texts:
 moment..." (Tacitus, Annals 15.44). Josephus also mentioned Jesus's execution by <mask> at the request of prominent Jews (Antiquities of the Jews 18.3.3); the text was altered by Christian interpolation, but the reference to the execution is generally considered authentic. Discussing the paucity of extra-biblical mentions of the crucifixion, Alexander Demandt argues that the execution of Jesus was probably not seen as a particularly important event by the Romans, as many other people were crucified at the time and forgotten. In Ignatius's epistles to the Trallians (9.1) and to the Smyrnaeans (1.2), the author attributes Jesus's persecution under Pilate's governorship.Ignatius further dates Jesus's birth, passion, and resurrection during <mask>'s governorship in his epistle to the Magnesians (11.1). Ignatius stresses all these events in his epistles as historical facts. Bond argues that Jesus's arrest was made with <mask>'s prior knowledge and involvement, based on the presence of a 500-strong Roman cohort among the party that arrests Jesus in John 18:3. Demandt dismisses the notion that <mask> was involved. It is generally assumed, based on the unanimous testimony of the gospels, that the crime for which Jesus was brought to <mask> and executed was sedition, founded on his claim to be king of the Jews. <mask> may have judged Jesus according to the cognitio , a form of trial for capital punishment used in the Roman provinces and applied to non-Roman citizens that provided the prefect with greater flexibility in handling the case. All four gospels also mention that <mask> had the custom of releasing one captive in honor of the Passover festival; this custom is not attested in any other source.Historians disagree on whether or not such a custom is a fictional element of the gospels, reflects historical reality, or perhaps represents a single amnesty in the year of Jesus's crucifixion. The Gospels' portrayal of <mask> is "widely assumed" to diverge greatly from that found in Josephus and Philo, as <mask> is portrayed as reluctant to execute Jesus and pressured to do so by the crowd and Jewish authorities. John P. Meier notes that in Josephus, by contrast, "<mask> alone [...] is said to condemn Jesus to the cross." Some scholars believe that the Gospel accounts are completely untrustworthy: S. G. F. Brandon argued that in reality, rather than vacillating on condemning Jesus, <mask> unhesitatingly executed him as a rebel. Paul Winter explained the discrepancy between <mask> in other sources and <mask> in the gospels by arguing that Christians became more and more eager to portray <mask> <mask> as a witness to Jesus' innocence, as persecution of Christians by the Roman authorities increased. Bart Ehrman argues that the Gospel of Mark, the earliest one, shows the Jews and <mask> to be in agreement about executing Jesus (Mark 15:15), while the later gospels progressively reduce <mask>'s culpability, culminating in <mask> allowing the Jews to crucify Jesus in John (John 19:16). He connects this change to increased "anti-Judaism."Raymond E. Brown argued that the Gospels' portray of <mask> cannot be considered historical, since <mask> is always described in other sources (The Jewish War and Antiquities of the Jews of Josephus and Embassy to Gaius of Philo) as a cruel and obstinate man. Brown also rejects the historicity of <mask> washing his hands and of the blood curse, arguing that these narratives, which only appear in the Gospel of Matthew, reflect later contrasts between the Jews and Jewish Christians. Others have tried to explain <mask>'s behavior in the Gospels as motivated by a change of circumstances from that shown in Josephus and Philo, usually presupposing a connection between <mask>'s caution and the death of Sejanus. Yet other scholars, such as Brian McGing and Bond, have argued that there is no real discrepancy between <mask>'s behavior in Josephus and Philo and that in the Gospels. Warren Carter argues that <mask> is portrayed as skillful, competent, and manipulative of the crowd in Mark, Matthew, and John, only finding Jesus innocent and executing him under pressure in Luke. N. T. Wright and Craig A. Evans argue that <mask>'s hesitation was due to the fear of causing a revolt during Passover, when large numbers of pilgrims were in Jerusalem. Removal and later life
According to Josephus' Antiquities of the Jews (18.4.1–2), <mask>'s removal as governor occurred after <mask> slaughtered a group of armed Samaritans at a village called Tirathana near Mount Gerizim, where they hoped to find artifacts that had been buried there by Moses.Alexander Demandt suggests that the leader of this movement may have been Dositheos, a messiah-like figure among the Samaritans who was known to have been active around this time. The Samaritans, claiming not to have been armed, complained to Lucius Vitellius the Elder, the governor of Syria (term 35–39), who had <mask> recalled to Rome to be judged by Tiberius. Tiberius however, had died before his arrival. This dates the end of <mask>'s governorship to 36/37. Tiberius died in Misenum on 16 March 37, in his seventy-eighth year (Tacitus, Annals VI.50, VI.51). Following Tiberius's death, <mask>'s hearing would have been handled by the new emperor Caligula: it is unclear whether any hearing took place, as new emperors often dismissed outstanding legal matters from previous reigns. The only sure outcome of <mask>'s return to Rome is that he was not reinstated as governor of Judaea, either because the hearing went badly, or because <mask> did not wish to return.J. P. Lémonon argues that the fact that <mask> was not reinstated by Caligula does not mean that his trial went badly, but may simply have been because after ten years in the position it was time for him to take a new posting. Joan Taylor, on the other hand, argues that <mask> seems to have ended his career in disgrace, using his unflattering portrayal in Philo, written only a few years after his dismissal, as proof. The church historian Eusebius (Church History 2.7.1), writing in the early fourth century, claims that "tradition relates that" <mask> committed suicide after he was recalled to Rome due to the disgrace he was in. Eusebius dates this to 39. Paul Maier notes that no other surviving records corroborate <mask>'s suicide, which is meant to document God's wrath for <mask>'s role in the crucifixion, and that Eusebius explicitly states that "tradition" is his source, "indicating that he had trouble documenting <mask>'s presumed suicide". Daniel Schwartz, however, argues that Eusebius's claims "should not lightly be dismissed." More information on the potential fate of <mask> <mask> can be gleaned from other sources.The second-century pagan philosopher Celsus polemically asked why, if Jesus was God, God had not punished <mask>, indicating that he did not believe that <mask>us, the Christian apologist Origen, writing c. 248, argued that nothing bad happened to <mask>, because the Jews and not <mask> were responsible for Jesus' death; he therefore also assumed that <mask> did not die a shameful death. <mask>'s supposed suicide is also left unmentioned in Josephus, Philo, and Tacitus. Maier argues that "[i]n all probability, then, the fate of <mask> <mask> lay clearly in the direction of a retired government official, a pensioned Roman ex-magistrate, than in anything more disastrous." Taylor notes that Philo discusses <mask> as though he were already dead in the Embassy to Gaius, although he is writing only a few years after <mask>'s tenure as governor. Archaeology and minted coins

A single inscription by <mask> has survived in Caesarea, on the so-called "Pilate Stone". The (partially reconstructed) inscription is as follows:

Vardaman "freely" translates it as follows: "Tiberium [?of the Caesareans?]<mask> <mask>, Prefect of Judea [ .. has given?]". The fragmentary nature of the inscription has led to some disagreement about the correct reconstruction, so that "apart from <mask>'s name and title the inscription is unclear." Originally, the inscription would have included an abbreviated letter for <mask>'s praenomen (e.g., T. for Titus or M. for Marcus). The stone attests <mask>'s title of prefect and the inscription appears to refer to some kind of building called a Tiberieum, a word otherwise unattested but following a pattern of naming buildings about Roman emperors. Bond argues that we cannot be sure what kind of building this referred to. G. Alföldy argued that it was some sort of secular building, namely a lighthouse, while Joan Taylor and Jerry Vardaman argue that it was a temple dedicated to Tiberius. A second inscription, which has since been lost, has historically been associated with <mask> <mask>.It was a fragmentary, undated inscription on a large piece of marble recorded in Ameria, a village in Umbria, Italy. The inscription read as follows:

(CIL XI.2.1.4396)

The only clear items of text are the names "Pilate" and the title quattuorvir ("IIII VIR"), a type of local city official responsible for conducting a census every five years. The inscription was formerly found outside the church of St. Secundus, where it had been copied from a presumed original. At the turn of the twentieth century, it was generally held to be fake, a forgery in support of a local legend that <mask> <mask> died in exile in Ameria. The more recent scholars Alexander Demandt and Henry MacAdam both believe that the inscription is genuine, but attests to a person who simply had the same cognomen as <mask> <mask>. MacAdam argues that "[i]t is far easier to believe that this very fragmentary inscription prompted the legend of <mask> <mask>'s association with the Italian village of Ameria [...] than it is to posit someone forging the inscription two centuries ago—quite creatively, it would seem—to provide substance for the legend." As governor, <mask> was responsible for minting coins in the province: he appears to have struck them in 29/30, 30/31, and 31/32, thus the fourth, fifth, and sixth years of his governorship.The coins belong to a type called a "perutah", measured between 13.5 and 17mm, were minted in Jerusalem, and are fairly crudely made. Earlier coins read  on the obverse and  on the reverse, referring to the emperor Tiberius and his mother Livia (Julia Augusta). Following Livia's death, the coins only read . As was typical of Roman coins struck in Judaea, they did not have a portrait of the emperor, though they included some pagan designs. Attempts to identify the aqueduct that is attributed to <mask> in Josephus date to the nineteenth century. In the mid twentieth century, A. Mazar tentatively identified the aqueduct as the Arrub aqueduct that brought water from Solomon's Pools to Jerusalem, an identification supported in 2000 by Kenneth Lönnqvist. Lönnqvist notes that the Talmud (Lamentations Rabbah 4.4) records the destruction of an aqueduct from Solomon's Pools by the Sicarii, a group of fanatical religious Zealots, during the First Jewish-Roman War (66-73); he suggests that if the aqueduct had been funded by the temple treasury as recorded in Josephus, this might explain the Sicarii's targeting of this particular aqueduct.In 2018, an inscription on a thin copper-alloy sealing ring that had been discovered at Herodium was uncovered using modern scanning techniques. The inscription reads  (), meaning "of Pilate". The name Pilatus is rare, so the ring could be associated with <mask> <mask>; however, given the cheap material, it is unlikely that he would have owned it. It is possible that the ring belonged to another individual named <mask>, or that it belonged to someone who worked for <mask> <mask>. Apocryphal texts and legends
Due to his role in Jesus' trial, <mask> became an important figure in both pagan and Christian propaganda in late antiquity. Perhaps the earliest apocryphal texts attributed to <mask> are denunciations of Christianity and of Jesus that claim to be <mask>'s report on the crucifixion. According to Eusebius (Church History 9.2.5), these texts were distributed during the persecution of Christians conducted by the emperor Maximinus II (reigned 308–313).None of these texts survive, but Tibor Grüll argues that their contents can be reconstructed from Christian apologetic texts. Positive traditions about <mask> are frequent in Eastern Christianity, particularly in Egypt and Ethiopia, whereas negative traditions predominate in Western and Byzantine Christianity. Additionally, earlier Christian traditions portray <mask> more positively than later ones, a change which Ann Wroe suggests reflects the fact that, following the legalization of Christianity in the Roman Empire by the Edict of Milan (312), it was no longer necessary to deflect criticism of <mask> (and by extension of the Roman Empire) for his role in Jesus's crucifixion onto the Jews. Bart Ehrman, on the other hand, argues that the tendency in the Early Church to exonerate <mask> and blame the Jews prior to this time reflects an increasing "anti-Judaism" among Early Christians. The earliest attestation of a positive tradition about <mask> comes from the late first-, early second-century Christian author Tertullian, who, claiming to have seen <mask>'s report to Tiberius, states <mask> had "become already a Christian in his conscience." An earlier reference to <mask>'s records of Jesus's trial is given by Christian apologist Justin Martyr around 160. Tibor Grüll believes that this could be a reference to <mask>'s actual records, but other scholars argue that Justin has simply invented the records as a source on the assumption that they existed without ever having verified their existence.New Testament Apocrypha
Beginning in the fourth century, a large body of Christian apocryphal texts developed concerning <mask>, making up one of the largest groups of surviving New Testament Apocrypha. Originally, these texts served both to unburden <mask> of guilt for the death of Jesus as well as to provide more complete records of Jesus's trial. The apocryphal Gospel of Peter completely exonerates <mask> for the crucifixion, which is instead performed by Herod Antipas. Moreover, the text makes explicit that while <mask> washes his hands of guilt, neither the Jews nor Herod do so. The Gospel includes a scene in which the centurions who had been guarding Jesus' tomb report to <mask> that Jesus has been resurrected. The fragmentary third-century Manichaean Gospel of Mani has <mask> refer to Jesus as "the Son of God" and telling his centurions to "[k]eep this secret". In the most common version of the passion narrative in the apocryphal Gospel of Nicodemus (also called the Acts of Pilate), <mask> is portrayed as forced to execute Jesus by the Jews and as distraught at having done so.One version claims to have been discovered and translated by a Jewish convert named Ananias, portraying itself as the official Jewish records of the crucifixion. Another claims that the records were made by <mask> himself, relying on reports made to him by Nicodemus and Joseph of Arimathea. Some Eastern versions of the Gospel of Nicodemus claim that <mask> was born in Egypt, which likely aided his popularity there. The Christian Pilate literature surrounding the Gospel of Nicodemus includes at least fifteen late antique and early medieval texts, called the "Pilate cycle", written and preserved in various languages and versions and dealing largely with <mask> <mask>. Two of these include purported reports made by <mask> to the emperor (the Anaphora Pilati to Emperor Tiberius and the Letter of Pilate to Claudius to Claudius) on the crucifixion, in which <mask> recounts Jesus' death and resurrection, blaming the Jews. Another purports to be an angry reply by Tiberius, condemning <mask> for his role in Jesus' death, the Letter of Tiberius to <mask>. Another early text is an apocryphal letter attributed to "Herod" (a composite character of the various Herods in the Bible), which claims to respond to a letter from <mask> in which <mask> spoke of his remorse for Jesus' crucifixion and of having had a vision of the risen Christ; "Herod" asks <mask> to pray for him.In the so-called Book of the Cock, a late-antique apocryphal

masks: Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pontius Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pontius Pilate Pilate Pilatels Pilate Pilate Pilate Pilate Pontius Pilate Pilate Pilate Pilate Pontius Pilate Pilate Pilate Pilate Pontius Pilate Pontius Pilate Pontius Pilate Pontius Pilate Pilate Pilate Pontius Pilate Pilate Pontius Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pontius Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate


type: original

texts:
 passion Gospel only preserved in Ge'ez (Ethiopic) but translated from Arabic, <mask> attempts to avoid Jesus's execution by sending him to Herod and writing further letters arguing with Herod not to execute Jesus. <mask>'s family become Christians after Jesus miraculously cures <mask>'s daughters of their deaf-muteness. <mask> is nevertheless forced to execute Jesus by the increasingly angry crowd, but Jesus tells <mask> that he does not hold him responsible. This book enjoys "a quasi-canonical status" among Ethiopian Christians to this day and continues to be read beside the canonical gospels during Holy Week. <mask>'s death in the apocrypha

Seven of the Pilate texts mention <mask>'s fate after the crucifixion: in three, he becomes a very positive figure, while in four he is presented as diabolically evil. A fifth-century Syriac version of the Acts of Pilate explains <mask>'s conversion as occurring after he has blamed the Jews for Jesus' death in front of Tiberius; prior to his execution, <mask> prays to God and converts, thereby becoming a Christian martyr. In the Greek Paradosis Pilati (5th c.), <mask> is arrested for the crime of executing Jesus, although he has since converted to be a follower of Christ.His beheading is accompanied by a voice from heaven calling him blessed and saying he will be with Jesus at the Second Coming. The Evangelium Gamalielis, possibly of medieval origin and preserved in Arabic, Coptic, and Ge'ez, says Jesus was crucified by Herod, whereas <mask> was a true believer in Christ who was martyred for his faith; similarly, the Martyrium Pilati, possibly medieval and preserved in Arabic, Coptic, and Ge'ez, portrays <mask>, as well as his wife and two children, as being crucified twice, once by the Jews and once by Tiberius, for his faith. In addition to the report on <mask>, Grüll notes three Western apocryphal traditions about <mask>'s suicide. In the Cura sanitatis Tiberii (dated variously 5th to 7th c.), the emperor Tiberius is healed by an image of Jesus brought by Saint Veronica, Saint Peter then confirms <mask>'s report on Jesus's miracles, and <mask> is exiled by the emperor Nero, after which he commits suicide. A similar narrative plays out in the Vindicta Salvatoris (8th c.). In the Mors Pilati (perhaps originally 6th c., but recorded c. 1300), <mask> was forced to commit suicide and his body thrown in the Tiber. However, the body is surrounded by demons and storms, so that it is removed from the Tiber and instead cast into the Rhone, where the same thing happens.Finally, the corpse is taken to Lausanne in modern Switzerland and buried in an isolated lake (perhaps Lake Lucerne? ), where demonic visitations continue to occur. Later legends

Beginning in the eleventh century, more extensive legendary biographies of <mask> were written in Western Europe, adding details to information provided by the bible and apocrypha. The legend exists in many different versions and was extremely widespread in both Latin and the vernacular, and each version contains significant variation, often relating to local traditions. Early "biographies"
The earliest extant legendary biography is the De Pilato of c. 1050, with three further Latin versions appearing in the mid-twelfth century, followed by many vernacular translations. Howard Martin summarizes the general content of these legendary biographies as follows: a king who was skilled in astrology and named Atus lived in Mainz. The king reads in the stars that he will bear a son who will rule over many lands, so he has a miller's daughter named Pila brought to him whom he impregnates; <mask>'s name thus results from the combination of the names Pila with Atus.A few years later, <mask> is brought to his father's court where he kills his half-brother. As a result, he is sent as a hostage to Rome, where he kills another hostage. As punishment he is sent to the island of Pontius, whose inhabitants he subjugates, thus acquiring the name Pontius Pilate. King Herod hears of this accomplishment and asks him to come to Palestine to aid his rule there; <mask> comes but soon usurps Herod's power. The trial and judgment of Jesus then happens as in the gospels. The emperor in Rome is suffering from a terrible disease at this time, and hearing of Christ's healing powers, sends for him only to learn from Saint Veronica that Christ has been crucified, but she possesses a cloth with the image of his face. <mask> is taken as a prisoner with her to Rome to be judged, but every time the emperor sees Pilate to condemn him, his anger dissipates.This is revealed to be because <mask> is wearing Jesus's coat; when the coat is removed, the Emperor condemns him to death, but <mask> commits suicide first. The body is first thrown in the Tiber, but because it causes storms it is then moved to Vienne, and then thrown in a lake in the high Alps. One important version of the Pilate legend is found in the Golden Legend by Jacobus de Voragine (1263–1273), one of the most popular books of the later Middle Ages. In the Golden Legend, <mask> is portrayed as closely associated with Judas, first coveting the fruit in the orchard of Judas's father Ruben, then granting Judas Ruben's property after Judas has killed his own father. Western Europe
Several places in Western Europe have traditions associated with Pilate. The cities of Lyon and Vienne in modern France claim to be <mask>'s birthplace: Vienne has a Maison de Pilate, a Prétoire de Pilate and a Tour de Pilate. One tradition states that <mask> was banished to Vienne where a Roman ruin is associated with his tomb; according to another, <mask> took refuge in a mountain (now called Mount Pilatus) in modern Switzerland, before eventually committing suicide in a lake on its summit.This connection to Mount Pilatus is attested from 1273 onwards, while Lake Lucerne has been called "Pilatus-See" (Pilate Lake) beginning in the fourteenth century. A number of traditions also connected <mask> to Germany. In addition to Mainz, Bamberg, Hausen, Upper Franconia were also claimed to be his place of birth, while some traditions place his death in the Saarland. The town of Tarragona in modern Spain possesses a first-century Roman tower, which, since the eighteenth-century, has been called the "Torre del Pilatos," in which <mask> is claimed to have spent his last years. The tradition may go back to a misread Latin inscription on the tower. The cities of Huesca and Seville are other cities in Spain associated with Pilate. Per a local legend, the village of Fortingall in Scotland claims to be Pilate's birthplace, but this is almost certainly a 19th-century invention—particularly as the Romans did not invade the British Isles until 43.Eastern Christianity
<mask> was also the subject of legends in Eastern Christianity. The Byzantine chronicler George Kedrenos (c. 1100) wrote that <mask> was condemned by Caligula to die by being left in the sun enclosed in the skin of a freshly slaughtered cow, together with a chicken, a snake, and a monkey. In a legend from medieval Rus', <mask> attempts to save Saint Stephen from being executed; <mask>, his wife and children have themselves baptized and bury Stephen in a gilded silver coffin. <mask> builds a church in the honor of Stephen, Gamaliel, and Nicodemus, who were martyred with Stephen. <mask> dies seven months later. In the medieval Slavonic Josephus, an Old Church Slavonic translation of Josephus, with legendary additions, <mask> kills many of Jesus's followers but finds Jesus innocent. After Jesus heals <mask>'s wife of a fatal illness, the Jews bribe Pilate with 30 talents to crucify Jesus.Art, literature, and film

Visual art

Late antique and early medieval art

<mask> is one of the most important figures in early Christian art; he is often given greater prominence than Jesus himself. He is, however, entirely absent from the earliest Christian art; all images postdate the emperor Constantine and can be classified as early Byzantine art. <mask> first appears in art on a Christian sarcophagus in 330; in the earliest depictions he is shown washing his hands without Jesus being present. In later images he is typically shown washing his hands of guilt in Jesus' presence. 44 depictions of <mask> predate the sixth century and are found on ivory, in mosaics, in manuscripts as well as on sarcophagi. <mask>'s iconography as a seated Roman judge derives from depictions of the Roman emperor, causing him to take on various attributes of an emperor or king, including the raised seat and clothing. The older Byzantine model of depicting <mask> washing his hands continues to appear on artwork into the tenth century; beginning in the seventh century, however, a new iconography of <mask> also emerges, which does not always show him washing his hands, includes him in additional scenes, and is based on contemporary medieval rather than Roman models.The majority of depictions from this time period come from France or Germany, belonging to Carolingian or later Ottonian art, and are mostly on ivory, with some in frescoes, but no longer on sculpture except in Ireland. New images of <mask> that appear in this period include depictions of the Ecce homo, <mask>'s presentation of the scourged Jesus to the crowd in John 19:5, as well as scenes deriving from the apocryphal Acts of <mask>. <mask> also comes to feature in scenes such as the Flagellation of Christ, where he is not mentioned in the Bible. The eleventh century sees <mask> iconography spread from France and Germany to Great Britain and further into the eastern Mediterranean. Images of <mask> are found on new materials such as metal, while he appeared less frequently on ivory, and continues to be a frequent subject of gospel and psalter manuscript illuminations. Depictions continue to be greatly influenced by the Acts of Pilate, and the number of situations in which <mask> is depicted also increases. From the eleventh century onward, <mask> is frequently represented as a Jewish king, wearing a beard and a Jewish hat.In many depictions he is no longer depicted washing his hands, or is depicted washing his hands but not in the presence of Jesus, or else he is depicted in passion scenes in which the Bible does not mention him. Despite being venerated as a saint by the Coptic and Ethiopian Churches, very few images of <mask> exist in these traditions from any time period. High and late medieval and renaissance art

In the thirteenth century, depictions of the events of Christ's passion came to dominate all visual art forms—these depictions of the "Passion cycle" do not always include <mask>, but they often do so; when he is included, he is often given stereotyped Jewish features. One of the earliest examples of <mask> rendered as a Jew is from the eleventh century on the Hildesheim cathedral doors (see image, above right). This is the first known usage of the motif of <mask> being influenced and corrupted by the Devil in Medieval Art. While some believe that the Devil on the doors is rendered as the Jew in disguise, other scholars hold that the Devil's connection to the Jews here is a little less direct, as the motif of the Jew as the Devil was not well-established at that point. Rather, increased tensions between Christians and Jews initiated the association of Jews as friends of the Devil, and the art alludes to this alliance.<mask> is typically represented in fourteen different scenes from his life; however, more than half of all thirteenth-century representations of <mask> show the trial of Jesus. <mask> also comes to be frequently depicted as present at the crucifixion, by the fifteenth century being a standard element of crucifixion artwork. While many images still draw from the Acts of Pilate, the Golden Legend of Jacobus de Voragine is the primary source for depictions of <mask> from the second half of the thirteenth century onward. <mask> now frequently appears in illuminations for books of hours, as well as in the richly illuminated Bibles moralisées, which include many biographical scenes adopted from the legendary material, although <mask>'s washing of hands remains the most frequently depicted scene. In the , <mask> is generally depicted as a Jew. In many other images, however, he is depicted as a king or with a mixture of attributes of a Jew and a king. The fourteenth and fifteenth centuries see fewer depictions of <mask>, although he generally appears in cycles of artwork on the passion.He is sometimes replaced by Herod, Annas, and Caiaphas in the trial scene. Depictions of <mask> in this period are mostly found in private devotional settings such as on ivory or in books; he is also a major subject in a number of panel-paintings, mostly German, and frescoes, mostly Scandinavian. The most frequent scene to include <mask> is his washing of his hands; <mask> is typically portrayed similarly to the high priests as an old, bearded man, often wearing a Jewish hat but sometimes a crown, and typically carrying a scepter. Images of <mask> were especially popular in Italy, where, however, he was almost always portrayed as a Roman, and often appears in the new medium of large-scale church paintings. <mask> continued to be represented in various manuscript picture bibles and devotional works as well, often with innovative iconography, sometimes depicting scenes from the Pilate legends. Many, mostly German, engravings and woodcuts of <mask> were created in the fifteenth century. Images of <mask> were printed in the Biblia pauperum ("Bibles of the Poor"), picture bibles focusing on the life of Christ, as well as the Speculum Humanae Salvationis ("Mirror of Human Salvation"), which continued to be printed into the sixteenth century.Post-medieval art

In the modern period, depictions of <mask> become less frequent, though occasional depictions are still made of his encounter with Jesus. In the sixteenth and seventeenth centuries, <mask> was frequently dressed as an Arab, wearing a turban, long robes, and a long beard, given the same characteristics as the Jews. Notable paintings of this era include Tintoretto's Christ before <mask> (1566/67), in which <mask> is given the forehead of a philosopher, and Gerrit van Honthorst's 1617 Christ before <mask>, which was later recatalogued as Christ before the High Priest due to <mask>'s Jewish appearance. Following this longer period in which few depictions of <mask> were made, the increased religiosity of the mid-nineteenth century caused a slew of new depictions of <mask> <mask> to be created, now depicted as a Roman. In 1830, J. M. W. Turner painted Pilate Washing His Hands, in which the governor himself is not visible, but rather only the back of his chair, with lamenting women in the foreground. One famous nineteenth-century painting of Pilate is Christ before Pilate (1881) by Hungarian painter Mihály Munkácsy: the work brought Munkácsy great fame and celebrity in his lifetime, making his reputation and being popular in the United States in particular, where the painting was purchased. In 1896, Munkácsy painted a second painting featuring Christ and <mask>, Ecce homo, which however was never exhibited in the United States; both paintings portray Jesus's fate as in the hands of the crowd rather than <mask>.The "most famous of nineteenth-century pictures" of <mask> is What is truth? () by the Russian painter Nikolai Ge, which was completed in 1890; the painting was banned from exhibition in Russia in part because the figure of <mask> was identified as representing the tsarist authorities. In 1893, Ge painted another painting, Golgotha, in which <mask> is represented only by his commanding hand, sentencing Jesus to death. The Scala sancta, supposedly the staircase from <mask>'s praetorium, now located in Rome, is flanked by a life-sized sculpture of Christ and <mask> in the Ecce homo scene made in the nineteenth century by the Italian sculptor Ignazio Jacometti. The image of <mask> condemning Jesus to death is commonly encountered today as the first scene of the Stations of the Cross, first found in Franciscan Catholic churches in the seventeenth century and found in almost all Catholic churches since the nineteenth century. Medieval plays
<mask> plays a

masks: Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilatebius Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pontius Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate


texts:
 major role in the medieval passion play. He is frequently depicted as a more important character to the narrative than even Jesus, and became one of the most important figures of medieval drama in the fifteenth century.The three most popular scenes in the plays to include <mask> are his washing of hands, the warning of his wife Procula not to harm Jesus, and the writing of the titulus on Jesus' cross. <mask>'s characterization varies greatly from play to play, but later plays frequently portray <mask> somewhat ambiguously, though he is usually a negative character, and sometimes an evil villain. While in some plays <mask> is opposed to the Jews and condemns them, in others he describes himself as a Jew or supports their wish to kill Christ. In the passion plays from the continental Western Europe, <mask>'s characterization varies from good to evil, but he is mostly a benign figure. The earliest surviving passion play, the thirteenth-century  from Klosterneuburg, portrays <mask> as a weak administrator who succumbs to the whims of the Jews in having Christ crucified. <mask> goes on to play an important role in the increasingly long and elaborate passion plays performed in the German-speaking countries and in France. In Arnoul Gréban's fifteenth-century Passion, <mask> instructs the flagellators on how best to whip Jesus.The 1517  portrays <mask> as condemning Christ to death out of fear of losing Herod's friendship and to earn the Jews' good will, despite his long dialogues with the Jews in which he professes Christ's innocence. He eventually becomes a Christian himself. In the 1493 , on the other hand, <mask> himself accuses Christ. The fifteenth-century German Benediktbeuern passion play depicts <mask> as a good friend of Herod's, kissing him in a reminiscence of the kiss of Judas. Colum Hourihane argues that all of these plays supported antisemitic tropes and were written at times when persecution of Jews on the continent were high. The fifteenth-century Roman  depicts <mask> as trying to save Jesus against the wishes of the Jews. In the Italian passion plays, <mask> never identifies himself as a Jew, condemning them in the fifteenth-century  and stressing the Jews' fear of the "new law" of Christ.Hourihane argues that in England, where the Jews had been expelled in 1290, <mask>'s characterization may have been used primarily to satyrize corrupt officials and judges rather than to stoke antisemitism. In several English plays, <mask> is portrayed speaking French or Latin, the languages of the ruling classes and the law. In the Wakefield plays, <mask> is portrayed as wickedly evil, describing himself as Satan's agent () while plotting Christ's torture so as to extract the most pain. He nonetheless washes his hands of guilt after the tortures have been administered. Yet many scholars believe the motif of the conniving devil and the Jews to be inextricably linked. By the thirteenth century, medieval arts and literature had a well-established tradition of the Jew as the Devil in disguise. Thus, some scholars believe that Anti-Judaism still lies near the heart of the matter.In the fifteenth-century English Townley Cycle, <mask> is portrayed as a pompous lord and prince of the Jews, but also as forcing Christ's torturer to give him Christ's clothes at the foot of the cross. It is he alone who wishes to kill Christ rather than the high priests, conspiring together with Judas. In the fifteenth-century English York passion play, <mask> judges Jesus together with Annas and Caiaphas, becoming a central character of the passion narrative who converses with and instructs other characters. In this play, when Judas comes back to <mask> and the priests to tell them he no longer wishes to betray Jesus, <mask> browbeats Judas into going through with the plan. Not only does <mask> force Judas to betray Christ, he double-crosses him and refuses to take him on as a servant once Judas has done so. Moreover, <mask> also swindles his way into possession of the Potter's field, thus owning the land on which Judas commits suicide. In the York passion cycle, <mask> describes himself as a courtier, but in most English passion plays he proclaims his royal ancestry.The actor who portrayed <mask> in the English plays would typically speak loudly and authoritatively, a fact which was parodied in Geoffrey Chaucer's Canterbury Tales. The fifteenth century also sees <mask> as a character in plays based on legendary material: one, , exists in two dramatic treatments focusing on the horrible fates that befell Christ's tormenters: it portrays <mask> being tied to a pillar, covered with oil and honey, and then slowly dismembered over 21 days; he is carefully tended to so that he does not die until the end. Another play focusing on <mask>'s death is Cornish and based on the . The  by Jean Michel includes legendary scenes of <mask>'s life before the passion. Modern literature
<mask> <mask> appears as a character in a large number of literary works, typically as a character in the judgment of Christ. One of the earliest literary works in which he plays a large role is French writer Anatole France's 1892 short story  ("The Procurator of Judaea"), which portrays an elderly <mask> who has been banished to Sicily. There he lives happily as a farmer and is looked after by his daughter, but suffers from gout and obesity and broods over his time as governor of Judaea.Spending his time at the baths of Baiae, <mask> is unable to remember Jesus at all. John Masefield's play in verse, Good Friday was written in 1916. <mask> is the protagonist. <mask> makes a brief appearance in the preface to George Bernard Shaw's 1933 play On the Rocks where he argues against Jesus about the dangers of revolution and of new ideas. Shortly afterwards, French writer Roger Caillois wrote a novel Pontius <mask> (1936), in which <mask> acquits Jesus. <mask> features prominently in Russian author Mikhail Bulgakov's novel The Master and Margarita, which was written in the 1930s but only published in 1966, twenty six years after the author's death. Henry I. MacAdam describes it as "the 'cult classic' of Pilate-related fiction."The work features a novel within the novel about <mask> <mask> and his encounter with Jesus (Yeshu Ha-Notsri) by an author only called the Master. Because of this subject matter, the Master has been attacked for "Pilatism" by the Soviet literary establishment. Five chapters of the novel are featured as chapters of The Master and Margarita. In them, <mask> is portrayed as wishing to save Jesus, being affected by his charisma, but as too cowardly to do so. Russian critics in the 1960s interpreted this <mask> as "a model of the spineless provincial bureaucrats of Stalinist Russia." <mask> becomes obsessed with his guilt for having killed Jesus. Because he betrayed his desire to follow his morality and free Jesus, <mask> must suffer for eternity.<mask>'s burden of guilt is finally lifted by the Master when he encounters him at the end of Bulgakov's novel. The majority of literary texts about <mask> come from the time after the Second World War, a fact which Alexander Demandt suggests shows a cultural dissatisfaction with <mask> having washed his hands of guilt. One of Swiss writer Friedrich Dürrenmatt's earliest stories ("Pilatus," 1949) portrays <mask> as aware that he is torturing God in the trial of Jesus. Swiss playwright Max Frisch's comedy  portrays <mask> as a skeptical intellectual who refuses to take responsibility for the suffering he has caused. The German Catholic novelist Gertrud von Le Fort's  portrays <mask>'s wife as converting to Christianity after attempting to save Jesus and assuming <mask>'s guilt for herself; <mask> executes her as well. In 1986, Soviet-Kyrgiz writer Chingiz Aitmatov published a novel in Russian featuring <mask> titled  (The Place of the Skull). The novel centers on an extended dialogue between <mask> and Jesus witnessed in a vision by the narrator Avdii Kallistratov, a former seminarian.<mask> is presented as a materialist pessimist who believes mankind will soon destroy itself, whereas Jesus offers a message of hope. Among other topics, the two anachronistically discuss the meaning of the last judgment and the second coming; <mask> fails to comprehend Jesus's teachings and is complacent as he sends him to his death. Film
<mask> has been depicted in a number of films, being included in portrayals of Christ's passion already in some of the earliest films produced. In the 1927 silent film The King of Kings, <mask> is played by Hungarian-American actor Victor Varconi, who is introduced seated under an enormous 37 feet high Roman eagle, which Christopher McDonough argues symbolizes "not power that he possesses but power that possesses him". During the Ecce homo scene, the eagle stands in the background between Jesus and <mask>, with a wing above each figure; after hesitantly condemning Jesus, <mask> passes back to the eagle, which is now framed beside him, showing his isolation in his decision and, McDonough suggests, causing the audience to question how well he has served the emperor. The film The Last Days of Pompeii (1935) portrays <mask> as "a representative of the gross materialism of the Roman empire", with the actor Basil Rathbone giving him long fingers and a long nose. Following the Second World War, <mask> and the Romans often take on a villainous role in American film.The 1953 film The Robe portrays <mask> as completely covered with gold and rings as a sign of Roman decadence. The 1959 film Ben-Hur shows <mask> presiding over a chariot race, in a scene that Ann Wroe says "seemed closely modeled on the Hitler footage of the 1936 Olympics," with <mask> bored and sneering. Martin Winkler, however, argues that Ben-Hur provides a more nuanced and less condemnatory portrayal of <mask> and the Roman Empire than most American films of the period. Only one film has been made entirely in <mask>'s perspective, the 1962 French-Italian Ponzio Pilato, where <mask> was played by Jean Marais. In the 1973 film Jesus Christ Superstar, the trial of Jesus takes place in the ruins of a Roman theater, suggesting the collapse of Roman authority and "the collapse of all authority, political or otherwise". The Pilate in the film, played by Barry Dennen, expands on John 18:38 to question Jesus on the truth and appears, in McDonough's view, as "an anxious representative of [...] moral relativism". Speaking of Dennen's portrayal in the trial scene, McDonough describes him as a "cornered animal."Wroe argues that later Pilates took on a sort of effeminancy, illustrated by the Pilate in Monty Python's Life of Brian, where <mask> lisps and mispronounces his r's as w's. In Martin Scorsese's The Last Temptation of Christ (1988), <mask> is played by David Bowie, who appears as "gaunt and eerily hermaphrodite." Bowie's <mask> speaks with a British accent, contrasting with the American accent of Jesus (Willem Dafoe). The trial takes place in <mask>'s private stables, implying that <mask> does not think the judgment of Jesus very important, and no attempt is made to take any responsibility from <mask> for Jesus's death, which he orders without any qualms. Mel Gibson's 2004 film The Passion of the Christ portrays <mask>, played by Hristo Shopov, as a sympathetic, noble-minded character, fearful that the Jewish priest Caiaphas will start an uprising if he does not give in to his demands. He expresses disgust at the Jewish authorities' treatment of Jesus when Jesus is brought before him and offers Jesus a drink of water. McDonough argues that "Shopov gives us a very subtle Pilate, one who manages to appear alarmed though not panicked before the crowd, but who betrays far greater misgivings in private conversation with his wife."Legacy

<mask> <mask> is mentioned as having been involved in the crucifixion in both the Nicene Creed and the Apostles Creed. The Apostles Creed states that Jesus "suffered under <mask> <mask>, was crucified, died, and was buried." The Nicene Creed states "For our sake [Jesus] was crucified under <mask> <mask>; he suffered death and was buried." These creeds are recited weekly by many Christians. <mask> is the only person besides Jesus and Mary mentioned by name in the creeds. The mention of <mask> in the creeds serves to mark the passion as a historical event. He is venerated as a saint by the Ethiopian Church with a feast day on 19 June, and was historically venerated by the Coptic Church, with a feast day of 25 June.<mask>'s washing his hands of responsibility for Jesus's death in Matthew 27:24 is a commonly encountered image in the popular imagination, and is the origin of the English phrase "to wash one's hands of (the matter)", meaning to refuse further involvement with or responsibility for something. Parts of the dialogue attributed to <mask> in the Gospel of John have become particularly famous sayings, especially quoted in the Latin version of the Vulgate. These include  ( "Am I a Jew? "), John 18:38 (; "What is truth? "), John 19:5 (, "Behold the man! "),  (, "Behold your king! "), and  (, "What I have written, I have written").The Gospels' deflection of responsibility for Jesus's crucifixion from <mask> to the Jews has been blamed for fomenting antisemitism from the Middle Ages through the nineteenth and twentieth centuries. Scholarly assessments
The main ancient sources on <mask> offer very different views on his governorship and personality. Philo is hostile, Josephus mostly neutral, and the Gospels "comparatively friendly." This, combined with the general lack of information on <mask>'s long time in office, has resulted in a wide range of assessments by modern scholars. On the basis of the many offenses that <mask> caused to the Judaean populace, some scholars find <mask> to have been a particularly bad governor. M. P. Charlesworth argues that <mask> was "a man whose character and capacity fell below those of the ordinary provincial official [...] in ten years he had piled blunder on blunder in his scorn for and misunderstanding of the people he was sent to rule." However, Paul Maier argues that <mask>'s long term as governor of Judaea indicates he must have been a reasonably competent administrator, while Henry MacAdam argues that "[a]mong the Judaean governors prior to the Jewish War, <mask> must be ranked as more capable than most."Other scholars have argued that <mask> was simply culturally insensitive in his interactions with the Jews and in this way a typical Roman official. Beginning with E. Stauffer in 1948, some scholars have argued, on the basis of his possible appointment by Sejanus, that <mask>'s offenses against the Jews were directed by Sejanus out of hatred of the Jews and a desire to destroy their nation, a theory supported by the pagan imagery on <mask>'s coins. According to this theory, following Sejanus's execution in 31 and Tiberius's purges of his supporters, <mask>, fearful of being removed himself, became far more cautious, explaining his apparently weak and vacillating attitude at the trial of Jesus. Helen Bond argues that "[g]iven the history of pagan designs throughout Judaean coinage, particularly from Herod and Gratus, <mask>'s coins do not seem to be deliberately offensive," and that the coins offer little evidence of any connection between <mask> and Sejanus. Carter notes this theory arose in the context of the aftermath of the Holocaust, that the evidence that Sejanus was anti-Semitic depends entirely on Philo, and that "[m]ost scholars have not been convinced that it is an accurate or a fair picture of Pilate." See also
 List of biblical figures identified in extra-biblical sources

Notes

Citations

References

1st-century BC births
39 deaths
Year of birth unknown
1st-century Christian saints
1st-century Christianity
1st-century Roman governors of Judaea
1st-century Romans
Ancient Roman saints
Ancient Romans who committed suicide
Coptic Orthodox saints
Ethiopian saints
Jesus and history
Jews and Judaism in the Roman Empire
People from the Province of Teramo
People in the canonical gospels
Pilate
Roman governors of

masks: Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pontius Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pontius Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pontius Pilate Pontius Pilate Pontius Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate Pilate


texts:
Chinawut-<mask> (; ), also known as Chin, is a Thai singer, actor, model, dancer and music composer. He was the presenter for Sony Skinny T Digital Camera in Malaysia and a singer of growing reputation in Malaysia as well. Indracusin also starred in a Taiwanese drama Love 18 as Joshua. During 2016-2018, Indracusin served the Royal Thai Army as an Armed Force member and the artist of Royal Thai Army. Early life and education
<mask> was born on August 13, 1989 in Bangkok to a Thai Chinese father and a French mother. He has one younger sister, Sophie Marguerite, who is an actress and dancer. His talents are beat box, dance and music composer.He went to  Bangkok Christian College and received a bachelor’s degree of Communication Arts in Broadcasting and Streaming Media Production from Sripatum University. Career
Indracusin started his career early on by signing up with the biggest record label in Thailand, GMM Grammy which selected him for the G-JUNIOR young artist development program. In 2003, <mask> and two other musicians in G-JUNIOR, Rittidet Rittichu and Guy Ellis came together to form a group named Big 3. The music they released at the time was labelled as hip hop but has since been re-categorized into pop and R&B. After the release of their album "We are Big 3", the boys decided to move on with their own careers. Indracusin and Ellis released a second album in 2006 with G-JUNIOR and 10th Club. In 2007, Indracusin was finally given the opportunity to release his own album, "Chin Up" in May 2007.His first solo single that was unleashed, "Pak Mai Trong Gub Jai" became extremely successful right away, staying on top of the Thai charts for many weeks in a row. As a result, Indracusin is today one of the top teen artists in Thailand. He went to New York City to work on his album 'Maybe I'm Bad'. In the fall of 2008, Indracusin did a Malaysian commercial presenting a Sony Skinny T. For this commercial he recorded several of his songs in Chinese, including 'Term Mai Koi Tem', 'Roo Chai Mai Wa Ruk' and more recently 'Koon Tee Neung'. In December 2008, he released his second single album "Maybe I'm Bad" featuring his top 10 songs, "One Night Stand" or "Keun Tee Neung". Other well known songs from this new album include "Too Fast Too Serious" and "Hua jai mai chai gra-dard". So far, he has 3 music videos from this album, one for "Keun Tee Neung" featuring himself, "Too Fast Too Serious" featuring himself and Thai upcoming singer in the same label DUCKBAR, Natasha Josephine Blake, and finally one for "Hua hai mai chai gra-dart" featuring himself, his younger sister Sophie and a Singaporean-Swedish model Ase Wang.Indracusin has also starred in the original Taiwanese drama Love – 18 as Joshua and in year 2016, he released his new single Jub – Yo x Gavin Duval. TV dramas
 All of these soap operas presented on Bang Channel

 All of these soap operas presented on Channel 7

 All of these soap operas presented on Channel One

 All of these soap operas presented on Channel 3

 All of these soap operas presented on Channel True4U

 All of these soap operas presented on Line TV

 All of these soap operas presented on Channel PPTV

Films

TV series

Songs as a group member
Indracusin appeared as a group member of these groups as following:
 We Are Big 3 (As Big 3), 2003 (2546)
 Ten Club (As G – Jr), 2006 (2549)

Music albums and singles
 Album CHIN UP, 2007 (2550)
 Single Mai Mee Krai Bog Rak, 2008 (2551)
 Album Maybe I'm Bad, 2008 (2551)
 Single Kon Ru Jai (Ost. Series Love-18 Rak Woon Wai Hua Jai 18), 2009 (2552)
 Single Kon Tam Ma Da (Ost. Drama Sood Sa Nae Ha), 2009 (2552)
 Single My Love My Code (Ost. Commercial Ad: CAT 009), 2009 (2552)
 Single Kuen Nee Yak Dai Gee Krang, 2010 (2553)
 Single lan La Feat. Bank Opal, 2010 (2553)
 Single Hai Rak Dern Tang Ma Jer Gun(Ost. Drama 4 Hua Jai Hang Kun Kao: Pa Ta Pee Leh Rak), 2010 (2553)
 Single Nai Wa Ja mai Look Gun Feat.Ter Chantavit Dhanasevi (Ost, Drama Muad Opas), 2011 (2554)
 Single My Bad Habit (Ost. Commercial Ad:Shampoo Pantene), 2012 (2555)
 Single Ter Ja You Nai Jai Kong Chan Sa Mer Feat.Cheranut Yusanonda(Ost. Movie Tong Sook 13), 2013 (2556)
 Single Ya Bok Chan Wa Hai Pai (Ost. Drama Su Pap Bu Rood Ju Tha Thep Series: Koon Chai Roon Na Pee), 2013 (2556)
 Single Nee Kor Rak  (feat. Varitthisa Limthammahisorn) (Ost. Drama Nee Kor La Sa Kor Rak), 2014 (2557)
 "Single Jab – Yo Chin Chinawut x Gavin Duval", 2017 (2560)
 Single Tian Mai Sin Sang (Ost. Drama Sang Jak Poh Series: Tien Mai Sin Sang, 2017 (2560)
 Single Hua Jai Diew Kan (feat.Nantida Kaewbuasai) (Ost. Drama Hua Jai Diew Kan), 2018 (2561)
 Single Bpert Jai (Ost. Drama Lab Luang Jai), 2019 (2562)
 Single Kum Nai Jai (Ost. Drama In Time With You), 2021 (2564)

Songs featuring Chin Chinawut
 Song: First Love First Hurt – B-O-Y Feat.Chin Chinawut, 2008 (2551)
 Song: Took krung tee Kid Tueng Ter – Auttapon Prakopkong Feat.Chin Chinawut, 2010 (2553)
 Song: Whatever Whenever – Kitti Chiawongsakul Feat.Chin Chinawut, 2011 (2554)
 Song: Sorry – Southside Feat.Chin Chinawut, 2011 (2554)
 Song: Gae Ngao rue Aow Jing – Tatan Feat.Chin Chinawut, 2013 (2556)

Music albums

 *= Promoted Single

Character voices
Birdland Dan Ma Had sa Jan As Jemy (First episode date: June 4, 2011 (2552))

International career
 Chin Up: Malaysia Album, 2010 (2551)
 Yu Jian Ni (Chinese Singles), 2010 (2551)
 Maybe I’m Bad: Malaysia Album, 2011 (2552)
 OST. Love.18 (Chinese Singles), 2011 (2552)

TV shows
 2017 (2560) – เปลี่ยนหน้าท้าโชว์ Sing Your Face Off (season 3) : Competitor Code: S4

 2017 (2560) – Indracusin also appeared as  The Candle Mask in Thai T.V. Show, The Mask Singer Thailand Season 3 to sing a song Sunday Morning by Maroon 5 in group C. And lost to The Diamond Tiara Mask. He revealed his mask on November 9, 2017.Awards

References

External links
 YouTube Channel: Chin Chinawut

1989 births
Chinawut Indracusin
Chinawut Indracusin
Living people
Chinawut Indracusin
Chinawut Indracusin
Chinawut Indracusin

masks:
Stéphane Indracusin
Indracusin
Indracusin


texts:
<mask> I, usually known as <mask> of Montferrat (; , Vonifatios Momferratikos) (c. 1150 – 4 September 1207), was the ninth Marquis of Montferrat (from 1192), the leader of the Fourth Crusade (1201–04) and king of Thessalonica (from 1205). Early life
Boniface was the third son of William V of Montferrat and Judith of Babenberg, born after his father's return from the Second Crusade. He was a younger brother of William "Longsword", Count of Jaffa and Ascalon, and of Conrad I of Jerusalem. His youthful exploits in the late 1170s are recalled in the famous "epic letter", Valen marques, senher de Monferrat, by his good friend and court troubadour, Raimbaut de Vaqueiras. These included the rescue of the heiress Jacopina of Ventimiglia from her uncle Count Otto, who was intending to deprive her of her inheritance and send her to Sardinia. Boniface arranged a marriage for her. When Albert of Malaspina (husband of one of Boniface's sisters) abducted Saldina de Mar, a daughter of a prominent Genoese family, Boniface rescued her and restored her to her lover, Ponset d'Aguilar.Like the rest of the family, he also supported his cousin Frederick I Barbarossa in their wars against the independent city communes of the Lombard League. Boniface's eldest brother, William, had died in 1177, soon after marrying Sibylla, the heiress presumptive to the Kingdom of Jerusalem. In 1179, the Byzantine emperor Manuel I Komnenos offered his daughter Maria Porphyrogenita as a bride to one of the sons of William V. Since Boniface, like his older brother Conrad, was already married, and Frederick was a priest, the youngest brother, Renier, married her instead, only to be murdered along with her during the usurpation of Andronikos. In 1183, Boniface's nephew Baldwin V was crowned co-king of Jerusalem. William V went out to the kingdom to support his grandson, leaving Conrad and Boniface in charge of Montferrat. However, in 1187, Conrad also left for the East: Isaac II Angelos had offered his sister Theodora to Boniface as a wife, to renew the family's Byzantine alliance, but Boniface had just married for the second time, while Conrad was a recent widower. In 1189, Boniface joined the council of regency for Thomas I of Savoy, son of his cousin Humbert III, until the boy came of age about two years later.In 1191, after the new Emperor Henry VI granted him the county of Incisa, a fifteen-year war broke out against the neighbouring communes of Asti and Alessandria. Boniface joined the Cremona League, while the two cities joined the League of Milan. Boniface defeated the cities at Montiglio in June that year, but the war as a whole went badly for the dynasty's interests. At Quarto, he and Vaqueiras saved his brother-in-law Alberto of Malaspina when he was unhorsed. The first phase of the war ended with a truce in April 1193. By now, Boniface was Marquis of Montferrat, following the deaths of his father in 1191 and of Conrad, the newly elected king of Jerusalem, in 1192. No claim to Montferrat ever seems to have been made on behalf of Conrad's posthumous daughter, Maria of Montferrat.In June 1194, <mask> was appointed one of the leaders of Henry VI's expedition to Sicily. At Messina, amid the fighting between the Genoese and Pisan fleets, Vaqueiras protected his lord with his own shield – an act which helped the troubador win a knighthood from Boniface that year, after the campaign's successful conclusion: Henry's coronation in Palermo. In October 1197, the truce with Asti ended. Boniface made an alliance with Acqui in June 1198. There were numerous skirmishes and raids, including at Ricaldone and Caranzano, but by 1199 it was clear the war was lost, and Boniface entered into negotiations. Throughout the 1180s and 1190s, despite the wars, Boniface had nevertheless presided over one of the most prestigious courts of chivalric culture and troubador song. In the 12th century, the Piedmontese language (which in the present day reflects more French and Italian influences) was virtually indistinguishable from the Occitan of Southern France and Catalonia.Besides Vaqueiras, visitors included Peire Vidal, Gaucelm Faidit, and Arnaut de Mareuil. Boniface's patronage was celebrated widely. To Gaucelm, he was Mon Thesaur (My Treasure). Curiously, Vaqueiras sometimes addressed him as N'Engles (Lord Englishman), but the in-joke is never explained. His sister Azalaïs, Marchioness of Saluzzo, also shared this interest and was mentioned by Vidal. Fourth Crusade
When the original leader of the Fourth Crusade, Count Theobald III of Champagne, died in 1201, Boniface was chosen as its new leader. He was an experienced soldier, and it was an opportunity to reassert his dynasty's reputation after defeat at home.<mask>'s family was well known in the east: his nephew Baldwin and brother Conrad had been kings of Jerusalem, and his niece Maria was the heir presumptive to the kingdom. <mask>'s cousin Philip of Swabia was married to Irene Angelina, a daughter of the deposed Byzantine emperor Isaac II Angelos and niece of Conrad's second wife Theodora. In the winter of 1201 Boniface spent Christmas with Phillip in Hagenau, and while there also met with Alexios IV Angelos, Isaac II's son, who had escaped from the custody of his uncle Alexios III Angelos. At this time the three discussed the possibility of using the crusading army to restore Alexios' right to the throne. Both <mask> and Alexios travelled separately to Rome to ask for Pope Innocent III's blessing for the endeavour. Boniface was specifically told by Innocent not to attack any Christians, including the Byzantines. The Crusader army was in debt to Enrico Dandolo, the doge of Venice, who had provided their fleet.He instructed them to attack the rebellious cities of Trieste, Muggia, and Zara and beat them into submission before sailing for Cairo. The Pope was angered by these Christian cities being attacked by a Crusader army. Dandolo, was now the true war leader of this Crusade, with <mask> as only a figurehead. Alexios IV Angelus made many promises to the Crusaders and their principal financier, the doge of Venice, for riches and honors if they would help him reclaim his empire. Dandolo placated the Pope by having Alexius Angelus promise to submit the Orthodox Church to Rome when he was restored to his throne in Constantinople. This being done, the fleet set sail for Constantinople in 1203. After the conquest of Constantinople in 1204, <mask> was assumed to be the new emperor, both by the western knights and the conquered Byzantine citizens.However, the Venetians vetoed him, believing that he already had too many connections in the Empire and, likely, felt that they would not have as much influence in the empire if Boniface was in control. Instead, they chose Baldwin of Flanders. Boniface founded the Kingdom of Thessalonica and also held all the territories that lay east of Bosphorus and territories in Crete, though he later conceded Crete to
Baldwin. Late 13th and 14th century sources suggest that Boniface based his claim to Thessalonica on the statement that his younger brother Renier had been granted Thessalonica on his marriage to Maria Komnene in 1180. Boniface was killed in an ambush by the Bulgarians on 4 September 1207, and his head was sent to Bulgarian Tsar Kaloyan. The loyal Raimbaut de Vaqueiras, who had followed him to the East, probably died with him: it is significant that he composed no planh (lament) in his memory. Family
Boniface was first married c. 1170 to Helena del Bosco.They had three children:
 William VI, (c. 1173-17 September 1226). Marquis of Montferrat. Beatrice, m. Enrico del Carretto, Marquis of Savona, as the second of his three wives; she is the Bel Cavalher (Fair Knight) of Vaqueiras's songs, composed in the 1190s. Agnes of Montferrat (d. 1207), m. Henry of Flanders, Latin emperor of Constantinople, in 1207

In 1205 in Constantinople he married Margaret of Hungary, daughter of King Béla III of Hungary and widow of Emperor Isaac II Angelos. They had one child:
 Demetrius, born c. 1205, who was King of Thessalonica. References

Sources

Further reading

Vaqueiras, Raimbaut de. The Epic Letter (external link to bilingual text)

1150s births
1207 deaths
Christians of the Fourth Crusade
Aleramici
Marquesses of Montferrat
Kings of Thessalonica
12th-century Italian nobility
13th-century Italian nobility
12th century in the Byzantine Empire
13th century in the Byzantine Empire
Founding monarchs
13th-century Roman Catholics
12th-century Italian people
12th-century Roman Catholics
13th-century Italian people

masks: Boniface Boniface Boniface Boniface Boniface Boniface Boniface Boniface


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<mask> is a retired Irish National Hunt jockey. Background

He was born on 9 February 1974. He hails from a racing family. He is the son of jockey <mask>, who was a famous National Hunt jockey in the 1960s and 1970s. His uncle is Arthur Moore, one of Ireland's leading National Hunt trainers. His younger siblings, Philip and Nina, were also successful Irish riders. Riding career

Apprenticing for Jim Bolger, <mask> earned his first win in August 1990 on Petronelli.He was also the jockey for racehorse owner Robert Ogden. <mask> learned his trade through hunting, show-jumping and point-to-pointing in Ireland and many view him as one of Ireland's leading jump jockeys along with Ruby Walsh, Barry Geraghty, Davy Russell and Andrew McNamara. In 1993, atop Rhythm Section, <mask> won the Champion Bumper – his first win at the Cheltenham Festival. Arguably the biggest win of his career was when he followed in his father's footsteps and won the Grand National at Aintree Racecourse aboard Bobbyjo in 1999. Of all the horses <mask> has been paired with, perhaps the most successful partnership has been with Harchibald. The two went on to win five Grade 1 races, with wins in the Fighting Fifth Hurdle (2004, 2007), Christmas Hurdle (2004, 2008) and the John James McManus Memorial Hurdle (2005). However, the pairing is most known for their battle with Hardy Eustace at the 2005 Champion Hurdle.In the race, Harchibald looked certain to win, only to be beat by Hardy Eustace at the finish line. <mask> has been associated with many great horses throughout his career, including Sausilito Bay, Nicanor, Florida Pearl, Beef or Salmon, Solerina, Harbour Pilot, Harchibald, Hairy Molly, Go Native and Bobbyjo. He has won 39 Grade 1 races in his career. In January 2013 <mask> returned to the big-race winners enclosure in Britain when winning the Welsh National at Chepstow on Monbeg Dude, beating Tony McCoy close to the line after a classic Carberry hold-up-and-creep ride. <mask> was stable jockey to Noel Meade for many years up to his retirement. He has a brand of racewear selling a variety of racing equipment named after him. On 9 August 2016, <mask> announced his retirement from the saddle after failing to recover from a long-standing leg injury sustained in a fall at Listowel in September 2015.Controversies

Despite all of his success in National Hunt racing, <mask> has faced problems outside off the track. In 2005, he was arrested and charged over an alleged incident which took place on board an Aer Lingus flight from Málaga to Dublin. According to reports, <mask> supposedly set fire to a newspaper on the flight. He was sentenced to two months in jail as a result of the incident. In 2009, <mask> was suspended for 30 days by the Referrals Committee of the Turf Club after he failed an alcohol breath test at Naas on 31 October 2009. The suspension caused <mask> to miss the 2009 Fighting Fifth Hurdle and Christmas Hurdle. His replacement, Davy Condon, rode Go Native to wins in both races.After serving his suspension, <mask> and Go Native were paired together for the 2010 Champion Hurdle. A win in the race would have landed Go Native the Triple Crown of Hurdling and <mask> would have secured £150,000 as his share of the £1m bonus offered by WBX. However, Go Native was unable to capture the win, instead finishing in 10th place after being eased when beaten on the run from the final hurdle. Afterwards, <mask> said that Go Native dived after the second hurdle and was never the same moving forward. Following his suspension, <mask> vowed not to drink again until his career as a National Hunt jockey was complete.

masks:
Paul Carberry
Tommy Carberry
Carberry
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Paul
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<mask> (born 29 December 1958, Bad Hindelang, Allgäu) is a philosopher, art historian, editor, curator, photography critic, and professor for philosophy of photography and cultural studies. Amelunxen has authored and published several books focusing on the history and theory of photography and has curated several international exhibitions. He served as president and provost at the European Graduate School, based in Saas-Fee, Switzerland, and Valletta, Malta from October 2013 until June 2018. Academic career
<mask> studied Roman languages, German Studies, and Art History in Marburg and Paris. In Paris he visited the lectures by Michel Foucault at the Collège de France and by Jacques Derrida at the École Normale Supérieure. He obtained his Ph.D. in Roman Studies at the University of Mannheim with the thesis Allegory and Photography. Research on French Literature.<mask> started his academic career by lecturing in Basel on time and photography (1991). He became a Visiting Professor at the University of California, Santa Cruz (1991-1992), representing Victor Burgin. In 1995 he obtained a 5-year tenure at the Muthesius Hochschule for Art and Design in Kiel, where he founded the Center for Interdisciplinary Project Studies. Afterwards, in 2000, he taught at the University of Düsseldorf and at the Royal Academy of Fine Arts (Antwerp). In 2001 he became founding director at the International School of New Media in Lübeck, a position he held until 2005. From 2005 to 2009 he served as rector of the École Européenne Supérieure de l'Image (ÉESI) in Angoulême/Poitiers, France. From 2010 to 2013 he served as president of the Hochschule der Bildenden Künste in Braunschweig.The European Graduate School (EGS)
Since 2002 <mask> has been a faculty member of the European Graduate School, a private graduate school based in Saas-Fee, Switzerland, and Valletta, Malta, which specializes in philosophy, critical thinking and art therapy. In 2006 he obtained the Walter Benjamin Chair at the EGS, specialized in Media Philosophy and Cultural Studies. From October 2013 to July 2018, <mask> served as president and provost at the European Graduate School. Under his term, the EGS has expanded to Malta and its programs have gained full European accreditation. Curatorial work
Besides his academic endeavours, <mask> has been active as curator and member of artistic organisations. From 2001 until 2007 Amelunxen was a visiting curator at the Canadian Centre for Architecture (CCA) in Montréal. During this time, he was responsible for the Tangent series of exhibitions and accompanying publications, which brought "contemporary artists into dialogue with the CCA Collection and [resulted] in newly commissioned works."While at the CCA, he played a role in the acquisition of an important group of works by Gordon Matta-Clark. In 2003 Amelunxen was appointed member of the Fine Arts Section of the Akademie der Künste in Berlin. In 2014 he was appointed member of the first Artistic Advisory Board at the Public Art Experience, in Luxembourg. Amelunxen has curated several international exhibitions, working shoulder to shoulder with well-known artists such as Cy Twombly, Iannis Xenakis, Dieter Appelt, Peter Weibel, Naoya Hatakeyama, among others. His exhibitions have been shown in different galleries and museums of North America and Europe. Editorial work
Amelunxen has been active as an editor. He first became member of the editorial board of the Mannheim series of papers Mana-Analytika (Média Medusa) in 1987, a position he occupied until 1992.In 1988 he became editor of the well-known German magazine on the history of photography Fotogeschichte, which is published in Marburg and Frankfurt am Main. Since 1996, he is a member of the German editorial board of the French series of papers Esthétique, Editions l’Harmattan, a publication based in Paris. Books
 Gustave Le Gray, Seascapes, Schirmer/Mosel, Munich (2015); contains an essay by <mask> <mask>unxen. Steve Sabella, Works 1997-2014, Hatje Cantz, Ostfildern (2014); edited by <mask> <mask>. Gordon Matta-Clark, Moment to Moment: Space, Verlag für Moderne Kunst, Nürnberg; co-edited with Angela Lammert and Philip Ursprung (2012). Elger Esser, Nocturnes à Giverny. Claude Monet's Garden, Schirmer/Mosel Verlag, Munich (2012); with an essay by <mask> <mask>.Iannis Xenakis, Kontrolle und Zufall, Akademie der Künste, Berlin (2011); co-edited with Angela Lammert. Cy Twombly, Photographs III. 1951-2010 (2011); with an essay by <mask> <mask>. Photography and Disaster. Collected Essays, University of Disaster Series, Atropos Press, New York/Dresden (2010). Paul Virilio, Grey Ecology, University of Disaster Series, Atropos Press, New York/Dresden (2009); edited by <mask> <mask>. Notation.Kalkül und Form in den Künsten, Akademie der Künste, Berlin (2008); co-edited with Dieter Appelt and Peter Weibel. Naoya Hatakeyama, Scales, Nazraeli Press, Portland (2007); with an essay by <mask> <mask>xen. Petra Wittmar, Medebach, Steidl & SK Stiftung Kultur, Cologne (2007); with an essay by <mask> <mask>. Victor Burgin, Voyage to Italy, HatjeCantz, Stuttgart (2006); co-edited with Thomas Zander. Dieter Appelt, Forth Bridge. Cinema. Metric Space, Canadian Centre for Architecture, Montréal (2005).Alain Paiement, Tangent e, Lars Müller Publishers & Canadian Centre for Architecture, Zürich/Montréal (2003). Jean-Philippe Reverdot, "Bilan provisoire. Photographies 1983-1999", Marval, Paris (2001). Gegenwartsbildung / Present Formations, Schriftenreihe der Muthesius-Hochschule "Gestalt und Diskurs", vol. 2, Kiel (2001); co-edited with Antje Krause-Wahl. Photo- und Konzeptkunst am Bau. Unter den Linden 50.Ein Projekt für den Deutschen Bundestag Berlin, AWF Verlag, Heidelberg (2000); co-edited with Hans-Werner Schmidt. Architecture of Zaha Hadid in Photographs by Hélène Binet, Lars Müller Publishers, Baden (2000); with an essay by <mask> <mask>elunxen. Theorie der Fotografie i-IV. 1980-1995, Schirmer/Mosel, Munich (2000); co-edited with Wolfgang Kemp. Tomorrow For Ever. Architektur/Zeit/Photographie, DuMont, Cologne (1999); co-edited with Carl Aigner and Walter Smerling. Andreas Müller-Pohle, Interfaces.Foto + Video. 1977–1999, European Photography, Göttingen (1999); edited by <mask> <mask>xen. Artfiction. Junge Kunst aus Italien, Kiel Stadtgalerie im Kulturviertel/Sophienhof Kiel, Kiel (1998); co-edited with Knut Nievers and Edoardo DiMauro. Photography after Photography. Memory and Representation in the Digital Age, G+B Arts, New York  (1997); co-edited with Stefan Iglhaut and Florian Rötzer. Les lieux du non-lieu.L'état des choses dans la photographie française contemporaine, Verlag der Kunst, Dresden (1997); co-edited with Ulrich Pohlmann. Fotografie nach der Fotografie, Verlag der Kunst, Berlin (1995); co-edited with Stefan Iglhaut and Florian Rötzer. Allegorie und Photographie. Untersuchungen zur französischen Literatur des 19. Jahrhunderts, University of Mannheim (1992); doctoral dissertation. Zhang Hai'er, Fotografien aus China. 1986-1989, Edition Braus, Heidelberg (1990); co-edited with Barbara Kunzendorf-Hohenadl.Television/Revolution. Das Ultimatum des Bildes. Rumänien im Dezember 1989, Jonas, Marburg (1990); co-edited with Andrei Ujică. Die aufgehobene Zeit. Die Erfindung der Photographie durch William Henry Fox Talbot, Nishen, Berlin (1988). Exhibitions
 "Cy Twombly. Photographs 1951-2010" at BOZAR-PMSK (The Palace of Fine Arts), Brussels (2012); co-curated with Cy Twombly."Kontrolle und Zufall. Iannis Xenakis: Komponist, Architekt, Visionär" in the Akademie der Künste, Berlin (2011); co-curated with Sharon Kanach and Angela Lammert. "Notation – Kalkül und Form in den Künsten" at the Zentrum für Kunst und Medientechnologie Karlsruhe, in Karlsruhe (2008, 2009); co-curated together with Dieter Appelt and Peter Weibel. "Notabene" at the Villa Oppenheim in Berlin (2008). "Eric Rondepierre. Umkehrungen" at the Villa Oppenheim in Berlin (2008). "Naoya Hatakeyama: Scales" (part of the Tangent series) at the Canadian Centre for Architecture (CCA) in Montréal (2007-2008); co-curated with Louise Désy.Overall concept for "Peter Greenaway. L’avenir dure longtemps" at the Ecole Européenne Supérieure de l’Image in Poitiers (2007). "Gordon Matta-Clark. Moment to Moment: Space" at the Akademie der Künste in Berlin (2013). "Victor Burgin. Voyage to Italy" (part of the Tangent series) at the Canadian Centre for Architecture (CCA) in Montréal (2006-2007). "Anthony McCall & Eric Rondepierre.Timeline" at the Galerie Thomas Zander and at the Neues Kunstforum in Cologne (2006). "Dieter Appelt. Cinema Forth Bridge" (part of the Tangent series) at the Canadian Centre for Architecture (CCA) in Montréal (2005). "out of the box: price rossi stirling + matta-clark" at the Canadian Centre for Architecture (CCA) in Montréal (2003-2004); co-curated with Mirko Zardini, Mark Wigley, Marco De Michelis, Philip Ursprung and Anthony Vidler. "Tangent - Alain Paiement" (part of the Tangent series) at the Canadian Centre for Architecture (CCA) in Montréal (2003). "Tomorrow For Ever. Fotografie als Ruine" at the Kunsthalle in Krems and at the Lehmbruck Museum in Duisburg (1999)."Andreas Müller-Pohle. Interfaces, Foto und Video 1977–1999" at the Altes Rathaus in Göttingen (1999). "Artfiction. Junge Kunst aus Italien" at the Stadtgalerie im Sophienhof in Kiel (1998); the first of a long series of exhibitions on Italian art in Kiel. "Carol Dallaire. Ça a été: Le territoire en deuil" at the Rencontres Internationales de la Photographie d'Arles, in Arles (1998). "Les lieux du non-lieu.L'etat des choses dans la photographie française contemporaine" at the Münchener Stadtmuseum in Munich (1997). "Lewis Baltz & Slavica Perkovic. Stories of Power and Desire" at the Galerie Angelo Falzone in Mannheim (1996). "Photography after Photography", exhibition presented in Munich, Krems, Erlangen, Cottbus, Odense, Winterthur, Helsinki and Philadelphia (1995-1998); commissioned by the Siemens Kulturprogramm. "Der Ton des Raums. Malerei, Skulptur und Photographie" at the Galerie Angelo Falzone in Mannheim (1995). "Die aufgehobene Zeit.Die Erfindung der Photographie durch William Henry Fox Talbot", presented at the Städtische Galerie im Lenbachhaus in Munich and at the Palais de Tokyo in Paris (1989-1990). "Denis Roche. Un peu plus de lumière" at the mumok in Vienna, the Institut Français of Heidelberg and at the Frankfurter Kunstverein in Frankfurt (1986-1987). Academic initiatives
 Cinéma, Interactivité, Société / Cinema, Interactivity, Society. First Biennale Figures of Interactivity, Poitiers, France (2008). Workshop Vitra Design Museum, Domaine de Boisbuchet; together with Richard McGuire (2008). Co-responsible for the international congress config.art for Documenta 10, Kassel (1997).Personal life
<mask> <mask>unxen married Christine Marx in 1990; they divorced in 2012. They have two sons. Amelunxen lives and works between Berlin, Switzerland and Malta. External links
 <mask> <mask>elunxen Faculty Page at European Graduate School. <mask> <mask>unxen Die Epistemologie der Medienkunst. Conference Abstract. <mask> <mask>unxen Photography After Photography.The Terror of the Body in Digital Space. Audio recording of Naoya Hatakeyama and <mask> <mask>xen in Conversation at the Canadian Centre for Architecture

Notes

1958 births
Living people
European Graduate School faculty
German art historians
German philosophers

masks:
Hubertus von Amelunxen
Hubertus von Amelunxen
Amelunxen
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<mask> () (born in 1965) is a Somali model, author, actress and human rights activist in the fight against Female Genital Mutilation (FGM). From 1997 to 2003, she was a UN special ambassador against female genital mutilation. In 2002 she founded her own organization in Vienna, the Desert Flower Foundation. Early life
<mask> was born as one of twelve children into a nomadic family in 1965 in the area of Galkayo. Her first name, <mask>, means desert flower. When she was five, she suffered circumcision in the form of infibulation. At the age of thirteen, she fled through the desert to Mogadishu in order to escape an arranged marriage to a 60-year-old man.She first stayed there with relatives, although her escape was not tolerated. One of her uncles, who was then Somali ambassador to the United Kingdom, was looking for a maid. With the help of her aunt, she convinced her uncle to hire her and take her to London, where she worked at her uncle's house for little pay. After her uncle's four-year term, Dirie left and lived in a number of unstable housing arrangements, later renting a room in a YMCA. She earned her living as a cleaner in a local McDonald's. She also began evening classes to learn English. Career
Aged 18, Dirie was by chance discovered by photographer Mike Goss, as she stood waiting for her charge outside of his daughter's school.Through getting the children to translate for them, Mike persuaded Waris to model for him. Afterwards, he helped her get a portfolio together and get her representation, although a lot of modelling agencies claimed there was 'no call for black models'. One of her first modelling jobs was for Terence Donovan, who photographed her in 1987 together with the then still unknown model Naomi Campbell for the title of the Pirelli Calendar. From there, <mask>'s modeling career took off, she soon became successful model, appearing in advertisements for top brands such as Chanel, Levi's, L'Oréal and Revlon. In 1987, Dirie played a minor role in the James Bond film The Living Daylights. She also appeared on the runways of London, Milan, Paris and New York, and in fashion magazines such as Elle, Glamour and Vogue. This was followed in 1995 by a BBC documentary entitled A Nomad in New York about her modeling career.In 1997, at the height of her modeling career, <mask> spoke for the first time with Laura Ziv of the women's magazine Marie Claire about the female genital mutilation (FGM) that she had undergone as a child, at the age of five along with her two sisters. That same year, <mask> became a UN envoy for the abolition of FGM. She later paid her mother a visit in her native Somalia. In 1998, <mask> coauthored her first book along with nonfiction author Cathleen Miller: Desert Flower, an autobiography that went on to become an international bestseller. Over 11 million copies have been sold worldwide to date, 3 million in Germany alone. She later released other successful books including Desert Dawn, Letter to My Mother and Desert Children, the latter of which was launched in tandem with a European campaign against FGM. In 2002, <mask> founded the Desert Flower Foundation in Vienna.The foundation collects money to raise awareness about the worldwide problem of FGM and to help those affected. In the same year, she received the Corine Literature Prize. In 2004, she received the World Social Award by Mikhail Gorbachev at the Women's World Award Gala in Hamburg, Germany. <mask> opened the World Conference against FGM in Nairobi, delivered a much-noticed speech and published for the first time the Waris-Dirie Manifesto against FGM. The Austrian Federal President Heinz Fischer awarded her the Romero Prize on behalf of the Austrian Catholic Men's Movement. In 2006, she addressed the assembled ministers of all EU Member States in Brussels. The European Union then put the fight against female genital mutilation on its agenda, after which laws were tightened up and preventive measures initiated in many European countries.In 2007, the Arab channel Al Jazeera invited <mask> <mask> to the popular talk show by Riz Khan. She spoke for the first time on an Arab channel in front of over 100 million viewers about the taboo topic "Female Genital Mutilation". In 2009, Desert Flower, a feature-length film based on <mask>' book Desert Flower was released, with the Ethiopian supermodel Liya Kebede playing her. Directed by Sherry Hormann, the film was produced by Oscar winner Peter Herrmann. Benjamin Herrmann and <mask> <mask> were co-producers. The movie has so far been released in 20 countries including France, Spain, Israel, Greece, Poland and Brazil. In January 2010, it won the Bavarian Film Awards in Munich in the "Best Movie" category.It was also nominated for a Film Award in Gold in the "Outstanding Feature Film" category at the German Film Awards, and won the Audience Award in the "Best European Film" category at the San Sebastián International Film Festival. In 2010, <mask> was appointed Ambassador of Peace and Security in Africa by the African Union. Humanitarian work, campaigns, awards
2002–present: In 2002 <mask> founded the Desert Flower Foundation in Vienna, an organisation whose goal is to eradicate female genital mutilation worldwide. The Foundation's work is financed by donations. In January 2009 <mask> became a founding member of the PPR Foundation for Women’s Dignity and Rights, an organization of French tycoon François-Henri Pinault (CEO of PPR) and his wife, Hollywood actress Salma Hayek. She has also started the Desert Dawn Foundation, which raises money for schools and clinics in her native Somalia, and supports the Zeitz Foundation, an organization focused on sustainable development and conservation. Dirie has campaigned extensively to draw attention to female genital mutilation.In 2010 with "Stop FGM Now" in collaboration with the Berlin agency Heymann Brandt de Gelmini. This initiative was awarded the prize for "Best NGO Social Media Campaign" by the German Federal Government. "Together for African Women" followed in 2011, a collaboration with the Hamburg agency Jung von Matt and the laundry label Mey. After the rescue of Desert Flower Safa from FGM in 2014, the sponsorship programme "Save A Little Desert Flower" was launched. In March 2019 came the much-acclaimed campaign "End FGM" with the British lingerie label Coco de Mer. <mask> posed for the company's collection (as the successor to Pamela Anderson) and was staged by photographer Rankin] Rankin also produced the campaign's short film. The initiative was awarded the if Social Impact Prize 2019 by the iF International Forum Design headquartered in Hanover and was supported with prize money.For <mask> the photo shoot with Rankin in London was a comeback as a model. Desert Flower Center:
On 11 September 2013, <mask> as patron opened the world's first holistic medical center for the treatment and care of FGM victims in Berlin together with the Waldfriede Hospital as a cooperation hospital of the Desert Flower Foundation. The Desert Flower Center was awarded the Louise Schroeder Medal by the State of Berlin in 2016. In 2014, the Desert Flower Surgical Training Center for surgeons, gynaecologists, urologists and nursing staff was established in Amsterdam together with the Desert Flower Foundation BENELUX. The Desert Flower Center Scandinavia was established in 2015 in cooperation with the Karolinska University Hospital in Stockholm. In 2017 the Centre Fleur du Desert opened with the Fondation Fleur du Desert in the women's shelter at the Hôpital Delafontaine in Paris Saint-Denis. The Centre Fleur du Desert was visited by French President Emmanuel Macron in December 2017.Education projects in Sierra Leone:
In 2016 <mask> and the team of the Desert Flower Foundation decided to make the topic "Education in Africa" the focus of their work. Through the sponsorship project "Save A Little Desert Flower" 1,000 girls could be saved from FGM in Sierra Leone. The construction of the first three "Desert Flower schools" in Sierra Leone was announced in early 2019. Diries Desert Flower Foundation is also building a "Safe House", where FGM victims find refuge and protection. There is also a library and a computer centre. In addition, 10,000 copies of <mask> <mask>'s reading book "My Africa - The Journey" with Desert Flower educational boxes will be distributed to 34 schools in Sierra Leone. '<mask> has received many prizes and awards for her humanitarian work and books including:Woman of the Year Award (2000) by Glamour magazine.Corine Award (2002) of the umbrella association of the German bookselling trade.Women's World Award (2004) from former President of the USSR, Mikhail Gorbachev.Bishop Óscar Romero Award (2005) by the Catholic Church.Chevalier de la Légion d’Honneur (2007) from former President of France, Nicolas Sarkozy.Prix des Générations (2007) by the World Demographic Association.Martin Buber Gold Medal from the Euriade Foundation (2008), founded by Werner Janssen in 1981.Gold medal of the President of the Republic of Italy (2010) for her achievements as a human rights activist.Thomas Dehler Prize (2013) of the Thomas Dehler Foundation, presented by Sabine Leutheusser-SchnarrenbergerWoman Of The Year Campaigning Award (2013) in London presented by SaclaInternational Freedom Prize (2014) presented at the House of Lords in London by British Minister Lynne FeatherstoneWomen for Women Award (2017), awarded in Vienna by the magazine "look!Donna dell'Anno (2018) in ItalyMillion Chances Award (2018) donated by the Fritz Henkel FoundationSunhak Peace Prize (2019) for her commitment to women's rights, awarded in Seoul.Attack and disappearance
In March 2004, <mask> was attacked in her home in Vienna. A 26-year-old Portuguese man, was held in custody after having apparently stalked her 1,000 miles across Europe, eventually gaining access to her apartment by climbing through a neighbour's window. "She was so frightened and in shock that she let him in," a police spokesman said. Dirie apparently suffered minor injuries when her assailant threw her to the floor. The attacker then left in a taxi, only to return later to smash one of the building's ground-floor windows. He was arrested when neighbours called the police, and was later given a five-month suspended. It was reported that the suspect had met <mask> six months earlier when his brother was working at her previous residence in Wales.He later broke into that home and stole items of her clothing. In another incident, in early March 2008, <mask> went missing for three days while staying in Brussels. She was found by a Brussels policeman. Personal life
Contrary to popular belief, <mask> is not related to fellow Somali model Iman, the widow of David Bowie. In her book Desert Flower, <mask> states that Iman's mother was good friends with her aunt, a relative with whom she once lived during her time in London. Since 2009 <mask> lives in Gdańsk, Poland. Temporarily also in Vienna.She is mother of two sons (Aleeke, Leon). Since March 2005, <mask> has held Austrian citizenship. Filmography, books and a musical

FilmsThe Living Daylights (1987) - In the 15th James Bond film, <mask> plays <mask> Walsh in a supporting role.A Nomad in New York (1995) - BBC documentary about the career of <mask> <mask>.Desert Flower (2009) - drama is based on the autobiographical novel and bestseller. BooksDesert Flower (1998) with Cathleen Miller
The book that describes <mask>'s genital circumcision, her adventurous escape through the Somali desert and the rise to a world-famous supermodel, becomes an international bestseller and appears in over 50 licensed editions. Over 11 million copies have been sold worldwide to date, 3 million in Germany alone (number 1 on the Spiegel bestseller list from 11 to 17 January and from 25 January to 18 July 1999).Desert Dawn (2002) with Jeanne D’Haem
20 years after her escape, <mask> decides to visit her family in Somalia. A dangerous adventure, as Somalia has been plagued by civil war and famine for years. Her second book, which will also become an international bestseller (first place on the Spiegel bestseller list from 8 to 28 April and from 13 May to 23 June 2002), describes the trip to her home country.Desert Children (2005)
With her third book Dirie starts a Europe-wide campaign against FGM.Genital mutilation is not only practiced in Africa, but also in the western world. It reports on encounters with victims and perpetrators, on their research, setbacks and successes.Letter to my mother (2007)
<mask> says about this book on the website of the Desert Flower Foundation: "This is my most personal book. There are simply wounds that don't want to heal. My longing was great to meet my mother again, to forgive my mother, but I had to realize that love and suffering are often inextricably linked. Working on this book was a painful but vital experience for me. "Schwarze Frau, weißes Land (2010)
In this book <mask> talks about her life in her new, white homeland - and about her longing for Africa and her deep desire to help her home continent free itself from poverty, outdated traditions and dependence.Saving Safa (2013)
Little Safa comes from a bitterly poor family in Djibouti. Raised in a slum, she is selected for the role of little <mask> <mask> in the biopic of the world bestseller Desert Flower.The dramatic scene, in which the little girl is violently circumcised, makes people cry in cinemas all over the world. In real life, Safa is still intact. <mask> is all the more horrified when she hears that Safa's genital mutilation is imminent. And she does everything in her power to save the girl from this cruel practice.My Africa - The Journey'' (2017)
Together with her Desert Flower Foundation team, <mask> publishes her first reading book for children at African schools. The book tells the story of the little "desert flower" <mask> and her brother Mo, who go on a journey together to discover their home continent Africa. On their adventures they get to know the flora and fauna of Africa. In addition to the story, the book also contains numerous writing exercises, which are intended to promote the reading and writing skills of children.Musical
On 7 March 2019, in the presence of <mask> <mask>, it was announced at a press conference at a theatre St. Gallen, Switzerland that her extraordinary life story would become a musical. Written and directed by the German theater and film director Gil Mehmert (converted Sönke Wortmann's film "Das Wunder von Bern" into a musical, 2014). The lyrics are by Frank Ramond, with the music by Uwe Fahrenkrog-Petersen (wrote the music for ":de:99 Luftballons" by Nena). On 22 February 2020 the musical was premiered at the theatre St. Gallen in the presence of <mask> <mask>. References

External links

Desert Flower Foundation

Reader's Digest version of Desert Flower

1965 births
Ethnic Somali people
Living people
People from Galkayo
Somalian emigrants to Austria
Austrian female models
Austrian women novelists
Somalian actresses
Austrian film actresses
Activists against female genital mutilation
Austrian women's rights activists
Naturalised citizens of Austria
Somalian female models
Somalian women novelists
Somalian women's rights activists
20th-century Austrian novelists
21st-century Austrian novelists
20th-century Somalian women writers
20th-century Somalian writers
21st-century Somalian women writers
21st-century Somalian writers
Somalian health activists
Violence against women in Africa

masks:
Waris Dirie
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