeVHETS_etHP-XjG9Sxyoxd3oHfamRPbrFeYc0B15e2AXYfM8dxYyIbILCYFn2ATBpEs5vYWqv3o6Ol84zNbDoCiYc-2Nk5KloFgynqkU1QLV6Hte4B/s1600/CS06_0037_Guston_OH_GCR.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 181px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirX-79ul1wnuJ9Z4R1TwGitZqcrTeVHETS_etHP-XjG9Sxyoxd3oHfamRPbrFeYc0B15e2AXYfM8dxYyIbILCYFn2ATBpEs5vYWqv3o6Ol84zNbDoCiYc-2Nk5KloFgynqkU1QLV6Hte4B/s320/CS06_0037_Guston_OH_GCR.jpg" alt="" id="BLOGGER_PHOTO_ID_5643222674130296642" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbrShIKJ8lXNWiTMptIK_V6fbPIDS_-lMWQnFLqRKaqVPOxqHxNS22nPUlo9YZcFJZZdc-rkXys7oSfBUihh3wvkJKhWXB-wE3zBzrmt7q4SEAhaKpfALQPtI8MFKX_lx3MnyLhNH7L_XA/s1600/CS06_0036_Guston_OH_GCR.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 268px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbrShIKJ8lXNWiTMptIK_V6fbPIDS_-lMWQnFLqRKaqVPOxqHxNS22nPUlo9YZcFJZZdc-rkXys7oSfBUihh3wvkJKhWXB-wE3zBzrmt7q4SEAhaKpfALQPtI8MFKX_lx3MnyLhNH7L_XA/s320/CS06_0036_Guston_OH_GCR.jpg" alt="" id="BLOGGER_PHOTO_ID_5643222674539668162" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzNtI40oI2Ux3hr9KT_qqnCSyjjLGKNNvsMK6uJJ9J_HkPYct6zdy62-vr99IrEnbXYFpYvjWDn74z-XpumBnzkrtxYV_eqvZTKbjB47_Ly0gxw_1wi3Es4JKPW9lUNOm09crYpqmDJL9T/s1600/CS06_0040_Guston_OH_GCR.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 245px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzNtI40oI2Ux3hr9KT_qqnCSyjjLGKNNvsMK6uJJ9J_HkPYct6zdy62-vr99IrEnbXYFpYvjWDn74z-XpumBnzkrtxYV_eqvZTKbjB47_Ly0gxw_1wi3Es4JKPW9lUNOm09crYpqmDJL9T/s320/CS06_0040_Guston_OH_GCR.jpg" alt="" id="BLOGGER_PHOTO_ID_5643222669024587906" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKD5QhuopLCr1P7cS3AuFAx3aqxVjwmVRnH2mb20H83-imln2vrpIuPhKTEcowOzCfWd9r_6SpOpN65doHviT54QiJ1uVyb95WHCqLyeVZygJzahq1seXqmZQwDNaQefTqMAEOrRjYa_UP/s1600/Edge.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 209px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKD5QhuopLCr1P7cS3AuFAx3aqxVjwmVRnH2mb20H83-imln2vrpIuPhKTEcowOzCfWd9r_6SpOpN65doHviT54QiJ1uVyb95WHCqLyeVZygJzahq1seXqmZQwDNaQefTqMAEOrRjYa_UP/s320/Edge.jpg" alt="" id="BLOGGER_PHOTO_ID_5643222217919696306" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiMZFsy1_xg1_1ga6vYbJncIp3bYmtfQ6y5q-DjuF0bhktFGtp26gEicDRU8KwOsCy_2hb_N3RU39QCOxBrMfHvYkjA5u4pZnBW_cacFed33Fd46eZo1Fhq34xh8UWlBcqwdBqhG1jYRMz/s1600/Frame.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 202px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiMZFsy1_xg1_1ga6vYbJncIp3bYmtfQ6y5q-DjuF0bhktFGtp26gEicDRU8KwOsCy_2hb_N3RU39QCOxBrMfHvYkjA5u4pZnBW_cacFed33Fd46eZo1Fhq34xh8UWlBcqwdBqhG1jYRMz/s320/Frame.jpg" alt="" id="BLOGGER_PHOTO_ID_5643222213273130434" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIdJfOlJK8L7kdSoMkTG3bshCBxxEQO0BkVt3cAZEo-JR3AuDQup33qomIt4lAzpY1sJdpwV9ZBGLnFnlGNHDg20sDDSH20eMD1LPcWzLijT5rOXZwedU_1OyLkXogozlcg5kEpNPCMSS8/s1600/Rug-III.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 198px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIdJfOlJK8L7kdSoMkTG3bshCBxxEQO0BkVt3cAZEo-JR3AuDQup33qomIt4lAzpY1sJdpwV9ZBGLnFnlGNHDg20sDDSH20eMD1LPcWzLijT5rOXZwedU_1OyLkXogozlcg5kEpNPCMSS8/s320/Rug-III.jpg" alt="" id="BLOGGER_PHOTO_ID_5643222215390731458" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdrhqpFDyEqyK_XgiGZa1MHCC31NPcEIuS7yAbSz2M2Wi4DgsQO9X_0AkCrXjhOuFvH3BMov_NZjRv957gWqAXWwRjhKwfiO856X6JmHiMhOD7fuZAFYNRlppt9BSplkXhrB4GoJcABnS_/s1600/Guston_01.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 318px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdrhqpFDyEqyK_XgiGZa1MHCC31NPcEIuS7yAbSz2M2Wi4DgsQO9X_0AkCrXjhOuFvH3BMov_NZjRv957gWqAXWwRjhKwfiO856X6JmHiMhOD7fuZAFYNRlppt9BSplkXhrB4GoJcABnS_/s320/Guston_01.jpg" alt="" id="BLOGGER_PHOTO_ID_5643222209100438642" border="0" /></a>
<br />Found Here: <a href="http://www.saatchi-gallery.co.uk/aipe/philip_guston.htm">http://www.saatchi-gallery.co.uk/aipe/philip_guston.htm</a>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-22026342258453363692011-08-15T12:58:00.001-07:002011-08-15T13:00:32.858-07:00Flying Planes Skyscraper in Paris by Kevin Hemeryck<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFEHBJf7SsPk04eT_xgdCXGz5OULOpngp0uX4Mnq-_QUURuIT_V2l6uszWN9cNvu86P4pIh6MjZdLRFrHjib2_M9gnl7KfhwFDJxrk2kuZe-LMwyyoUuHaU5k9lmKkVsPDaVCiWGuTzxp_/s1600/flying-planes-paris-0.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 202px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFEHBJf7SsPk04eT_xgdCXGz5OULOpngp0uX4Mnq-_QUURuIT_V2l6uszWN9cNvu86P4pIh6MjZdLRFrHjib2_M9gnl7KfhwFDJxrk2kuZe-LMwyyoUuHaU5k9lmKkVsPDaVCiWGuTzxp_/s320/flying-planes-paris-0.jpg" alt="" id="BLOGGER_PHOTO_ID_5641174765006663490" border="0" /></a>The city of Paris is recognized worldwide for its beauty, architecture, and urban planning. Unfortunately the lack of green areas has been a constant problem for decades. The Flying Planame (paname refers to Paris in French slang) is an utopist project that proposes multiple layers of green planes throughout the city. The main concept is to maximize the outdoors areas while making use of the structure for commerce and housing. Similar to the Hanging Gardens of Babylon and the rice growing terraces of Yunnan, China, this project proposes equilibrium between the natural and built environments.<span id="more-2977">
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<br />Found Here: <a href="http://www.evolo.us/architecture/flying-planes-skyscraper-in-paris/">http://www.evolo.us/architecture/flying-planes-skyscraper-in-paris/</a>
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<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZYxVod2t3Du921DwQFcDOO7lhV9k8k5ngmC5NxPVVf6aQAUPfv94QFe6cvfVqtjLvTfNk6eSZWsL2JmVXg8M0Kkuo1k3FDAFR-c1TllbyjzFCIK-dMOJX1DfIeb8hWLdTMldubGUk0Mxy/s1600/flying-planes-paris-2.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 160px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZYxVod2t3Du921DwQFcDOO7lhV9k8k5ngmC5NxPVVf6aQAUPfv94QFe6cvfVqtjLvTfNk6eSZWsL2JmVXg8M0Kkuo1k3FDAFR-c1TllbyjzFCIK-dMOJX1DfIeb8hWLdTMldubGUk0Mxy/s320/flying-planes-paris-2.jpg" alt="" id="BLOGGER_PHOTO_ID_5641174767210290418" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvuN1hHVUiCmrn6Ea3nm1hMXYfPVTEImQhDOIKYhqb_KJwrbshssZq-kXuDGk4k2D7hXuZAj7EZB86WSggBqT3yIKVYtl4Q3Dw2RvGWToMYdW58nhEG5zpltI6-j64iybOrDWSvA1D7bMp/s1600/flying-planes-paris-1.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 160px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvuN1hHVUiCmrn6Ea3nm1hMXYfPVTEImQhDOIKYhqb_KJwrbshssZq-kXuDGk4k2D7hXuZAj7EZB86WSggBqT3yIKVYtl4Q3Dw2RvGWToMYdW58nhEG5zpltI6-j64iybOrDWSvA1D7bMp/s320/flying-planes-paris-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5641174767164482114" border="0" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-83838040815071297332011-08-15T12:17:00.000-07:002011-08-15T12:39:26.267-07:00Mexico City Earthscraper by Bunker BNKR<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga_aaGW4U0DnpDSMGT5R5JqMArwJA5ktMagDKy7Ksy6tATnJbAW6snh9G_VJdJHDLWXr8j_EGXxp8KMdxUCoQ_JS_tkYb2SIVnATfHoFubskGPKkjlxxpfA3cNGTFTTUL0Ldw2hhdWFUND/s1600/underwater-architecture-8.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 161px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga_aaGW4U0DnpDSMGT5R5JqMArwJA5ktMagDKy7Ksy6tATnJbAW6snh9G_VJdJHDLWXr8j_EGXxp8KMdxUCoQ_JS_tkYb2SIVnATfHoFubskGPKkjlxxpfA3cNGTFTTUL0Ldw2hhdWFUND/s320/underwater-architecture-8.jpg" alt="" id="BLOGGER_PHOTO_ID_5641167946859744946" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoTbpRrKr11IgmSenzdaPvBrNj_EKfBFFKR0GULMUEwJcNq9TjotvRS8gxQ2XEIx70rID_neNtwS_WEO75MH54OLj6n0c9Q1UCwq_bunz0NCsfizJuBsaWUI3z2wuJRV_cCuTgnqhbmmBJ/s1600/1312422168-main-section-1000x886.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 283px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoTbpRrKr11IgmSenzdaPvBrNj_EKfBFFKR0GULMUEwJcNq9TjotvRS8gxQ2XEIx70rID_neNtwS_WEO75MH54OLj6n0c9Q1UCwq_bunz0NCsfizJuBsaWUI3z2wuJRV_cCuTgnqhbmmBJ/s320/1312422168-main-section-1000x886.jpg" alt="" id="BLOGGER_PHOTO_ID_5641167567427863842" border="0" /></a>The Earthscraper, designed by <strong><a href="http://www.bunkerarquitectura.com/">BNKR Arquitectura</a></strong>, is the Skyscraper’s antagonist in the historic urban landscape of <a href="http://www.archdaily.com/tag/mexico/" class="st_tag internal_tag" rel="tag" title="Posts tagged with Mexico">Mexico</a> City where the latter is condemned and the preservation of the built environment is the paramount ambition. It preserves the iconic presence of the city square and the existing hierarchy of the buildings that surround it. More images and architects’ description after the break.<span id="more-156357">
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<br /></span>The Historic Center of <a href="http://www.archdaily.com/tag/mexico-city/" class="st_tag internal_tag" rel="tag" title="Posts tagged with Mexico City">Mexico City</a> is composed of different layers of cities superimposed on top of each other. When the Aztecs first came into the Valley of Mexico they built their pyramids on the lake they found there. When a new and bigger pyramid was conceived and the Aztec Empire grew in size and power, they did not search for a new site, they just built on it and around the existing one. In this manner, the pyramids are composed of different layers of historical periods.
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<br />When the Spanish arrived in America and ultimately conquered the Aztecs, they erected their Christian temples atop their pyramids. Eventually their whole colonial city was built on top of the Aztec one. In the 20th century, many colonial buildings were demolished and modern structures raised on the existing historic foundations. So in a way, Mexico City is like a massive layered cake: a modern metropolis built on the foundations of a colonial city that was erected on top of the ancient pyramids that were constructed on the lake.
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<br />The main square of Mexico City, known as the “Zocalo”, is 57,600 m2 (240m x 240m), making it one of the largest in the world. It is bordered by the Cathedral, the National Palace and the City Government buildings. A flagpole stands at its center with an enormous Mexican flag ceremoniously raised and lowered each day. This proved as the ideal site for the Earthscraper: an inverted skyscraper that digs down through the layers of cities to uncover our roots.
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<br /><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG3PZsO5xXvgiroVuBvOQZU0l2W7oNKSozkmcuI7j60OPI53gDOpFSJ_JS3kjnojn91ZjXija8CIIWhgUKd04Fejh0uXlDwYnzTiOidR0ge4OmugUMu8w9cahzMrwWiPN2ip0RFk4RoHl3/s1600/1312422174-main-view-1000x626.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG3PZsO5xXvgiroVuBvOQZU0l2W7oNKSozkmcuI7j60OPI53gDOpFSJ_JS3kjnojn91ZjXija8CIIWhgUKd04Fejh0uXlDwYnzTiOidR0ge4OmugUMu8w9cahzMrwWiPN2ip0RFk4RoHl3/s320/1312422174-main-view-1000x626.jpg" alt="" id="BLOGGER_PHOTO_ID_5641167566801990754" border="0" /></a>The design is an inverted pyramid with a central void to allow all habitable spaces to enjoy natural lighting and ventilation. To conserve the numerous activities that take place on the city square year round (concerts, political manifestations, open-air exhibitions, cultural gatherings, military parades.), the massive hole will be covered with a glass floor that allows the life of the Earthscraper to blend with everything happening on top.</p><p>Architect: <strong><a href="http://www.bunkerarquitectura.com/">BNKR Arquitectura</a></strong>
<br />Location: <strong>Mexico City, Mexico</strong>
<br />Partners: <strong>Esteban Suárez (Founding Partner), Sebastián Suárez</strong>
<br />Project Leader: <strong>Arief Budiman</strong>
<br />Project Team: <strong>Arief Budiman, Diego Eumir, Guillermo Bastian, Adrian Aguilar</strong>
<br />Collaborators: <strong>Jorge Arteaga, Zaida Montañana, Santiago Becerra</strong>
<br />Area: <strong>775,000 m2</strong>
<br />Status: <strong>Competition</strong>
<br />Photography: <strong>Sebastian Suárez</strong></p><p><strong>Found Here: <a href="http://www.archdaily.com/156357/the-earthscraper-bnkr-arquitectura/">http://www.archdaily.com/156357/the-earthscraper-bnkr-arquitectura/</a></strong></p><p>The <a href="http://www.inhabitat.com/2010/01/22/container-city-in-mexico-is-entertainment-hot-spot/" target="_blank">Mexico City</a> Earthscraper was inspired by the historic growth and development of the city, with each new layer built on top of another. Rather than a skyscraper, this earthscraper dives 35 stories deep into the earth in order to preserve the top layer of historic buildings in the main plaza, which cannot be altered due to federal law. The central courtyard would be converted to glass, which would filter light down through a central void to bring in <a href="http://www.inhabitat.com/2010/03/19/jordans-energy-efficient-queen-alia-airport-by-foster-partners/" target="_blank">natural light and ventilation</a>. </p><div style="overflow: hidden; color: rgb(0, 0, 0); background-color: transparent; text-align: left; text-decoration: none; border: medium none;">
<br />Read more: <a style="color: rgb(0, 51, 153);" href="http://inhabitat.com/green-finalists-from-the-2010-skyscraper-competition/2010-evolo-finalists-mexico-earthscraper/#ixzz1V7yY4Ui6">Green Finalists from the 2010 eVolo Skyscraper Competition Unveiled! 2010 eVolo Finalists - Mexico Earthscraper – Inhabitat - Green Design Will Save the World</a>
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<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkeJxWq3cVp-ls7mZFOonzusSf-8ZwpwslSE-Cu-tWwGvwEcDexdN_ufsnndJMNWI5412IoJL4bIrwgH5CdEnnPPYqeMvDDc_-NShyphenhyphen1ykArtQHnVzljQ30vgMl9FW2B43DCOop7JEh_zQa/s1600/earthscraper-mexico-2.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 160px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkeJxWq3cVp-ls7mZFOonzusSf-8ZwpwslSE-Cu-tWwGvwEcDexdN_ufsnndJMNWI5412IoJL4bIrwgH5CdEnnPPYqeMvDDc_-NShyphenhyphen1ykArtQHnVzljQ30vgMl9FW2B43DCOop7JEh_zQa/s320/earthscraper-mexico-2.jpg" alt="" id="BLOGGER_PHOTO_ID_5641167944021772930" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Wn7wmo_pGiTcVRP94JvvjDXbxBk5DCZVFzgCcLDIrbiuQ4dl-flm8fOn4kywdd6o3MGn6VUORHJKusrNXrkwKMc7Xa3UaYSTFInzag4A0khADdKaKdlR9N_Cb8tEq6-4NgHqJtIsI586/s1600/earthscraper-mexico-1.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 160px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Wn7wmo_pGiTcVRP94JvvjDXbxBk5DCZVFzgCcLDIrbiuQ4dl-flm8fOn4kywdd6o3MGn6VUORHJKusrNXrkwKMc7Xa3UaYSTFInzag4A0khADdKaKdlR9N_Cb8tEq6-4NgHqJtIsI586/s320/earthscraper-mexico-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5641167941823043762" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWkRi_fmL7N7ebWgj4r7_trbpqAO9CibAIDkeZPqFDQjMLODltDL2FXtQ4Pf_F6FDMUCISgkNsFkfH25EaAscCCDqIUr10L1-bKosr_CMd7crKVjbKkZKplwJ0jNMK9AHrsktUPhyifzKZ/s1600/1312422220-piranesian-hubs-02-1000x626.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWkRi_fmL7N7ebWgj4r7_trbpqAO9CibAIDkeZPqFDQjMLODltDL2FXtQ4Pf_F6FDMUCISgkNsFkfH25EaAscCCDqIUr10L1-bKosr_CMd7crKVjbKkZKplwJ0jNMK9AHrsktUPhyifzKZ/s320/1312422220-piranesian-hubs-02-1000x626.jpg" alt="" id="BLOGGER_PHOTO_ID_5641167561874422242" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRzMTRXcs7klncQsAvTdBw97XnA0CtnxpFm8NFnkQq2RqA8Bk3JcV3zy9psJaG3zVcQ717WiwlJaa9ZWfmQp94LPIuSUd4NPrs0Z_IxWF1fm1YD-hO5KVOCWClRKP1ikoPUrAibSsJ53_c/s1600/1312422227-piranesian-void-1000x682.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 218px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRzMTRXcs7klncQsAvTdBw97XnA0CtnxpFm8NFnkQq2RqA8Bk3JcV3zy9psJaG3zVcQ717WiwlJaa9ZWfmQp94LPIuSUd4NPrs0Z_IxWF1fm1YD-hO5KVOCWClRKP1ikoPUrAibSsJ53_c/s320/1312422227-piranesian-void-1000x682.jpg" alt="" id="BLOGGER_PHOTO_ID_5641167560150870770" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6aFTr4CpVNwsc7iux25Q-RDLqut51AI69gywpncb6e3sXC5OMzm0XirwFaqnZ7aK_HBnkcRb47L64AqIIw3kKM3-rnWhnz2K5UcSSaO1kLkWYIuzrrNIfyRUh-845Zm_McltnVlC-vZ8r/s1600/1312422194-model-03-1000x666.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 213px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6aFTr4CpVNwsc7iux25Q-RDLqut51AI69gywpncb6e3sXC5OMzm0XirwFaqnZ7aK_HBnkcRb47L64AqIIw3kKM3-rnWhnz2K5UcSSaO1kLkWYIuzrrNIfyRUh-845Zm_McltnVlC-vZ8r/s320/1312422194-model-03-1000x666.jpg" alt="" id="BLOGGER_PHOTO_ID_5641167563185521490" border="0" /></a></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-39358940643536269262011-08-09T03:49:00.000-07:002011-08-15T13:08:50.686-07:00Sietch Nevada by MATSYS<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF27LPEte7BVENglCGDfVnJ_d78QHJUBB8d2Rndyya9_IFRFdkbygGvHC30OZe6EfWxb8wTFYU9OwnLHiBxwmEC6xmR9Y0WVMgg83re_WH95GWdbxSTibxo8zBzDq59TRDpeBv7Y1JrtSw/s1600/OOW_Matsys_EXT.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF27LPEte7BVENglCGDfVnJ_d78QHJUBB8d2Rndyya9_IFRFdkbygGvHC30OZe6EfWxb8wTFYU9OwnLHiBxwmEC6xmR9Y0WVMgg83re_WH95GWdbxSTibxo8zBzDq59TRDpeBv7Y1JrtSw/s320/OOW_Matsys_EXT.jpg" alt="" id="BLOGGER_PHOTO_ID_5638807101903850274" border="0" /></a><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDCI0yqXhB_gKcn9fsWhDdHm_nwumHagLt5hBhUJrAcXaW-YAmDfn3-J2SDU8damG_8JUxfM-DDtyoejrMmhKYApPalF2bLMzKw5OkaA1vQ2b4QCggawkWR2Vf_yZXMWA96f8qW5-sU7ii/s1600/nevada-sietch-detail.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDCI0yqXhB_gKcn9fsWhDdHm_nwumHagLt5hBhUJrAcXaW-YAmDfn3-J2SDU8damG_8JUxfM-DDtyoejrMmhKYApPalF2bLMzKw5OkaA1vQ2b4QCggawkWR2Vf_yZXMWA96f8qW5-sU7ii/s320/nevada-sietch-detail.jpg" alt="" id="BLOGGER_PHOTO_ID_5638809236307104482" border="0" /></a></p>[<em>Sectional perspective of underground city - click images for larger view</em>] <p>An underground Venice in the US Southwest? <a href="http://architecture.myninjaplease.com/?cat=38" target="_blank">My ninjas, please</a>. This was my second reaction to this project – after my inner sci-fi / dystopian fiction geek and Frank Herbert fan thought, “yeah, this is pretty dope – and I’d probably be down to live there”.</p> <p>My peculiar willingness to live in a dystopian, water-starved future aside, the <em><a href="http://matsysdesign.com/2009/06/25/sietch-nevada/" target="_blank">Sietch Nevada</a></em> – designed by <a href="http://matsysdesign.com/" target="_blank">MATSYS</a> for “Out of Water: Innovative technologies in arid climates”, exhibited earlier in ’09 at the University of Toronto – attempts to address the very real issue of the future of the increasingly arid American Southwest.</p> <blockquote><p>Lured by cheap land and the promise of endless water via the powerful Colorado River, millions have made this area their home. However, the Colorado River has been desiccated by both heavy agricultural use and global warming to the point that it now ends in an intermittent trickle in Baja California. Towns that once relied on the river for water have increasingly begun to create underground water banks for use in emergency drought conditions. However, as droughts are becoming more frequent and severe, these water banks will become more than simply emergency precautions.</p> <p>…</p> <p>Inverting the stereotypical Southwest urban patterns of dispersed programs open to the sky, the Sietch is a dense, underground community. A network of storage canals is covered with undulating residential and commercial structures. These canals connect the city with vast aquifers deep underground and provide transportation as well as agricultural irrigation. The caverns brim with dense, urban life: an underground Venice.</p><p>
<br /></p></blockquote><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGYqdp97eS1unYOrdCOqko_x-2TYknVkazHJ0F3xeoz62v-NvSODgsTDlSiIoMTFBGr9Yh7EBhjr6JhqFUjN_RExuONfX-HEfKvJRnwQhm9Hhj4aC_vcgWexLcHfghpNx4LFfRhuCaarH8/s1600/OOW_Matsys_INT.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGYqdp97eS1unYOrdCOqko_x-2TYknVkazHJ0F3xeoz62v-NvSODgsTDlSiIoMTFBGr9Yh7EBhjr6JhqFUjN_RExuONfX-HEfKvJRnwQhm9Hhj4aC_vcgWexLcHfghpNx4LFfRhuCaarH8/s320/OOW_Matsys_INT.jpg" alt="" id="BLOGGER_PHOTO_ID_5638807093636967154" border="0" /></a><p>[<em>View of the urban life among the water bank canals</em>]</p> <p>MATSYS has rooted the concept of this proposal, quite seriously, in the world created in the <em>Dune</em> novels. This fictional universe focuses on an arid planet, where the indigenous people live in ‘<a href="http://dune.wikia.com/wiki/Sietch" target="_blank">sietch</a>‘ communities in the desert – conserving, recycling, and worshiping their water. Applying this concept to the American Southwest, MATSYS has created a subterranean city – taking the idea of waterbanking one step further, creating an underground canal system that both provides water to the inhabitants and allows for necessary irrigation of the proposed garden spaces in the center of each of the sietch’s cells.</p> <p>This cellular structure, in plan, allows for the large underground structures seen in the rendering above – while creating large open spaces that open both to the sky or to the newly-formed cavernous world below. Those cells that open to the desert are terraced to allow for urban agricultural project, while those below open to create large civic spaces for public use – much like any other city.</p><p>
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<br /></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFS3imXcYsUnEGt1FVZuYrgaQIbv06q-qS8BOCHB8RRH-xI2-2W6kanoR1I8tYyyNIdIN1fiu-qaYxEZ6_rumYI5a2c1xScBKj6Rs1j9o9wrbw-vOw20rPAn8GQMpzABrY9O4eBLizBGdB/s1600/OOW_Matsys_plan.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 319px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFS3imXcYsUnEGt1FVZuYrgaQIbv06q-qS8BOCHB8RRH-xI2-2W6kanoR1I8tYyyNIdIN1fiu-qaYxEZ6_rumYI5a2c1xScBKj6Rs1j9o9wrbw-vOw20rPAn8GQMpzABrY9O4eBLizBGdB/s320/OOW_Matsys_plan.jpg" alt="" id="BLOGGER_PHOTO_ID_5638807091814709218" border="0" /></a></p><p>[<em>Plan above ground (left) and below ground (right)</em>]</p> <p>The grim idea that we will need to retreat below-ground due to catastrophe aside, the concept of a subterranean metropolis carries fascinating implications. Would this be ‘greener’ than our current development? Could people really live like this, below ground, without being pushed to do so by some kind of devastating disaster?</p> <p>Pretty sick, I think – no matter how you look at it.</p> <p><a href="http://matsysdesign.com/2009/06/25/sietch-nevada/" target="_blank">.:Sietch Nevada via-> MATSYS</a></p><p>Found Here: <a href="http://www.technovelgy.com/ct/Science-Fiction-News.asp?NewsNum=2530">http://www.technovelgy.com/ct/Science-Fiction-News.asp?NewsNum=2530</a></p><p>
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<br /></p><p><a href="http://www.technovelgy.com/ct/Science-Fiction-News.asp?NewsNum=2530"><b>Sietch</b> – Cave warren inhabited by a Fremen tribal community; in the Fremen language, "Place of assembly in time of danger."<sup id="cite_ref-Terminology_2-60" class="reference"></sup></a><sup id="cite_ref-Terminology_2-60" class="reference"><a href="http://en.wikipedia.org/wiki/List_of_Dune_terminology#cite_note-Terminology-2"><span>[</span>3<span>]</span></a></sup></p><p>
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<br /><a href="http://www.technovelgy.com/ct/Science-Fiction-News.asp?NewsNum=2530"><sup id="cite_ref-Terminology_2-60" class="reference"></sup></a><sup id="cite_ref-Terminology_2-60" class="reference"><a href="http://en.wikipedia.org/wiki/List_of_Dune_terminology#cite_note-Terminology-2"><span></span></a></sup></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgQMLXipAteb96Hv95wx0LU2kx1w8UjcrOI2NfnzVbIjPkd73FqbD8MmkZtyw27043TC-hkYf4LPpX8z_aGlh0REIgFNDuTgqiXEwpRRdnjY-ge71NqTC012mC505dhPwZi2sZ94yo82Fo/s1600/Sietch-Nevada-by-Matsys-Designs-6.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgQMLXipAteb96Hv95wx0LU2kx1w8UjcrOI2NfnzVbIjPkd73FqbD8MmkZtyw27043TC-hkYf4LPpX8z_aGlh0REIgFNDuTgqiXEwpRRdnjY-ge71NqTC012mC505dhPwZi2sZ94yo82Fo/s320/Sietch-Nevada-by-Matsys-Designs-6.jpg" alt="" id="BLOGGER_PHOTO_ID_5638809843071368690" border="0" /></a></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-91041230681478942062011-08-04T04:18:00.000-07:002011-08-04T04:24:35.500-07:00Leo Petroglyph<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBVXi40Av8ov67lz9-rvAICihcheGAmKVKCRv_j1T_Qhmv23nOs20UHZq_TlznqsnVXDANhcyzXBagyNTyIg0PQY-WIp0nfvS14ip36A-IjP3Llm3yFd_6_-yPzTFEqynHXbkaRwAqXIrF/s1600/1195.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 260px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBVXi40Av8ov67lz9-rvAICihcheGAmKVKCRv_j1T_Qhmv23nOs20UHZq_TlznqsnVXDANhcyzXBagyNTyIg0PQY-WIp0nfvS14ip36A-IjP3Llm3yFd_6_-yPzTFEqynHXbkaRwAqXIrF/s320/1195.jpg" alt="" id="BLOGGER_PHOTO_ID_5636959952733628146" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGIMlZEyPyucrnmwismJyRZxpHAFC9VabMwq76s8ywoUhA0J_L37VEPwKbEoBpl0ZYL6cCNUUFNw7u85q3sLnkjoSfbtLGrID0mNutcd6wzqbiFx1YirrGmIEEtLtVlH_OQiuubpuQErbp/s1600/leo+petroglyph+1.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 224px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGIMlZEyPyucrnmwismJyRZxpHAFC9VabMwq76s8ywoUhA0J_L37VEPwKbEoBpl0ZYL6cCNUUFNw7u85q3sLnkjoSfbtLGrID0mNutcd6wzqbiFx1YirrGmIEEtLtVlH_OQiuubpuQErbp/s320/leo+petroglyph+1.jpg" alt="" id="BLOGGER_PHOTO_ID_5636959463226101314" border="0" /></a>Leo Petroglyph is located in Jackson County near Leo, Ohio. It is actually a series of petroglyphs, or rock carvings, ancient Indians chiseled into an outcropping of sandstone in southeastern Ohio.<div class="left75"> <p>The precise age of these carvings is unknown. Based on the symbolism and the amount of weathering of the generally soft sandstone, they probably are less than one thousand years old and so likely are the work of the Late Prehistoric period Fort Ancient culture, or the early Historic Indians.</p> <p>There are between thirty and forty different designs carved on the rock, including human figures, birds, a snake, a fish, human footprints, and bear paw prints.</p> <p>The most arresting image on the petroglyph panel is a human head with horns or antlers and small bird's feet. The image may represent a shaman, or medicine man, transformed into a supernatural being.</p> <p>David Zeisberger, the Moravian missionary, described symbols painted on trees by Ohio's Delaware Indians as "hieroglyphics" that are "understood by the Indians who know how to read their meaning." Unfortunately, we do know the full meaning of the inscriptions at Leo Petroglyph.</p> <p>Leo Petroglyph is listed on the National Register of Historic Places.</p><p>Found Here: <a href="http://www.ohiohistorycentral.org/entry.php?rec=2751">http://www.ohiohistorycentral.org/entry.php?rec=2751</a></p><p>The <b>Leo Petroglyph</b> is a <a href="http://en.wikipedia.org/wiki/Sandstone" title="Sandstone">sandstone</a> <a href="http://en.wikipedia.org/wiki/Petroglyph" title="Petroglyph">petroglyph</a> containing 37 images of humans and animals as well as footprints of each. The petroglyph is located near the small village of <a href="http://en.wikipedia.org/w/index.php?title=Leo,_Ohio&action=edit&redlink=1" class="new" title="Leo, Ohio (page does not exist)">Leo, Ohio</a> (in <a href="http://en.wikipedia.org/wiki/Jackson_County,_Ohio" title="Jackson County, Ohio">Jackson County, Ohio</a>) and is thought to have been created by the <a href="http://en.wikipedia.org/wiki/Fort_Ancient" title="Fort Ancient">Fort Ancient peoples</a> (possibly AD 1000-1650). The area in which the sandstone petroglyph was found is on the edge of an unglaciated Mississippian sandstone cliff 20–65 feet high. To this day, the meanings of the drawings are unknown. On November 10, 1970, it was added to the <a href="http://en.wikipedia.org/wiki/National_Register_of_Historic_Places" title="National Register of Historic Places">National Register of Historic Places</a>. The site is maintained by the <a href="http://en.wikipedia.org/wiki/Ohio_Historical_Society" title="Ohio Historical Society">Ohio Historical Society</a>.</p><p>Found Here: <a href="http://en.wikipedia.org/wiki/Leo_Petroglyph"> http://en.wikipedia.org/wiki/Leo_Petroglyph</a></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyDDjGMCCiTahSIMuHb9PUnJW56M8IZPJHlIYHNEIvR4GeB1KUBVmMpiis3oD1DLHyk5Nc2jRtBLP7tnL7oO_hluo41YoOhKFPIP1rj5FiRS15KQgCQvxOOhetdBxi_4sD7Bny9HJ7XH2G/s1600/thunderbird+petroglyph.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 242px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyDDjGMCCiTahSIMuHb9PUnJW56M8IZPJHlIYHNEIvR4GeB1KUBVmMpiis3oD1DLHyk5Nc2jRtBLP7tnL7oO_hluo41YoOhKFPIP1rj5FiRS15KQgCQvxOOhetdBxi_4sD7Bny9HJ7XH2G/s320/thunderbird+petroglyph.jpg" alt="" id="BLOGGER_PHOTO_ID_5636959675239353266" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuWsMyC-v0ViSfQCYT9zD44tL-sSCJc6NX7zoBVMuIJbyzOti5IkvTFjMvG8mT5zU3BVH3U99A3s1ZKQdKDMuabS74EqjnmZ19uhvgPoEYB8hLis1jZNlWYqrxzJHtd0BI0BSj82RZ2Jq3/s1600/david-m-dennis-leo-petroglyph-indian-rock-art.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuWsMyC-v0ViSfQCYT9zD44tL-sSCJc6NX7zoBVMuIJbyzOti5IkvTFjMvG8mT5zU3BVH3U99A3s1ZKQdKDMuabS74EqjnmZ19uhvgPoEYB8hLis1jZNlWYqrxzJHtd0BI0BSj82RZ2Jq3/s320/david-m-dennis-leo-petroglyph-indian-rock-art.jpg" alt="" id="BLOGGER_PHOTO_ID_5636959460953192754" border="0" /></a></p> </div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-236687801684703323.post-6967746587436078882011-08-02T23:38:00.000-07:002011-08-02T23:44:27.913-07:00Dogon Circumcision Cave Painting<div style="text-align: left;"><span style="color: rgb(0, 0, 0);font-size:100%;" >In Dogon thought, male and females are thought to be born with both sexual components. The <a href="http://en.wikipedia.org/wiki/Foreskin" title="Foreskin">foreskin</a> is considered female, while the <a href="http://en.wikipedia.org/wiki/Clitoris" title="Clitoris">clitoris</a> is considered to be male.<sup id="cite_ref-8" class="reference"><a href="http://en.wikipedia.org/wiki/Dogon_people#cite_note-8"><span>[</span>9<span>]</span></a></sup> Rites of circumcision thus allow each sex to assume its proper </span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBowsCWm29uR8m_sOFGsNaIfVExFJaBXFnv7UlwwtoT1F11QHEbjVextO337A-la2BMvJnkPDHX47db92-ieGa8o5iZ7wJh4P5-a1K8D7-z83kQPSYir7pcNbxttXUtaNLqFvAVoerOvOn/s1600/Dogon_Circumsion_Cave_Painting.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBowsCWm29uR8m_sOFGsNaIfVExFJaBXFnv7UlwwtoT1F11QHEbjVextO337A-la2BMvJnkPDHX47db92-ieGa8o5iZ7wJh4P5-a1K8D7-z83kQPSYir7pcNbxttXUtaNLqFvAVoerOvOn/s320/Dogon_Circumsion_Cave_Painting.jpg" alt="" id="BLOGGER_PHOTO_ID_5636515617851509842" border="0" /></a></span><span style="color: rgb(0, 0, 0);font-size:100%;" >physical identity. Boys are <a href="http://en.wikipedia.org/wiki/Circumcision" title="Circumcision">circumcised</a> in age groups of three years, counting for example all boys between 9 and 12 years old. This marks the end of their youth, and they are now <a href="http://en.wikipedia.org/wiki/Initiation" title="Initiation">initiated</a>. The <a href="http://en.wikipedia.org/wiki/Blacksmith" title="Blacksmith">blacksmith</a> performs the circumcision. Afterwards, they stay for a few days in a hut separated from the rest of the village people, until the wound has healed. The circumcision is a reason for celebration and the initiated boys go around and receive presents. They make music on a special instrument that is made of a rod of wood and <a href="http://en.wikipedia.org/wiki/Calabash" title="Calabash">calabashes</a> that makes the sound of a <a href="http://en.wikipedia.org/wiki/Rattle_%28percussion%29" title="Rattle (percussion)">rattle</a>. The village of Songho has a circumcision cave ornamented with red and white <a href="http://en.wikipedia.org/wiki/Cave_painting" title="Cave painting">rock paintings</a> of animals and plants. Nearby is a cave where <a href="http://en.wikipedia.org/wiki/Musical_instrument" title="Musical instrument">music instruments</a> are stored. The newly circumcised men must walk around naked for a month after the procedure so that their achievement in age can be admired by the citizens of the tribe. This practice has been passed down for generations and is always followed, even during winter. </span></div><p style="color: rgb(0, 0, 0); text-align: left;"><span style="font-size:100%;">They are one of several African ethnic groups which practice <a href="http://en.wikipedia.org/wiki/Female_genital_cutting" title="Female genital cutting">female genital cutting</a>. According to Sékou Ogobara Dolo, at least in the <a href="http://en.wikipedia.org/wiki/Sanga" title="Sanga">Sangha</a> region, the milder form is practiced. This means that only the clitoral hood is removed, which is similar to male circumcision. The majority of the Dogon women practice a Class 2 circumcision, meaning that both the clitoris and the labia minora are removed. Girls are circumcised around the age of 7 or 8 years, sometimes younger. Circumcision for both male and female is seen as necessary for the individual to gain gender. Before circumcision they are seen as 'neuter'.</span></p><p style="color: rgb(0, 0, 0); text-align: left;"><span style="font-size:100%;">Found Here: <a href="http://en.wikipedia.org/wiki/Dogon_people">http://en.wikipedia.org/wiki/Dogon_people</a></span></p><p style="color: rgb(0, 0, 0); text-align: left;" class="MsoNormal"><span style="font-size:100%;"><strong><span style=";font-family:";" >Dogon social and religious organizations are closely interlinked and out of this arose principal cults, which accounts for the richness and diversity of Dogon culture and art. The clans are subdivided onto lineages, overseen by the patriarch, guardian of the clan’s </span></strong></span><span style="font-size:100%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7fglcYqd_u3EipOehtWyfaugpLpAkJ3HGZ8NjVSewCSRhf3vE-xJWeEKtZ-4xSiIiEIBYGvnWld35_YTgS7cyhNunON6arHdIyXs_fiCgpVBTm2p2sJC1UngyCk2CxWtYl_hexiDbv3q6/s1600/eepa_07527.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 218px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7fglcYqd_u3EipOehtWyfaugpLpAkJ3HGZ8NjVSewCSRhf3vE-xJWeEKtZ-4xSiIiEIBYGvnWld35_YTgS7cyhNunON6arHdIyXs_fiCgpVBTm2p2sJC1UngyCk2CxWtYl_hexiDbv3q6/s320/eepa_07527.jpg" alt="" id="BLOGGER_PHOTO_ID_5636515625269932226" border="0" /></a></span><span style="font-size:100%;"><strong><span style=";font-family:";" >ancestral shrine and officiant at the totemic animal cult. Beside this hierarchical system of consanguinity, male and female associations are entrusted with the initiations that take place by age group, corresponding to groups of newly circumcised or excised boys or girls. The Dogon believe these operations remove the female element from males and vice versa. Circumcision thus creates a wholly male or female person prepared to assume an adult role. The members of an age group owe one another assistance until the day they die. Initiation of boys begins after their circumcision, with the teaching of the myths annotated by drawings and paintings. The young boys will learn the place of humans in nature, society, and the universe. </span><span style=";font-family:";" >In the Dogon pantheon Amma appears as the original creator of all the forces of the universe and of his descendant Lebe, the god of plant rebirth. </span><span style=";font-family:";" >The first Dogon primordial ancestors, called Nommo, were bisexual water gods. They were created in heaven by the creator god Amma and descended from heaven to earth in an ark. The Nommo founded the eight Dogon lineages and introduced weaving, smithing, and agriculture to their human descendants.</span></strong></span></p><p style="color: rgb(0, 0, 0); text-align: left;"><span style="font-size:100%;">Found Here: <a href="http://www.zyama.com/dogon/pics..htm">http://www.zyama.com/dogon/pics..htm</a></span></p><p style="color: rgb(0, 0, 0); text-align: left;"><br /></p><p style="color: rgb(0, 0, 0); text-align: left;"><span style="font-size:100%;"><br /></span></p><p style="color: rgb(0, 0, 0); text-align: left;"><span style="font-size:100%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVbJj_5W5-ttOn1wTe_yq5bTfzcO0yA6kxc9t2tZu5i7lKDJfMLDMjplP426MVOQ53NC_XmUd7pRSQJSrCR_4-11clQYtqDRuV0-woycCxPAFZMdoywkVQX6LkJnIPRaptSQypiwf7q4wt/s1600/songho-dogon-6475.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVbJj_5W5-ttOn1wTe_yq5bTfzcO0yA6kxc9t2tZu5i7lKDJfMLDMjplP426MVOQ53NC_XmUd7pRSQJSrCR_4-11clQYtqDRuV0-woycCxPAFZMdoywkVQX6LkJnIPRaptSQypiwf7q4wt/s320/songho-dogon-6475.jpg" alt="" id="BLOGGER_PHOTO_ID_5636515627667313154" border="0" /></a></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-236687801684703323.post-63915193452383176772011-06-29T11:42:00.000-07:002011-06-29T13:02:26.768-07:00Melencolia I (1514) by Albrecht Dürer<span style="color: rgb(0, 0, 0);font-size:85%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiVv-p6_or4Cz1caObw735YWUhUl6_kvueeFp33XhvDVNV1hbUZTVh2Ro9AhrxmDcHMvqLraoJZacHApZwOvUsUPHAnhUpTSFMjPqzzG3QwY8asR2O7ZGGWVYglTLqhNFmAdF_WCucQMDk/s1600/Melencolia_I_%2528Durero%2529.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 254px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiVv-p6_or4Cz1caObw735YWUhUl6_kvueeFp33XhvDVNV1hbUZTVh2Ro9AhrxmDcHMvqLraoJZacHApZwOvUsUPHAnhUpTSFMjPqzzG3QwY8asR2O7ZGGWVYglTLqhNFmAdF_WCucQMDk/s320/Melencolia_I_%2528Durero%2529.jpg" alt="" id="BLOGGER_PHOTO_ID_5623732534028642578" border="0" /></a></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:85%;" >Conjectures and theories about Dürer’s solid: an overview</span><p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;"><em><span style="color: rgb(128, 0, 0);">(See also <span style="text-decoration: underline;"><a href="http://pavlopoulos.wordpress.com/2009/09/04/a-new-link-between-melencolia-i-and-the-golden-ratio/">“A new link between Melencolia I and the golden ratio”</a></span> and <span style="text-decoration: underline;"><a href="http://pavlopoulos.wordpress.com/2009/08/09/a-melencolia-sequel-tracing-durers-point-of-view/">“A Melencolia sequel: tracing Dürer’s point of view”</a></span>)<br /></span></em></span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;">The copper engraving “Melencolia I” (1514) by the German Renaissance artist Albrecht Dürer (1471 – 1528) remains one of the most enigmatic works in the history of Art. At first view, the composition seems as a jumble of apparently unrelated objects, some of which cannot even be recognized or named. Behind the first layer of perception, that the eye catches immediately, a closer inspection reveals smaller objects, chaotically scattered or even half hidden.</span></p><p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;">The picture is dominated by a sitting angel, presumably feminine but muscular, whose glance is fixed somewhere in the distance. With her right hand she holds a seemingly idle pair of compasses, while with her left hand she supports her head, gloomy faced, as if dried up of inspiration. At her feet, and half hidden underneath her long garment, lay several carpenter’s tools: a plane, a pair of pliers, a saw and some nails. On her right, a putto sits on a round millstone or grindstone, occupied with scribbling something on a small board fixed on his knees, hiding his work from the viewer with his left hand. Remarkably, the millstone seems to have an axle socket slightly off – centered. Diametrically of the angel stands a large geometric solid, which we will refer to as “the Dürer solid” in this essay. Only four faces of the solid can be seen from the viewer’s point of view. In front of the solid, a dog is calmly rolled up before a sphere. In the background of all these stands what seems to be part of a building, two walls meeting seemingly perpendicularly and fixed on them appear a balance, a hourglass and a bell. A magic square is inscribed on the wall facing the viewer: a square arrangement of the numbers 1 to 16 such as the sum of each row, column and diagonal is equal to 34. A ladder leans on the wall behind the structure while far in the horizon, through the only part of the composition which is not crammed with objects, providing thus an unobstructed view, some sea or lake can be seen and even the houses of some village on its shores. A luminous celestial object on the night sky, possibly a comet, sheds light over the landscape, which is covered by a bright arc, resembling a lunar rainbow. And against the sky, over the whole composition of objects, earthly and heavenly, hovers an imaginary bat – like creature, having only two clawed front legs and the tail of a lizard. The creature stretches its body and its wings to reveal, as if tattooed on its own skin, the inscription “Melencolia§I”.</span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;">The conundrum presented by the engraving has been studied extensively in the past by many researchers, and several different interpretations have been offered. Most of these are attempts to guess Dürer’s own intentions, while some could even be described as wild guesses or long shots. Sometimes the interpretations given are not very different from the interpretations of a rather abstract poem: it seems that none of them is more or less “correct” than the others. Dürer has left for us a riddle whose answer is highly susceptible to subjectivity, without leaving any instructions on how this enigmatic work should be read after all. Only a few features of the picture are rather clear, such as the year 1514 appearing in the base row of the magic square. Dürer signed his work AD1514, giving himself the solution to this minor puzzle (note that AD stands for “Anno Domini” and “Albrecht Dürer” at the same time). The inverted 5 of the magic square is generally agreed that represents the month of the year 1514 in which Duerer’s mother died, an event undoubtedly linked to melancholy. It has been suggested that the magic square itself is borrowed from a talisman of the German occultist Heinrich Cornelius Agrippa von Netteshime (1486 – 1535). Cornelius Agrippa intended the talisman, or “Jupiter’s square”, as a shield from the bad influence of planet Saturn, which could cause melancholy (in medieval times, scholars associated Saturn with melancholy, one of the four humors of ancient medicine). This explanation is at least possible and reasonable, and is supported by the fact that Agrippa had visited Nurnberg, Dürer’s city, in 1510. Little else, if anything, about the picture has been resolved satisfactorily, let alone undoubtedly.</span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;">The comet, the bat – like creature, the landscape, the lunar rainbow, the building, the ladder, the scales, the hourglass, the bell, the putto, the millstone, the angel, the tools, the sphere have all been, and still are, subjects of guessing. Even the title of the work, “Melencolia I”, remains largely unresolved, partly due to the misspelled “melancholia” (in latin) and partly due to the mysterious “I”. Of special interest in this essay is the Dürer’s solid, the geometric object dominating the left part of the engraving. The proposed theories or conjectures about the solid can be distinguished in two categories. The first is comprised of theories about the exact geometric nature of the solid. The second collects all theories about the possible message the solid conveys or about what the solid stands for in the general context of “Melencolia I”.</span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;">Examining the first category, these are some of the proposed solutions of the riddle:</span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7e4dctU-QFzhhWHb2jsxnpVJBw8RUT7obTgLKmMUk0v5IvkqZBpWcFCcL5h_FmQyf-2B2u3bMjSnwjFdn_opAOu6oqhCnDCCfDIYN2dvrV-YlXEmm7ljPlslfy9AC3rSn7duxsuxoADDh/s1600/solid.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 300px; height: 303px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7e4dctU-QFzhhWHb2jsxnpVJBw8RUT7obTgLKmMUk0v5IvkqZBpWcFCcL5h_FmQyf-2B2u3bMjSnwjFdn_opAOu6oqhCnDCCfDIYN2dvrV-YlXEmm7ljPlslfy9AC3rSn7duxsuxoADDh/s320/solid.jpg" alt="" id="BLOGGER_PHOTO_ID_5623732853519198674" border="0" /></a><span style="font-size:85%;"><strong><em>1. The truncated rhombohedron hypothesis:</em></strong><em> Most researchers agree that the solid is probably what in Solid Geometry is called a “truncated rhombohedron”. The name of it may seem somewhat repelling, however it is a rather simple solid with six faces, all of which are rhombi. A rhombus is a quadrilateral with all of its sides having the same length (by school Geometry it can be proved that it is also a parallelogram). The rhombohedron is a solid constructed by repeating a rhombus six times and looks like a dice whose angles are not right. A “truncated rhombohedron” is a rhombohedron with its two facing vertices cut off. It must be stressed that the assertion that the </em><em>Dürer </em><em>solid is a truncated rhombohedron is simply a conjecture and is not supported by any of Durer’s writings or by any other data. The only reason leading to a general agreement on the truncated rhombohedron hypothesis is that the </em><em>Dürer</em><em>’s solid simply <strong>looks</strong> like a truncated rhombohedron. </em></span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;"><strong><em>2. The truncated rhombohedron – 72° hypothesis:</em></strong><em> Some researchers have even made a step further, to assume that the angles of each face of the rhombohedron are 72 and 108 degrees (i.e. 1/5 and 3/10 of the full turn). Mathematically, these values are of special importance and link the </em><em>Dürer</em><em>’s solid to the notorious number φ</em><em>, the ancient “golden ratio” or “golden mean”. Indeed, the above angles refer to a special kind of polygon, called a regular convex pentagon, which is a shape with five equal sides and five equal angles (all of them equal to 108 degrees). It can be proved that the chords of such a shape are in golden ratio to its sides. </em></span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;"><strong><em>3. The scaling hypothesis:</em></strong><em> It has also been argued that a vertical compression of the engraving by a factor sqrt(φ</em><em>) turns the picture into a square and the solid into a truncated cube, providing thus another link to the golden ratio.</em></span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;"><strong><em>4. The truncated rhombohedron – 80° hypothesis:</em></strong><em> According to another point of view, resulting from measurements based on quantitative assumptions, the angle of the rhombohedron is approximately 80 degrees, which by mathematical standards is a rather humble number with no miraculous properties as the ones mentioned above. </em></span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;"><strong><em>5. The heptagon hypothesis:</em></strong><em> Despite the apparent humbleness of the number 80 mentioned above, it has been observed that it is suspiciously close to the number 77,2, which would be the value of an angle of the irregular pentagon produced if five of the seven vertices of a regular convex heptagon were joined. </em></span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;"><strong><em>6. The truncated rhombohedron – circumscribed sphere hypothesis:</em></strong><em> According to this theory, </em><em>Dürer</em><em> observed that while six of his rhombohedron vertices lie on the same sphere, the other two, those at the bottom and the top, stick out of it. In order to make his solid beautiful, the artist cut of the two protruding vertices in a way that the resulting truncated solid is circumscribed in a sphere. The theory is supported by the familiarity of the artist to the so called “plan and elevation” method, i.e. the using of projections of solids on planes, which would have been of great assistance in the process of the truncation.</em></span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;"><strong><em>7. The rectangular slab hypothesis:</em></strong><em> Apart from the rhombohedron conjecture, the </em><em>Dürer</em><em>’s solid has also been viewed as a nearly rectangular slab, or parallelepiped (a matchbox), with two opposite corners cut off. </em></span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD65GdII_GIyvC9GRO9OZ7XZSIoyV-EuihIbn03HEvxWrao701D4EJv2tMHKGOPMxz1ByjbGdB87VT8A1RyX4z6b6a4MS9-IYlcZ8eOpBXeVxfa6qYq48MwtahN3ktMq_j3AGwkIER9c2o/s1600/Melencolia_I.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 180px; height: 187px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD65GdII_GIyvC9GRO9OZ7XZSIoyV-EuihIbn03HEvxWrao701D4EJv2tMHKGOPMxz1ByjbGdB87VT8A1RyX4z6b6a4MS9-IYlcZ8eOpBXeVxfa6qYq48MwtahN3ktMq_j3AGwkIER9c2o/s320/Melencolia_I.jpg" alt="" id="BLOGGER_PHOTO_ID_5623733590270438754" border="0" /></a><span style="font-size:85%;"><strong><em>8. The ambivalence hypothesis:</em></strong><em> This can be summarized in physicist David Finkelstein’s phrase “I propose that </em><em>Dürer</em><em> designed the Octahedron [meaning the solid] to be ambivalent, irresistibly construed as a truncated rhomboid in one orientation, as a truncated slab in another, and as something else from yet another”. </em></span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;">Number 1 of the above hypotheses may be traced to Erwin Panofsky (“The Life and Art of Albrecht Dürer”, 1943), a standard reference on Dürer. Numbers 2 and 6 have been proposed by Peter Schreiber (Historia Mathematica 26, 1999, 369 – 377). Numbers 5 and 7 are found in works by David Finkelstein, who attributes number 7 to personal communication with Dr. Basimah Khulusi, apparently a medical doctor. Number 4 has been proposed by C. MacGillavry (Mac Gillavry C., Nederl. Akad. Wetenschap. Proc. Series B 84, 1981, 287).</span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;">A number of explanations have been proposed about some meaning conveyed by the solid, or why Dürer included it in “Melencolia I”, putting it in such a prominent position. Some of these are:</span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;"><strong><em>1. The philosopher’s stone hypothesis: </em></strong><em>According to a point of view, the </em><em>Dürer</em><em>’s solid is a symbol, or image, of the medieval philosopher’s stone or the “stone of Saturn” (this is the same stone that, in ancient Greek mythology, Saturn swallowed instead of Jupiter). Such alchemic positions can be found in </em><a href="http://www.alchemylab.com/"><em>www.alchemylab.com</em></a><em>. </em></span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;"><strong><em>2. The star of David hypothesis:</em></strong><em> David Finkelstein sees a Jewish star (a hexagram) of David on the projection of the solid on the ground. In his opinion the “circumcised rhomboid” is a sign of Hebraicism from </em><em>Dürer</em><em>’s part.</em></span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;"><strong><em>3. The human skull hypothesis:</em></strong><em> Many see a rather deformed human skull in the strange stain on the front face of the </em><em>Dürer</em><em>’s solid, with unclear meaning.</em></span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;"><strong><em>4. The four ghosts (or hidden faces) hypothesis:</em></strong><em> David Finkelstein again noticed in 2004 that “anyone who steps back several paces from a good print and focuses on the shading of the front face of the polyhedron patiently for a minute or so, will soon find or construct a face” which, by some sort of Necker’s cube illusion, could be at the same time either a man’s or a woman’s face. After mentioning that these faces may represent </em><em>Dürer</em><em>’s mother and father, Finkelstein denotes that “I am less certain of a third hidden face”. By 2008 Finkelstein had discovered two more faces on the solid which he claims first to have inferred and then found. His overall theory about “Melencolia I” is a medley of subliminal images, gematria, rebuses and anagrams, to arrive, as far as the solid is concerned, to the conclusion that it is a puzzle “unsolvable in principle but appears to solve itself in some views. It declares that the Intellectual World may have a mathematical design but, if so, that design is inaccessible to us”.</em></span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;">I must say that some of the above theories and explanations seem to be, to me at least, too farfetched and perhaps many of them did not cross Dürer’s mind, not even as a distant possibility. It must be taken into account that Dürer was an artist of the Renaissance era and, a genius as he might be and a master of the burin, his capabilities were certainly within the boundaries of human ability. It is rather doubtful whether, apart from some basic principles of perspective, Dürer could have rendered his solid with such precision and mastery to deliberately create such a subtle illusion as the <em>ambivalence hypothesis</em> requires. As pointed out in a previous essay (<em>Albrecht Dürer’s eyer lini</em>), the bell of the upper right corner of the picture is after all inaccurately drawn. The <em>72 degrees hypothesis</em> is plausible and rather tempting to adopt, however there is nothing specific in the engraving to support it. I have more respect to the <em>80 degree hypothesis</em>, as it is the result of a <em>calculation </em>with data taken directly from the picture, be it so under certain assumptions. The <em>scaling hypothesis</em> is simply wrong: it takes some imagination to link the dimensions of the picture to number φ, and the solid does not look like a cube under the scaling by a factor sqrt(φ). The <em>circumscribed sphere hypothesis</em> is the only one providing a reasonable explanation of why and how Dürer arrived to his solid. The <em>heptagon hypothesis</em> is supported by a newly found sketch of Dürer, showing an irregular pentagon inscribed in a circle with an apex angle approximately equal to 80 degrees (Weitzel, Hans. A further hypothesis on the polyhedron of A. Dürer, <em>Historia Mathematica</em> <strong>31</strong> ,2004, 11). If this is accepted as a rough sketch of the solid, then MacGivallry’s result is confirmed. The<em> rectangular slab hypothesis</em> is plausible but unsupported.</span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;">I have several times ventured to discover for myself the ghosts that allegedly haunt Dürer’s solid and I have indeed found several figures that might be taken for human faces. I have also found other figures that might be taken for the head of a rat, the head of an alien and the head of a lamb. It seems to me that there might be still other such figures that remain undetected, which however are of not very different nature than the face on Mars.</span></p> <p style="text-align: justify; color: rgb(0, 0, 0);"><span style="font-size:85%;">Instead of trying to explore Dürer’s mind, by sometimes wild guesswork, in order to understand what he <em>could possibly</em> <em>have intended</em> to depict with this enigmatic solid of his, I find much more interesting the problem of understanding what he actually <em>did</em> depict. And the only way to achieve this, in my opinion, is to build up solid arguments based on direct measurements and calculations.</span></p>Unknownnoreply@blogger.com1