text:
Turkish
rock
Galatasaray High School
Anatolian rock
English
French
Japanese
Greek
Italian
Bulgarian
Romanian
Persian
Hebrew
Urdu
Arabic
German
Üsküdar
Istanbul
Turkey
World War II
Turkish
head lice
Galatasaray High School
Erkin Koray
Deutsche Schule Istanbul
saxophone
guitarist
twist
rock and roll
Anatolian rock
Turkish folk music
rock
Elvis Presley
Paris
Liège
Mistigris
Germany
Belgium
France
Turkey
Mazhar Alanson
Fuat Güner
MFÖ
Moğollar
Kurtalan Ekspres
concept album
CBS Records
Romania
Morocco
Turkish pop music
synthesizer
drum machine
TRT 1
Japan
heart attack
Kanlıca Cemetery
Istanbul
Turkish rock
rock
progressive rock
Anatolian rock
arabesque
Müsaadenizle Çocuklar
Il Arrivera
Une Fille
Bien Fait Pour Toi
Bebek / Keep Lookin'
Trip - To a Fair
Boğaziçi / Flower of Love
Runaway
Moğollar
Ride On Miranda
Blue Morning Angel
Tell Me Old Man
Lonely Man
"Baba Bizi Eversene" (1975)
Barış Manço House Museum
Obituary in "The New York Times"
Barış Manço & Les Mistigris, "Discogs"
Barış Manço & Les Mistigris, "Last FM"

categories: 1943 births,Turkish rock singers,Composers of Ottoman classical music,Alternative rock musicians,1999 deaths,People from Üsküdar,20th-century Turkish singers,Turkish male singers,Burials at Kanlıca Cemetery,Galatasaray High School alumni,Turkish rock musicians,Composers of Turkish makam music

paragraph: Barış Manço

paragraph: Mehmet Barış Manço (born Tosun Yusuf Mehmet Barış Manço; 2 January 1943 – 1 February 1999), known by his stage name Barış Manço, was a Turkish rock musician, singer, songwriter, composer, actor, television producer and show host. Beginning his musical career while attending Galatasaray High School, he was a pioneer of rock music in Turkey and one of the founders of the Anatolian rock genre. Manço composed around 200 songs and is among the best-selling and most awarded Turkish artists to date. Many of his songs were translated into a variety of languages including English, French, Japanese, Greek, Italian, Bulgarian, Romanian, Persian, Hebrew, Urdu, Arabic, and German, among others. Through his TV program, "7'den 77'ye" (""From 7 to 77""), Manço traveled the world and visited most countries on the globe. He remains one of the most popular public figures of Turkey.

paragraph: Section::::Early life and career.

paragraph: Barış Manço was born in Üsküdar, Istanbul, Turkey on 2 January 1943. His mother, Rikkat Uyanık, was a famous singer in the early 1940s. His older brother, who was born during World War II, was named Savaş ("war" in Turkish) while he was named Barış ("peace" in Turkish) by his parents to celebrate the end of the war. At birth, he was additionally named Tosun Yusuf after his deceased uncle Yusuf called Tosun (literally: Joseph the Sturdy). However, this name was erased just before he attended the primary school.

paragraph: In primary school his head was shaven to prevent head lice, a serious threat back then, which he cited among reasons for his later signature long hair.

paragraph: During his highschool days in Galatasaray High School (and later in Şişli Terakki High School) he formed his first band, Kafadarlar ("The Buddies"), allegedly upon seeing Erkin Koray's band performing, all students of Deutsche Schule Istanbul ("İstanbul Alman Lisesi"), a nearby highschool. Prof. Dr. Asaf Savaş Akat, a famous economist in Turkey, played saxophone, and guitarist Ender Enön made his own guitar because it was difficult to find a real one on the market in those years.

paragraph: In 1962 and 1963, with his next band, Harmoniler ("The Harmonies"), he recorded cover versions of some of popular American twist songs and rearrangements of Turkish folk songs in rock and roll form, marking the beginning of the Anatolian rock movement, a synthesis of Turkish folk music and rock. In this period, his key visual and musical influence was Elvis Presley.

paragraph: After graduating from high school in 1963, he moved to Europe, travelling around Paris and Liège, where he formed bands with local musicians and recorded some singles mainly in English and in French but also in Turkish. Then, in 1964, Barış Manço continued his studies at the Royal Academy of Fine Arts in Liège, Belgium. He toured with his band Les Mistigris (not related to Mistigris) in Germany, Belgium, France and Turkey until 1967.

paragraph: In 1967, he suffered a serious car accident, after which he started to grow his signature mustache to disguise his scar.

paragraph: Frustrated by the difficulties of working with musicians from different nationalities, he formed Kaygısızlar (The Carefrees), featuring Mazhar Alanson and Fuat Güner, future members of the band MFÖ. He recorded several singles and toured with the band, both domestically and internationally, until the band members revealed that they did not want to live abroad.

paragraph: In 1970, he formed Barış Manço Ve... ("Barış Manço and...") again with foreign musicians, to record his first hit single, both in Turkey and in Belgium, "Dağlar Dağlar" (Mountains, Mountains!), selling over 700,000 copies. Today, the song remains one of his most popular works.

paragraph: After the success of "Dağlar Dağlar", Manço recorded a couple of singles with Moğollar (The Mongols), another influential Turkish Anatolian rock band. He then decided to return to Turkey where he recorded with the reformed Kaygısızlar for a short period. In 1971, his early works were compiled under his first full-length album "Dünden Bugüne", today commonly referred as "Dağlar Dağlar".

paragraph: In 1972, he formed Kurtalan Ekspres, a legend by itself, the band that would accompany him until his death. In 1975 until when he continued to release singles, he released his first non-compilation LP "2023", a concept album that includes many instrumental songs.

paragraph: As a last attempt to reach international success, he released the LP titled "Baris Mancho" (1976), a strange transcription of his name, mostly with George Hayes Orchestra under CBS Records label, in Europe and South Africa. Although the album did not bring the fame he was expecting, it did reach the top of the charts in Romania and Morocco. The following year, the album was released in Turkey under the title "Nick the Chopper". In 1975 he starred in the movie Baba Bize Eversene (Father make us marry) which is the only movie he ever starred during his career. The music of the movie consists of a compilation of tracks composed by Barış Manço and Kurtalan Ekspres.

paragraph: From 1977 to 1980, he released three more albums in Turkey, partly consisting of compilations of older singles, namely "Sakla Samanı Gelir Zamanı" (1977), "Yeni Bir Gün" (1979) and "20. Sanat Yılı Disko Manço" (1980), all following a similar sound with "2023". All these albums are now rarity items, but most of the material from the era are available in later compilations "Ben Bilirim" and "Sarı Çizmeli Mehmet Ağa".

paragraph: In 1981, Manço released "Sözüm Meclisten Dışarı" with Kurtalan Ekspres, containing many hit songs including "Alla Beni Pulla Beni", "Arkadaşım Eşek", "Gülpembe", "Halhal" and "Dönence" among others. The album remains as one of their most popular works and launched a boost of popularity for Barış Manço during the 1980s.

paragraph: "Arkadaşım Eşek" ("My Friend Donkey"), quickly grew very popular among children (the song is about rural nostalgia and was not initially intended as a children's song). Throughout his career, he went on to write many other songs primarily for children to achieve an iconic acceptance among Turkish children of the 1980s and 1990s.

paragraph: On the other hand, "Gülpembe", composed by Kurtalan Ekspres bassist Ahmet Güvenç, a requiem for Manço's grandmother, caught older audiences and probably is the artist's most popular song, competing perhaps only with "Dağlar Dağlar".

paragraph: In 1983, "Estağfurullah, Ne Haddimize" was released. It contained hit songs "Halil İbrahim Sofrası" and "Kol Düğmeleri", a new version of the artist's first song. "Halil İbrahim Sofrası" exemplified Manço's signature moral themed lyrics, a rare feature in Turkish pop music.

paragraph: In 1985, "24 Ayar Manço" which included "Gibi Gibi" and a long conceptual song "Lahburger" was released. It also marked the beginning of the shift in Manço's sound characterized with the heavy use of synthesizers and drum machine in contrast with his older works consisting of a group oriented rock based sound. In subsequent years, Manço released "Değmesin Yağlı Boya" (1986), "Sahibinden İhtiyaçtan" (1988) and "Darısı Başınıza" (1989), all containing a couple of hit songs and demonstrating his new sound.

paragraph: Section::::"7'den 77'ye" and 1990s.

paragraph: In 1988, "7'den 77'ye" ("From 7 to 77"), a TV show directed and presented by Manço, began to run on TRT 1, the Turkish state television channel. It was a combined music, talk show, and documentary program which was a major hit during the eight years it stayed on air. Manço traveled to almost 150 countries for the show. "Adam Olacak Çocuk", a section of his show dedicated to children, strengthened Manço's popularity among the young generations.

paragraph: Although his fame continued in the 1990s thanks to the wide audience of his TV show, which was followed by all age groups, his musical works in this period were not as successful as those in the previous decades. The albums "Mega Manço" (1992) and "Müsadenizle Çocuklar" (1995) were considered the weakest efforts of his career, despite the limited success of the 1992 children hit "Ayı" (The Bear). On the other hand, in 1995 he toured in Japan with Kurtalan Ekspres, leading to "Live In Japan" (1996), his only live album. He released two albums in that country with some recognition as "the man who writes songs about vegetables", referring to "Domates, Biber, Patlıcan" ("Tomato, Pepper, Aubergine") and "Nane, Limon Kabuğu" (Mint, Lemon Rind), two of his hit songs from the 1980s.

paragraph: Section::::Death.

paragraph: On 1 February 1999, Barış Manço died of a sudden heart attack before the release of his just finished last work "Mançoloji" ("Mançology" or "Manchology") (1999), a double album containing the new recordings of his hit songs along with an unfinished instrumental song "40. Yıl" ("The 40th Anniversary"), celebrating his 40th year in music. His sudden death caused an almost unanimous shock in Turkey with millions of people mourning and tens of thousands of people attending his funeral.

paragraph: He was interred at Kanlıca Cemetery in Istanbul.

paragraph: Section::::Legacy.

paragraph: Barış Manço was one of the most influential Turkish musicians. In his early career he and his bands contributed to the Turkish rock movement by combining traditional Turkish music with rock influences, which is still one of the main trends of Turkish popular music.

paragraph: His visual image, characterized by his long hair, mustache and big rings, softened the reaction of the otherwise conservative Turkish public opinion.

paragraph: Manço pioneered the progressive rock-influenced Anatolian rock movement in the 1970s. His experimentation with electronic instruments in the late 1980s contributed to the 1990s sound of Turkish popular music.

paragraph: His lyrics with diverse themes, mostly following a somewhat modernized version of the "aşık" (wandering folk poets) tradition were heavily marginal in the popular music scene of the 1980s which was mostly dominated by love-themed lyrics.

paragraph: In 2002, a tribute album was released under the name "Yüreğimdeki Barış Şarkıları" ("Songs of Barış (Peace) In My Heart"), featuring 15 popular Turkish artists of such diverse genres like arabesque, pop and rock (both Anatolian and western style) demonstrating his wide range of influence.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Albums.

paragraph: BULLET::::- "Dünden Bugüne" (1972) (Sayan)

paragraph: BULLET::::- "2023" (1975) (Yavuz Plak)

paragraph: BULLET::::- "Sakla Samanı Gelir Zamanı" (1976) (Yavuz)

paragraph: BULLET::::- "Baris Mancho", released as "Nick The Chopper" in Turkey (1976) (CBS Disques/Grammofoonplaten S.A.B.V., CBS 81784, Yavuz LP)

paragraph: BULLET::::- "Yeni Bir Gün" (1979) (Yavuz ve Burç Plakçılık)

paragraph: BULLET::::- "20 Sanat Yılı Disco Manço" (1980) (Türküola)

paragraph: BULLET::::- "Sözüm Meclisten Dışarı" (1981) (Türküola)

paragraph: BULLET::::- "Estağfurullah ... Ne Haddimize!" (1983) (Türküola)

paragraph: BULLET::::- "24 Ayar Manço" (1985) (Emre Plakçılık)

paragraph: BULLET::::- "Değmesin Yağlı Boya" (1986) (Emre Plakçılık)

paragraph: BULLET::::- "30 Sanat Yılı Fulaksesuar Manço - Sahibinden İhtiyaçtan" (1988) (Emre Plakçılık)

paragraph: BULLET::::- "Darısı Başınıza" (1989) (Yavuz ve Burç Plakçılık)

paragraph: BULLET::::- "Mega Manç" (1992) (Emre Plak)

paragraph: BULLET::::- "Müsaadenizle Çocuklar" (1995) (Emre Plak)

paragraph: BULLET::::- "Barış Manço Live In Japan" (1996) (Emre Plak)

paragraph: BULLET::::- "Mançoloji" (1999) (Emre Plak)

paragraph: BULLET::::- "Barış Manço Golden Rollers" (2018) (Tunas Tunes)

paragraph: Section::::Discography.:Singles.

paragraph: With Harmoniler

paragraph: BULLET::::- Twistin USA / The Jet (1962) (Grafson MGG 515)

paragraph: BULLET::::- Do The Twist / Let's Twist again (1962) (Grafson MGG 516)

paragraph: BULLET::::- Cit Cit Twist / Dream Girl (1963) (Grafson MGG 566)

paragraph: With Jacques Denjean Orchestra

paragraph: BULLET::::- Baby Sitter / Quelle Peste / Jenny Jenny / Un Autre Amour Que Toi (1964) (Rigolo 18.726)

paragraph: With Les Mistigris

paragraph: BULLET::::- Il Arrivera / Une Fille (1966) (Sahibinin Sesi 45-AX 3092)

paragraph: BULLET::::- Bien Fait Pour Toi / Aman Avcı Vurma Beni (1966) (Sahibinin Sesi 45-AX 3093)

paragraph: BULLET::::- Bizim Gibi / Big Boss Man / Seher Vakti / Good Golly Miss Molly (1967) (Sayan)

paragraph: With Kaygısızlar

paragraph: BULLET::::- Kol Düğmeleri / Big Boss Man / Seher Vakti / Good Golly Miss Molly (1967) (Sayan FS-144)

paragraph: BULLET::::- Kızılcıklar / I'll Go Crazy (1968) (Sayan FS-171)

paragraph: BULLET::::- Bebek / Keep Lookin' (1968) (Sayan FS-179)

paragraph: BULLET::::- Karanlıklar İçinde / Trip - To a Fair (1968) (Sayan FS-180)

paragraph: BULLET::::- Boğaziçi / Flower of Love (1968) (Sayan FS-194)

paragraph: BULLET::::- Runaway / Unutamıyorum (1969) (Sayan FS-199)

paragraph: BULLET::::- Aglama Değmez Hayat / Kirpiklerin Ok Ok Eyle (1969) (Sayan FS 204)

paragraph: BULLET::::- Kağızman / Anadolu (1969) (Sayan FS 213)

paragraph: With Barış Manço Ve

paragraph: BULLET::::- Derule / Küçük Bir Gece Müziği (1970) (Sayan FS-223)

paragraph: BULLET::::- Dağlar Dağlar 1 / Dağlar Dağlar 2 (1970) (Sayan 229)

paragraph: With Moğollar

paragraph: BULLET::::- İşte Hendek İşte Deve / Katip Arzuhalim Yaz Yare Boyle (1971) (Sayan FS-266)

paragraph: With Moğollar / Kaygısızlar

paragraph: BULLET::::- Bin Boğanın Kızı / Ay Osman (1971) (Sayan FS-271)

paragraph: With Kaygısızlar / Les Mistigris

paragraph: BULLET::::- Fil ile Kurbağa / Je te Retrouverais (1972) (Sayan FS 279)

paragraph: With Kurtalan Ekspres

paragraph: BULLET::::- Ölüm Allah'ın Emri / Gamzedeyim Deva Bulmam (1972) (Yavuz YA 1544)

paragraph: BULLET::::- Lambaya Püf De / Kalk Gidelim Küheylan (1973) (Yavuz YA 1548)

paragraph: BULLET::::- Gönül Dağı / Hey Koca Topcu Genç Osman (1973) (Yavuz YA 1554)

paragraph: BULLET::::- Nazar Eyle Nazar Eyle / Gülme Ha Gülme (1974) (Yavuz YA 1562)

paragraph: BULLET::::- Bir Bahar Akşamı / Estergon Kalesi (1974) (Yavuz YA 1569)

paragraph: BULLET::::- Ben Bilirim /2023 (1975) (Yavuz Plak YA 1573)

paragraph: BULLET::::- Çay Elinden Öteye Rezil Dede / Vur Ha Vur (1976) (Yavuz Plak YA 1580)

paragraph: BULLET::::- Ride On Miranda (1976) (CBS / Sony Music)

paragraph: BULLET::::- Blue Morning Angel (1976) (CBS / Sony Music)

paragraph: BULLET::::- Tell Me Old Man (1976) (CBS / Sony Music)

paragraph: With George Hayes Orchestra / Kurtalan Ekspres

paragraph: BULLET::::- Nick the Chopper / Lonely Man (1977) (Yavuz YA 1584)

paragraph: With Kurtalan Ekspres

paragraph: BULLET::::- Hal Hal / Eğri Eğri Doğru Doğru Eğri Büğrü Ama Yine De Doğru (1981) (Türküola 239)

paragraph: Section::::Filmography.

paragraph: BULLET::::- "Baba Bizi Eversene" (1975)

paragraph: Section::::External links.

paragraph: BULLET::::- Barış Manço House Museum

paragraph: BULLET::::- Obituary in "The New York Times"

paragraph: BULLET::::- Barış Manço & Les Mistigris, "Discogs"

paragraph: BULLET::::- Barış Manço & Les Mistigris, "Last FM"

description: Turkish singer

wikidata_label: Barış Manço

wikipedia_title: Barış Manço


text:
Algirdas
Grand Duke of Lithuania
Great Novgorod Republic
Uliana Alexandrovna of Tver
Teutonic Knights
Jogaila
Great Novgorod
Orthodox
Prince of Great Novgorod
Vytautas the Great
Mstislavl
Pskov
Livonian Order
Sweden
Battle of Grunwald
Smolensk
Peace of Thorn
Maria Dmitrovna
Moscow
Dmitri Donskoi
House of Algirdas

paragraph: Lengvenis

paragraph: Lengvenis ("Simeon Lingwen", born ca. 1360 – died after 1431; ; , ) was one of the sons of Algirdas, Grand Duke of Lithuania, and the ruler of Great Novgorod Republic (1389–1392, 1406–1411). He was known for his skills as a military leader.

paragraph: Lengvenis was born to Algirdas and his second wife Uliana Alexandrovna of Tver. In 1387 battle with the Teutonic Knights Lengvenis commanded one of Lithuanian formations. In 1389–1392 he was appointed by his brother Jogaila, Grand Duke of Lithuania and King of Poland, as regent of Great Novgorod. He was baptized in the Orthodox rite as "Simon" and received the title of Prince of Great Novgorod. After Lengvenis lost this title in 1392, Vytautas the Great appointed him to Mstislavl. In 1406–1411 Lengvenis, once again, was nominated by Vytautas as regent of Great Novgorod. As ruler of Novgorod he led battles against Pskov, Livonian Order, and Sweden.

paragraph: In 1410, Lengvenis participated in the Battle of Grunwald and commanded three banners from Smolensk. His son Yury commanded one of these banners. In 1411 Lengvenis participated in the signing of the Peace of Thorn. He was married to Maria Dmitrovna, princess of Moscow, the daughter of Dmitri Donskoi.

paragraph: Section::::See also.

paragraph: BULLET::::- House of Algirdas – family tree of Lengvenis

paragraph: Section::::References.

paragraph: BULLET::::- Batūra, Romas (2005). "Lengvenis", Vytautas Spečiūnas (compiler) "Gediminaičiai". Vilnius: Mokslo ir enciklopedijų leidybos institutas, 184.

paragraph: BULLET::::- Jučas, Mečislovas (1990). "Žalgirio mūšis (Battle of Grunwald)". Vilnius: Mokslas, 174. .

description: Lithuanian noble

wikidata_label: Lengvenis

wikipedia_title: Lengvenis


text:
Metropolitan
Kiev
Vladimir
Metropolitan of Kiev and Vladimir
autocephaly
Jonah
Greek
Tokhta
Khan
Golden Horde
Nogay
Polovtsy
Athanasius I of Constantinople
Halych metropoly
Halych
Halych-Volhynia
ecclesiastic
Dmitry of Pereslavl
Andrey of Gorodets
Alexander Nevsky
patriarch
Constantinople
Prince of Tver
Mikhail Yaroslavich
Prince of Moscow
Yuri Danilovich
canonised
saint
Russian Orthodox Church
December 6
N.S.
St Maximus, Metropolitan of Kiev
Synaxarion
Icon of the Mother of God of St Maximus

categories: Greek saints of the Eastern Orthodox Church,Metropolitans of Kiev and all Rus',1305 deaths,13th-century Greek people,Metropolitans and Patriarchs of Moscow,14th-century Greek people

image: 512px-Максим_(митрополит_Киевский).jpg

paragraph: Maximos, Metropolitan of all Rus

paragraph: Maximus or Maximos () (died 6 December 1305) was the Metropolitan of Kiev (1283–1305) who moved the see of Russian metropolitans to Vladimir-on-Kliazma. In spite of the move, the metropolitans were officially known as "Metropolitan of Kiev and Vladimir" until the establishment of autocephaly under Jonah in 1448.

paragraph: Maximos was of Greek origin. During the war between Tokhta, Khan of the Golden Horde, and Nogay and the Polovtsy, Maximus left Kiev in 1299 and transferred the metropolitan chair to Vladimir. Following that Patriarch Athanasius I of Constantinople established the Halych metropoly with a see in Halych, Halych-Volhynia.

paragraph: Maximos is known for his ecclesiastic trips to the Golden Horde and mediation between the quarreling princes of the Northeastern Russia (e.g., Dmitry of Pereslavl and Andrey of Gorodets, sons of Alexander Nevsky). In 1301, Maximos attended a patriarchal council in Constantinople. He supported the Prince of Tver and Vladimir Mikhail Yaroslavich in his struggle with Prince of Moscow Yuri Danilovich for the title of Grand Duke.

paragraph: He was canonised a saint in the Russian Orthodox Church, and his feast day is celebrated on December 6 (December 19, N.S.).

paragraph: Section::::External links.

paragraph: BULLET::::- St Maximus, Metropolitan of Kiev Orthodox Synaxarion

paragraph: BULLET::::- Icon of the Mother of God of St Maximus

description: Russian bishop

wikidata_label: Maximus, Metropolitan of all Rus

wikipedia_title: Maximos, Metropolitan of all Rus


text: art

text: Cologne

text: Kassel

text: second documenta

text: Stanley William Hayter

text: Fulbright grant

text: Tyler School of Art

text: Temple University

text: Philadelphia

text: Cooper Union

text: monochromatic

text: gestural

text: land art

text: art world

text: financial capital

text: symbolic capital

text: Museum of Modern Art

text: Plexiglas

text: institutional critique

text: Solomon R. Guggenheim Museum

text: New Museum of Contemporary Art

text: sociological

text: demographic

text: pie chart

text: bar graph

text: liberal

text: Cologne

text: Manet

text: Third Reich

text: Seurat

text: Models

text: Museum of Modern Art

text: British Leyland

text: apartheid

text: Chicago's Renaissance Society

text: Mobil

text: Allied Chemical

text: Tiffany & Co.

text: Ronald Reagan

text: Margaret Thatcher

text: Second World War

text: Tate Gallery

text: Maurice

text: Charles Saatchi

text: South African

text: P. W. Botha

text: Picasso

text: Phillip Morris

text: Cubism

text: New Museum of Contemporary Art

text: Van Abbemuseum

text: Centre Georges Pompidou

text: Nam June Paik

text: Golden Lion

text: Venice Biennale

text: Nazi Germany

text: Whitney Biennial

text: Whitney Museum of American Art

text: Gothic

text: Third Reich

text: First Amendment

text: Reichstag

text: Rosa Luxemburg

text: Fourth Plinth commission

text: Vietnam War

text: São Paulo

text: Pierre Bourdieu

text: Systems art

text: Hans Haacke

text: "Hans Haaacke: Talking Art"

text: Hans Haacke on Artcyclopedia

text: Hans Haacke

text: ZERO foundation

text: "Hans Haacke. ’Obra Social’"

categories: Institutional Critique artists,Political artists,Guggenheim Fellows,Temple University Tyler School of Art alumni,German installation artists,1936 births,German conceptual artists,Censorship in the arts,Living people

paragraph: Hans Haacke

paragraph: Hans Haacke (born August 12, 1936) is a German-born artist who currently lives and works in New York.

paragraph: Section::::Early life.

paragraph: Haacke was born in Cologne, Germany. He studied at the "Staatliche Werkakademie" in Kassel, Germany, from 1956 to 1960. In 1959 Haacke was hired to assist with the second documenta, working as a guard and tour guide. He was a student of Stanley William Hayter, a well-known and influential English printmaker, draftsman, and painter. From 1961 to 1962 he studied on a Fulbright grant at the Tyler School of Art at Temple University in Philadelphia. From 1967 to 2002 Haacke was a professor at the Cooper Union in New York City.

paragraph: During his formative years in Germany, he was a member of Zero (an international group of artists, active ca. 1957-1966). This group was held together with common motivations: the longing to re-harmonize man and nature and to restore art's metaphysical dimension. They sought to organize the pictorial surface without using traditional devices.

paragraph: Although their methods differed greatly, most of the work was monochromatic, geometric, kinetic, and gestural. But most of all they used nontraditional materials such as industrial materials, fire and water, light, and kinetic effects. The influence of the Zero group and the materials they used is clear in Haacke's early work from his paintings that allude to movement and expression to his early installations that are formally minimal and use earthly elements as materials.

paragraph: These early installations focused on systems and processes. "Condensation Cube" (1963–65) embodies a physical occurrence, of the condensation cycle, in real time. Some of the themes in these works from the 1960s include the interactions of physical and biological systems, living animals, plants, and the states of water and the wind. He also made forays into land art, but by the end of the 1960s his art had found a more specific focus.

paragraph: Section::::Systems work (1970–present).

paragraph: Haacke's interest in real-time systems propelled him into his criticism of social and political systems. In most of his work after the late 1960s, Haacke focused on the art world and the system of exchange between museums and corporations and corporate leaders; he often underlines its effects in site-specific ways.

paragraph: Haacke has been outspoken throughout his career about demystifying the relationship between museums and businesses and their individual practices. He writes, "what we have here is a real exchange of capital: financial capital on the part of the sponsors and symbolic capital on the part of the sponsored". Using this concept from the work of Pierre Bourdieu, Haacke has underlined the idea that corporate sponsorship of art enhances the sponsoring corporations' public reputation, which is of material use to them. Haacke believes, moreover, that both parties are aware of this exchange, and as an artist, Haacke is intent on making this relationship clear to viewers.

paragraph: In 1970 Hans Haacke proposed a work for the exhibition entitled "Information" to be held at the Museum of Modern Art in New York (an exhibition meant to be an overview of current younger artists), according to which the visitors would be asked to vote on a current socio-political issue. The proposal was accepted, and Haacke prepared his installation, entitled "MoMA Poll", but did not hand in the specific question until right before the opening of the show. His query asked, "Would the fact that Governor Rockefeller has not denounced President Nixon's Indochina Policy be a reason for your not voting for him in November?" Visitors were asked to deposit their answers in the appropriate one of two transparent Plexiglas ballot boxes. At the end of the exhibition, there were approximately twice as many Yes ballots as No ballots. Haacke's question commented directly on the involvements of a major donor and board member at MOMA, Nelson Rockefeller. This installation is an early example of what in the art world came to be known as institutional critique.

paragraph: In one of his best-known works, which quickly became an art historical landmark, "Shapolsky et al. Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971," Haacke took on the real-estate holdings of one of New York City's biggest slum landlords. The work exposed, through meticulous documentation and photographs, the questionable transactions of Harry Shapolsky's real-estate business between 1951 and 1971. Haacke's solo show at the Solomon R. Guggenheim Museum, which was to include this work and which made an issue of the business and personal connections of the museum's trustees, was cancelled on the grounds of artistic impropriety by the museum's director six weeks before the opening. (Shapolsky was not such a trustee, although some have misunderstood the affair by assuming that he was.) Curator Edward Fry was consequently fired for his support of the work.

paragraph: Following the abrupt cancellation of his exhibition and the trouble it had caused with the museum, Haacke turned to other galleries, to Europe and his native country, where his work was more often accepted. Ten years later he included the Shapolsky work—by then widely known—at his solo exhibition at the New Museum of Contemporary Art, entitled "Hans Haacke: Unfinished Business".

paragraph: At the John Weber gallery in New York, in 1972, on two separate occasions, Haacke created a sociological study, collecting data from gallery visitors. He requested the visitors fill out a questionnaire with 20 questions ranging from their personal demographic background information to opinions on social and political issues. The results of the questionnaires were translated into pie charts and bar graphs that were presented in the gallery at a later date. They revealed, among other things, that most visitors were related in some way to the professions of art, art teaching, and museology, and most were politically liberal.

paragraph: In 1974, Haacke submitted another proposal that was subsequently rejected for an exhibition at the Wallraf-Richartz museum in Cologne. The work described a well-documented history of the ownership (with individual biographies of each of the owners) of Manet's painting "Bunch of Asparagus" in the museum's collection, narrating how it came into the collection, and in which the Third Reich activities of its donor were revealed. Instead, the work was exhibited in the Paul Menz Gallery in Cologne with a color reproduction in place of the original.

paragraph: In 1975, Haacke created a similar piece to the Manet project at the John Weber gallery in New York, exposing the history of ownership of Seurat's "Models" ("Les Poseuses") (small version). In the same manner as the previous installation, this work showed the increase of the value of the work as it passed from one patron to another.

paragraph: Also In 1975, he created one of his most memorable installations, entitled "On Social Grease". The work, which takes its title from a speech by a corporate head of one of the world's major oil companies, is made up of carefully factured plaques exhibiting quotes from business executives and important art world figures. These plaques display their opinions on the system of exchange between museums and businesses, speaking directly to the importance of the arts in business practices.

paragraph: In 1978 Haacke had a solo exhibition at the Museum of Modern Art in Oxford, England, that included the new work "A Breed Apart", which made explicit criticism of the state-owned British Leyland for exporting vehicles for police and military use to apartheid South Africa.

paragraph: His 1979 solo exhibition at Chicago's Renaissance Society featured paintings that reproduced and altered print ads for Mobil, Allied Chemical, and Tiffany & Co.

paragraph: Section::::Systems work (1970–present).:1980s.

paragraph: With extensive research Haacke continued throughout the 1980s to target corporations and museums in his work through larger scale installations and paintings. In 1982, at the documenta 7 exhibition, Haacke exhibited a very large work that included oil portraits of Ronald Reagan and Margaret Thatcher in 19th-century style, facing on the opposite wall a gigantic photograph of the demonstration against nuclear arms held earlier that year—the largest demonstration in Germany since the end of the Second World War. The clear implication, supported by Haacke's remarks, was that these two figures were attempting to roll back their respective nations to the socially and politically regressive, laissez-faire, and imperialist policies of the 19th century. In 1988 he was given an exhibition at the Tate Gallery in London at which he exhibited the portrait of Margaret Thatcher, full of iconographic references featuring cameos of Maurice and Charles Saatchi. The Saatchis were well known not only as art collectors on an aggressive scale, widely affecting the course of the art world by their choices, but also as the managers of Thatcher's successful, fear-based political campaigns as well as that of the South African premier, P. W. Botha.

paragraph: Section::::Systems work (1970–present).:1990s.

paragraph: Haacke's controversial 1990 painting "Cowboy with Cigarette" turned Picasso's "Man with a Hat" (1912–13) into a cigarette advertisement. The work was a reaction to the Phillip Morris company's sponsorship of a 1989–90 exhibition about Cubism at the Museum of Modern Art.

paragraph: Haacke has had solo exhibitions since, at the New Museum of Contemporary Art, New York; the Van Abbemuseum, Eindhoven; and the Centre Georges Pompidou, Paris.

paragraph: In 1993 Haacke shared, with Nam June Paik, the Golden Lion for the German Pavilion at the Venice Biennale. Haacke's installation "Germania" made explicit reference to the pavilion's roots in the politics of Nazi Germany. Haacke tore up the floor of the German pavilion as Hitler once had done. In 1993, looking through the doors of the pavilion, past the broken floor, the viewer witnesses the word on the wall: "Germania", Hitler's name for Nazi Berlin.

paragraph: Section::::Systems work (1970–present).:2000s.

paragraph: At the 2000 Whitney Biennial, at the Whitney Museum of American Art in New York, Haacke presented a piece that is a direct reaction to art censorship. The piece called "Sanitation" featured six anti-art quotes from US political figures on each side of mounted American flags.The quotes were in a Gothic style script typeface once favored by Hitler's Third Reich. On the floor was an excerpt of the First Amendment of the U.S. Constitution, guaranteeing freedom of speech and expression. Lined up against the wall were a dozen garbage cans with speakers emitting military marching sounds. Haacke notes that "freedom of expression is the focus of the work".

paragraph: Section::::Systems work (1970–present).:Commissions.

paragraph: In 2000, a permanent installation was inaugurated in the Reichstag, the German Parliament building in Berlin, and in 2006 a public commission commemorating Rosa Luxemburg was completed in a three-block area in the center of the city. In 2014, it was announced that Haacke will be installing one of his works as part of the annual Fourth Plinth commission in 2015. His winning commission of a bronze sculpture of a horse’s skeleton, titled "Gift Horse", comes with an electronic ribbon tied to its front leg that displays a live ticker of prices on the London Stock Exchange.

paragraph: Section::::Systems work (1970–present).:Use of Law.

paragraph: Along with Adrian Piper and Michael Asher, Haacke uses a version of Seth Siegelaub and Robert Projansky's 1971 artist contract, in order to control the dissemination, display and ownership of his art works.

paragraph: Section::::Writing and publications.

paragraph: On being considered a political artist Haacke says: "it is uncomfortable for me to be a politicized artist... the work of an artist with such a label is in danger of being understood one dimensionally without exception... all artwork have a political component whether its intended or not". Jack Burnham comments on Haacke's political growth and links its roots to exposure to a time of political unrest in the US surrounding the Vietnam War. Burnham also points to Haacke's joining the Arts Workers Coalition and the boycott of the São Paulo Bienal in Brazil in 1969 as catalyst for the artist's work to take a political direction. Writing by Haacke and his close friends and colleagues, including documentation of his work, are collected in two separate books by the artist.

paragraph: Hans Haacke first published a book about the ideas and processes behind his and other conceptual art called "Framing and Being Framed". Published in 1995, "Free Exchange", is a transcription of a conversation between Haacke and Pierre Bourdieu The two men met in the 1980s and, as Bourdieu states in the introduction, "very quickly discovered how much they have in common".

paragraph: Section::::See also.

paragraph: BULLET::::- Systems art

paragraph: Section::::Further reading.

paragraph: BULLET::::- Luke Skrebowski, "All Systems Go: Recovering Hans Haacke's Systems Art", in "Grey Room", Winter 2008, No. 30, Pages 54–83.

paragraph: BULLET::::- Flügge, Matthias, and Fleck, Robert (ed.). 2007. "Hans Haacke - Wirklich. Werke 1959-2006". Düsseldorf: Richter. (catalogue to a retrospective exhibition at Deichtorhallen Hamburg 17.11.2006 - 4.2.2007 and Akademie der Künste, Berlin 18.11.2006 - 14.1.2007)

paragraph: BULLET::::- Grasskamp, Walter, Hans Haacke, and Benjamin Buchloh. ""Obra social": Hans Haacke." Barcelona: Fundació Antoni Tàpies, 1995. Text in Catalan, English and Castilian.

paragraph: BULLET::::- Bourdieu, P. and H. Haacke. "Free Exchange." Stanford: Stanford Univ Press, 1995.

paragraph: BULLET::::- Wallis, B. (ed). 1986. "Hans Haacke: Unfinished Business". New York and Cambridge: New Museum of Contemporary Art and MIT Press.

paragraph: BULLET::::- Jean-Hubert Martin, Valerie Hilling, Catherine Millet and Mattijs Visser. "ZERO, Internationale Künstler Avantgarde", exhibition catalog published by Museum Kunst Palast and Cantz, Düsseldorf/Ostfildern 2006,

paragraph: BULLET::::- Duncan, Carol. "The Art Museum as Ritual" from "The Art of Art History: A Critical Anthology", ed. by Donald Preziosi Oxford: Oxford University, 1998, 474-475.

paragraph: BULLET::::- Jameson, Frederic. "Postmodernism or, The Cultural Logic of Late Capitalism" Durham, North Carolina: Duke University, 1991,4-5.

paragraph: BULLET::::- Harvey, David. "The Art of Rent: Globalization, Monopoly and the Commodification of Culture". from "A World of Contradictions: Socialist Register 2002", ed. by Leo Panitch and Colin Leys.

paragraph: BULLET::::- Kaye, Nick. "Site-specific Art: Performance, Place and Documentation". London: Routledge, 2000.

paragraph: Section::::External links.

paragraph: BULLET::::- Hans Haacke on New Museum archive

paragraph: BULLET::::- https://www.watkins.edu/sites/all/files/imagecache/gallery_full/portfolios/images/05.jpg

paragraph: BULLET::::- "Hans Haaacke: Talking Art" Tate Channel

paragraph: BULLET::::- Hans Haacke on Artcyclopedia

paragraph: BULLET::::- Hans Haacke at Artnet.com

paragraph: BULLET::::- MoMa.org Audio Program, "All Systems Go: Recovering Hans Haacke's Systems Art" by Luke Skrebowski, Middlesex University, England, MP3 file (30 min/28MB).

paragraph: BULLET::::- ZERO foundation

paragraph: BULLET::::- "Hans Haacke. ’Obra Social’"  Hans Haacke's exhibition in Fundació Antoni Tàpies. 21/6/1995 - 3/9/1995

description: conceptual political artist

enwikiquote_title: Hans Haacke

wikidata_label: Hans Haacke

wikipedia_title: Hans Haacke


text:
pharaoh
First Dynasty
ancient Egypt
thirty-first century BC
Flinders Petrie
Émile Brugsch
Abydos King List
Turin Canon
Manetho
Palermo Stone
register
Neithhotep
Umm el-Qa'ab
Saqqara
Helwan
ivory tablet from Abydos
Wadi Halfa
Sudan
ivory
hieroglyphs
human sacrifice
Abydos
Buto
Sais
Nile Delta
Manetho
anatomy
Hor-Aha
Khenthap
Narmer
Merneith
Djet
Den
Abydos
Nakhtneith
Abydos
Herneith
Seshemetka
Abydos
Penebui
Umm el-Qa'ab
Abydos
Osiris
Cairo Museum
Abydos
Meritneith
Neithhotep
Neithhotep
Memphis
Herneith
Saqqara
Pharaoh
List of Pharaohs
First dynasty of Egypt
Ancient Egyptian retainer sacrifices

categories: 31st-century BC Pharaohs,Pharaohs of the First Dynasty of Egypt,Djer,31st century BC in Egypt,30th-century BC Pharaohs,Hor-Aha,31st-century BC rulers

paragraph: Djer

paragraph: Djer (or Zer or Sekhty) is considered the third pharaoh of the First Dynasty of ancient Egypt in current Egyptology. He lived around the mid-thirty-first century BC and reigned for c. 40 years. A mummified forearm of Djer or his wife was discovered by Flinders Petrie, but was discarded by Émile Brugsch.

paragraph: Section::::Name.

paragraph: The Abydos King List lists the third pharaoh as "Iti", the Turin Canon lists a damaged name, beginning with "It...", while Manetho lists "Uenéphes".

paragraph: Section::::Length of reign.

paragraph: While the Egyptian priest Manetho, writing in the third century BC, stated that Djer ruled for 57 years, modern research by Toby Wilkinson in "Royal Annals of Ancient Egypt" stresses that the near-contemporary and therefore, more accurate Palermo Stone ascribes Djer a reign of "41 complete and partial years." Wilkinson notes that years 1–10 of Djer's reign are preserved in register II of the Palermo Stone, while the middle years of this pharaoh's reign are recorded in register II of Cairo stone fragment C1.

paragraph: Section::::Reign.

paragraph: Djer's reign was preceded by a regency controlled by Neithhotep, possibly his mother or grandmother.

paragraph: The evidence for Djer's life and reign is:

paragraph: BULLET::::- Tomb in Umm el-Qa'ab, Abydos

paragraph: BULLET::::- Seal prints from graves 2185 and 3471 in Saqqara

paragraph: BULLET::::- Inscriptions in graves 3503, 3506 and 3035 in Saqqara

paragraph: BULLET::::- Seal impression and inscriptions from Helwan

paragraph: BULLET::::- Jar from Turah with the name of Djer

paragraph: BULLET::::- UC 16182 ivory tablet from Abydos, subsidiary tomb 612 of the enclosure of Djer

paragraph: BULLET::::- UC 16172 copper adze with the name of Djer

paragraph: BULLET::::- Inscription of his name (of questioned authenticity, however) at Wadi Halfa, Sudan

paragraph: The inscriptions, on ivory and wood, are in a very early form of hieroglyphs, hindering complete translation, but a label at Saqqarah may depict the First Dynasty practice of human sacrifice. An ivory tablet from Abydos mentions that Djer visited Buto and Sais in the Nile Delta. One of his regnal years on the Cairo Stone was named "Year of smiting the land of "Setjet"", which often is speculated to be Sinai or beyond.

paragraph: Manetho claimed that Athothes, who is sometimes identified as Djer, had written a treatise on anatomy that still existed in his own day, over two millennia later.

paragraph: Section::::Family.

paragraph: Djer was a son of the pharaoh Hor-Aha and his wife Khenthap. His grandfather was probably Narmer. Djer fathered Merneith, wife of Djet and mother of Den. Women carrying titles later associated with queens such as "Great One of the Hetes-Sceptre" and "She who Sees/Carries Horus" were buried in subsidiary tombs near the tomb of Djer in Abydos or attested in Saqqara. These women are thought to be the wives of Djer and include:

paragraph: BULLET::::- Nakhtneith (or Nekhetneith), buried in Abydos and known from a stela.

paragraph: BULLET::::- Herneith, possibly a wife of Djer. Buried in Saqqara.

paragraph: BULLET::::- Seshemetka, buried in Abydos next to the king. She was said to be a wife of Den in Dodson and Hilton.

paragraph: BULLET::::- Penebui, her name and title were found on an ivory label from Saqqara.

paragraph: BULLET::::- "bsu", known from a label in Saqqara and several stone vessels (reading of name uncertain; name consists of three fish hieroglyphs).

paragraph: Section::::Tomb.

paragraph: Similarly to his father Hor-Aha, Djer was buried in Umm el-Qa'ab at Abydos. Djer's tomb is tomb O of Petrie. His tomb contains the remains of 318 retainers who were buried with him. During later times, the tomb of Djer was revered as the tomb of Osiris, and the entire First Dynasty burial complex, which includes the tomb of Djer, was very important in the Egyptian religious tradition.

paragraph: Several objects were found in and around the tomb of Djer:

paragraph: BULLET::::- A stela of Djer, now in the Cairo Museum probably comes from Abydos.

paragraph: BULLET::::- Labels mentioning the name of a palace and the name of Meritneith.

paragraph: BULLET::::- Fragments of two vases inscribed with the name of Queen Neithhotep.

paragraph: BULLET::::- Bracelets of a Queen were found in the wall of the tomb.

paragraph: In the subsidiary tombs excavators found:

paragraph: BULLET::::- Stelae of several individuals

paragraph: BULLET::::- Ivory objects with the name of Neithhotep.

paragraph: BULLET::::- Ivory tablets.

paragraph: Manetho indicates that the First Dynasty ruled from Memphis – and indeed Herneith, one of Djer's wives, was buried nearby at Saqqara.

paragraph: Section::::See also.

paragraph: BULLET::::- Pharaoh

paragraph: BULLET::::- List of Pharaohs

paragraph: BULLET::::- First dynasty of Egypt

paragraph: BULLET::::- Ancient Egyptian retainer sacrifices

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Toby A. H. Wilkinson, "Early Dynastic Egypt", Routledge, London/New York 1999, , 71-73

paragraph: BULLET::::- Toby Wilkinson, Royal Annals of Ancient Egypt: The Palermo Stone and Its Associated Fragments, (Kegan Paul International), 2000.

paragraph: Section::::External links.

paragraph: BULLET::::- http://www.phouka.com/pharaoh/pharaoh/dynasties/dyn01/02djer.html

description: ancient Egyptian pharaoh of the 5th Dynasty of the Middle Empire

wikidata_label: Djer

wikipedia_title: Djer


text:
pharaoh
First Dynasty of Egypt
Egyptologists
Menes
31st century BC
Horus-name
royal titulary
Horus
Manetho
Aegyptiaca
Athothis
Early Dynastic Period
Turin
Abydos
"nebty"-name
Petrie
Menes
Narmer
Menes
Narmer Palette
Umm El Qa'ab
Den
Qa'a
Narmer
Upper Egypt
Lower Egypt
Upper and Lower Egypt
late 32nd
Neith
Neith
Sais
Henu
Seker
Neithhotep
mastaba
Jacques de Morgan
Neithhotep
Djer
Memphis
ivory
Nubians
Southern Levant
En Besor
Benerib
Abydos, Egypt
Khenthap
Umm el-Qa'ab
retainer sacrifices
Ancient Egypt
Ancient Egyptian retainer sacrifices
First dynasty of Egypt
History of Egypt
List of Pharaohs
Menes
Narmer
Pharaoh
The Greatest Pharaohs
Corpus of Wooden and Ivory Labels - Aha

categories: 31st-century BC Pharaohs,Pharaohs of the First Dynasty of Egypt

paragraph: Hor-Aha

paragraph: Hor-Aha (or Aha or Horus Aha) is considered the second pharaoh of the First Dynasty of Egypt by some Egyptologists, others consider him the first one and corresponding to Menes. He lived around the 31st century BC and is thought to have had a long reign.

paragraph: Section::::Identity.

paragraph: Section::::Identity.:Name.

paragraph: The commonly used name "Hor-Aha" is a rendering of the pharaoh's Horus-name, an element of the royal titulary associated with the god Horus, and is more fully given as "Horus-Aha" meaning "Horus the Fighter".

paragraph: The Greek historian Manetho's record "Aegyptiaca" (translating to History of Egypt) lists his Greek name as Athothis, or "Athotís".

paragraph: For the Early Dynastic Period, the archaeological record refers to the pharaohs by their Horus-names, while the historical record, as evidenced in the Turin and Abydos king lists, uses an alternative royal titulary, the "nebty"-name. The different titular elements of a pharaoh's name were often used in isolation, for brevity's sake, although the choice varied according to circumstance and period.

paragraph: Mainstream Egyptological consensus follows the findings of Petrie in reconciling the two records and connects Hor-Aha (archaeological) with the "nebty"-name "Ity" (historical).

paragraph: The same process has led to the identification of the historical Menes (a "nebty"-name) with Narmer (a Horus-name) evidenced in the archaeological record (both figures are credited with the unification of Egypt and as the first pharaoh of Dynasty I) as the predecessor of Hor-Aha (the second pharaoh).

paragraph: Section::::Identity.:Theories.

paragraph: There has been some controversy about Hor-Aha. Some believe him to be the same individual as the legendary Menes and that he was the one to unify all of Egypt. Others claim he was the son of Narmer, the pharaoh who unified Egypt. Narmer and Menes may have been one pharaoh, referred to with more than one name. Regardless, considerable historical evidence from the period points to Narmer as the pharaoh who first unified Egypt ("see Narmer Palette") and to Hor-Aha as his son and heir.

paragraph: Section::::Reign.

paragraph: Section::::Reign.:Successor to Narmer.

paragraph: Seal impressions discovered by G. Dreyer in the Umm El Qa'ab from Den and Qa'a burials identify Hor-Aha as the second pharaoh of the first dynasty. His predecessor Narmer had united Upper Egypt and Lower Egypt into a single kingdom, "Upper and Lower Egypt". Hor-Aha probably ascended the throne in the late 32nd or early 31st century.

paragraph: Section::::Reign.:Interior policy.

paragraph: Hor-Aha seems to have conducted many religious activities. A visit to a shrine of the goddess Neith is recorded on several tablets from his reign. The sanctuary of Neith he visited was located in the north-west of the Nile Delta at Sais. Furthermore, the first known representation of the sacred "Henu"-bark of the god Seker was found engraved on a year tablet dating from his reign.

paragraph: Vessel inscriptions, labels and sealings from the graves of Hor-Aha and Queen Neithhotep suggest that this queen died during the reign of Aha. He arranged for her burial in a magnificent mastaba excavated by Jacques de Morgan. Queen Neithhotep is plausibly Aha's mother The selection of the cemetery of Naqada as the resting place of Neithhotep is a strong indication that she came from this province. This, in turn, supports the view that Narmer married a member of the ancient royal line of Naqada to strengthen the domination of the Thinite kings over the region. However, in January 2016, a rock inscription has demonstrated that Neithhotep was actually a queen regent early during the reign of Djer, Hor-Aha's successor. Therefore, the cemetery evidence above only proves that Neithhotep did live during the reign of Hor-Aha but succeeded him into Djer's reign.

paragraph: Most importantly, the oldest mastaba at the North Saqqara necropolis of Memphis dates to his reign. The mastaba belongs to an elite member of the administration who may have been a relative of Hor-Aha, as was customary at the time. This is a strong indication of the growing importance of Memphis during Aha's reign.

paragraph: Section::::Reign.:Economic development.

paragraph: Few artifacts remain of Hor-Aha's reign. However, the finely executed copper-axe heads, faience vessel fragments, ivory box and inscribed white marbles all testify to the flourishing of craftsmanship during Aha's time in power.

paragraph: Section::::Reign.:Activities outside Egypt.

paragraph: Inscription on an ivory tablet from Abydos suggests that Hor-Aha led an expedition against the Nubians. On a year tablet, a year is explicitly called 'Year of smiting of Ta-Sety' (i.e. Nubia).

paragraph: During Hor-Aha's reign, trade with the Southern Levant seems to have been on the decline. Contrary to his predecessor Narmer, Hor-Aha is not attested outside of the Nile Valley. This may point to a gradual replacement of long-distance trade between Egypt and its eastern neighbors by a more direct exploitation of the local resources by the Egyptians. Vessel fragment analysis from an Egyptian outpost at En Besor suggests that it was active during Hor-Aha's reign. Other Egyptian settlements are known to have been active at the time as well (Byblos and along the Lebanese coast). Finally, Hor-Aha's tomb yielded vessel fragments from the Southern Levant.

paragraph: Section::::Family.

paragraph: Hor-Aha's chief wife was Benerib, whose name was "written alongside his on a number of [historical] pieces, in particular, from tomb B14 at Abydos, Egypt". Tomb B14 is located directly adjacent to Hor-Aha's sepulchre. Hor-Aha also had another wife, Khenthap, with whom he became father of Djer. She is mentioned as Djer's mother on the Cairo Annals Stone.

paragraph: Section::::Tomb.

paragraph: The tomb of Hor-Aha is located in the necropolis of the kings of the 1st Dynasty at Abydos, known as the Umm el-Qa'ab. It comprises three large chambers (designated B10, B15, and B19), which are directly adjacent to Narmer's tomb. The chambers are rectangular, directly dug in the desert floor, their walls lined with mud bricks.

paragraph: The tombs of Narmer and Ka had only two adjacent chambers, while the tomb of Hor-Aha comprises three substantially larger yet separated chambers. The reason for this architecture is that it was difficult at that time to build large ceilings above the chambers, as timber for these structures often had to be imported from Palestine.

paragraph: A striking innovation of Hor-Aha's tomb is that members of the royal household were buried with the pharaoh, the earliest known retainer sacrifices in Egypt. It is unclear if they were killed or committed suicide. Among those buried were servants, dwarfs, women and even dogs. A total of 36 subsidiary burials were laid out in three parallel rows north-east of Hor-Aha's main chambers. As a symbol of royalty Hor-Aha was even given a group of young lions.

paragraph: Section::::See also.

paragraph: BULLET::::- Ancient Egypt

paragraph: BULLET::::- First dynasty of Egypt

paragraph: BULLET::::- History of Egypt

paragraph: BULLET::::- List of Pharaohs

paragraph: BULLET::::- Menes

paragraph: BULLET::::- Narmer

paragraph: BULLET::::- Pharaoh

paragraph: BULLET::::- The Greatest Pharaohs

paragraph: Section::::Bibliography.

paragraph: BULLET::::- .

paragraph: BULLET::::- Toby A. H. Wilkinson, "Early Dynastic Egypt", Routledge, London/New York 1999, , 70-71

paragraph: Section::::External links.

paragraph: BULLET::::- Corpus of Wooden and Ivory Labels - Aha by Francesco Raffaele

description: Egyptian pharaoh

wikidata_label: Hor-Aha

wikipedia_title: Hor-Aha


text: Bengali

text: Hajar Churashir Maa

text: communist

text: West Bengal

text: Bihar

text: Madhya Pradesh

text: Chhattisgarh

text: India

text: Sahitya Akademi Award

text: in Bengali

text: Jnanpith Award

text: Ramon Magsaysay Award

text: Padma Shri

text: Padma Vibhushan

text: British India

text: Dhaka

text: Bangladesh

text: Manish Ghatak

text: Kallol

text: Ritwik Ghatak

text: West Bengal

text: Rabindranath Tagore

text: Visva-Bharati University

text: Calcutta University

text: Bengali

text: Rani of Jhansi

text: Jhansi

text: Vijaygarh Jyotish Ray College

text: University of Calcutta

text: dalits

text: Postcolonial

text: Gayatri Chakravorty Spivak

text: Birsa Munda

text: Jharkhand State Government

text: Communist Party of India (Marxist)

text: Mamata Banarjee

text: Santiniketan

text: Rabindranath Tagore

text: Nandigram agitation

text: Singur

text: Nandigram

text: Manoranjan Bypari

text: Frankfurt Book Fair

text: Mera Joota Hai Japani

text: Raj Kapoor

text: Bijon Bhattacharya

text: Indian People's Theatre Association

text: Nabarun Bhattacharya

text: heart attack

text: Belle Vue Clinic, Kolkata

text: multiple organ failure

text: diabetes

text: sepsis

text: urinary infection

text: Mamata Banerjee

text: Narendra Modi

text: Sahitya Akademi Award

text: Bengali

text: Padma Shri

text: Jnanpith Award

text: Bharatiya Jnanpith

text: Ramon Magsaysay Award

text: Padma Vibhushan

text: Government of India

text: SAARC Literary Award

text: Man Booker International Prize

text: Banga Bibhushan

text: Government of West Bengal

text: Google

text: doodle

text: Rani Lakshmi Bai

text: Hajar Churashir Maa

text: Sunghursh

text: Rudaali

text: Hazaar Chaurasi Ki Maa

text: Maati Maay

text: Gangor

text: "Ullas"

text: Amazing facts about Mahasweta Devi

text: from the website of Emory University

text: The Rediff Interview/Mahasweta Devi

categories: 2016 deaths,Indian women short story writers,Indian human rights activists,Indian women activists,20th-century Indian novelists,University of Calcutta alumni,Writers from Kolkata,Officiers of the Ordre des Arts et des Lettres,Women writers from West Bengal,SAARC Literary Award Recipants,20th-century Indian educators,Indian women novelists,Bengali-language activists,Recipients of the Jnanpith Award,Indian women biographers,20th-century Indian biographers,Novelists from West Bengal,Recipients of the Banga Bibhushan,Recipients of the Padma Shri in social work,University of Calcutta faculty,1926 births,Bengali Hindus,20th-century Indian short story writers,Ramon Magsaysay Award winners,Visva-Bharati University alumni,20th-century Indian women writers,Recipients of the Padma Vibhushan in literature & education,Recipients of the Sahitya Akademi Award in Bengali,Bengali writers,Activists from West Bengal,Bengali-language writers

paragraph: Mahasweta Devi

paragraph: Mahaswetah Devi (14 January 1926 – 28 July 2016) was an Indian Bengali fiction writer and socio-political activist. Her notable literary works include "Hajar Churashir Maa", "Rudali", and "Aranyer Adhikar". She was a self-recognised communist and worked for the rights and empowerment of the tribal people ("Lodha" and "Shabar") of West Bengal, Bihar, Madhya Pradesh and Chhattisgarh states of India. She was honoured with various literary awards such as the Sahitya Akademi Award (in Bengali), Jnanpith Award and Ramon Magsaysay Award along with India's civilian awards Padma Shri and Padma Vibhushan.

paragraph: Section::::Early life.

paragraph: Mahasweta Devi was born in 1926 in Decca, British India (now Dhaka, Bangladesh). Her father, Manish Ghatak, was a well-known poet and novelist of the Kallol movement, who used the pseudonym Jubanashwa (). Ghatak's brother was noted filmmaker Ritwik Ghatak. Devi's mother, Dharitri Devi, was also a writer and a social worker whose brothers were very distinguished in various fields, such as the noted sculptor Sankha Chaudhury and the founder-editor of "Economic and Political Weekly" of India, Sachin Chaudhury. Mahasweta Devi's first schooling was in Dhaka, Eden Montessori school (1930) but then she moved to West Bengal (now in India). Then she studied in Midnapur Mission Girls High School (1935). After that she was admitted to Santiniketan (1936 to 1938). After that, she studied at Beltala Girls' School (1939-1941) where she got her matric. Then in 1944 she got I.A. from Asutosh College. Then she joined the Rabindranath Tagore-founded Visva-Bharati University and completed a B.A. (Hons) in English, and then finished an M.A. in English at Calcutta University.

paragraph: Section::::Career.

paragraph: Section::::Career.:Literary works.

paragraph: Devi wrote over 100 novels and over 20 collections of short stories primarily written in Bengali but often translated to other languages. Her first novel, titled "Jhansir Rani", based on a biography of the Rani of Jhansi was published in 1956. She had toured the Jhansi region to record information and folk songs from the local people for the novel.

paragraph: In 1964, she began teaching at Vijaygarh Jyotish Ray College (an affiliated college of the University of Calcutta system). In those days Vijaygarh Jyotish Ray College was an institution for working-class women students. During that period she also worked—as a journalist and as a creative writer. She studied the "Lodhas" and "Shabars", the tribal communities of West Bengal, women and dalits. In her elaborate Bengali fiction, she often depicted the brutal oppression on the tribal people and untouchables by the powerful authoritarian upper-caste landlords, money-lenders, and venal government officials. She wrote of the source of her inspiration:

paragraph: Postcolonial scholar Gayatri Chakravorty Spivak has translated Devi's short stories into English and published three books "Imaginary Maps" (1995, Routledge), "Old Woman" (1997, Seagull), "The Breast Stories" (1997, Seagull).

paragraph: Section::::Career.:Social activity.

paragraph: Mahasweta Devi raised her voice several times against the discrimination suffered by tribal people in India. Devi's 1977 novel "Aranyer Adhikar" (Right to the Forest) was about the life of Birsa Munda. And in June 2016, consequent to Devi's activism, the Jharkhand State Government finally saw to the removal of the manacles from the figure of Munda, which had been part of the commemorative sculpture of the notable young tribal leader due to its having been based on a photograph dating from the era of British rule.

paragraph: Devi spearheaded the movement against the industrial policy of the earlier Communist Party of India (Marxist) government of West Bengal. Specifically, she stridently criticized confiscation from farmers of large tracts of fertile agricultural land by the government which then ceded it to industrial houses at throwaway prices. She supported the candidature of Mamata Banarjee in the 2011 West Bengal Legislative Assembly election which resulted in the end of the 34-year long rule of CPI(M). She had connected the policy to the commercialization of Santiniketan of Rabindranath Tagore, where she spent her formative years. Her lead in the Nandigram agitation resulted in a number of intellectuals, artists, writers and theatre workers joining together in protest of the controversial policy and particularly its implementation in Singur and Nandigram.

paragraph: She is known to have helped the noted writer Manoranjan Bypari to come into prominence as his initial writings were published in her journal and as prompted by her.

paragraph: At the Frankfurt Book Fair 2006, when India was the first country to be the Fair's second time guest nation, she made an impassioned inaugural speech wherein she moved the audience to tears with her lines taken from the famous film song "Mera Joota Hai Japani" by Raj Kapoor.

paragraph: Section::::Personal life.

paragraph: On 27 February in 1947, she married renowned playwright Bijon Bhattacharya, who was one of the founding fathers of the Indian People's Theatre Association movement. In 1948, she gave birth to Nabarun Bhattacharya, who became a novelist and political critic. She worked in a post office but was fired for her communist leaning. She went on to do various jobs, such as selling soaps and writing letters in English for illiterate people. In 1962, she married author Asit Gupta after divorcing Bhattacharya. In 1976, the relationship with Gupta ended.

paragraph: Section::::Death.

paragraph: On 23 July 2016, Devi suffered a major heart attack and was admitted to Belle Vue Clinic, Kolkata. Devi died of multiple organ failure on 28 July 2016, aged 90. She had suffered from diabetes, sepsis and urinary infection.

paragraph: On her death, Mamata Banerjee, Chief Minister of West Bengal tweeted "India has lost a great writer. Bengal has lost a glorious mother. I have lost a personal guide. Mahasweta Di rest in peace." Prime Minister Narendra Modi tweeted "Mahashweta Devi wonderfully illustrated the might of the pen. A voice of compassion, equality & justice, she leaves us deeply saddened. RIP."

paragraph: Section::::Awards and recognition.

paragraph: BULLET::::- 1979: Sahitya Akademi Award (Bengali): – "Aranyer Adhikar" (novel)

paragraph: BULLET::::- 1986: Padma Shri for Social Work

paragraph: BULLET::::- 1996: Jnanpith Award – the highest literary award from the Bharatiya Jnanpith

paragraph: BULLET::::- 1997: Ramon Magsaysay Award – Journalism, Literature, and the Creative Communication Arts for "compassionate crusade through art and activism to claim for tribal peoples a just and honorable place in India’s national life."

paragraph: BULLET::::- 2003: Officier de l'Ordre des Arts et des Lettres

paragraph: BULLET::::- 2006: Padma Vibhushan – the second highest civilian award from the Government of India

paragraph: BULLET::::- 2007: SAARC Literary Award

paragraph: BULLET::::- 2009: Shortlisted for the Man Booker International Prize

paragraph: BULLET::::- 2010: Yashwantrao Chavan National Award

paragraph: BULLET::::- 2011: Banga Bibhushan – the highest civilian award from the Government of West Bengal

paragraph: BULLET::::- On 14 January 2018, Google honored Mahasweta Devi on her 92nd birth anniversary, celebrating her work by creating a doodle on her.

paragraph: Section::::Major works.

paragraph: Devi's major works are as listed below:

paragraph: BULLET::::- "Jhansi Rani" (1956, biography)

paragraph: BULLET::::- "The Queen of Jhansi", by Mahasweta Devi (translated by Sagaree and Mandira Sengupta). This book is a reconstruction of the life of Rani Lakshmi Bai from extensive research of both historical documents (collected mostly by G. C. Tambe, grandson of the Queen) and folk tales, poetry and oral tradition; the original in Bengali was published in 1956; the English translation by Seagull Books, Calcutta, 2000,

paragraph: BULLET::::- "Hajar Churashir Maa" (1974, novel)

paragraph: BULLET::::- "Aranyer Adhikar" (1979, novel)

paragraph: BULLET::::- "Agnigarbha" (1978, short stories collection)

paragraph: BULLET::::- "Murti" (1979, short stories collection)

paragraph: BULLET::::- "Neerete Megh" (1979, short stories collection)

paragraph: BULLET::::- "Stanyadayani" (1980, short stories collection)

paragraph: BULLET::::- "Chotti Munda Evam Tar Tir" (1980, short stories collection)

paragraph: Section::::Major works.:Film adaptations.

paragraph: BULLET::::- "Sunghursh" (1968), Hindi film based on short story "Layli Asmaner Ayna"

paragraph: BULLET::::- "Rudaali" (1993)

paragraph: BULLET::::- Bayen (Hindi) (1993) a film based on Short story Directed by Gul Bahar singh

paragraph: BULLET::::- "Hazaar Chaurasi Ki Maa" (1998)

paragraph: BULLET::::- "Maati Maay" (2006), Marathi film based on short story B"aayen"

paragraph: BULLET::::- "Gangor" (2010), Italian film based on short story "Choli Ke Peeche"

paragraph: BULLET::::- "Ullas" (Bengali film based on three short stories— "Daur", "Mahadu Ekti Rupkatha" and "Anna Aranya") directed by Ishwar Chakraborty, released in 2012.

paragraph: Section::::External links.

paragraph: BULLET::::- Amazing facts about Mahasweta Devi

paragraph: BULLET::::- from the website of Emory University

paragraph: BULLET::::- Mahasweta Devi: Witness, Advocate, Writer – A film on Mahasweta Devi by Shashwati Talukdar

paragraph: BULLET::::- The Rediff Interview/Mahasweta Devi

wikidata_label: Mahasweta Devi

wikipedia_title: Mahasweta Devi


text:
Erich Frauwallner
Giuseppe Tucci
Hakuju Ui
Yogacara
Buddhist philosophy
Asanga
Vasubandhu
Maitreya
future buddha
Fyodor Shcherbatskoy
Tuṣita
meditation
Xuanzang
samādhi
Hanshan Deqing
Ming dynasty
Tibetan Buddhism
Chinese Buddhism
Yogācārabhūmi śāstra
Mahāyānasūtrālamkārakārikā
Dharmadharmatāvibhāga
Madhyāntavibhāgakārikā
Abhisamayalankara
Prajnaparamita
Mādhyamaka
Ratnagotravibhāga
Buddha-nature

categories: Buddhist philosophers,Year of birth uncertain,350 deaths

paragraph: Maitreya-nātha

paragraph: Maitreya-nātha (ca. 270-350 CE) is a name whose use was pioneered by Buddhist scholars Erich Frauwallner, Giuseppe Tucci, and Hakuju Ui to distinguish one of the three founders of the Yogacara school of Buddhist philosophy, along with Asanga and Vasubandhu. Some scholars believe this Maitreya to be a historical person in India. The traditions themselves have held that it is referring to Maitreya, the future buddha.

paragraph: Section::::Academic views.

paragraph: Scholars are divided in opinion whether the name refers to a historical human teacher of Asaṅga or to the bodhisattva Maitreya. Frauwallner, Tucci and Ui proposed this as a possibility, while Eric Obermiller and Fyodor Shcherbatskoy doubted the historicity of this figure.

paragraph: Section::::Traditional view.

paragraph: The Buddhist traditions themselves have always held that Asaṅga received the texts in question from Maitreya directly in the Tuṣita heaven. Asaṅga is said to have spent many years in intense meditation, during which time tradition says that he often visited Tuṣita to receive teachings from the Maitreya. Heavens such as Tuṣita are said to be accessible through meditation. Xuanzang tells the account of these events:

paragraph: Confusion over the idea of "supernaturally" visiting heavens may be due to the unfamiliarity of scholars with the Indian concept of heavens as being accessible through samādhi. Other advanced meditators recorded similar experiences of visiting Tuṣita Heaven at night. One such example of this is Hanshan Deqing during the Ming dynasty. In his autobiography, Hanshan describes the palace of Maitreya in Tuṣita, and hearing a lecture given by Bodhisattva Maitreya to a large group of his disciples.

paragraph: Hanshan Deqing recalls the teaching given as the following:

paragraph: Section::::Attributed works.

paragraph: The number of works attributed to him vary in the traditions of Tibetan Buddhism and Chinese Buddhism, but variously include:

paragraph: BULLET::::- the "Yogācārabhūmi śāstra", the encyclopaedic and definitive text of the Yogacara school

paragraph: BULLET::::- the "Mahāyānasūtrālamkārakārikā", which presents the Mahāyāna path from the Yogācāra perspective

paragraph: BULLET::::- the "Dharmadharmatāvibhāga", a short Yogācāra work discussing the distinction and correlation ("vibhāga") between phenomena ("dharma") and reality ("dharmatā")

paragraph: BULLET::::- the "Madhyāntavibhāgakārikā", 112 verses that are a key work in Yogācāra philosophy

paragraph: BULLET::::- the "Abhisamayalankara", which summarizes the Prajnaparamita sūtras, which the Mādhyamaka school regards as presenting the ultimate truth

paragraph: BULLET::::- the "Ratnagotravibhāga", also known as the "Uttāratantra śāstra", a compendium of the Buddha-nature literature

paragraph: The last five works are often referred to collectively as the Five Dharmas of Maitreya, and their authorship is given variously to Maitreyanātha, Asaṅga or a combination thereof.

description: 4th century Buddhist philosopher

wikidata_label: Maitreya-nātha

wikipedia_title: Maitreya-nātha


text: Polish

text: Kraków

text: The Santa Casa

text: Gołąb

text: Tarłów

text: Kazimierz Dolny

text: Pažaislis church

categories: Baroque architects,Architects from Kraków,17th-century births,17th-century deaths

paragraph: Jan Zaor

paragraph: Jan Zaor (Zaur, Zaorowicz) was a Polish baroque architect from Kraków who lived in the 17th century and was active from 1638 to 1676. He is known for designing St. Peter and St. Paul's Church, Vilnius (1668–1676).

paragraph: Section::::Works.

paragraph: He began designing in about 1638, when he worked on The Santa Casa ("domek loretański") in Gołąb. He also designed and/or supervised the following buildings:

paragraph: BULLET::::- The Parish Church of the Holy Trinity in Tarłów (mid-17th century)

paragraph: BULLET::::- The Royal chapel in the church of Kazimierz Dolny (1653)

paragraph: BULLET::::- Pažaislis church (1672–1674)

paragraph: BULLET::::- St. Peter and St. Paul's Church, Vilnius (1668–1676)

description: baroque architect

wikidata_label: Jan Zaor

wikipedia_title: Jan Zaor


text:
Blessed
Ukrainian Greek Catholic
nun
martyr
Khodoriv
Lwów Voivodeship
Lviv Oblast
convent
Soviet Army
Lviv
OSBM
Russia
Catholic Church
beatified
Pope John Paul II

categories: People from Khodoriv,20th-century Eastern Catholic martyrs,Ukrainian beatified people,1944 deaths,Executed Ukrainian people,People executed by Russia by firearm,1919 births,Ukrainian people executed by the Soviet Union,Members of the Ukrainian Greek Catholic Church,Ukrainian nuns

image: 512px-Сестра_Тарсикія_Мацьків.jpg

paragraph: Tarsykiya Matskiv

paragraph: Blessed Tarsykiya Matskiv (; 23 March 1919 – 17 July 1944) was a Ukrainian Greek Catholic nun and martyr.

paragraph: Matskiv was born in Khodoriv, Lwów Voivodeship (now Lviv Oblast). She entered the Sister Servants of Mary Immaculate on 3 May 1938. She took her first vows on 5 November 1940, and worked in her convent. Even before the arrival of the Soviet Army to Lviv, she took vows before her spiritual director, Fr. Volodymyr Kovalyk (OSBM), that she would give up her life for the conversion of Russia and for the Catholic Church.

paragraph: On 17 July 1944 at around 8 a.m., a Russian soldier rang the convent door. When Matskiv answered the door she was shot without warning and died. It was later said that she was shot simply "because she was a nun".

paragraph: She was beatified by Pope John Paul II on 27 June 2001.

description: Ukrainian nun (1919-1944)

wikidata_label: Tarsykiya Matskiv

wikipedia_title: Tarsykiya Matskiv


text: Italian

text: Cardinal

text: Roman Catholic Church

text: cardinalate

text: Acerra

text: baptized

text: cathedral of Acerra

text: godfather

text: sacred theology

text: Southern Italy

text: Pontifical Campano Seminary

text: Jesuits

text: Posillipo

text: doctorate in sacred theology

text: ordained

text: priest

text: Francesco Di Pietro

text: professor

text: seminary

text: Rome

text: Pontifical Lateran University

text: doctorate

text: philosophy

text: studium

text: Congregation of the Council

text: diploma

text: Pontifical Athenaeum "S. Apollinare"

text: utroque iuris

text: advocate

text: Sacred Roman Rota

text: Potenza

text: Molfetta

text: Roman Curia

text: defender of the matrimonial bond

text: ecclesiastical tribunal

text: Campania

text: Congregation of Rites

text: political science

text: "La Sapienza" University

text: Vicariate of Rome

text: referendary

text: prelate

text: commissary

text: Congregation for the Oriental Churches

text: Second Vatican Council

text: peritus

text: preparatory commission

text: sacraments

text: Secretary

text: Pope Paul VI

text: Titular Archbishop

text: Forum Novum

text: episcopal consecration

text: Cardinals Bernard Alfrink

text: William Conway

text: co-consecrators

text: St. Peter's Basilica

text: Prefect

text: Pope John Paul II

text: Cardinal-Deacon

text: S. Giuseppe in via Trionfale

text: consistory

text: World Synod of Bishops

text: Vatican

text: papal conclave

text: Cardinal Priests

text: titular church

text: pro illa vice

text: funeral Mass

text: liturgy

text: Christ

text: tomb

categories: 1908 births,Members of the Congregation for the Causes of Saints,Cardinals created by Pope John Paul II,People from Acerra,Italian cardinals,Italian titular archbishops,2001 deaths,Pontifical Lateran University alumni,20th-century Roman Catholic archbishops,Participants in the Second Vatican Council,Members of the Congregation for Divine Worship and the Discipline of the Sacraments

paragraph: Giuseppe Casoria

paragraph: Giuseppe Casoria (October 1, 1908 – February 8, 2001) was an Italian Cardinal of the Roman Catholic Church who served as Prefect of the Congregation for Sacraments and Divine Worship from 1981 to 1984, and elevated to the cardinalate in 1983.

paragraph: Section::::Early life and priesthood.

paragraph: Giuseppe Casoria was born in Acerra to Clemente and Maria (née Russo) Casoria. He was baptized in the cathedral of Acerra by Fr. Vincenzo Montesarchio; his godfather was Vincenzo del Giudice, a friend of the family. After spending his childhood in his native city, he attended the course in sacred theology at the Pontifical Theological Faculty of Southern Italy, the Pontifical Campano Seminary run by the Jesuits in Posillipo. He received a doctorate in sacred theology in 1930, and was ordained a priest by Bishop Francesco Di Pietro on December 21, 1930.

paragraph: A professor at the seminary of Acerra from 1930 to 1931, Casoria then furthered his studies in Rome at the Pontifical Lateran University, from where he earned a doctorate in philosophy in 1932; at the "studium" of the Congregation of the Council, earning a diploma in canonical administrative practice in 1934; and at the Pontifical Athenaeum "S. Apollinare", earning a doctorate in "utroque iuris" in 1936. In 1938, he also obtained the diploma of advocate of the Sacred Roman Rota and of the Supreme Tribunal of the Apostolic Signature.

paragraph: Casoria taught at the seminary of Potenza-Molfetta (1934-1937) before being called to the Roman Curia as an official of the Congregation for the Discipline of the Sacraments. He was defender of the matrimonial bond in the Roman Rota from 1939 to 1952, and became defender of the bond in the ecclesiastical tribunal of Campania in 1941 and advocate in the Congregation of Rites in 1949. He received a degree in political science from the "La Sapienza" University in 1953.

paragraph: In 1956, he was promoted to judge of the Tribunal of Appeals of the Vicariate of Rome, referendary prelate of the Apostolic Signatura, and defender of the bond and commissary for matrimonial causes in the Congregation for the Oriental Churches. Casoria later became a consultor of the same Congregation in 1958, and undersecretary adjunct (1959) and undersecretary (1960) of the Congregation for the Discipline of the Sacraments. He was made a voting prelate of the Apostolic Signatura in 1962.

paragraph: During the Second Vatican Council (1962-1965), he offered his work as a "peritus" of the preparatory commission for the sacraments, subsequently serving as "scrutator" and "peritus" at the Council itself. He was later named qualifier (1964) and commissary for matrimonial causes (1966) in the Supreme Sacred Congregation of the Holy Office.

paragraph: Section::::Episcopal career.

paragraph: On April 9, 1969, Casoria was appointed Secretary of the Congregation for the Discipline of the Sacraments by Pope Paul VI. In virtue of his office as Secretary, he was later named Titular Archbishop of "Forum Novum" on January 6, 1972. He received his episcopal consecration on the following February 13 from Paul VI himself, with Cardinals Bernard Alfrink and William Conway serving as co-consecrators, at St. Peter's Basilica.

paragraph: Casoria was appointed Secretary of the Congregation for the Causes of the Saints on February 2, 1973, and later Prefect of the Congregation for the Sacraments and Divine Worship on August 24, 1981.

paragraph: Section::::Episcopal career.:Cardinalate.

paragraph: Pope John Paul II created him Cardinal-Deacon of "S. Giuseppe in via Trionfale" in the consistory of February 2, 1983. He attended the VI Ordinary Assembly of the World Synod of Bishops at the Vatican from September to October 1983. After reaching the mandatory retirement age of 75, Casoria resigned the prefecture of the Congregation for the Sacraments and Divine Worship on April 8, 1984. He lost the right to participate in a papal conclave upon reaching age 80 in October 1988. He later opted for the order of Cardinal Priests and his titular church was elevated "pro illa vice" on April 5, 1993.

paragraph: Section::::Death.

paragraph: Casoria died at "Clinica Pio XI" in Rome, at age 92. John Paul II celebrated his funeral Mass at St. Peter's Basilica two days later, on February 10, 2001; his niece and her husband read the two first readings of the liturgy. During the homily, the Pope described Casoria as "a soul in love with Christ, whom he always tried to imitate as a priest, serving him with total dedication in his daily work for the Church." He was later buried in his family's tomb in his native Acerra.

description: Catholic cardinal

wikidata_label: Giuseppe Casoria

wikipedia_title: Giuseppe Casoria


text:
Qatar
avid art collector
Qatar
Al Wabra Wildlife Preservation
endangered species
Spix's macaw
Tahir Shah

categories: 1966 births,Qatari art collectors,2014 deaths,House of Thani,Government ministers of Qatar

paragraph: Saud bin Muhammed Al Thani

paragraph: Saud bin Muhammad bin Ali bin Abdullah bin Jassim bin Muhammed Al Thani (28 February 1966 – 9 November 2014) was a Qatari prince who served as minister of Culture, Arts and Heritage.

paragraph: By the turn of the 21st century, Shaikh Sa’ud had established an international reputation as an avid art collector, both for his own collection as well as those of several state-owned museums he oversaw in Qatar.

paragraph: Section::::Cares.

paragraph: As Minister of Culture, Arts, and Heritage from 1997, he was entrusted with creating the collections to fill an ambitious program of world-class museums in Qatar, including a Museum of Islamic Art a combined Qatar National Library and Natural History Museum, a Museum of Photography, and a Museum of Traditional Clothes & Textiles. He was dismissed from his post in 2005. He collected Leica APO-Telyt-R 1:5.6/1600mm lens, furniture, vintage cars, natural history, jewellery, even bicycles, but it was sometimes unclear if the collections he had assembled belonged to him or to Qatar.

paragraph: Al Thani founded the Al Wabra Wildlife Preservation (AWWP), a private conservation and endangered species breeding center in Qatar, which focuses on breeding and preservation of rare bird species, particularly the Spix's macaw. Al Wabra is also an important centre for endangered Arabian species such as the sand gazelle and Arabian oryx

paragraph: The Sheikh also founded the Al-Thani Awards in 2000. It claims to be the biggest photography competition in the Middle-East with roughly 54,000 entrants in 2010.

paragraph: He was married to Sheikha Amna bint Ahmad bin Hassan bin Abdualla bin Jassim Althani.

paragraph: In the chapter "Goldeneye" from the book "Travels with Myself" (from Tahir Shah), the author narrates a visit to Saud's home and his magnificent art collection.

paragraph: Saud bin Muhammed Al Thani died in London on 9 November 2014.

paragraph: Section::::Children.

paragraph: BULLET::::- Hamad Bin Saud Bin Muhammed Bin Ali Al Thani

paragraph: BULLET::::- Sara Bint Saud Bin Muhammed Bin Ali Al Thani

paragraph: BULLET::::- Moza Bint Saud Bin Muhammed Bin Ali Al Thani

description: Qatar prince

wikidata_label: Saud bin Muhammed Al Thani

wikipedia_title: Saud bin Muhammed Al Thani


text:
Haarlem
Dutch Golden Age
Philips
Pieter Wouwerman
Laurens van der Vinne
Jan Wijnants
St. Bavochurch
Haarlem Guild of St. Luke
Vincent van der Vinne
Jan Wouwerman
Artnet

categories: 1629 births,Dutch Golden Age painters,Members of the Haarlem Guild of Saint Luke,1666 deaths,Dutch male painters,Artists from Haarlem,Dutch landscape painters

paragraph: Jan Wouwerman

paragraph: Jan Wouwerman (1629 in Haarlem – 1666 in Haarlem), was a Dutch Golden Age painter.

paragraph: According to Houbraken he was the youngest brother of the painters Philips and Pieter Wouwerman, who lived and worked in Haarlem. His work was relatively unknown when Houbraken was writing, and he assumed this was because he died young, two years before his oldest brother in 1666. Houbraken saw one of his landscapes at the home of Laurens van der Vinne, which was a mountainous landscape with a brown foreground, with rough and unclipped trees, while on the horizon a clear view of a valley could be seen. Especially the foreground was cleverly done, a bit loose and with original colors, the way one would have expected of his brother Philips in his younger years when he painted with more monotones than in his later years.

paragraph: According to the RKD he was the youngest brother of Philips Wouwerman who was known for his landscapes in the manner of Jan Wijnants. He was buried in the St. Bavochurch of Haarlem. The RKD does not list him as a member, but his name is on the list of 173 members of the Haarlem Guild of St. Luke that Vincent van der Vinne produced in 1702.

paragraph: Section::::References.

paragraph: BULLET::::- Jan Wouwerman on Artnet

alias:
Jan Pauwelsz. Wouwerman
Jan Wouwermans
Jan Pauwelsz. Wouwermans
Jan Bouwerman
Jan Wouvermans
John Wouvermans
John Wouwermans
Jean Wouwerman
J. Wouwerman
Jean Wouwermans
H. Wouvermann
J. Wouvermans
John Wouverman
J. Wouwermann
Johannes Wouwerman
J. Wouwermans
Jan Wouverman
J. Bouwerman
J. Wauwermans
Jo. Wouvermanns
Johann Wouwermann
Marquirt J. W. Joh. Wouwermann
Jean Wouvermans
Jan Wouerman
J. Wouvermanns
Joan Wouerman

description: painter from the Northern Netherlands

wikidata_label: Jan Wouwerman

wikipedia_title: Jan Wouwerman


text: Tamil

text: Saivite

text: saint

text: poet

text: Tamil

text: Murugan

text: samadhi

text: Tiruvanmiyur

text: Chennai

text: Rameswaram

text: Ramnad District

text: Pambanswamigal.org

categories: People from Ramanathapuram district,Indian Shaivite religious leaders,1929 deaths,1848 births

paragraph: Pamban Swamigal

paragraph: Pamban Gurudasa Swamigal (Tamil: பாம்பன் குமரகுருதாச சுவாமிகள்), popularly known as Pamban Swamigal, was a Saivite saint and poet. He was a devotee of the Tamil god Murugan and composed and wrote poems in his praise. His samadhi is located at Tiruvanmiyur, Chennai.

paragraph: Section::::Early life and education.

paragraph: Pamban Swamigal was born sometime between 1848 and 1850 to a Saivite family in the town of Rameswaram, which then was part of the Ramnad District. He was named Appāvu but later became known as Pamban Swamigal as he had lived and left his family at Pamban Island. A psychic predicted that Appāvu would be great man of words and wisdom. In his school days, Appāvu was very good in his studies and other activities and ranked high in Tamil and English.

paragraph: At the age of thirteen, on a Friday at sunrise Appāvu had a vision and was induced to write poems on Lord Kumāraguru, which he wrote immediately on a palm leaf in a facile pen in his coconut estate. He wrote one poem each day before his lunch for 100 days, ending each decad with his manasika guru's name Arunagiri Nāthar. After seeing Appāvu's poem, a temple priest named Seddu Madhava Iyer marveled at the young boy's knowledge of Tamil and his faith in Lord Murugan. Later Appāvu was given upadesam on the holy six-letter mantra on Vijaya Dasami day at Agni Tīrtham by the Rameswaram seashore temple and was made to read Sanskrit by Sethu Madhava Iyer.

paragraph: Section::::His experiences with Lord Muruga.

paragraph: Since Pāmban Swāmi was interested in the holy life from the early days, his parents and guru Sethu Madhava Iyer were keen to get him married soon in the year 1878. His wife's name was Kalimuthami; they had one son and two daughters. Even after marriage Pamban Swami lived like a saint, mostly doing pujas and prayers. After his father's death Pāmban Swāmi took over the family business. He won many legal cases related to his business by the grace of Lord Murugan.

paragraph: One night Pāmban Swāmi's daughter was crying due to illness. Her mother requested Pamban Swami to give vibhuti to the crying child but Pāmban Swāmi refused to do so and informed his wife to pray to Lord Murugan for help and started his meditation to Lord Murugan. She did as she was told by Pāmban Swāmi. After sometime Pamban Swami saw the child was not crying and found her fast asleep. When Pāmban Swāmi asked the mother about the change she replied that after her prayer to Lord Murugan, a saintly figure came inside the house and applied vibhuti on the child and went away. From that moment on the child was cured. He felt that Lord Murugan himself came and helped him at their request.

paragraph: Section::::Palani Incident.

paragraph: One day a friend of Pamban Swami informed him that he was going to Palani, the sacred hill temple. Pamban Swami also wanted to go to Palani and left his family life without informing them. When his friend asked if he had permission from his god, Pamban Swami said 'Yes' and lied to his friend. On the same day Lord Palani Murugan appeared before him with a frowning face and said Did I asked you to come there? " If I want your presence at the hill I could have done it easily. There is no reason for you to lie. I will call you when the time comes. You may remain there without any attachments." Then He asked Pamban Swami to promise that he would not go to Palani without His permission.

paragraph: To keep his word Pamban Swami never went to Palani till his last days. Pamban Swami also gave up the taste of lime, salt, and hot spices. He used to take plain rice with green dal and ghee. He used to take food only once a day before noon; if he missed the time he would take food the next day only.

paragraph: Section::::Making of Shanmuga Kavacham.

paragraph: In 1891 Pamban Swami wrote Shanmuga Kavacham, a powerful hymn of 30 verses composed for the benefit of Lord Murugan's devotees to protect them from illness of body and mind as well as from foes, wild beasts, poisonous creatures, demons, devils and biting insects. Several instances prove that this Shanmuga Kavacham verses effective in this respect. If you recite it with heart and soul to Lord Murugan, the results will be swift and miraculous.

paragraph: Section::::Making of Panchamirtha varnam.

paragraph: Also in 1891 Pamban Swami composed Panchamrita Varnam. Lord Murugan Himself has said to an old lady in Tiruchendur that "I will be present physically wherever the song is sung on a pleasant note." If anyone does puja inside the heart by reciting this poem, it is equal to doing abhisekam and puja.

paragraph: One time Pamban Swami was walking on a rough track and a thorn pricked and pierced into his foot. The terrible pain made Pamban Swami to shed tears and pray to God. On the same night Lord Murugan came in the dream of a cobbler in the next village and informed him to make and give a pair of slippers to Pamban Swami. When Pamban Swami was traveling to the village the next day the shoemaker came with the pair of slippers to Pamban Swami saying that in his dreams Lord Murugan came and had given instructions to make a pair of slippers for him. Pamban Swami was very much pleased and thanked Lord Murugan for his kindness to His devotees.

paragraph: Pamban Swami was once very ill due to diarrhea. Due to this he fainted and fell down and upon seeing this his wife fainted too. Lord Murugan came to their house just then and tapped with a stick, made Pamban Swami's wife get up and said "Don't worry. He will be alright. Just smear vibhuti on his body and say 'I will never leave you'." But Pamban Swami's wife was afraid to touch vibhuti as it was her menstrual time. Lord Bala Murugan said to her, "There is no prohibition during emergency." She did as she was told. Immediately Pamban Swami was cured.

paragraph: One day someone told Pamban Swami that a poet was writing a song of 100 verses that was incomplete for the last two months. Upon hearing this Pamban Swami decided that he would compose a song similar to that. So he started and finished 125 verses within an hour. To this day no poet or saint has duplicated such a feat. The poem is called Tiruvorumalai Komagan. The first verse of four lines consists of 64 words to each line with total 256 words. Pamban Swami composed the remaining 124 verses without adding any other words. He said with the divine guidance anything is possible.

paragraph: Section::::Visit to Kumarakottam.

paragraph: On his visit to Kanchipuram in Tamil Nadu, Pamban Swami had failed to visit Kumarakottam, the famous Murugan temple in the town. On his way back Lord Murugan appeared before him in the form of a 30-year-old man with a turban and asked if he had visited Kumarakottam where Kanda Puranam was composed by the temple priest Kanchiappa Sivachariyar. He took Pamban Swami near to the temple and vanished. After the pujas, Pamban Swami was very much delighted by the grace of Lord Kumaran. In the railway station the train was delayed due to some fault as though it was only waiting for Swami and then the train proceeded without delay.

paragraph: In the year 1894 at Peerapan Valasai near Ramanad in Tamil Nadu, Pamban Swami was determined to get upadesam from Lord Kumara Palani Andi himself and from no one else. So he obtained permission from the government officer to dig a pit in the burial ground to the size of 3' x 3' x 3' covered with lock & key for the roof. Before starting meditation he asked his followers to have faith in God. Because this was a burial ground there were a lot of disturbing events that took place. Once a big demon tried to seize Pamban Swami, but by hurling his dandam the demon vanished. On the seventh night a voice commanded Pamban Swami to get up. Pamban Swami replied that unless Lord Palani Andi Himself comes he would not get up, even if he had to die. Once again the voice said, "Your Lord has come to see you. Open your eyes."

paragraph: Pamban Swami was delighted to see Lord Murugan in the form of Palani Andi with a dandam in one hand and the other hand in chin mudra accompanied by two rishis. With a smiling countenance Palani Andi came forward and gave a "single utterance" (oru mozhi) upadesam in Pamban Swami's right ear. After that they turned back, walked towards the west and vanished. Without getting up on hearing that one word Pamban Swami was very much pleased and continued his meditation for 28 days without food, water or sleep.

paragraph: On the 35th day once again a voice was heard and commanded him to "Come out of the pit." Once again Pamban Swami replied that only if it is by his Lord he would get out. The voice said "Yes it's me." At once Pamban Swami got out of the pit and saw Chitra Poornima full moon in the sky. He had a cloth of one piece cloth like Patanatar or an āndi.

paragraph: Later his followers requested him to wear two pieces of white cloth one around the waist and the other over his shoulder. Pamban Swami was content to remain in silence but others wanted him to speak of his experience. Even today the oil lamp that Pamban Swami used in the pit is preserved in Ramanad town by Pamban Swami's followers.

paragraph: In 1895 Pamban Swami took sannyasa and left Pamban village. One day Lord Murugan appeared in his dream and asked him to proceed to Madras. But he accepted the command of his Lord and proceeded to Madras by train.

paragraph: Section::::Madras Trip.

paragraph: On his arrival at Egmore railway station in Madras a cartman came to Pamban Swami and requested Pamban Swami to sit in his cart. Without saying anything Pamban Swami sat in the jatka. The cartman took Pamban Swami to St. George Town to house number 41 Vaithiyanath Mudali Street. Pamban Swami got down from the jatka and in front of him an old lady Mrs. Bangaru Ammal came to Pamban Swami and told him that in a dream the previous night Lord Murugan had said that a saint would come to her house and that she should provide him with food and accommodation. And Pamban Swami accepted her invitation and stayed there for some time.

paragraph: Section::::Making of Thagaralaya Rahasiyam.

paragraph: In the year 1896 Pamban Swami went to Chidambaram and wrote an upanishad known as Thagaralaya Rahasiyam. Lord Guha lives in every heart in a tiny light form. Pamban Swami gives examples from the Vedas, agamas, upanishads, Tevaram, Tiruppukazh and other scriptural sources. Pamban Swami also wrote two books known as Tiropa and Paripuranat Būthan. In this book, Pamban Swami provides quotations from all the 108 upanishads. Pamban Swami is the only saint who has composed 50 poems on Lord Murugan in pure Tamil without any words from other language due to his love on Tamil. Pamban Swami once said that any one who speaks ill of Sanskrit or Tamil is his enemy. The two sacred language are like two eyes. You cannot have one and despise the other if you want full knowledge of the spiritual world.

paragraph: On Pamban Swami's visit to Varanasi, he stayed at Kumāra Guruparar Mutt. Pamban Swami wrote that he was very happy to stay at this famous mutt. The head of the mutt once offered kavi cloth by taking away his white dress and requested Pamban Swami to wear it. Pamban Swami at first hesitated but upon reflection Pamban Swami took it as God's wish from that day to wear two-piece kavi dress.

paragraph: Once on a Shasti Pūja when Pamban Swami was present, the devotees had cooked rice for one hundred. But the one rice pot kept giving rice enough to feed nearly 400 people. So much was the demand that the other foods like vegetables, sambar and rasam had to be prepared three times, but the cooked rice never got emptied. Such miracles were commonplace in the life of Pamban Swami.

paragraph: While in Madras, Pamban Swami had a premonition of his mother's death and his elder son's death. Before the telegram came Pamban Swami gave instruction for no one to disturb him because he is a sannyāsi, a man without family or bindings.

paragraph: Once at Pinathor near Chidambaram the Vainavas wanted to kill Pamban Swami and tried via black magic. When a demon approached him, Pamban Swami said to him "I have not done any wrong. Return to the person who has done the wrong". Next day he heard that one Vinita was dead suddenly. Swamiji also filed cases for more than seven years against persons who had published ill of Siva and Saivites and won every case. Research papers on these Vainavas entitled Nalāyirā Prabandha Vicāram and Saiva Samaya Sarabam were published by Pamban Swami; the Vaisnavas purchased all five hundred copies and burned them due to ill feelings.

paragraph: Section::::Fracture Cure.

paragraph: In December 1923 Pamban Swami had an accident at Thumbu Chetty Street in Madras. Pamban Swami was run over by a jatka and his left ankle was broken. He was admitted to the General Hospital. The doctors who attended upon Pamban Swami's leg said it would have to be amputated.

paragraph: Pamban Swami was only praying and said "Let them do what they want do." On hearing the news only Chinaswami Jothidar had extraordinary faith in Pamban Swami's poem Shanmuga Kavacham and started to recite it. Chinnaswamy Jothidar had a vision of the Vel entering Pamban Swami's broken ankle. Miraculously the leg was cured in the hospital. Even British doctors were astonished and described it as divine grace.

paragraph: On the 11th day Pamban Swami saw two peacocks dance before him and also saw Lord Murugan in an infant form lying next to his bed. In remembering the day Pamban Swami told his followers of the Maha Tejo Mandal Sabhai to believe in Lord Murugan and to do Mayūravahana Sevana Vizhā without fail, which is still done annually at his temple in Thiruvanmiyur. Pamban Swami's life proves this- "Vēlum Mayilum Thunai" is a not just a saying; it really helps sincere devotees in need.

paragraph: One day Pamban Swami called Chinaswami Jothidar to look for land in Tiruvanmiyur as his last days were near. Pamban Swami marked the floor corners with his leg all arrangements were made to for that portion of land to be purchased. On 30 May 1929 at 7:15 am Pamban Swami called his followers and advised them to believe in Lord Murugan. Then he took a deep breath, held it inside his stomach and entered samādhi state.

paragraph: Pamban Swamigal was a believer one God that is Siva the Para Brahman and Subrahmanya is part of Siva and comes from Siva. He clarifies this in his book Subrahmanya Veyasam. Pamban Swami got the name "Kumara Guru Dāsa Swāmigal" because of his deep love for Palani Murugan. His Sanskrit teacher named him as Kumara Guru and also as Pāmban Swāmigal because Swami lived and left his family at Pāmban Island.

paragraph: Pamban Swami's full name is Adhyaasrama Suddha Vaidheega Saiva Siddhantha Gnanabānu, which means Pamban Swami is full of sayasi. He was a sanyasi who followed the suddha advaita in the Vaideha way of Saiva Siddhanta in the Dāsa Marga.

paragraph: In his lifetime Pamban Swami wrote 6,666 poems, 32 viyasams and 1000 names of Lord Murugan. By reading his Gnānamūrtham hymn one will benefit in both worlds. He composed poems on Lord Kumara in more than 130 different forms as per Tamil grammar. Pamban Swami always liked to do silent Akā Pūja rather than audible pūja.

paragraph: Section::::References.

paragraph: Section::::External links.

paragraph: BULLET::::- Pambanswamigal.org

paragraph: BULLET::::- Pamban Swamigal His Life Example & Teachings

wikidata_label: Pamban Swamigal

wikipedia_title: Pamban Swamigal