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Novice Shaman, Mongolia ~ Бөөгийн хонхорын тахилга Shaman Byambadorj

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Novice Shaman, Mongolia

Photograph by Carolyn Drake, National Geographic

This Month in Photo of the Day: National Geographic Magazine Features

A novice shaman makes an offering of milk to the spirits at her initiation outside the Mongolian capital of Ulaanbaatar.

See more pictures from the December 2012 feature story “Masters of Ecstasy.”

See pictures of Ulaanbaatar »

 
 

 


Religious Music Heritage Revived by Nafahat Band

DAMASCUS, (SANA)- Nafahat (Whiffs) band is continuing its artistic program on al-Hamra Theater stage presenting various shows performed mainly to Andalusian and folklore music.

The band’s program, which kicked off last Wednesday in cooperation with Tahlileh Establishment, has so far included solos, oriental popular and folkloric performances and singing, poetry and dance shows of various styles including the Sufi.

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Director of Tahlileh Establishment, Hisham al-Khatib, said the idea of the shows presented by Tafahat band is  reviving the religious and recital music heritage and introducing the young generations to the beautiful artistic works of the forefathers.

Founded in 2008 under the supervision of Tahlileh Establishment, Nafahat band includes 55 singers and musicians. The band is specialized in religious recitation, Andalusian music and al-Samah dance, a Syrian traditional dance in which male dancers twirl with their outfits throughout the song.

H. Said

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Aleppo – Architecture and History

“The city is as old as eternity, but still young, and it has never ceased to exist. Its days and nights have been long; it has survived its rulers and commoners. These are its houses and dwellings, but where are their former residents and the people who visited them? These are its palaces and chambers of court, but where are the Hamdanid princes and their poets? They have all passed away, but the city is still here. City of wonders! It endures. Its kings fall; they disappear, but its destruction has not been ordered”.

Great Mosque of Aleppo, early 8th century, view of the courtyard and minaret The Great Mosque is still the most important religious site in the city. It was founded in the early 8th century, probably by Sulaiman ibn Abd al-Malik shortly after the Muslim conquest of Aleppo. Its slim, square minaret, which was built in 1094 during the reign of the Seljuk prince,Tutush, on the orders of the judge Abu l-Hasan Ibn al-Khashshab, is one of the architectural gems of northern Syria. This six-story structure is divided by Kufic and naskhi inscriptions, and "classicizing'architectural details, such as continuous moldings, pilasters, and elaborate trefoil and polyfoil arches. The architect of this minaret was Hasan ibn Mufarraj al-Sarmini, who was also responsible for the minaret at Maarrat al-Numan.

Like most introductions to the history of Aleppo, the description of the city by the Andalusian traveler Ibn Jubair, who visited Aleppo in 1184, begins with a reference to its great age. It is said, he writes, that Abraham passed through Aleppo on his way from Ur to the Holy Land, milked his cows on the mound that is now crowned by the Citadel, and distributed the milk as alms. Legend has it that Aleppo’s name goes back to the patriarch’s visit. In Arabic, the city is known as Halab, which is interpreted popularly as being derived from the word halib (milk). Many holy sites in the city are associated with Abraham’s visit, including the small mosque on the Citadel, where the rock on which he supposedly sat was preserved for many years.

Historical and archeological records also point to a long tradition of settlements on this site, and there can be no doubt that Aleppo has profited from its advantageous geographical location. The city lies on a small river, the Quwaik, in a fertile valley on the western edge of the plains of northern Syria, about halfway between the Euphrates and the Mediterranean. The river guaranteed basic water supplies, while the easily defended rocky mound to the east of the river offered protection from hostile incursions. The site’s closeness to the northern plains of Syrian and the fertile hinterland were favorable conditions for a city that has thrived for thousands of years on the interaction between city dwellers, farmers, and nomads. Aleppo’s most prosperous periods coincided with the development of trade routes extending beyond the immediate region to the Mediterranean or Mesopotamia. The city has repeatedly shown itself to be an important commercial center, provided that political conditions were favorable and allowed it to be integrated into long-distance trading networks.

The pre-lslamic period

Our knowledge of ancient Aleppo comes mainly from cuneiform texts that prove the existence of the city dates back to 2000 years B.C. Even at this early stage the city bore the name by which it is still known in Arabic: Halab. Aleppo flourished politically and economically during the 18th century B.C. as the capital of the kingdom of Yamkhad, which during its height extended from northern Mesopotamia to the Mediterranean. This magnificent period ended with the Hittite invasion. From this time on the city was a center of only local importance. It was, however, prominent as the site of a temple to the Hittite weather god Teshub, which must have played a significant role across the region until the 1st millennium B.C. The remains of this extraordinarily large religious site are currently being excavated on the Citadel mound. This is the first major archaeological investigation carried out in Aleppo itself and findings have suggested that the mound was used as the acropolis of the ancient settlement.

Aleppo was refounded by Seleucus Nicator between 301 and 281 B.C. under the name Beroia. It is still possible to trace the grid system of the ancient city, with its regular blocks of houses, in the modern pattern of streets in the souk. Later, Aleppo came to be ruled by the Romans, and then the Byzantines, under whose rule it was once again known as Halab. In 540, the city was attacked by the Sassanian king Khusrau I, and all its buildings razed to the ground, including the Citadel. Emperor Justinian (518-565) had the city walls rebuilt during a period of peace between the Persians and the Byzantines. He also built a cathedral, the remains of which can still be viewed today in the Madrasa al-Hallawiya.

Islamic Aleppo

Aleppo’s capture by Muslim troops in 636, under the command of the Umayyad general Khalid ibn al-Walid, was an event with far-reaching consequences for the city. The first mosque was built in the west of Aleppo, where it was easily accessible to the Arab troops who had set up camp outside the Bab Antakiya, one of the gates to the city. The Great Mosque, which still serves as Aleppo’s main place of worship, was founded about 80 years later, probably by the Umayyad caliph Sulaiman (715-717). If we are to believe the medieval historians, it was built in the former garden of the Byzantine cathedral. Sulaiman evidently wanted this building to rival the Umayyad mosque built by his brother Walid in his new capital Damascus. According to the historian Ibn al-Adim, the mosque was decorated with marble and mosaics, which were probably destroyed when the Byzantine emperor Nicephorus Phocas sacked the city in 962. There is now little about the Great Mosque to suggest comparisons with its precursor in Damascus, except its layout as a rectangular mosque with a three-aisle prayer hall (haram) and a courtyard surrounded by arcades (riwaq). The direction of prayer towards Mecca (qibla) is emphasized by a nave leading to the mihrab.It is wider than the aisles and is given additional prominence by the dome in front of the prayer niche. In 750, Aleppo came under the rule of the Abbasid caliphs, who consciously shifted the region’s political center to the east with the founding of their new capital Baghdad. Aleppo – no longer a medium-sized provincial city – now found itself on the border between Mesopotamia and Egypt. Indeed, it was ruled from Egypt for a while by the Tulinids (877) and the Ikhshids (936-37).

Ground plan of the Great Mosque of Aleppo The Great Mosque of Aleppo has been rebuilt and renovated many times over the centuries, and only its basic layout still goes back to the early Islamic period. With its rectangular courtyard, which has a three-aisle prayer hall on the southern side and is surrounded by arcades, it is based on the Umayyad mosque in Damascus. The Zangid ruler Nur al-Din restored the mosque in 1174 after a fire and extended it to the southeast.Ground plan of the Great Mosque of Aleppo. The Great Mosque of Aleppo has been rebuilt and renovated many times over the centuries, and only its basic layout still goes back to the early Islamic period. With its rectangular courtyard, which has a three-aisle prayer hall on the southern side and is surrounded by arcades, it is based on the Umayyad mosque in Damascus. The Zangid ruler Nur al-Din restored the mosque in 1174 after a fire and extended it to the southeast.

Aleppo enjoyed a cultural revival thanks to the Hamdanid prince Saif al-Daula, who conquered the city in 944 and made it the capital of his empire. Saif al-Daula has been recorded in history as a great patron of literature. It was his magnificent court for which the writer Ibn Jubair mourned in the passage quoted above, and it has been celebrated in verse throughout the Islamic world. The greatest poets of the age, such as al-Mutanabbi and Abu Firas al-Hamdani, met there. The flowering of culture that took place under the Hamdanids ended suddenly in 962 with the conquest and destruction of the city by the Byzantines. The looting was so systematic that nothing has remained of Hamdanid architecture, not even Saif al-Daula’s famous palace by the river. The city suffered further years of unrest as a result of constant attacks by the Byzantines and regular raids by Bedouin tribes. For a time, Aleppo was controlled by the Egyptian Fatimids but then came under the rule of two nomadic Arab dynasties, the Mirdasids and the Uqailids. It is said that the Mirdasids converted the two churches they found on the Citadel mound into mosques.

For the next two centuries the city’s fortunes were dominated completely by the conflict with the Crusaders. As an important staging post on the land route to Jerusalem, Aleppo was attacked by the Franks not long after they took Antioch (in 1100 and 1103). They succeeded in forcing the Seljuk prince, Ridwan ibn Taj al-Daula Tutush, to pay tribute to them, and it was probably only thanks to the committed judge Abu 1-Hasan Ibn al-Khashshab that Aleppo was not taken by the Crusaders. The judge took the administration of the city into his own hands and entreated Atabeg Aksunqur al-Bursuqi to become its new ruler, a step taken with the full support of the population. Bursuqi’s famous descendants, Imad al-Din Zangi and Nur al-Din, were to build the city up into one of the most important military bases in the struggle against the Crusaders. After a heavy attack by the Crusaders, Ibn al-Khashshab ordered four of the Christian churches in the city to be converted into mosques, including the Cathedral, which was situated next to the Great Mosque.


Imad al-Din Zangi (1127-1146) and his son, Nur al-Din (1146-1173), were both feared generals and determined politicians who enthusiastically propagated ideas about Holy War (jihad) and the unification of the Islamic world among the Muslim population. For the first time in many years, Nur al-Din succeeded in bringing Damascus and Aleppo together under one ruler. Like Damascus, Aleppo was also refortified under his reign. He had the city walls, the Citadel, and aqueducts repaired. He also rebuilt the markets and renovated the Great Mosque, which had suffered heavy damage following a fire.

Nur al-Din believed that the Muslim world should be unified under the banner of Sunni Islam, and promoted himself as its zealous champion. Following the example of the Seljuks, he founded a large number of new legal schools (madrasas), which were intended to counter the Shiite influence on the urban population in Syria. The remains of the Madrasa al-Muqaddamiya, the Madrasa al-Shuaibiya, and the Madrasa al-Hallawiya can still be seen in Aleppo. The Madrasa al-Hallawiya is a former cathedral converted into a mosque. This was an example of the care with which Nur al-Din selected sites for the legal schools he built: there can be no doubt that the foundation of a madrasa on this site was intended to demonstrate the triumph of Islam over Christianity. The establishment of the Madrasa al-Shuaibiya, on the site of the first mosque in Aleppo at Bab Antakiya, was also highly symbolic, because this mosque was associated more than any other with the capture of the city by the Muslims.

Nur al-Din also gave orders for several monastic institutions (khanqas) to be founded. These were places where Islamic mystics (Sufis) lived, taught, and held religious ceremonies. This mystical movement had become influential in Syria under the Zangids, and Nur al-Din himself supported work at several popular places of pilgrimage. For example, he built a new mosque over the site where Abraham milked his cows. This mosque was equipped with a beautiful wooden mihrab, which unfortunately, has been lost during the intervening centuries.

The Ayyubid Golden Age

In 1183, Aleppo was conquered by the legendary Ayyubid ruler Saladin, who installed first his brother, al-Adil, then his son, al-Malik al-Zahir Ghazi, as regents. Ghazi’s descendants ruled the city until 1260 and were to have a lasting influence there. Ghazi had Aleppo refortified, a large project, much of which had to be completed by his successors. The focus of his work on the defenses was the Citadel, which he had strengthened into one of the most powerful fortresses in the medieval Islamic world. He reinforced the ramparts, regraded the sides of the mound, and had them revetted with stone. The moat round the Citadel was deepened, filled with water, and spanned with a multiple-arch bridge. Visitors still have to cross this bridge to reach the Citadel’s entrance, a massive barbican that leads into the center of the fortress through a “bent” passage that turns five times and is protected by three heavy iron gates.

Ramparts of the Aleppo Citadel.Ramparts of the Aleppo Citadel. Little of the original Ayyubid masonry has survived in the towers and curtain walls making up the defenses of the Aleppo Citadel, particularly as large parts of the fortress had to be reconstructed after the city was sacked by the Mongols in 1260 and by Timur’s troops in 1400. A major program of construction work began under Sultan Qalawun and was completed under Sultan Ashraf Khalil. After the destruction inflicted by Timur, the governor Jakam min Iwad made great efforts to rebuild the Citadel. A huge amount of renovation work was also done under the last Mamluk sultan, al-Ghauri, who tried – unsuccessfully – to prepare the Citadel to repel the Ottoman troops.

The work executed by Ghazi is fully documented in Arabic sources. Thus we know that in the Citadel he built a large water reservoir, an arsenal, a grain store, and a deep well (satura), which was probably intended to function as a secret escape route to the city. The Citadel, however, was not just a military garrison; it was also the ruler’s residence, with several palaces, bathhouses and gardens. One of the palaces, a complex with several courtyards, has been excavated. Its center was a main courtyard surrounded by four iwans (vaulted halls open on one side) with an octagonal fountain in the middle. The courtyard was paved with marble slabs, and an ornamental pool with water running over a small weir (shadirwan) was built in the niche of the northern iwan. This palace was probably the much-vaunted Palace of Glory (dar al-izz), which burnt down on Ghazi’s wedding night. Ghazi also renovated the small Mosque of Abraham in the Citadel and built a second mosque further up the hill with a square minaret that can supposedly be seen from throughout the whole city.

In many respects, Ghazi was continuing the work started by Nur al-Din. Like his predecessor, he had a new courthouse built to the south of the Citadel, from which it could be reached via a secret covered passage. Not only that, he also invested heavily in the foundation of Sunni legal schools, which he considered an important tool in the campaign against the Shiites. Like Nur al-Din, Ghazi also supported the various sites ol pilgrimage in Aleppo.

Archivolt over the first gateway of the Aleppo Citadel. Archivolt over the first gateway of the Aleppo Citadel. The three huge Ayyubid gateways to the Citadel are decorated with figurative reliefs to which were attributed the power to ward off misfortune. The archivolt over the first gateway shows two double-headed winged dragons with gaping jaws and entwined serpent bodies – a motif traditionally used in the art of the Anatolian Seljuks and Artuqids, who decorated many citadels, city walls, and caravanserais with similar figurative images.

The sultan was not the only person to encourage architecture on a grand scale. Other patrons included state officials, such as Ghazi’s closest adviser, Tughril Beg, who completed the Madrasa al-Sultaniya, which had originally been commissioned by the sultan, and patrician families living in Aleppo.

For example, the al-Agami family founded three schools in the city. Parts of their palace have survived, including a courtyard with an octagonal fountain surrounded by four iwans. Ghazi’s wife, Daifa Khatun, was also an important patron. She was responsible for the most famous legal school in Aleppo, the Madrasa al-Firdaus (School of Paradise). This madrasa, which was used simultaneously as a mosque, mausoleum, and Sufi monastery, is laid out around a courtyard with an octagonal fountain flanked on three sides by arcades. On the northern side there is a wide iwan, behind which the living quarters of the students are located. A mosque roofed with three domes is found on the southern side of the courtyard and is flanked by mausoleums to the east and west. In addition to this, Daifa Khatun founded a Sufi monastery that can probably be identified as the Khanqah al-Farafra. This building is also laid out around a courtyard with an octagonal fountain, and houses a mosque, an iwan, and monks’ cells arranged on two floors.

Ayyubid architecture has survived comparatively well in Aleppo, including some wonderful buildings constructed with regular blocks of finely dressed stone. Since they are largely unadorned, the appearance of these buildings is determined by the quality of the stone. Usually, the only decoration is a richly ornamented muqarnas portal marking the entrance. The heart of the building, whatever its function, is always a courtyard with an ornamental fountain. The courtyard may be surrounded by one or more iwans, or by arcades with rooms opening out behind them. In religious complexes, the mosque, with its dome over the mihrab bay, is located on the southern side of the courtyard. The four -iwan layout was evidently preferred for palaces, but there was no set pattern for Aleppo’s legal schools.

View of the upper and lower mosques in the Aleppo Citadel.View of the upper and lower mosques in the Aleppo Citadel. Under the Zangids and Ayyubids the Citadel was more than just a heavily fortified military base, it was also used by Aleppo’s rulers as their residence and had several palaces, gardens, and bathhouses. The two mosques on the Citadel were originally churches, but were converted under the Mirdasids in the 11th century. The lower mosque, which is associated with the patriarch Abraham, is regarded as the most important shrine in the city.The upper mosque’s slim, square minaret was built by Ghazi and is modeled on that of the Great Mosque. It was probably used as a lookout post – in good weather the view from the Citadel extends 130 km north to the Taurus Mountains and eastward to the hills around the river Euphrates.

One of the most characteristic elements of Ayyubid architectural ornamentation is the stone muqarnas, also known as stalactite or honeycomb decoration. This feature dominates the portals found in Aleppo – most of which have shell-shaped vaults — and was also used on squinches. A muqarnas dome has survived in the Madrasa al-Sharafiya. Another typical feature is the use of different types of stone in the same structure. Attractive horizontal stripes were created by laying courses of stone of contrasting colors (the ablaq technique). The ornamental motifs later applied on a monumental scale under the Mamluks and Ottomans also appeared for the first time during the Ayyubid period, and were used to decorate portals and other features. The most perfect examples are the designs that decorate the mihrabsof Aleppo’s mosques with their artfully curved and intertwined knot patterns.

Aleppo’s cultural life flourished under the rule of the Zangids and the Ayyubids. At the same time, the conflict with the Crusaders had very positive consequences for the city. The lively trading relations established with the Crusader states of the Levantine littoral were a profitable source of income, and the first commercial treaties were concluded with the Venetians in 1207/08. Goods were also exchanged with North Africa and Spain. In addition to this, the city was an important center of artisanal production. Aleppo was famous for its textiles, excellent enameled glass, exquisite ceramics, and, of course, for its metalwork. High-quality woodwork had also been produced in Aleppo since the Zangid period. One of the most brilliant examples of the craft was the minbar ordered by Nur al-Din for the Aqsa Mosque in Jerusalem (now destroyed). It was made in Aleppo by members of the Ibn Maali family, a family of woodcarvers who were also responsible for the mihrab in the Mosque of Abraham on the Citadel, another treasure that has since been lost. The mihrab in the Madrasa al-Hallawiya, which was made in 1245 and is still in place, is a late Ayyubid masterpiece.

The last Ayyubid ruler of Aleppo, al-Nasir Yusuf II (1250—1260), managed to unite Damascus and Aleppo under a single regime, the last time that this happened. However, when the Mongol armies attacked Syria in 1260, Aleppo and Damascus were both captured and sacked. Al-Nasir Yusuf II was taken prisoner by the Mongols, carried off to Tabriz, and subsequently, murdered there.

The Mamluk period

Ground plan of the Madrasa al-Firdaus in AleppoGround plan of the Madrasa al-Firdaus in Aleppo, 1235-1241 The Madrasa al-Firdaus combines a legal school as well as mausoleums, and monastery in one complex. The courtyard measures approximately 55 x 45 m, with a tripledomed mosque flanked by two mausoleums on its southern side.The halls along the eastern and western sides were probably used for teaching and meetings. Passages lead through past the iwan on the northern side to separate residential wings. There was originally a garden in the north of the madrasa with a second iwan opening off it. Access to the complex was through a narrow corridor from the east.

Aleppo came under the rule of the Mamluks and now lay on the northern edge of their empire, which was governed from Cairo. At first, the reconstruction of the city was neglected. Sultan Baibars (1260—1277) merely financed the restoration of two sites of pilgrimage in the west of the city. Only under Sultan Qalawun (1279-1290) was the city rebuilt again. He entrusted his governor, Qarasunqur, with the repair of the Citadel. This work was completed under his son, Sultan Ashraf Khalil (1290-1293), as is recorded by a monumental band of inscription over the entrance. When the Great Mosque was restored, the original flat roof was replaced with cross-vaults on pillars, a feature that shows the buildings links with the architecture of the Crusaders. The use of cross-vaulted halls supported on pillars is typical of many later religious buildings. The Mosque of Governor Altinbugha al-Salihi (1318-1319) is also modeled on the Great Mosque. It was the second Friday (congregational) mosque in Aleppo and was built outside the city walls in the southeast of the city, an indication of the increasing importance of this district.

It only becomes possible to trace a real revival in the city’s fortunes, however, in the second half of the 14th century. The traveler Ibn Battuta, who visited Aleppo in 1355, was impressed by the city and praised its bazaar, which was covered with wooden roofing. The records show that there was increased building activity in Aleppo during this period. The best-preserved buildings in the city include the Maristan of Governor Arghun al-Kamili, a palace converted into a hospital, which was founded in 1354/55. It had a large main courtyard and several small courtyards with fountains, each one laid out differently. Another building from this period is the Mosque of Governor Mankalibugha al-Shamsi, which commemorates his victory over the Crusaders near Ayas. This mosque also largely follows the pattern set by the Great Mosque.

In general, the buildings of this period show a strong relationship to Ayyubid architecture. The direct predecessor of the main courtyard of the maristan, with its iwan and arcades, was the Ayyubid Madrasa al-Kamiliya, while the mihrab of the Mankalibugha ash-Shamsi Mosque, with its polychrome knot design, is based on the mihrab at the Madrasa al-Firdaus. The rectangular stone reliefs with interlaced patterns that became popular in the late 14th century are also quotations from Ayyubid ornamental masonry. They are features of the Maristan (Hospital) of Argun al-Kamili and the Mosque of Mankalibugha al-Shamsi. By contrast, another building, the Madrasa of Ishiqtimur al-Maridani, dating from 1371/72, shows foreign influences. Its facade is divided by recessed windows, a feature of the new architecture of the imperial capital Cairo.

Courtyard of the Madrasa al-Firdaus in Aleppo, 1235-1241.Courtyard of the Madrasa al-Firdaus in Aleppo, 1235-1241. The Madrasa al-Firdaus (School of Paradise) was founded by Daifa Khatun, the widow of the Ayyubid Sultan al-Malik al-Zahir Ghazi. It is probably the most beautiful Ayyubid building to have survived in Aleppo. The rectangular courtyard of this elegant complex is flanked on three sides by arcades. Their slim marble columns are crowned with a variety of muqarnas capitals. A wide iwan opens out off the northern side of the courtyard. The octagonal pool with cloverleaf inner walls in the middle of the courtyard is typical.

Mihrab of the Khanqah al-Farafra, 1237/38.Mihrab of the Khanqah al-Farafra, 1237/38. The mihrab of the al-Farafra Sufi convent is one of Aleppo’s simpler Ayyubid prayer niches. It is flanked by columns with foliate capitals and framed with a simple interlaced pattern. Like the Madrasa al-Firdaus, the convent is believed to have been founded by Daifa Khatun, the widow of the Ayyubid ruler al-Malik al-Zahir Ghazi. It has an almost square courtyard with cells on the eastern and western sides and an iwan on the northern side.

This brief boom was rudely interrupted by Timur’s troops. The Central Asian army took the city in 1400 and plundered it for three whole days. This was the period of the greatest instability for the Mamluk empire. Additional challenges threatened in the form of natural catastrophes: Aleppo suffered an earthquake in 1403, and there was a severe famine in 1422, followed by an epidemic. However, the city was rebuilt again immediately on account of its strategically important situation on the northern borders of the empire. Its entire defenses were repaired, and the city walls were extended to the east. At the same time, there was a revival of religious building in the shape of a great program of construction, for which additional craftsmen were summoned to Aleppo. One of the first buildings completed was the Utrush Mosque (1410) to the south of the Citadel. This had been begun before Timur’s attack and replaced the Altinbugha al-Salihi Mosque as the governor’s Friday mosque.

In the meantime, the conflict between the Timurids and the increasingly assertive Ottoman Empire was having positive consequences for Aleppo. The trading routes between Europe and Iran, through Asia Minor, were interrupted, and a great deal of traffic moved to the south. Aleppo was now able to attract the profitable silk trade between Persia and the Italian city-states. The importance of this business to the city is shown by the fact that the most significant buildings erected in Aleppo during the 15th century were caravanserais. There were originally at least seven, but only four have survived. Most of these two-story complexes covered greater areas than the city’s religious buildings.

Mihrab of the Madrasa al-Firdaus in Aleppo.Mihrab of the Madrasa al-Firdaus in Aleppo. This magnificent mihrab is constructed of marble of various colors and forms, a point of contrast in an otherwise sober building. The interlaced patterns framing the semicircular prayer niche, which is also flanked by slim columns, are particularly lavish.This mihrab is the most perfect example among a number of Ayyubid prayer niches, mostly in Aleppo, that are decorated with the complex, polychrome, interlaced patterns that were particularly influential on Mamluk decorative architecture.

Even if Aleppo profited economically from its proximity to the Ottomans, the expanding empire to the north also represented a threat to the Mamluks, and the large amount of work done on the fortifications shows how seriously this danger was taken. Sultan al-Ashraf Qaitbai (1468-1496) had a great deal of renovation work carried out on the Citadel and the city defenses, and part of the eastern wall was repaired under his son, al-Nasir Muhammad (1496-1498). The most extensive fortification measures were ordered by the last sultan, Qansuh al-Ghauri (1501—1516). He had the Citadel completely rebuilt and strengthened with two massive towers in the north and south. Much repair work was done on the city walls, and the city’s northern gate, Bab al-Hadid, was completely rebuilt.

The Ottoman period

The measures taken by the sultan to fortify the city were not enough to prevent its capture by the Ottomans, who were welcomed warmly by the population. It now became possible for Aleppo to be integrated into the large empire’s trading network, and the city was soon able to exploit its favorable geographical situation between the Mediterranean and the Euphrates. In the 16th and 17th centuries Aleppo developed into one of the most prosperous international trading centers in the Middle East. Raw silk from Persia, spices, pepper, indigo, coffee, and other luxury goods were traded there. The range of goods on offer attracted merchants from throughout the world, including the great mercantile nations of Europe, which were allowed to establish trade legations with the permission of the sultan. The magnificence of the city is described in detail in the accounts written by Ottoman and European travelers. There was much admiration for the souks, in which an abundance of goods was to be found, but there are also descriptions of other buildings, such as mosques, madrasas, bathhouses, private residences, and the newly-introduced coffee houses, which were very popular.

Khusrau Pasha's Mosque Complex, 1537/38-1546.Khusrau Pasha’s Mosque Complex, 1537/38-1546. This complex of buildings, which includes a mosque and a madrasa, was built for the Ottoman governor Khusrau Pasha in the southwest of the Citadel. It was designed by the famous Ottoman court architect, Sinan.The central building is made up of a square prayer hall with a squinch dome raised above it and a wide hall at the front. It stands in the Ottoman architectural tradition and therefore represents a contrast to mosques built at the same time in Damascus and Cairo, which are much more deeply indebted to the Mamluk legacy.

Altinbugha Mosque in Aleppo, 1318-1323.Altinbugha Mosque in Aleppo, 1318-1323. The mosque of the Mamluk governor Altinbugha al-Salihi was the first Friday mosque built in addition to the Great Mosque. The almost square layout of the Altinbugha Mosque, with its vaulted aisles, was copied from the Great Mosque as it was rebuilt in 1285, when its arcades were replaced with cross-vaults supported on pillars.The octagonal minaret rises from a square base, has a slim shaft divided into three tiers, and is regarded as the earliest example of its type.

In fact, most of the monuments in Aleppo that have survived to the present date from the Ottoman period, including the residential houses built of grayish stone, still dominate the appearance of the Old City. These rich courtyard houses were always built with an iwan and a qa’a, a domed reception room that was usually paneled with wood. Above all, however, the caravanserais testify to the city’s thriving commercial life. One of the most impressive of these complexes is the Khan al-Gumruk, which was built in 1574. During the 17th century it housed the customs authorities, the money changers, the commercial court, and the English, French, and Dutch consulates. Many mosques have also been preserved. The first mosques to be built after the Ottomans took Aleppo, such as the al-Tawashi Mosque and theTakiya al-Maulawiya, were still based on Mamluk models, but by the middle of the 16th century mosques were being built in the classic Ottoman style. The domed, centered buildings with their slim minarets dominate Aleppo’s skyline to this day. The new mosques were mainly founded by provincial governors posted to Aleppo and high-ranking Ottoman dignitaries as a way in which they could erect a memorial to themselves. At the same time they also succeeded in using the foundations (waqfi they established to finance the mosques as a means of gaining ownership over valuable parts of the city center. Aleppo’s last period of prosperity ended with the collapse of the Iranian Safavid dynasty in 1722. The flow of Persian silk came to an end, and the trading routes shifted further to the south.

SOURCE


Mona Lisa’s remains found in Italy

Photo AFP


A group of Italian scientists led by the famous art researcher Silvano Vinceti have discovered the remains of a skeleton that most likely belonged to Lisa Gherardini. According to the most popular theory, it was Gherardini – an aristocrat from Florence and wife of wealthy silk trader Francesco del Giocondo – who was the mysterious model that posed for the great Leonardo da Vinci’s Mona Lisa.

The sensational discovery was made not far from the former convent of St. Ursula in Florence. Lisa Gherardini joined that convent right after her husband passed away and lived there until her death.

Silvano Vinceti, the researcher who led the archaeologists and is president of Italy’s National Committee for Cultural Heritage, talked about the details of the unique expedition in his interview to the Voice of Russia.

Voice of Russia: Mr. Vinceti, what inspired you to look for the remains of Lisa Gherardini in the vicinity of the former convent of St. Ursula?

Silvano Vincenti: It happened due to the testimony of Lisa Gherardini’s death, which we found a few years ago. The document stated that Lisa Gherardini, also known as Mona Lisa, was buried in the convent of St. Ursula in Florence. That fact pushed us to look for her remains. Our archaeological work was initially focused on the small church of St. Ursula that was located on the territory of the convent. We picked that place because we had the records of the convent’s history which talked in detail about various burial sites. And those tombs did not belong to the Franciscans, but to other people. The documents described in detail how burials were organized in those times. Unfortunately, some documents were lost for good. One such document concerned the burial of Lisa Gherardini, who died on July 15, 1542. Taking into account that in those days there was a strictly prescribed ritual, we are confident that the body of Lisa Gherardini was buried under the floor of the St. Ursula Church. This is where our active archaeological work is being conducted right now. At present, we have succeeded in discovering four underground tombs in which we found fragments of two bodies. In the nearest future, the remains will undergo analysis at the University of Bologna. It is important to note that a few days ago we discovered a Franciscan altar that had not been known to exist previously. None of the documents in our possession mentioned it. Moreover, a special georadar could not detect it either. Under the foundation of that very altar, new “surprises” can be uncovered.

As soon as the search operation to uncover all the body remains is complete, they will all be transferred to the Department of Cultural Heritage at the University of Bologna. After that we plan to conduct carbon dating tests on the remains, which would establish the burial dates. Then, there will be another examination to establish the age of the bones themselves. In addition, we are planning to perform an anthropological analysis. Of all the remains we have recovered, we will select the ones that match the following criteria: a person buried around the age of 63, since that was the age at which Lisa Gherardini died; that they are of female gender, as well as the burial date. The bones that fit those criteria will be compared to the DNA of Lisa Gherardini’s children who were buried not far from the convent in the Basilica della Santissima Annunziata. That is where the Gherardini family crypt is located.

Thanks to all this research we will be able to officially announce whether la Gioconda’s grave has been discovered. If we are lucky to also find her skull, we will be able with the assistance of other Italian scientific institutes to make a model of Lisa Gherardini’s face. It would allow us to compare it to Leonardo da Vinci’s Mona Lisa.

VOR: When will the world be able to know for sure that you have truly uncovered the mysterious Gioconda?

SV: The archaeological work will be finished in September. Four more months will be needed for all the expert analysis at the University of Bologna. I believe that around Christmas or early next year we will have the final results.

SOURCE


“Twinkle, Twinkle, Little Star”

Twinkle, twinkle, little star,
How I wonder what you are.
Up above the world so high,
Like a diamond in the sky.

When the blazing sun is gone,
When he nothing shines upon,
Then you show your little light,
Twinkle, twinkle, all the night.

Then the traveler in the dark,
Thanks you for your tiny spark,
He could not see which way to go,
If you did not twinkle so.

In the dark blue sky you keep,
And often through my curtains peep,
For you never shut your eye,
‘Till the sun is in the sky.

As your bright and tiny spark,
Lights the traveller in the dark.
Though I know not what you are,
Twinkle, twinkle, little star.

Twinkle, twinkle, little star.
How I wonder what you are.
Up above the world so high,
Like a diamond in the sky.

Twinkle, twinkle, little star.
How I wonder what you are.
How I wonder what you are.

***

“Twinkle, Twinkle, Little Star” is a popular English lullaby. The lyrics are from an early nineteenth-century English poem, “The Star” by Jane Taylor. The poem, which is in couplet form, was first published in 1806 in Rhymes for the Nursery, a collection of poems by Taylor and her sister Ann. It is sung to the tune of the French melody “Ah! vous dirai-je, Maman”, which was published in 1761 and later arranged by Mozart for a famous set of variations.[1] The English lyrics have five stanzas, although only the first is widely known.

***

The English lyrics were first published as a poem with the title “The Star” by sisters Ann and Jane Taylor (1783–1824) in Rhymes for the Nursery in London in 1806.[2] The poem was written by Jane.[3]

SOURCE


Taj Mahal, India

click image to enlarge/original link

Taj Mahal, India

Photograph by Colin Roohan

This Month in Photo of the Day: Traveler Contest Images

When light pours over the Taj Mahal everything else clears from your mind. The tour guides, the crowds, the construction statistics all become moot. When in the presence of something so divine, just be.

(This photo and caption were submitted to the 2012 National Geographic Traveler Photo Contest.)


The History of Fire Dancing ~ Dancing with Fire in Thailand!

SOURCE

Fire Performer, Thailand ~ Photograph by Sean Hower

click image to enlarge/original link

The ancient art of fire dancing began hundreds of years ago by the people of Polynesia. In an area spanning over 4,000 square miles with hundreds of islands, it’s hard to pin-point exactly where in Polynesia fire dancing began. However it is believed that the Maori people of New Zealand were the first pioneers as the originators of poi.

Zen Arts   The History of Fire DancingPoi is a Maori word meaning “ball on a string.” Maoris warriors originally used poi as a form of exercise to train for battle or hunting. By swinging the heavy balls they developed wrist strength and flexibility to handle various weapons and tools. Eventually poi was used as a form of storytelling and dance. Traditionally, poi was constructed of natural flax fibers called muka, and anchored with the pithy middle of the raupo stem. Modern poi is constructed of more durable synthetic fibers consisting of bright colors. Contrary to popular belief, traditionally poi was never actually lit on fire. The art of dipping poi balls into fuel and lighting them on fire did not occur until the mid 20th century, as a progression of the Samoan fire knife.

The traditional Samoan knife dance was known as the ailao, an exhibition of a Samoan warrior’s strength and battle capabilities, usually performed with a war club at ceremonial processions of daughters and high chiefs. Eventually the club evolved into a machete, which is the most common tool used today in the knife dance. It was not until 1946 when a Samoan-American by the name of Uluao Letuli (often known as Freddie Letuli, a nickname he got because he could dance like Fred Astaire) was inspired at San Francisco’s Shriner’s Convention to light his knife on fire. The story goes that after watching a fire-eater and baton twirler perform, Uluao wrapped some towels around his knife, borrowed some fuel from the fire-eater, and lit his knife on fire for his performance.

Uluao’s fire knife was an instant success and from there the remaining Polynesian dancing instruments of poi, staff, and hoop were modified to be lit on fire. The first fire poi performances began in the 1950s in Hawaii as tourist attractions. Fire poi are constructed of a chain and kevlar-blend wicks on either ends, that are also stuffed with cotton or another type of fabric that could be dipped in fuel and used to soak it up. Although there are many different preferences on fuel, kerosene seems to be the most popular and safest due to its low burning temperature. The popularity of fire poi, fire staff, and fire knife at Hawaiian performances known as “luaus” inspired many other types of fire instruments such as fire fans, fire umbrella, fire balls, and fire whips.

Modern fire dancing in America did not grow popular until the early 1990s as performance art at massive party events such as raves, concerts, nightclubs, and beach parties. Some thank the western fascination with fire dancing to the growing popularity of the Burning Man festival, in which many Americans were first exposed to fire dances. Today there are hundreds of fire dancing troupes across the nation, each specializing in their own specific tools and types of dance.

Dancing with Fire in Thailand!

As darkness falls on the popular beaches of South Thailand, it’s time for these nocturnal creatures to come out and play. Spinning, twisting, dipping and twirling, the fire dancers take centre stage silencing audiences with their danger defiant  moves.

Captivated travellers look upon the acrobatic action with one one question in mind – how the hell do they not burn themselves? It’s a feat which requires much skill, whether dancing with the poi, a pair of arm-length chains with fiery balls at either end or the basic stick which is soaked in fuel and ignited at both tips.

Fire Dancer Sppinning Poi in Koh TaoA fire dancer spinning poi on Sairee Beach in Koh Tao, South Thailand

Fire Dancer in Koh TaoFire dancing Yogic moves – how do the dancers not burn themselves?

Tips for the Fireshow in Koh TaoBackpackers cough up tips for the talented fire dancers in Koh Tao

Some say that fire dancing has it’s roots in ancient tribal dancing of the Maori’s of New Zealand. The word ‘poi’ in Maori language actually means ‘ball.’ Poi spinning was traditionally an important part of Maori culture and was used as a form of warrior training to improve agility. How poi as a performance art became adopted as a popular form of entertainment in Thailand and other parts of the world is unknown. Yet as you watch the spell-bound fire dancer work his way into an almost trance like state, ancient tribal origins do not seem so far away.

Fire dancers are frequently employed at the many bars and restaurants lining Thailand’s shores. You may catch them practicing their techniques on the beach during the day with unlit apparatus.a To those undaunted by the sport, think again – it takes months of practice to tone the body and hone the skills to fire dance before an audience.

The most deadliest of all fire dancing apparatus is the skipping rope, simply because of it’s seemingly magnetic draw for drunken backpackers. What goes through their heads I will never understand. Trying such a deadly sport requires dexterity and sharp reflex, which are exactly the faculties which are the first to go upon consumption of the dastardly bucket!

Preparing to jump fire at the Full Moon Party in ThailandBackpackers contemplating the flaming rope at the Full Moon Party in Koh Phangan, Thailand

Jumping fire at the Full Moon Party in ThailandJumping fire at the Full Moon Party in Koh Phangan, Thailand

As the evening goes on more and more daredevil backpackers try their luck at jumping over the flaming rope as it soars high above the crowd. Parents’ advice not to play with fire seems to have fallen on deaf ears for some. And you wonder why so many backpackers walk round with bandaged legs? Leave it to the talented experts we say.

Sabay Bar Koh Chang ThailandFire Show at Sabay Bar in Koh Chang Thailand


The Boundaries of Life and Death ~ Saskia Kretzschmann


 

With its black-and-white richness and its familiar graphic themes integrated into a smooth flow, this short contemplation of the Circle of Life is stunningly beautiful. It is based on Edgar Allan Poe’s quote “The boundaries which divide life from death are at best shadowy and  vague. Who shall say where the one ends, and where the other begins?”

The film was created by Saskia Kretzschmann as part of her fifth-semester studies at the famous Anhalt University of Applied Science, in  central Germany. The music is by Thomas Mayer. – Tuija Seipell

Der Kurzfilm, welcher auf Grundlage von Edgar Allan Poes Zitat entstand, ist das Ergebnis einer Semesterarbeit aus dem fünften Semester an der Hochschule Anhalt im Fachbereich Design. Er entstand als Ein-Mann-Projekt und Konzeption, Bau der einzelnen Elemente sowie Animation dauerten etwa drei Monate.

Link to Original here


The Island of Morel – Aaron Nance ~ Happy Friday ~

 

click for original link/enlarge image

sorry am little busy working and writing,  if i do not get around to everyone’s blogs will catch up this weekend.  for now is really cool photo and link to how it was created @ PhotoBotos.com, just click on photo … Happy Friday ! ❤


Cathedral Ceiling, Lisbon, Portugal


Afghanistan: Crossroads of the Ancient World

At the heart of the Silk Road, the former Iranian province, today known as Afghanistan linked the great trading routes from China to distant cultures of Greece and Rome. The country’s unique location resulted in a legacy of extraordinarily rare objects, which reveal its rich and diverse history.

By Martin Gayford

LONDON, (CAIS) — Late in April 2004, there was a tense gathering in a bank vault beneath the Presidential Palace at Kabul. This was the moment when it would finally be discovered whether the greatest archaeological treasures of ancient Afghanistan had survived over two decades of anarchy, civil war, looting and deliberate iconoclastic destruction. Present, in addition to a scrum of diplomats, press and officials were the director of the Kabul Museum, the Minister of Culture and the Russian archaeologist who had found many of the most remarkable of these objects.

With difficulty the first heavy safe was opened, and within were seen piles of plastic bags with old labels attached. The first was unwrapped. The Russian archaeologist Viktor Sarianidi, then in his seventies, examined several items. Then he smiled. On one piece he recognised a repair he himself had made a quarter of a century before. Rumours had circulated, suggesting that these things had been stolen, sold on the black market, the gold melted down. Here was absolute proof they were intact.

Indeed, astonishingly, and against all odds, these marvellously beautiful and evocative works of art were still in excellent condition. Some of the most spectacular will go on show next week at the British Museum in Afghanistan: Crossroads of the Ancient World.

While the exhibition was being installed, I met an archaeological team from Kabul who had come to London. These were the staff of the Kabul Museum and Afghan cultural institutions who had protected these precious things under the most appalling of conditions. They were seated in a circle in a corner of the galleries, where I was introduced to them one by one.

I asked Abdul Wasi Ferozi – associate chief researcher at the Institute of Archaeology in Kabul and the spokesman of the group because his English was the best (although, before answering, he would consult the others) – how the treasures had escaped destruction. It was, he said, a long story, beginning in 1978 when, simultaneously, some of the most spectacular archaeological finds were made, and the Afghan Civil War began.

In that year, a Soviet-Afghan archaeological expedition under the direction of Sarianidi was excavating in the far north of the country at a Bronze Age site known as Tillya Tepe, or “Golden Hill”. There, they did indeed find remains from the second millennium BC, but also unexpectedly stumbled on something far more exciting: six graves that had been dug into the site around 1,500 years later in the first century CE by a nomadic steppe people. This turned out to be, in the words of Dr St John Simpson, the British Museum curator, “one of the most important collections from the ancient world”.

There is still controversy about exactly which tribe the five men and one woman buried in those graves were from. Possibly, they were Sakas – or a subgroup of the peoples known to the ancient Greeks as Scythians, an Iranic people who roamed over huge swaths of Central Asia in antiquity. But they were unquestionably rich, whoever they were. In all, 21,618 gold, silver and ivory objects were discovered at Tillya Tepe.

As Dr St John Simpson puts it: “To me, what these objects speak of is the world of the steppe. These are nomads who are migrating possibly on a seasonal basis. The finds from Tillya Tepe open up the wealth of these nomads. These are all personal possessions, made to be worn on the saddle. This whole idea of personal ornaments stitched onto cloth is a steppe tradition, so too is the lavish use of turquoise.”

The motifs of these adornments are amazingly eclectic. Some represent Greek gods and imagery, a reminder that Macedonians came with Alexander II after the invasion of Achaemenid Iran in 330 BCE, left in this area that survived for a century. Other pieces borrow from the Parthian civilisation of Iran (248 BCE-224 CE) as Afghanistan was part of their dynastic Empire.

On April 27 1978, the communist People’s Democratic Party of Afghanistan (PDPA) took power in a coup d’état known as the Saur Revolution. There followed, as Ferozi sadly noted: “14 years of fighting and struggling to remove the regime”. Risings took place against the communist government, the situation quickly deteriorated, and in December 1979 the Soviet army invaded. It was a calamitous time for archaeology. The museum at Hadda, near Jalalabad, for example, was plundered and burned in 1981.

In 1988, it was decided to transfer some of the finest works from the National Museum in Kabul to the safe-keeping of the then President, Mohammed Najibullah. As Ferozi explained, it was thought that “some of the most important artefacts should be transferred from the storage room at the National Museum to a secret, secure place. So they brought it inside the old King’s Palace, the Arg, now the Presidential Palace. The secret place was a vault that belonged to the Central Bank.

“Nobody was allowed to say anything about the existence of these treasures. Only the staff of the museum, the nine ministers of Najibullah’s regime, the executives of the bank and the Archaeological Institute knew about it. We were all there when they were hidden.” He gestured to the surrounding group, who nodded vigorously.

It was as well that the treasures were concealed in this way, because a hurricane of destruction was soon to break over Kabul and its National Museum. In 1992 the government of Najibullah fell and an Islamic State of Afghanistan declared. But in practice, chaos reigned. Kabul was a battlefield, bombarded from outside and divided between different militia groups. The museum, which was founded in the Twenties by the King, lay nine kilometres outside the centre of the city, in the Darulaman district. On March 12 1994, it was hit by rocket fire and almost totally destroyed. About 70 per cent of its collections disappeared through looting or destruction.

In September 1996 the Taliban, who had been shelling the city, took over. Najibullah, who unwisely decided not to leave, was allegedly castrated, dragged around the streets and hanged. In the years that followed, many of the staff of the museum were dispersed and tried to find odd jobs to survive. One senior official sold potatoes in the market, another operated a horse and carriage. At this time SPACH (the Society for the Preservation of Afghanistan’s Cultural Heritage) found objects from the museum’s collection on sale in the souk, among them six fragments of ivories and two plaster medallions from the superb hoard discovered at Begram by French archaeologists in the Thirties.

These were sent to the Musée Guimet in Paris for safe keeping, and will be on show at the British Museum, along with other wonderful objects from Begram that have also escaped destruction. What had been discovered there was a collection of items from around the ancient world: glass and stoneware from Roman Egypt, magnificent ivory carvings, including swaying, sensuous half-naked dancers, in style of southern India. It is not clear whether they represent a royal treasury or the stock of a merchant – an Afghan art dealer from 2,000 years ago.

These, like the Tillya Tepe finds, justify the title of the exhibition: Crossroads of the Ancient World. Afghanistan, on the Silk Road, was where currents from Europe, China, India and Central Asia met and mingled. That is why it is so rich and important archaeologically.

In 2000, conditions briefly seemed to be improving. Mullah Omar, the de facto head of state, issued an edict protecting the Afghan cultural heritage, prohibiting illegal excavation and smuggling. Then abruptly, he went into reverse. In 2001, the Taliban decided to destroy all images. The giant sculptures of Buddha at Bamiyan, the larger of which was 55 metres tall, were dynamited. In Kabul, the storerooms of the museum were ransacked and 2,500 objects smashed. A special task force was given this job. As Fredrik Hiebert of the National Geographic Society, an archaeologist who had worked with Sarianidi, notes: “Museum staff valiantly swept up the debris and repacked as much as possible.” A damaged statue of a youth from the Greek city of Aï Khanum, which had been carefully reassembled by French conservators, was smashed once more. Now it’s been restored yet again, and – even more battered than it was before – it’s in the exhibition.

Ferozi recalls: “When the Taliban and other militias came, they tried to find out what had happened to the artefacts from Tillya Tepe, they asked questions but nobody gave any information to them. We kept quiet, we said we don’t know.” Again, everybody nods.

The real heroes of this story, as Hiebert has said: “are the men who risked their lives while bombs were falling to rescue their national treasures”. The result of their efforts was that, while a great deal was lost, many of the most precious objects – treasures not only of Afghanistan but of world culture – were not. They are safe, at least for now. But, ominously, the war that began in 1978 is still far from over.

Now, at the first exhibition of its kind to be seen in the UK in 40 years. (last year 2011, no idea where treasures are currently)

Original news bulletin published by The Telegraph  rectified and edited by CAIS [*]

LINK to Original here

 
 


Spring Has Arrived – Rob Woodcox – Featured Photographer

 

Spring Has Arrived

“When Spring Awakes” – Michigan – Rob Woodcox – Featured Photographer

The beginning of April, not late March, always feels like the dawning of Spring.  Weather is starting to warm up, snowfall always seems strange around now, and if the day is cold everyone says “What the #$%!, It’s April!?!” with a very confused tone.  Rob captures the feeling of Spring beautifully in today’s image.  Not only is the model stunning, but the drab tones of the background give the impression that it is about time she got here. Read below to find out that this photograph isn’t as processed as you might think and that it was actually pretty labor intensive. Then see more of his beautiful and inspiring work check out his website, and “like” his  Facebook page:

http://robwoodcoxphotography.com/

http://www.facebook.com/robwoodcoxphotography

Enter Rob:

I have always been very much inspired by spring and the ability of plants and animals to re-grow and settle and break through the rough dead earth.  The entire process seems so exhausting and troublesome yet year after year plants and animals are born again and grow into beautiful creations.  This is very much in relation for me to my faith and the creation of man in the very beginning.  This image takes the concept of rebirth from spring and applies it to what my interpretation of God’s creation of humans was.  The result is a beautiful growth emerging amongst the dead barren terrain surrounding and a sprout of hope in the world

Taken with a 5D Mark II using a 50mm 1.4 lens at sunrise.  The light is all natural with reflected fill on the model.  I actually buried the model’s lower body in the dirt and then placed carefully shoveled surface level dirt over the dig site to make it look freshly broken through.  We may have looked crazy to passers by, but the effort was very much worth it!


A Man


Pablo Picasso (1881-1973) ~ {Create your own Picasso}

Pablo Ruiz Picasso was born on October 25, 1881 to Don José Ruiz Blasco (1838-1939) and Doña Maria Picasso y Lopez (1855-1939). The family at the time resided in Málaga, Spain, where Don José, a painter himself, taught drawing at the local school of Fine Arts and Crafts. Pablo spent the first ten years of his life there. The family was far from rich, and when 2 other children were born — Dolorès (“Lola”) in 1884 and Concepción (“Conchita”) in 1887 — it was often difficult to make ends meet. When Don José was offered a better-paid job, he accepted it immediately, and the Picassos moved to the provincial capital of La Coruna, where they lived for the next four years. In 1892, Pablo entered the School of Fine Arts there, but it was mostly his father who taught him painting. By 1894 Pablo’s works were so well executed for a boy of his age that his father recognized Pablo’s amazing talent, and, handing Pablo his brush and palette, declared that he would never paint again.

In 1895 Don José got a professorship at “La Lonja”, the School of Fine Arts in Barcelona, and the family settled there. Pablo passed the entrance examination in an advanced course in classical art and still life at the same school. He was better than senior students doing their final exam projects.

“Unlike in music, there are no child prodigies in painting. What people regard as premature genius is the genius of childhood. It gradually disappears as they get older. It is possible for such a child to become a real painter one day, perhaps even a great painter. But he would have to start right from the beginning. So far as I am concerned, I did not have that genius. My first drawings could never have been shown at an exhibition of children’s drawings. I lacked the clumsiness of a child, his naivety. I made academic drawings at the age of seven, the minute precision of which frightened me.” — Picasso.

Continued….

Create your own picasso head here  😉


Romero Britto’s Art for the 21st Century

Romero Britto

Romero Britto was born in Recife, Brazil in 1963. Self-taught at an early age, he painted on surfaces such as newspapers. In 1983, he traveled to Paris where he was introduced to the work of Matisse and Picasso. He combined influences from cubism with pop, to create a vibrant, iconic style thatThe New York Times describes, “exudes warmth, optimism and love.”

In 1988, Britto moved to Miami and emerged as an international artist. In the following year, he was selected alongside Andy Warhol and Keith Haring for Absolut Vodka’s “Absolut Art” campaign. Britto’s pop sensibility has since leant itse

lf to many collaborations with such brands as Audi, Bentley, Disney, Technomarine, Evian and FIFA, for whom he created an official poster for the 2010 World Cup. He has also illustrated several books published by Simon & Schuster and Rizzoli. Britto’s work has been exhibited in galleries and museums in over 100 countries, including the Salon Nationale des Beaux-Arts exhibition at the Carrousel du Louvre in 2008 and 2010. He has also created public art installations for the O2 Dome (Berlin), Hyde Park (London), John F. Kennedy Airport (New York), and Cirque du Soleil at Super Bowl XLI.

Britto considers the role of an artist to be an agent of positive change. He serves as a benefactor, donating time, art and resources to over 250 charitable organizations and several boards such as Best Buddies International, and St. Jude’s Children’s Research Hospital. He was recently named a founding inaugural benefactor of Harvard’s “International Negotiation Program,” by Dr. Daniel Shapiro, in his quest for peaceful conflict resolution. Britto has also spoken at the World Economic Forum in Davos, and at countless schools and institutions. In early 2011 the President of Brazil, Dilma Rousseff, invited Britto to create the logo for Rede Cegonha, a project to reach over 61 million pre and post-natal mothers and babies.

 

 

 

to see more of this wonderful artist please visit Romero Britto’s Art for the 21st Century


Amigos Pottery

Bill Chance

Off to the side of the Dallas Farmer’s Market is a store that I am very familiar with. It sits on a sharp corner and has a tin-roofed building and high rows of steel shelving outside. It’s a Mexican import extravaganza called Amigos Pottery. They have a factory in Mexico and produce a bewildering array of artwork and such – pottery, statuary, chimeneas, wall hangings, welded steel, fountains, and mixed combinations of all of these.

Long ago I bought a chimenea there – I’ve bought some planters, and we’ve purchased a bunch of decorative stuff over the years. Today, my friend and I wandered around with our cameras – shooting in the cramped aisles full of… all sorts of stuff.

Big digital SLRs always attract attention and a guy working there asked me for copies of my photos for his website.

I’ll send him an email as soon as I…

View original post 18 more words


Has long-lost da Vinci been found in Italy?

The Cotton Boll Conspiracy

A Leonardo Da Vinci masterpiece hidden for four centuries may have been uncovered inside a Florence palace, according to art historians.

Art sleuths said Monday they believe they have found traces of a da Vinci work masterpiece on a hidden wall in the Palazzo Vecchio.

The traces were collected using tiny probes introduced into a wall covering the original surface in a lavish hall in palace and contained a black pigment also used in the “Mona Lisa,” historians and officials said.

The research, which employed cutting-edge technology, is the result of a decades-long quest by San Diego University art history professor Maurizio Seracini.

“The composition of manganese and iron found in the black pigment has been identified exclusively on Leonardo’s paintings,” Seracini said.

Seracini pointed out that Leonardo had painted the “Mona Lisa” at around the same time as the long-lost fresco, “The Battle of Anghiari,” but said the research…

View original post 506 more words


Paris in 100 images, 26 of 100 Pont Alexandre III Bridge at Night

Kevin George Travel Photography Blog

The amazing Pont Alexandre III Bridge illuminated at night with Invalides in the background in Paris.

For full portfolio on Paris and France, please go to www.kevingeorge.photoshelter.com or contact keving@vmark.es

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“The Buddha Tree” – Ayutthaya, Thailand – Tashi Delek – Featured Photographer

PhotoBotos.com

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“The Buddha Tree” – Ayutthaya, Thailand – Tashi Delek – Featured Photographer

Wow! Man and nature fused together as one.  Just an hour outside of Bangkok lays the historic city of Aytthaya.  Many of the 14th century temples and wats were destroyed by the Burmese in the 18th century.  Out of the destruction has risen an unexpected national treasure.  It is unclear how the Buddha head ended up inside the roots of this tree, but it has become a symbol of Thailand.  Tashi Delek captured the deity along with his offerings beautifully.    

Please take a minute to study the intricacies of the photograph then view the rest of Tashi’s portfolio at http://500px.com/the22row .

Take it Away Tashi:

I took this photo at a temple called “Wat Phra Mahathat” in Ayutthaya, Thailand.

This temple is where you can spot the famous tree that has grown around a Buddha head.

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“Frozen Capital” – Vilnius, Lithuania – Laimonas Ciunys – Featured Photographer @ PhotoBotos.com

“Frozen Capital” – Vilnius, Lithuania – Laimonas Ciunys – Featured Photographer

Yup! It is as cold as it looks.  I am curious to know how many people are reading this post and are thinking that this looks like a typical winter’s day.  Here in Southern California we are pretty wimpy when it comes to weather.  I don’t really care for anything under 60 degrees Fahrenheit and my brother Tom  in coastal Carolina complains about anything under 50 degrees.  What is your threshold?  In the meantime read the “chilling” story below and then be sure to check out the rest of Laimonas’s beautiful portfolio at  http://www.laimonofoto.lt .

Here is Laimonas:

This was a very cold winter morning in Vilnius, capital of Lithuania. I went to work and I saw a beautiful vapor over river. I always have my camera with me and I decided to take few shots, but very quickly, because it was very cold  -25°C (-13 F) ! So I did a few quick shots and ran back to my warm car. When I published this photo to Internet I was pleasantly surprised about great the success!

Canon EOS 5 Mark II settings were:

Shutter speed – 1/400 sec

F-stop – 8

ISO 100

Focal Length – 140 mm


Gene Kelly & Cyd Charisse – from singin’ in the rain


Iran’s ‘A Separation’ Wins Best Foreign Language Film

It’s hard not to view the Oscar for Best Foreign Film awarded to Iran’s entry, A Separation, as at least in part, a political statement against war with that country.  But there’s no question that the film is a brilliant one, even close to a masterpiece.  I just saw it last night and came away disturbed and deeply moved by the profound moral ambiguities it offered both about human relationships and life inside present-day Iran.  It is also the first Iranian film to win an Oscar, which, considering the amazing quality of Iranian cinema over the decades, is an oversight rectified and long overdue.

For a suitable cinematic tradition, A Separation is best compared to the Italian social realism masterpieces of the early 1950s like DeSica’s The Bicycle Thief.   These were films which observed working class characters grappling with simple, yet profound moral conundrums.  It was this co-existence of the high and low together which marked these films as the masterpieces they were and have allowed them to stand the test of time.

A Separation lives in the same filmic tradition.  It deals with a young couple, one of whom is fed up with the dead-end life Iran has to offer and seeks to emigrate.  The husband, however, is held back by an aging father suffering from Alzheimer’s who he cannot leave behind.  This leaves the couple at a dead-end.  The wife wants to leave with her family.  Her husband will not.  They have an 11-year old daughter who is the sole obstacle holding the mother back from her plan.

The couple go to family court where the judge refuses to grant her a divorce, saying her problem is “too small” to justify such a serious remedy.  Out of frustration, the wife moves out of her home, telling her husband she plans to leave anyway.  When she leaves his home, this starts a concatenation of small events which lead to the momentous ones that follow.  The husband, without his wife to serve as caregiver for his father, needs to hire someone.  He employs a poor pious young woman who has a small daugher and is pregnant.

The new caregiver’s first moral dilemma is whether as a religious woman, she may clean the aged man’s soiled clothing and body.  The next day, the father, suffering from dementia, escapes from the home, and the woman’s search to find him leads to a crucial, fateful incident.

After this, the woman, torn by her need to see a doctor about problems with her pregnancy, decides to leave the sleeping father at home tied to his bed (so he will not escape again).  When the son returns home he finds his father fallen off the bed and disconnected from his oxygen tank and near death.  When the caregiver returns to work, the younger man fires her and also accuses her of stealing from him.

The woman–whose husband is an out of work cobbler deep in debt to his creditors–facing the loss of the job, protests against her firing and begs the man to take her back.  He is so angry at abuse his father suffered, that he turns against her and pushes her out of his apartment.  She falls and injures herself.  From there, the plot works its way toward its climactic moments in which the lives of every character are tested in moral fire.  All are found wanting, though all act out of the best of motives (at times).

What is truly brilliant about the movie is that every character is basically a decent human being.  Yet each one behaves in morally objectionable ways at one point or another.  Each one acts out of love or devotion to his family.  But such love leads each one to lie or cheat in ways that deeply harms others.

The film also teaches that no matter how comfortable we each may be within our family, social or class milieu, our lives interact in ways we can never foresee with those with whom we could never conceive a relationship.  The young couple are comfortable, fairly secular, well-educated middle class people from good families.  Yet their lives strike up against those of a poor, religious working class family in ways they would never have imagined.  Tragedy ensues.  The middle class family causes it inadvertently.  The working class family ends up enduring the tragedy and tries to make the other family pay for its suffering.

At the conclusion, the young son is vindicated.  But even this victory is Pyhrric because it comes at the expense of his own integrity, his failing relationship with his wife, and it damages irreparably his relationship with his scrupulously moral daughter, who watches her father’s moral compromises with increasing incredulity.

While the adults in this film grapple with moral questions whose answers cause them to be found consistently wanting, it is the children who suffer most.  The couple’s daughter swings back and forth between father and mother.  She wants her mother to reunite with her father, yet the former refuses.  She wants her father to tell the truth about the harm he may’ve caused the poor caregiver, yet he won’t.

The caregiver’s little daughter is equally vulnerable and helpless in the face of her parents plan to extort financial or penal penalties from the employer’s family after the mother’s tragedy.  At the end of the film, when the crucial moment comes and the middle-class man is vindicated, both children, who had become friends, look at each other with a look that is indescribably baleful and utterly sad.  No one has won, everyone has lost, but the children have lost most of all.

After watching the film, I was tempted to see it as a moral allegory for the insanity that currently reigns in relations between Iran and the west.  Just like the couple in the film and the two separate families, who each act out of good motives, but whose obtuseness leads to tragedy, so Iran and its enemies seem hell-bent on a confrontation that can only lead to tragedy for everyone involved.  Of course, as with any great piece of art, this film shouldn’t be confined to being a commentary on a single event.  It is far larger than that.

But it’s worth noting this statement from the film’s writer and director, Asghar Farhadi at the Oscar ceremony:

“At this time, many Iranians all over the world are watching us and I imagine them to be very happy. They are happy not just because of an important award or a film or a filmmaker. But because at a time when talk of war, intimidation and aggression is exchanged between politicians, the name of their country, Iran, is spoken here through her glorious culture, a rich and ancient culture that has been hidden under the heavy dust of politics. I proudly offer this award to the people of my country, a people who respect all cultures and civilizations and despise hostility and resentment.”

He clearly meant the awards ceremony, if not the film itself, as a direct commentary on the mess we’re in.

Though I know they won’t, I hope every Israeli and every key U.S. foreign policy official sees this film.  And then think whether a country that could produce such a beautifully subtle, touching and deeply troubling moral fable as this one should be bombed.  How will bombs stand up to the moral acuity represented by this film?

LINK to Richard Silverstein’s Original Article


Scholar Inscribes Iranian Peace Message

Scholar Inscribes Iranian Peace Message

Iranian scholar Eliza Saeedi has created an inscription in the city of Tabriz which conveys the message of peace from Iran to the world.

Saeedi has donated the inscription to the central library of Tabriz where she works as a researcher in ancient Iranian studies.

The inscription aims to dispel the false impressions created by Western media about Iran being a supporter of war and terrorism.

“It took me five years to finish the inscription and invite all nations and ethnicities to peace and friendship,” said Saeedi.

“The inscription is the first pictorial charter of human rights, which shows Iranians were the first nation to have had a human rights charter and have always been against war and violence,” she added.

Saeedi also said that she would donate a copy of the same inscription to the United Nations museum.


Master Mahmoud Farshchian

Master Mahmoud Farshchian was born in Isfahan on January 24, 1930. Growing up, he was surrounded by many architectural masterpieces that gradually and subliminally sharpened his awareness of proportion, color, and form. At the age of five, it became evident that his life would be devoted to art and painting. Mahmoud’s father, the owner of a leading carpet business, encouraged his interest in design and planted the seeds of art in Mahmoud’s heart.

While still in school, Farshchian was invited to learn painting from the famous masters of the time. After graduating from the Academy of Fine Arts in Isfahan, he traveled to Europe to study the works of Western artists. Upon his return to Isfahan, Mahmoud began working in the General Office of Fine Arts (later the Ministry of Culture and Art). He was later appointed to the position of administrator of National Arts. It was then that he joined the Faculty of Fine Arts of Tehran University as an art professor. It was there that he created many of his unique masterpieces.

Farshchian later moved to the United States and currently resides in the New York metropolitan area. When he came to the United Stated, Farshchian brought with him many treasures which were welcomed by Bibliotheque Nationale, The British Library, Freer Gallery of Art, Metropolitan Museum, and Harvard University. His works continue to be exhibited in galleries and museums throughout Asia, Europe and the United States, as well as in private collections. Master Farshchian has received many awards throughout his life, including a doctorate in fine arts. He has also received much praise from European academies and museums.

Master Farshchian, has achieved a distinctive style and created a school of his own in painting. Some of his talents are his wonderful sense of creativity, his motive designs, his creation of round spaces, his smooth and powerful lines, and his creation of undulating colors. Farshchian’s works are a pleasing composition of both nobility and innovation. His themes are cultivated from classic poetry, literature, the Koran, Christian and Jewish Holy books, as well as his own deep imagination. His most outstanding works are based on human affections and moods, which appear most effectively in graceful faces and figures.

While painting, Farshchian often listens to music and these beautiful rhythms set the mood for his bounding, splashing, sometimes wire-thin brush. His pictures urge us to listen with inner ears to “sounds” as architectonic as his lines and forms. There is a rich interplay of gentle sounds: birdcalls, trickles, cascades, gurgles, swoops, and swooshes. His tempests, chilling blasts, raging fires, and blood-curdling cries are expressed so artfully that they never cross the threshold of true horror. So graceful is the whiplash that it cannot sting. Farshchian has told many tales on canvas in his unique expression of  sur-naturalism.

Link to Master Mahmoud Farshchian Galleries and more