domingo, 6 de octubre de 2013
The Lady of Aouanrhet (or Ancestor, Goddess, Shaman, or Sky Cow of ...) one of the greatest murals of Tassili-n-Ajjer in southeastern Algeria. Archaeologists date it to what they call the Round Head era (could just as well be called the Afr...o period after the coiffures) estimated at 7500-4000 bce. Really old. The Woman Shaman dvd looks at her ritual regalia (the fringed ties), horns, and the numinous field of dotted lines around her and (likely indicating tattoos or body paint) on her breasts, shoulders and legs. I've posted a detail of this painting before (in the Horned Women album, which has more commentary on the dotted fields and their analogous appearance on women's breasts in ancient Nigerian and Ethiopian art). This photo gives a broader view of the entire rock face. The rainfall theme proposed for the rectangular mass above her head, with a flow of dots around her horns and head, is echoed by a small female figure between her running legs, with a rainbow over *her* head. I see the Lady as a goddess or ancestral mother, but she is depicted with shamanic attributes (the fringed ties and the woven sleeves around her hands - puppets? they seem to have beaks). This is not at all uncommon: Auset, Inanna and Ishtar, Kybele, Xi Wangmu, Freyja, Durga, and many other goddesses are shown and described with attributes of shamans or priestesses. She is painted over an earlier red layer of small dancing or running men, whose profile views clarify that the "round heads" really are nothing other than natural African hair. One of the greatest masterThe Lady of Aouanrhet (or Ancestor, Goddess, Shaman, or Sky Cow of ...) one of the greatest murals of Tassili-n-Ajjer in southeastern Algeria. Archaeologists date it to what they call the Round Head era (could just as well be called the Afro period after the coiffures) estimated at 7500-4000 bce. Really old. The Woman Shaman dvd looks at her ritual regalia (the fringed ties), horns, and the numinous field of dotted lines around her and (likely indicating tattoos or body paint) on her breasts, shoulders and legs. I've posted a detail of this painting before (in the Horned Women album, which has more commentary on the dotted fields and their analogous appearance on women's breasts in ancient Nigerian and Ethiopian art). This photo gives a broader view of the entire rock face. The rainfall theme proposed for the rectangular mass above her head, with a flow of dots around her horns and head, is echoed by a small female figure between her running legs, with a rainbow over *her* head. I see the Lady as a goddess or ancestral mother, but she is depicted with shamanic attributes (the fringed ties and the woven sleeves around her hands - puppets? they seem to have beaks). This is not at all uncommon: Auset, Inanna and Ishtar, Kybele, Xi Wangmu, Freyja, Durga, and many other goddesses are shown and described with attributes of shamans or priestesses. She is painted over an earlier red layer of small dancing or running men, whose profile views clarify that the "round heads" really are nothing other than natural African hair. One of the greatest masterpieces of ancient art in the world, and among the most signficant.
http://www.suppressedhistories.net/womanshamandvd.html
http://www.suppressedhistories.net/Gallery/gallery.html
http://cas.uow.edu.au/projects/UOW095223.html
Centre for Archaeological Science
Neolithic. Art of Gods: cucuteni-trypillia
Neolithic. Art of Gods: cucuteni-trypillia: Cucuteni culture The Cucuteni-Trypillian culture, also known as Cucuteni culture(from Romania),Trypillian culture(from Ukraine), is a...
Neolithic. Art of Gods: World.the goddess cult
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Neolithic. Art of Gods: Cucuteni Study
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sábado, 5 de octubre de 2013
The Tulip Like many other goodies and beautiful things, the tulip 'comes' from Persia, where it was first appreciated and cultivated. In Romanian, we keep the original name: lalea, as in persian lale (laleh). Other nations, far from Balkans..., call it 'tulip' from the word "turban" – "tulpan". In romanian we still use the word 'tulipan' for a certain head-cover for women. The tulip was adopted as symbol by the dynasty established by Osman (the one who started the war against Byzantium and expansion of the ottomans). In old romanian, the turkish invadors were called "osmanlii". The tulip became a sacred symbol not only because the shape resambles the palms held together in praying, but also because of the spelling, which was alike the word Allah. Together with the carnation (aristocratic flower), the tulip is the official flower of the Ottoman Empire and it was designed with care and grace, caligrafically almost, in wonderful ceramic patterns. During 16th century, Hungary and Transylvania were conquered by the Ottomans, while west of Hungary went under Austrian rule. Surprizingly, the ethnic hungarian and german living in Transylvania, pick the flower of their muslim enemy to be a symbol of their own rezistance; symbol of national spirit; expression of their desire to be free from Hapsburgic domination. The tulip is now the flower of those who were persecuted by the catholic regim (protestants, unitarians) – but not orthodox! Beautiful tulips were used everywhere: on leather coats, on ceramic products and textiles. Therefore, it's Transylvania the first place where the tulip, in an abstract form, was woven onto oriental carpets; the oldest examples date from 17-18 centuries, found in protestant churches. The Ottomans liked the idea, of course, and brought it back home, in Turkey, where this exact model became typical for the famous Bergama carpets, with their specific central medallions. (see the Bergama textile museum). In the meantime, orthodox romanians are imune to tulips and they continue to design their carpets according to the local flora and their ancient traditions. Motifs like: lilly-of-the-valley, mallow, wheat are most loved in south-west of Romania; while motifs like: wheat, vine, basil flower – are most loved in north-east of Romania. A cui e laleaua? O discutie avuta aseara pe pagina @La Blouse Roumaine m-a determinat sa scriu aceasta poveste. S-a afirmat ca "n-ar trebui sa amestecam provenienta" si ca "lalelele sunt tipic sasesti, apar aproape pe orice". Foarte de acord, dar hai sa incepem cu inceputul: Ca multe alte lucruri gustoase sau frumoase, laleaua 'vine' dinspre Persia, unde a fost pentru prima data cultivata in mod organizat. In romana, pastram numele ei, ca in persana = lale (laleh). A fost preluata ca simbol de dinastia fondata de Osman, cel ce a adunat armata si a inceput lupta si expansiunea 'osmanliilor' impotriva Imperiului Bizantin. A devenit floare sfanta pentru ca, pentru musulmani, cuvantul se scrie la fel ca Alah. Alaturi de garoafa (floare mai aristocrata), laleaua devine floarea Imperiului Otoman, reprezentata caligrafic, in special pe ceramica. In sec. 16, Ungaria si Transilvania ajung sub dominatie otomana – vestul Ungariei trecand sub stapanire Austriaca. In mod ciudat, maghiarii si sasii aleg floarea dusmanului lor ca simbol al rezistentei spiritului national si a dorintei de a se elibera de sub dominatie Hapsburgica. Laleaua devine floarea celor ce au avut de suferit sub regim catolic (protestanti, unitarianisti). In Transilvania, surpriza, apare pentru prima data laleaua reprezentata pe covoarele orientale, in sec. 17 – 18, (covoare folosite in biserici protestante). Turcii se bucura, preiau modelul de covor (cu lalele stilizate in medalionul central) si stilul respectiv devine caracteristic pentru Bergama, vestit centru de productie de covoare culte. Intre timp, cu turcii in coasta, romanii isi vad de treaba si nu dau mare importanta lalelei. Pe covoare ei reprezinta flora spontana si plantele sacre; oltencele tes nalbe, lacramioare si spice; moldovencele tes spice, vita de vie si flori de busuioc. Laleaua abunda in arta populara maghiara si saseasca, pe toate suporturile posibile, de la cojoace, panza, pana la cermica si cahle. Greu de imaginat cum aratau toate aceste obiecte inainte de lalea.
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