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Japan -floral decoration
Japan -floral decoration
Floral decoration, art of arranging living or dried plant material for adornment of the body or home or as a part of public ceremonies, festivals, and religious rituals.
Since the earliest days of civilization, humans have used floral decorations, composed of living or dried cut-plant materials or artificial facsimiles, to embellish their environment and persons. Flowers have played an important part in folk festivals, religious ceremonies, public celebrations of all kinds, and, of course, courtships. Sophisticated cultures have generally expressed a love for decorating with flowers by carefully arranging them in especially chosen containers, while other societies have used them more informally: strewn, made into garlands and wreaths, or casually placed in waterholding vessels without thought of arrangement.
Floral decoration, art of arranging living or dried plant material for adornment of the body or home or as a part of public ceremonies, festivals, and religious rituals.
Since the earliest days of civilization, humans have used floral decorations, composed of living or dried cut-plant materials or artificial facsimiles, to embellish their environment and persons. Flowers have played an important part in folk festivals, religious ceremonies, public celebrations of all kinds, and, of course, courtships. Sophisticated cultures have generally expressed a love for decorating with flowers by carefully arranging them in especially chosen containers, while other societies have used them more informally: strewn, made into garlands and wreaths, or casually placed in waterholding vessels without thought of arrangement.
Elements and principles of design
The term flower arrangement presupposes the word design. When flowers are placed in containers without thought of design, they remain a bunch of flowers, beautiful in themselves but not making up an arrangement. Line, form, colour, and texture are the basic design elements that are selected, then composed into a harmonious unit based on the principles of design—balance, contrast, rhythm, scale, proportion, harmony, and dominance. Line is provided by branches or slender, steeple-like flowers such as snapdragon, delphinium, and stock. Form and colour are as varied as the plant world itself. Moreover, forms not natural to the plant world can be created for contemporary abstract compositions by bending and manipulating branches, vines, or reeds to enclose space and create new shapes. Texture describes surface quality and can be coarse, as in many-petaled surfaces such as chrysanthemums, or smooth, as in anthuriums, calla lilies, and gladioli. There are many variations between these extremes. Leaves and woody stems also have varied textural qualities.
A flower arrangement includes not only the flowers themselves but the container that holds them and the base on which the container may rest. If an accessory, such as a figurine, is included, that too becomes a part of the total design. The whole composition should relate in textural quality to its frame of reference, which might be a wood or glass table top or a linen cloth, and should be in close harmony with the style of the room for which it was planned, be it Louis XV or Danish modern.
As the components of a design are selected and combined, a silhouette, or arrangement outline, is created. This outline is generally considered most interesting when the spaces in the composition vary in size and shape. Third dimension, or sculptural quality, is accomplished by allowing some of the plant materials in a grouping to extend forward and others to recede. Flower heads turned sideways, or toward the back, for example, break up contour uniformity and draw the eye into and around the composition. When a formal, static quality is sought, the contour is restricted or evenly shaped, often into such graduated forms as a pyramid or mound.
Balance is psychologically important, for an arrangement that appears to be leaning, top-heavy, or lopsided creates tension in the viewer. (Occasionally, however, as in some modern arrangements, this is the very effect desired.) Colour as well as the actual size of the plant material influences design stability. Dark colour values look heavier than light values; a deep red rose, for example, appears heavier in an arrangement than a pale pink carnation, even though they are the same size. An arrangement in which dark colours are massed at the top and light colours at the bottom can therefore appear top-heavy. Similar flowers placed in identical positions on either side of an imaginary vertical axis create symmetrical balance. If there is an unequal distribution of varying flowers and leaves on either side of the axis but their apparent visual weight is counterbalanced, asymmetrical balance is achieved. This compositional device is more subtle and often more pleasing aesthetically than symmetrical balance, for its effect is less apparently contrived and more varied. Contrasts of light and dark, rough and smooth, large and small, also give variety to the composition. An arrangement generally has a dominant area or centre of visual interest to which the eye returns after examining all aspects of the arrangement. An area of strong colour intensity or very light values, or a rather solid grouping of plant material along the imaginary axis and just above the container's rim, are devices commonly used as compositional centres. The rhythm of a dynamic, flowing line can be achieved by the graduated repetition of a particular shape, or by the combination of related colour values. Scale indicates relationships: the sizes of plant materials must be suitably related to the size of the container and to each other. Proportion has to do with the organization of amounts and areas; the traditional Japanese rule that an arrangement should be at least one and a half times the height of the container is a generally accepted use of this principle. Proportion also relates to the placement of the arrangement in a setting. A composition is either overpowering or dwarfed if placed on too small or too large a surface or in too small or too large a spatial setting. Harmony is a sense of unity and belonging, one thing with another, that comes with the proper selection of all the components of an arrangement—colour, shape, size, and texture of both plant materials and container.
Many different kinds of plant materials are used in floral decorations, among them flowers, foliage, grasses, grains, branches, berries, seeds, nuts, cones, fruits, and vegetables. The materials may be living, dried, or artificial. Initially, man was restricted to using native wildings, or uncultivated plants, but as civilization developed over a period of thousands of years, man became less dependent on the seasons and on the resources of the particular region in which he lived. As means of transportation improved and trading grew, plants were introduced from foreign countries and many have since been hybridized to improve or vary shape, size, and colour. In the 20th century the floral decorator has an enormously varied medium in which to create because plant materials can be flown from one part of the world to another. Since the 19th century, when extensive greenhouse cultivation first made it possible to purchase fresh flowers at any time of the year, there have been commercial growers of plant materials who supply the world's floral wholesale markets. The Netherlands, for example, is famous for the 10-mile stretch of greenhouses at Aalsmeer near Amsterdam. In the United States, California and Florida, particularly, have vast areas under cultivation for commercial flowers.
Dried plant materials are generally used for what is traditionally called a winter bouquet. The cultivated flowers that are often dried are those with a naturally dry, stiff surface quality—such as strawflowers (Helichrysum bracteatum), globe amaranth (Gomphrena), and statice. North temperate zone wildings picked and preserved for dried arrangements include pearly everlasting, heather, and the sea lavender of salt marshes, as well as goldenrod, orange bittersweet berries, cattails, dock, teasel, and sumac. Many kinds of grasses—pampas, sea oats, millet, and sorghum, for example—are also dried, as are seed-bearing capsules such as the flat paper disks of honesty (Lunaria), orange Chinese lanterns (Physalis), and the wood roses from the Hawaiian morning glory (Ipomoea tuberosa). Other dried materials sometimes used in floral decorations are cones and nuts, long used for making wreaths and festoons for such winter festivals as Christmas; straw, used for Christmas decorations in Sweden and Lithuania; and grains, especially wheat and oats, often arranged in bunches for harvest decorations in Europe and America. Because of their fleshy substance, most fruits and vegetables do not dry well; the main exceptions are gourds, pomegranates, and artichokes.
There are various ways of drying plant materials. Certain garden flowers (among them celosia, blue salvia, globe thistle, alliums, and hydrangeas) can be gathered at their peak of bloom and dried by hanging them upside down in a dark, dry place for several weeks. Flowers may also be individually dried using one of several techniques. A 17th-century Italian writer on horticulture, P. Giovanni Battista Ferrari, described a process of gently burying the flower heads in clean, sun-dried sand and allowing them to remain in a sun-heated place for several months. The same method was used in the 19th century. Later, borax was used, and in the 20th century silica gel, because of its ability to absorb moisture. This solution is gently brushed between and over every petal. Since this method of drying does not preserve the stems, the flower heads must be wired before they are arranged.
Leaves and ferns are dried by pressing. The most delicate pressed flowers and foliage have been composed, mounted, and framed as pictures—a practice especially popular with 19th-century Romantics, who preserved floral souvenirs as sentimental personal memorabilia.
Throughout history and in almost every conceivable medium man has created artificial plant materials. The Chinese fashioned peony blossoms and fruits from semiprecious stones and carved jade leaves, which they assembled into small trees. Gold lotus blossoms were highly treasured in eastern Asia. For European royalty in the late 19th century, the Russian-born jeweller Peter Carl Fabergé (1846–1920) designed exquisite single-stemmed flowers of gold, enamel, gems, and semiprecious stones set in small rock-crystal pots. During the 18th and 19th centuries, the Sèvres porcelain factory in France produced porcelain flowers with stems and leaves of ormolu (a metallic alloy resembling gold). At the same time, the Royal Worcester, Crown Staffordshire, and Royal Doulton factories in England became world-famous for their highly realistic porcelain floral arrangements, which are still made. The Victorians developed a home craft of making and arranging flowers and fruits. Wax, cloth, yarn, feathers, shells, and seeds were used to make the flowers and fruits, which were then either framed or placed under glass domes. Perhaps the most curious of these 19th-century decorations were the wreaths and floral displays made by twisting, knotting, and weaving the hair of one's family and friends around wire supports. Beaded flowers for cemetery and funerary bouquets have been popular in France since the 19th century; and paper flowers for festivals and home decoration have become a major folk art medium in Mexico and Japan. Because of their relatively low cost, durability, and easy maintenance (an occasional washing or dusting), plastic flowers and plants are in such great demand that their production has become an important 20th-century industry. Though still primarily used in public places, plastic plant materials are increasingly found in private homes, especially in the United States.
Cut plant materials, especially flowers, need special care and treatment before they are placed in vases. Ideally, flowers are picked some hours before they are arranged and never in the heat of the day. Generally, the bottoms of the stems are cut on a slant, placed in deep tepid water, and kept in a cool place, preferably overnight. Different materials have different conditioning needs. Woody stems are split several inches with pruning shears, then soaked in hot water. Stem ends may be crushed with a mallet instead, but clean cuts make it easier to impale branches on a needle holder. Milky stems, such as those of poppies, poinsettias, and large dahlias, are sealed by placing the tips in boiling water or over a flame for a few seconds. Foliage and flowers are protected from steam and flame by inserting the stems through a hole punched in newspaper, which is then drawn up over them. When arranging flowers, all foliage below the water line must be removed in order to prevent bacterial decay and the resulting unpleasant odour. Since the stems of flowers often seal over while being held in a florist shop or market, they must be recut by the purchaser. Packaged formulas do not aid in revival but are meant to be used during the preliminary soaking period. Roses and woody-stemmed flowers such as chrysanthemums can frequently be revived by recutting and placing them in hot water.
Many tall containers can easily display flowers without holding mechanics, but if necessary they can be stuffed with upright pieces of privet or fine evergreens, such as juniper, which are sheared flat across the vase opening. The Japanese kenzan, or metal pin holder, usually called a needlepoint holder, is the most generally used mechanical aid. It is held in place with floral clay. In silver vases, melted paraffin is used as a fastener, for, unlike clay, it will not tarnish the container and can be removed easily with hot water. Crumpled chicken wire, or wire netting, is frequently stuffed into vases as an aid to support, and a water-absorbing plastic foam, sold in bricklike blocks, has also become very popular.
The selection of a suitable container is an individual problem in every arrangement. It is considered a part of the overall design of the arrangement and is related to it in scale, colour, and texture. Its colour must enhance, not compete with, the arrangement. For the same reason many floral decorators prefer to use simply shaped, unadorned vases. The texture of the container is also chosen for compatibility with the floral arrangement. Coarse, heavy plant materials are usually arranged in a substantial container of pottery, pewter, copper, or wood. Delicate flowers and foliage are usually displayed in porcelain, glass, or silver. Fruits and vegetables are often arrayed in wooden or pottery bowls and baskets. The size of the container is also important. If it is too small, the plant materials will overpower it and the arrangement will appear top-heavy. If it is too large, it will not only dwarf the arrangement but will frequently destroy the unity of the composition, dividing the viewer's attention between the floral arrangement and the container. Containers are not used for all arrangements of plant materials. Compositions of driftwood, flowers, fruits, and vegetables are often arranged on a flat base of wood or bamboo, a tray, or slab of wood. To keep them fresh, flowers or foliage used in such an arrangement often are placed in solid-walled pin holders that hold water.
A wooden base frequently completes a composition, since it can add visual weight at the bottom, which assists in balance. The Japanese traditionally use wood or lacquer bases and stands with all arrangements, and a porcelain vase in China was not considered complete without a carved teakwood stand. The stand has both aesthetic and practical advantages: it adds height to a display and prevents moisture stains on furniture or textiles.
Forms of floral decoration Plant materials are customarily arranged in containers, woven into garlands, and worn or carried for personal adornment. Flower bouquets that are carried include the nosegay and corsage. In the mid-19th century, the nosegay, or posy (a small bunch of mixed flowers), was much in fashion. No well-dressed Victorian lady appeared at a social gathering without carrying one, edged with a paper frill or delicate greens and sometimes inserted into a silver filigree holder. Messages of love were often spelled out in the flowers of the nosegay, for the "language of flowers" was carefully studied at the time, and courtships progressed through the sending of such floral symbols.
Worn since the 18th century, the corsage has become especially popular in the 20th century. Instead of a nosegay, an admirer frequently sends a lady an orchid, a gardenia, or a small bunch of wired flowers to be worn at the waist, shoulder, or on the wrist, or attached to a handbag and carried. Only the flower heads are used in a corsage. Wires are inserted through the calyx (the usually green or leafy external portion of a flower) and bent to thrust the flowers forward or to the side; then the ends are bound together with tape or ribbon. Leaves or foliage threaded crosswise with wire are usually added. A ribbon bow often completes the corsage.
Sprays are large, flat bouquets of long-stem plant material. They are either carried or placed on caskets or at tombs as commemorative offerings. If the plant material used is short-stemmed, wire is used to add length. The ends of the stems or wire extensions are frequently thrust into a block of moss or stiff plastic foam to secure the arrangement. A blanket of flowers is often laid over a casket at a funeral or over a racehorse in the winner's circle. Blankets are made by stretching burlap over a frame, covering it with a layer of flat fern, and then adding delicate asparagus fern (Sprengeri). The fern surface is then covered with flower heads, which are threaded with wire and fastened on the underside of the blanket.
Garlands are bands of plant materials that have been woven or in some other way attached together; they are not arranged in a container. A circular garland is called a wreath, or if it is worn around the head, a chaplet. Garlands draped in loops are called festoons or swags. The origin of these forms is unknown, but evidence of their use dates from ancient times and is not restricted to any particular culture.
Garlands have been used for many purposes. Ancient Egyptians placed them on mummies. The Greeks used them to decorate their homes, civic places, and temples. For festive occasions the ancient Romans wore garlands of strung rose petals. When these garlands of roses were suspended from ceilings, the conversation that took place beneath them was sub rosa. On European festival days such as Corpus Christi, cattle are bedecked with neck garlands. On Indian holy days, the Hindus take garlands to the temple to be blessed before wearing them; they also hang garlands on the statues of their deities.
In the ancient world it was probably the Romans who most fully developed the ornamental form and use of the festoon. Fine examples are carved in marble on the Ara Pacis or Altar of Peace (13–9 bce) near the Mausoleum of Augustus in Rome. Roman festoons were usually made of fruit, grain, leaves, and flowers. In the late 17th and early 18th centuries it was fashionable, particularly in England, to create artificial festoons over fireplace mantels. Called swags, they were usually carved of wood. Among the most famous are those executed by the English sculptor Grinling Gibbons.
Wreaths have been both worn and displayed. In antiquity the wreath was bestowed upon public officials, athletes, poets, and returning warriors. The ancient Greco-Roman custom of bestowing a laurel crown, or wreath, upon a poet was revived during the Renaissance, especially in Italy. Napoleon chose a laurel wreath of gold for his crown, emulating the emperors of the Roman Empire. At Christmas time since the 19th century, wreaths of evergreens, holly, or pinecones and nuts have been traditionally hung as decorations in northern Europe, the United States, and Canada. In medieval and Tudor England the boar served for Christmas dinner had a wreath of rosemary and bay. During Advent, a period including the four Sundays before Christmas, a wreath with four candles (each symbolizing one of the Advent Sundays) is traditionally hung in Christian homes and churches.
Plant materials have been used for personal adornment in forms other than corsages, nosegays, garlands, and wreaths. Ancient Egyptian wall paintings show women with lotus blossoms in their hair, and today the hibiscus adorns the hair of women of the South Seas. Necklaces of flowers are commonly worn in South and Southeast Asia. In Hawaii, Vanda orchids or velvety frangipani blossoms are strung into long necklaces called leis, the customary gifts of both welcome and farewell.
Many types of dress accessories are decorated with flowers. Staffs ornamented with plant material are seen in ancient art and mentioned in ancient literature. Egyptian servants or standard bearers were often depicted holding staffs of papyrus and lotus blossoms. An attribute of Dionysus and his satyrs was the thyrsus, a staff topped by a pinecone and sometimes further decorated with vine or ivy leaves and grapes. Well-known flowering staffs or rods include those of Aaron, the brother of Moses, and St. Joseph, the earthly father of Jesus.
Pictorial effects have been achieved by using cut flower heads or petals to create masses of colour that are then worked into patterns. The traditional carpet of flowers laid down on the Via Livia in Genzano, Italy, for the feast of Corpus Christi is incredibly intricate and colourful. Figures of angels, madonnas, and saints, geometric designs, and coats of arms are worked out with flower petals to form a carpet over which the religious procession passes. Mexicans frequently carpet their churches with mosaics of wild flowers, and in the Netherlands during tulip time flower pictures are made for competition. About 12 feet square, made for the most part of tulip and hyacinth blossoms, they are designed on inclined backgrounds for better visibility. Some of these pictures are three-dimensional.
For centuries flower-covered floats have been used in parades. The Italian painter and architect Giorgio Vasari (1511–74) described 21 garland-decorated floats he designed for a pageant in Florence. The most famous of modern floral parades is the Tournament of Roses parade held on New Year's Day at Pasadena, California. Floats up to 50 feet (15 metres) in length are constructed over the chassis of motor vehicles. Rough framework is covered with chicken wire shaped and sprayed with a polyvinyl coating. Flower heads are attached with either glue or wire.
Historical and stylistic developments
There is evidence through painting and sculpture that during the Old Kingdom (c. 2686–c. 2160 bce) the Egyptians placed flowers in vases. In the tomb of Perneb bas-relief carvings show lotus blossoms and buds alternately arranged in flared bowls that were set upon banquet tables or carried in processions. Paintings of functional vases with spouts designed to support the heavy-headed lotus flower are found in the tombs of Beni Hasan (c. 2500 bce). Formal bouquets of lotus and berries offered to the dead are represented in the paintings from the tomb of Apuy at Thebes. Garlands and wreaths, floral headdresses, and collars were woven. Because of the formalized rules of Egyptian art, the lotus (Nymphaea), sacred to the goddess Isis, and papyrus, both of which were easily conventionalized, were the plant materials depicted almost exclusively for 2,000 years. During the Ptolemaic era (305–30 bce) perfume recipes, flower garlands found on mummies, and Greek and Roman writings reveal a more varied native plant life and show that foreign plants had been introduced, most notably the rose.
The ancient Greeks' love of flowers was expressed mainly in the making and wearing of wreaths and garlands. Vase paintings, temple friezes, and architectural ornamentation all illustrate their widespread use. They were also frequently mentioned in Greek literature. The techniques of making garlands and wreaths, the most appropriate plant materials, and the proper time and way to wear or display them, were the subjects of several treatises. Fruits and vegetables mounded in baskets or spilling in profusion out of a cornucopia were types of arrangements used for religious offerings.
The earliest depiction of mixed cut flowers, artfully arranged in a container, is a mosaic dating from the early 2nd century ce of a basket of flowers from the emperor Hadrian's villa at Tivoli near Rome. Garlands and wreaths continued to be popular among the Romans, as did displays of fruits and vegetables in cornucopias and baskets.
Little evidence remains of floral decoration in early medieval Europe. In the mosaics of Ravenna, the Byzantines depicted highly contrived formal compositions. Symmetrical, with an emphasis on height, these arrangements were usually spires of foliage with regularly placed clusters of flowers or fruit.
Illuminated manuscripts of the Gothic period (from the 13th to the 15th century) occasionally include simple floral bouquets holding symbolic flowers. This was a time of intense religious fervour, and plant symbolism assumed great importance. There was both a liturgical and a secular language of flowers. In the church, for example, the rose symbolized the Virgin; in the chivalric courts, passionate love. Usually plant materials were casually placed in utilitarian containers such as earthenware jugs, bottles, glass tumblers, and in majolica, or glazed and enamelled pottery, drug jars called albarelli. The still life in the foreground of the open centre panel of the Portinari Altarpiece by the Flemish painter Hugo van der Goes is an illustration of this type of arrangement. Metal ewers often held Madonna lilies (Lilium candidum), as in the 15th-century painting The Annunciation by Rogier van der Weyden (Metropolitan Museum of Art, New York).
Floral decorations became more studied and elaborate during the Renaissance period of the 15th and 16th centuries. The revival of interest in antiquity influenced the widespread use of garlands and wreaths in Renaissance Europe, especially in Italy. They were popular for pageants and feasts as well as for decorating houses and churches, and were commonly depicted in the art of the time. Among the most notable examples are the terra-cotta wreaths that framed the decorative ceramic plaques and reliefs made by the della Robbia family in the late 15th century, and the garlands of flowers, fruits, and vegetables in the paintings of such northern Italian masters as Andrea Mantegna and Carlo Crivelli. Cut-plant materials were generally arranged in either high sparse bouquets or tight low bunches. There were also pyramidal compositions in pedestal vases, such as those in the background of the painting Virgin and Child and St. John (Borghese Gallery, Rome) by the Florentine artist Sandro Botticelli. Arrangements of fruits and vegetables on salvers or in baskets also were popular.
The arrangement of plant materials truly became an art and an important decorative device in the 17th century. During this period of worldwide exploration, colonization, and commerce, new plants were introduced into Europe, where an avid interest in horticulture developed. Still-life paintings of the late 16th, 17th, and early 18th centuries reveal what a great variety of plants there was in the gardens of Europe. Beginning with Jan Brueghel (called "Velvet Brueghel"; 1568–1625), a tradition of flower painting developed in Flanders and Holland, which culminated with the works of Jan van Huysum (1682–1749). The canvases of the many hundreds of still-life painters of the period are valuable source material for the student of the history of floral decorations and gardens. They must, however, be considered as idealized compositions and not as literal translations onto canvas of actual bouquets. Early 17th-century pictures, particularly those of Jan Brueghel, who painted one-of-a-kind arrangements, seemed most interested in displaying the content of the garden itself. Depictions of later 17th-century bouquets show profuse arrangements that reflect the sensuality and exuberance of the Baroque style. Curvilinear elements such as sinuous S curves are other Baroque devices of design used to create grandiloquent, dramatic compositions. The massed bouquets of the Baroque period are studies in dominance, contrast, rhythm, and sculptural effect. The eye is drawn around and into the bouquets by the turning of flower heads, the reversing of leaves, and the curving of graceful flower stems.
The French style of the Louis XIV period (1643–1715) is best exemplified in the flower engravings of Jean-Baptiste Monnoyer. The plates for his famous portfolio Le Livre de toutes sortes de fleurs d'après nature (Book of All Kinds of Flowers from Nature) accurately portray flowers from a horticultural standpoint and at the same time show prototypes of display. These floral arrangements are freer and more airy than those of the Low Countries and yet suggest Baroque opulence. Flora ouerocultura di fiori ("Flora: The Cultivation of Flowers"), a renowned garden book published in Rome in 1633 by the horticulturist P. Giovanni Battista Ferrari, illustrates the styles of floral displays preferred by the Italians and also describes arranging techniques and devices. Among the ingenious devices illustrated is a vase with holes in its removable top that made it easy to arrange flowers and change water.
The floral arrangements of the early 18th century were dominated by French and English taste. In France, cultural and social life centred in the intimate rooms of Parisian town houses rather than in the vast rooms and halls of Louis XIV's Versailles palace. Bouquets, therefore, were comparatively small, to be in scale with their setting. The more delicate colouring and lighter visual weight of these arrangements can be attributed in part to feminine taste, which decidedly influenced the Rococo style. Personal and charming, the Rococo bouquet and its variations remained popular into the 20th century. English bouquets of the corresponding Georgian period were often more profuse than the Rococo. Many books written to catalog the wide variety of plant materials available in 18th-century England gave incidental information on how to care for and display them. One of the best known of these works is the two-volume Gardeners Dictionary by the horticulturist Philip Miller. In it he mentions dried bouquets and chimney flowers. It was customary in English homes to arrange flowers and branches in the hearth during the summer months when the fireplace was not in use. These arrangements were referred to as "bough pots." The best known English illustrations of Georgian flower arrangements are those designed by the Flemish artist Peter Casteels for a nursery catalog called The Twelve Months of Flowers (1730). Since the flowers in each bouquet are numbered and keyed to a list at the bottom of the plate, and are one-of-a-kind collections, they are not truly representative of live arrangements. Jacob van Huysum's monthly paintings display flowers more naturally. Both series are invaluable as source material for garden flowers.
The Neoclassical period of the late 18th and early 19th centuries brought about a revival of wreaths and garlands in the style of Greco-Roman antiquity. Floral bouquets were arranged in vases of classical severity.
The interest of the 19th-century Romantics in nature made floral arrangements an important part of a decorative scheme. With the advent of the clipper ship more exotic plant materials were introduced into Europe and the United States. From China came new varieties of chrysanthemums, bleeding heart, rhododendrons, and azaleas; from South Africa, the gladiolus, freesia, and pelargoniums; and from Mexico, the dahlia, gloxinia, and fuchsia. Many old garden favourites were greatly improved as a result of widespread scientific interest in horticulture and botany. The Industrial Revolution made it possible to manufacture a great variety of economically priced ceramic and glass containers. Artificial flowers were extremely popular and were made in many different materials in both home and factory.
The books and magazines of the Victorian age agreed that the art of arranging flowers was an accomplishment all young ladies should acquire. Except for the single flower in the small bud vase, the most popular style of Victorian arrangement was a tightly compact mass of flowers, greens, grasses, and ferns. The two-level epergne, with a flared top for flowers and lower tier for fruit, frequently was used for the centre of the dining table. Since the flowers selected were usually of a brilliant hue, strong colour contrast was a characteristic of Victorian arrangements. These gay floral groupings, however, were usually softened by ferns and other kinds of foliage.
The book Flower Decoration in the House (1907) greatly influenced the development of 20th-century floral decoration as an art. The author was Gertrude Jekyll, already notable in the gardening world. For a long time, floral decoration in big houses had been the charge of the head gardeners or the local florists; in smaller houses, the charge of the mistress of the house. In any case, arrangement was done with varying degrees of skill and little guidance. With Gertrude Jekyll's book, the idea that flower decorations actually could be planned and designed in such a way as to heighten the quality of a room came to be widely accepted. Interior decorators added their specialized knowledge to the practical expression of this view.
The rise of the women's Garden Club movement in the 1930s and the growth of flower shows led to establishing definite rules for arrangement, especially in the United States. The classic Japanese rules of design (see below Japan) were adopted, and others were formulated. Three main types of arrangement were recognized—the mass, the line, and the combination line-mass. Emphasis was placed on design shapes such as the crescent, or Hogarth curve, and colour studies in related or contrasting harmonies. In exhibitions thematic compositions were popular, and often arrangements interpreted abstract ideas, emotions, places, and natural phenomena. Naturalistic compositions with just a few flowers made use of stones, moss, and branches or driftwood with striking line interest. In the mid-20th century flower arranging tended to follow contemporary art trends. A Japanese revolt against traditional aesthetic canons also had great influence on Western development of free-style arrangements that reject naturalism and are often unconventional in their placement and use of treated material. Traditional principles of visual design are often rejected in such modern arrangements.
Assemblages of such diverse elements as scrap metal, rope, and plastic are composed with a minimum of plant material. Transition and rhythm yield to heightened contrast. Space is important, and new forms are created by bending plant material to create new shapes. Psychological tension is created by upsetting balance and symmetry.
The ancient Chinese could enjoy and feel themselves at one with the growth, maturity, and decline of a few flowers or a branch. The floral expressions of the Chinese have traditionally been based on the Confucian art of contemplation, the Buddhist principle of preservation, and Taoist symbolism. For the Confucian, a floral arrangement was philosophically contemplated both as a symbol of organic existence and for its aesthetic aspects. Buddhists used flowers sparingly because of their religious doctrine prohibiting the taking of life. At least since the Tang dynasty (618–907 ce), flowers have been placed on temple altars in a ku, an ancient bronze ceremonial wine beaker dating from the Shang dynasty (18th to 12th century bce) whose shape was translated into porcelain in later dynasties. Hua Hsien, the flower goddesses of the Taoists, have traditionally been represented carrying flower-filled baskets. In Taoist symbolism, the four seasons were denoted by the white plum blossom of winter, the peony of spring, the lotus of summer, and the chrysanthemum of autumn. Each month also had its own flower. Longevity in plant arrangements was symbolized by pine, bamboo, and the long-lasting ling chih fungus. New Year floral displays featured the paper-white narcissus, and the tree peony (Paeonia moutan), designated the "king of flowers," was used to symbolize good fortune.
Usually the floral arrangements of the Chinese, like those of the Koreans, appear less obviously contrived than those of the Japanese. A composition frequently will be made of two or more arrangements in containers of different heights and shapes, often grouped with rocks or decorative objects. Chinese bouquets in baskets have a quality reminiscent of Western floral arrangements.
The arrangement of flowers in Japan is an elaborate and unique art, with highly developed conventions and complex symbolism. The art developed from the custom of offering flowers to the Buddha and was introduced into Japan early in the 7th century by Ono No Imoko, Japanese ambassador to China, who founded the first and oldest school of floral art, the Ikenobō. All the later masters of the Ikenobō school are his descendants. Most important among the earliest styles was the mitsu-gusoku, an arrangement of three or five articles often consisting of an incense burner, a candlestick in the form of a stork, and a vase of flowers. These were usually displayed before pictures of the Buddha or of founders of Buddhist sects.
Early styles were known as tatebana, standing flowers; from these developed a more massive and elaborate style, rikka (which also means standing flowers), introduced by the Ikenobō master Senkei around 1460. The early rikka style symbolized the mythical Mt. Meru of Buddhist cosmology. Rikka represented seven elements: peak, waterfall, hill, foot of the mountain, and the town, and the division of the whole into in (shade) and yō (sun). (In Chinese the characters for in and yō are read yin and yang, the passive or female and the active or male principles.) Formal rikka is arranged out of nine main branches and some accessory ones. Three branches are placed so that their tips form a triangle with unequal sides. From this pattern all later styles of Japanese floral art developed.
In the early 18th century a three-branch, asymmetrical style, shōka, evolved from the rikka and was cultivated by the Ikenobō school. Shōka is written with Japanese characters meaning living flowers. These characters can also be read seika and ikebana; seika is the preferred reading by some schools, while ikebana today is the general term applied to any style of Japanese floral art. Up to the advent of shōka all styles of arrangements other than rikka had been known as nageire, meaning to throw, or fling into. This term was confined to arrangements in tall vases, and heika, vase flowers, is preferred to nageire by some schools. Shōka utilized three main branches, and emulated the natural growth of plant life. This illusion of growth was achieved by using buds, foliage, and blossoms; by superimposing stems as they emerged from the container; by turning up the tip ends of branches unless of a naturally drooping kind; and by placing tree branches above flowers and mountain material above that of the lowland. All combinations were seasonally correct. Uneven numbers of materials were always used, and rules of proportion dictated that plant material be at least one and one half times the height of the container. By the late 18th and early 19th centuries the shōka style had supplanted the rikka in popularity and many new schools flourished, including Enshūryū, Koryū, ēōdōryu, and Mishōryū. All these new schools utilized the three-branch form but adopted different nomenclatures for them.
Western flowers were introduced into Japan following the Meiji Restoration (1868). The flower master Ohara Unshin, who established the Ohara school (early 20th century), devised for them a new container, based on the low bowls used for dwarfed plants. This new style, known as moribana (heaped-up flowers), permitted greater freedom in the choice and placement of materials. A variation was the creation of small realistic landscapes called shakei, sometimes referred to as memory sketches. In these, exposed water surface was a part of the design. In 1930 a group of art critics and flower masters proclaimed a new style of floral art called zen'ei ikebana (avant-garde flowers), free of all ties with the past. Foremost in this group was the Ikenobō master Teshigahara Sōfū (1900–79), who had founded the Sōgetsu school in 1927. The new style emphasized free expression. It utilized all forms of plant life, living and dead, and elements that had been previously avoided, such as bits of iron, brass, vinyl, stone, scrap metal, plastic, and feathers. Vines and branches were bleached and painted and even used upside down. Stems were crossed, even numbers of materials were used, and containers were often crude and exotic in shape.
Until 1868 Japanese flower arrangement was generally a man's avocation, engaged in primarily by Buddhist priests, warriors, and the nobility. Following the Meiji restoration and particularly after the beginning of the 20th century, it was taken up by large numbers of women. Men, however, still head most of the principal schools.
The total number of schools that teach floral decoration throughout Japan in the 20th century is believed to number from 2,000 to 3,000, varying in size from several thousand to millions of adherents. Each school has its own rules of arrangement, though styles may differ only slightly from one another. All arrangements are asymmetrical and achieve a three-dimensional effect. The traditional styles are still taught, many with modern variations, but the bolder, less restrained, and unconventional free-style forms of arrangement now seem to be the most popular. The material used in Japanese floral arrangements is held in position by various artifices, the most popular of which are the kubari, forked twig, and the kenzan, needlepoint holder.
Japanese flower arranging has influenced that of the West considerably, particularly in the mid-20th century. Many popularizations of the art have flourished in the United States.
Other cultures
Outside the West and the Far East, the arranging of plant materials was more a casual part of everyday life than a formally recognized medium of artistic expression. The elaborate stylistic traditions evolved and formulated in the West and Far East through centuries of sophisticated creative activity are rarely found, therefore, in other cultures. In the Islamic world, for example, simple, modestly scaled arrangements predominated: sparse, symmetrically arranged bouquets; casually grouped bunches of flowers; or blossoms floating on liquid surfaces. The garlands made in India for adorning home, temple, statuary, and man himself were simpler than the bouquet or arranged floral materials found in the more aesthetically complex traditions of the West and Far East. Also in contrast to these artistically self-conscious arrangements are the stiff, mounded groupings of plant materials made for festivals in Southeast Asia.


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Strategically located in the epicenter of Jakarta's financial district and within the golden triangle zone, International Financial Centre Jakarta (IFC) is the preferred business address for major corporations and financial institutions.
Standing tall at 215 metres, IFC Tower 2 is a 38 storey Grade A column-free office space.
International Financial Centre Jakarta Tower Two is the first project in Indonesia to be conferred the highest Green Mark Platinum Award by the Building and Construction Authority of Singapore (BCA). Incorporating the latest innovative green technology, some of the sustainable features of the office tower include the recycling of rainwater for irrigation and innovation that reduces heat emission while providing optimal comfort within the building.
With its iconic structure and an enviable address, the building boasts enthralling bird's eye views across Jakarta city skyline and places you in the best spot in the Central Business District within close proximity to international-grade hotels, a myriad of entertainment options and host of amenities. It also enjoys excellent accessibility via key transport routes, such as the Transjakarta busway and future Jakarta mass rapid transit.
Servcorp offices are located on level 33 of the International Financial Centre Tower 2.
Level 33 also features glorious artwork depicting Jakarta city scenes by renowned artist Pariny Laosy.
Pariny Laosy is an intuitive artist who paints with tremendous energy and expression. Dripping paint using a variety of objects to manipulate it, Laosy creates loose expressive line representing the urban landscape.
Facilities and services include:
45 minutes to Soekarno-Hatta International Airport
1 minute walk to Setiabudi MRT station (Opening in August 2017)
Two minutes' walk to Karet TransJakarta bus rapid transit station.
Taxi is available for hire outside International Financial Centre Tower 2

subset: commoncrawl


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All Seasons Inn – Spring Garden Suite
Spring Garden Suite
Hotels Near Eureka Springs Ar
Searching for hotels near Eureka Springs Ar? All Seasons Luxury Properties offers the most unique lodging experience in Eureka Springs due to the fact we have five of the most unique properties in Eureka Springs to choose from therefore you are sure to find one that you love. Please contact us directly with any questions or special requests at 479-253-2001.
Spring Garden Suite amenities include:
Bath: Shower/1 person Jacuzzi
Bed: King
Kitchen: Coffee Station, Microwave, Mini Fridge
Parking: Next to All Seasons Inn Building
Air Conditioning: Yes
Wi-Fi: Yes
Breakfast Included: Yes
Terrace: Yes
Each of our rooms and properties are unique. Our goal is to offer our customers the most unique and memorable stay possible.
All Seasons Luxury Properties has become the go to property for weddings, anniversaries, family reunions, and anyone looking for the same personal touch they experience at a bed and breakfast while maintaining the privacy of a traditional hotel. Furthermore, as a result of offering five unique properties, All Seasons Luxury Properties has become the premier hotel destination for events and celebrations.
Please do not hesitate to contact us at 479-253-2001 if you are planning a wedding, anniversary, family reunion, or any other event. We are happy to help with not only lodging options but other event needs as well; and we are always glad to recommend and connect you with other local businesses that will help turn your event into what you want most of all…a special lifetime memory.
While you are in Eureka Springs be sure to enjoy the sights and shops!


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I don't know where the time has gone but it's flown by; in less than one month we are scheduled to get our next group of whooping cranes for release, the 2011 cohort! It's been a while since I last wrote about the chicks being raised for us at Patuxent (PWRC) and while a few things have changed mostly the chicks have just gotten bigger and whiter!! A few birds didn't make it and the genetic holdbacks have been pulled from the group leaving us with 16 birds.
Early in the spring we requested that the birds all be socialized into one large group at PWRC prior to arriving in LA. This was a daunting task for the PWRC staff but one they were willing to try and as a result of their hard work and patience all 16 chicks have been living together as one group for the last few weeks. While everything is fine now it was a slow and difficult process at times, getting small groups of birds to live together and then live next to another group of birds before ultimately putting those two groups together and then repeating with the next group. And of course there's always one bird who is especially challenging and in this group it was a male in the middle of the age range, PWRC #24. He lived by himself for a long time because according to the PWRC staff "he didn't play nice with others". This is where the great knowledge and experience of the PWRC staff as well as their patience and persistence come in. They had to continuously try the aggressive male with different combinations and groups of birds, sometimes the oldest and largest, hoping someone would put him in his place. Sometimes this works and sometimes it doesn't; often you just have to wait for these birds to calm down and grow out of their aggressive stage and through some combination of all of these that bird was finally able to be incorporated into the group. We're thrilled to be getting 16 birds and are looking forward to their arrival at the end of the month.
All photos provided by Jane Chandler from Patuxent. Thanks Jane!
Update written by Sara Zimorski


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Doernberg's disgust: How bullied bus lady got Charlottesville boost
The 68-year-old bus monitor who was viciously bullied by a group of New York middle-schoolers has a Charlottesville native to thank for helping push the video viral, a media maelstrom that prompted a half million dollars in donations from viewers horrified by her ordeal.
"Everyone who saw it had a huge emotional reaction," says Wesleyan University senior Ben Doernberg, who first spotted the video of a crying Karen Klein being verbally abused on the social news website Reddit and expected it to quickly become national news.
When it didn't, Doernberg says, he used an online tool called Storify to gather outrage for a posting, and then things quickly went "crazy."
Popular websites Gawker and Mashable linked to his collection, and soon traditional publications including the New York Times and the Wall Street Journal were citing him as well. When the Huffington Post embedded his post in its own story with a link to donations, the money for Klein, which started as a vacation fund set up by Toronto resident Max Sidorov, ballooned from under $2,000 to nearly $650,000.
Doernberg's web hits skyrocketed to 1.5 million.
"I never thought I'd have a post with more than a million hits," says Doernberg, son of Fairness.com founder Dan Doernberg and writer Rachel Unkefer (she the winner of the Hook's 2009 short fiction contest).
Doernberg says he's happy for Klein, who has since received apologies from some of the kids and their parents– and who should be getting one heck of a payday as a result of the public outpouring of support.
As for Doernberg, the college student jokes that he's already peaked as a blogger. "I've set a pretty high bar for myself," he laughs.Read more on: Ben DoernbergKaren Klein
5 comments
Can't wait for the next viral bully beatdown that was orchestrated by someone looking for a free payday. You know it's coming...
@copycat. Guess you did not see the video. Or you would know just how dumb you sound about this.
If going viral, by whatever means, mans $1,000,000 is raised for this woman.... she deserves every penny of it and more. What these kids repeatedly did to her is just not acceptable by any standard in this country. Each and every one of these kids needs to be turned over somebody's knees and beat with a thick leather belt. Ohh wait, we can't do this anymore in this country. That's why we find ourselves in the shape we do now.
Getting beat with a leather belt is the best thing that ever happened to me and my brothers!!! And I appreciate both of my parents doing it when I deserved it.
Hey Jimi, I did see the video. If you don't think someone is going to try and use a scam similar to this, you haven't been paying attention to the US and the internet over the last decade. I guess because it's possible you think I'm a rotten, terrible person I should clarify that I in no way condone what those kids did, and think it's absolutely terrible. However, someone (because there are lots of terrible people) will see this and figure out an attempt to turn it into money for themselves.
The only thing I can say about that vid was that it was the most accurate representation of the bullying I went through as a kid that I've ever seen. People hear "bullying" and if they haven't gone through it then they won't know what it necessarily means or involves. In my case it started when I was 9, by my next door neighbor Donna who was 2 years older than me, and decided one day that she didn't like me.........and neither would anybody else. Soon she was telling everybody at the bus stop and on the bus all kinds of who knows what about me, and in your typical mindless "herd mentality" fashion, most everybody just believed her and went along with it. And so five days a week, week after week, month after month, year after year, my experience was what you see in that video. Me, staring out the window "ignoring" the kids (most of whom were older than me) who were trying to outdo each other with the nastiest insults and put downs you can imagine. All of them peering over the seat, around the seat, leaning in, leering and jeering, just trying to outdo everybody else....and not letting up for the entire ride. And again, this went on for years. My parents did absolutely nothing about it, nor did they care, and back then (this was in the 80s) there wasn't all this indignant "Anti Bullying" rhetoric you hear about now. Wish there had been though.
It's weird to think that this woman only had to go through an experience to that level once - then gets over a half million dollars for it. Meanwhile countless kids around the country over the decades have gone through this sort of thing for very long periods of time, received no help, and were treated as if it never happened and expected to just...move on with life.
But that aside, the thing I think about now as an adult is the way in which the behavior that I witnessed of those possessed "kids" is a microcosm of what you see in the adult world. I'm talking about the mindless herd mentality to just go along with whatever somebody else claims about somebody or something. Not questioning what's being said. Not pressing for proof. Being unable to make up one's *own* mind about someone or something and instead just mindlessly hopping on a bandwagon full of hate and spite and going after some supposed "enemy of the state."
We see this every day in America. And the "adults" engaging in it were once the same mindless herd of possessed pawns rabidly attacking whomever the alpha leader told them to as a kid, or at least standing by on the sidelines laughing about it, but doing nothing. They were mindless then, and they're mindless now. Nothing changes. Meanwhile the kids who know what it's like to be the subject of nasty slander, being put on the "hit list" learn that one should always question things, because they've seen how it works firsthand unfortunately.
Oh, and on a parting note I'll say this - any kid who would behave like what you see in that vid is basically a spiritless/soulless human. Let's just call it what it is and rile the feathers of the politically correct police. ;) It's not just "kids being kids." If that were the case then why don't *all* kids behave that way? Many do not. Many inherently have empathy and know right from wrong, without having to be taught. You can't teach something like that anyway. *You're either born with it or you're not.* And it's part of what it is to be souled and infused with higher spirit. Souls can't be grown either. Case in point - one of the nasty bullies who took part in my years-long torment was a guy, three years older than me mind you named Paul, who now as I've seen on his Facebook is a huge fan of black metal/death metal. For those older folks who may not know, that's Satanic metal. It's not just regular rockin' metal. (which I like, among many genres I like.) The guy never had a soul/higher spirit, as evidenced by the fact that he thought nothing of going after little girls younger than him, and he certainly didn't develop one as an adult. Now he's into satanic metal. But all the while looking totally normal on the outside, complete with a list of hobbies and favorite sports teams on his facebook....and a nice career in the military. But that's how these types fool people. There's nobody home on the inside, but hey, the outer looks normal so they must be like you and me....right? Nope. My metaphysical research into this subject has turned up multiple sources all claiming the same thing, that a good chunk of our population at any given time is comprised of a large portion of spiritless people. Anybody who's been a victim of them can believe it, as I've seen in my metaphysical research which has allowed me to converse with people from around the world. The ones who rabidly deny it, scoff at it, or attack those for daring to say such a thing are obviously revealing what they really are.
And there you have it.


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Srila Prabhupada is living in these DVDs and we can benefit immensely from his association in this transcendental form. "By association with pure devotees, dirty things within the heart are gradually washed away by the grace of the Supreme Personality of Godhead Krishna."
Srila Prabhupada did not leave us in 1977. He is still spreading Krishna consciousness all over the world. Prabhupada lives in in his teachings and we can continue to associate with him, a pure devotee of Krishna, and continue to benefit.
The "Complete Prabhupada DVD Library" is the perfect opportunity to personally associate with Srila Prabhupada!
In this final edition, the film and sound quality has been stunningly improved. All the original films and videos have been digitally re-mastered. New footage has been discovered and included, the sound has been enhanced. The result is Prabhupada, as you have never seen before! The improvements are truly breathtaking!
I already watched two DVD's and I realized once more how wonderful Srila Prabhupada is even it was just for looking at Him what to speak of simultaneously hearing Him speaking attracting us souls to Him and Sri Sri Radha Krishna. Thank you and my joyous obeisances to all of you who did this wonderful service to produce this library. I would like to stay in contact and share some more. y.s. Hamsa das Rating: [5 of 5 Stars!]
I already watched two DVD's and I realized once more how wonderful Srila Prabhupada is even it was just for looking at Him what to speak of simultaneously hearing Him speaking attracting us souls to Him and Sri Sri Radha Krishna.
Thank you and my joyous obeisances to all of you who did this wonderful service to produce this library.
I would like to stay in contact and share some more.
y.s. Hamsa das
Rating: [5 of 5 Stars!]
You can enjoy a completely new series of 6 DVDs called "Prabhupada Darshan." This is a chronological collection of all the silent footage of Srila Prabhupada edited together by Yadubara Prabhu of ISKCON Cinema. Yadubara worked on this project for more than ten years. The video is accompanied by three separate Prabhupada sound tracks you can choose from. It is in total about 25 hours with more than 15 hours of this video being released for the first time ever!
Them main soundtrack on "Prabhupada Darshan" is live audio when available with Prabhupada classes from the same time the footage was shot and bhajans and kirtans. The second sound track is Prabhupada conversations and morning walks from the same time and the third sound track is Prabhupada bhajans and purports.
There are completely new shows like a newly discovered documentary of Srila Prabhupada in Germany. It is a full-color, high quality 16mm film. It shows Prabhupada performing an initiation ceremony at the German temple, Schloss Rettershof.
The "Prabhupada in Australia" DVD is completely new. It contains hours of never-released before footage and completely new shows including the installation of Mahaprabhu in Melbourne, Prabhupada's visit to the Franciscan Seminary, the eventful college preaching engagement at Latrobe University, peaceful morning walks, hall programs, and of course the Ratha Yatra Festival and the after party. This is a complete new DVD with over 4 hours of Prabhupada nectar!!
The "Festivals With Prabhupada" DVD is so much improved. Now the Vyasa-Puja Festival in New Vrindavana and the Ratha Yatra Festival in Philadelphia have new color footage included which gives a whole new dimension to the experience of watching these programs.
All the black and white footage has been dramatically improved. It has all been digitally stabilized, the contrast has been corrected and the clarity of the images is so much better due to a new digital transfer of the original video tapes.
This is the final edition. There will not be another after this. It is the culmination of many years of work by both Nrsimhananda Prabhu at ITV and Yadubara Prabhu at ISKCON Cinema to preserve and distribute all the recorded film and video of Srila Prabhupada.
The Prabhupada DVD library is professionally produced on 19 duel-layer DVDs, improving the quality while reducing the cost. These DVDs will play on any DVD player, anywhere in the world.
The Prabhupada DVD set has subtitles in twenty languages and the new option of Russian and Italian voiceovers.
Languages with Subtitles Included are:
Samples from the DVD Library
It is difficult to put into words the amazing experience of seeing and hearing from Srila Prabhupada. I have provided a few short clips from the new "Complete Prabhupada DVD Library" you can watch on-line. Of course the quality on the DVDs is a thousand times better than on these samples. But hopefully you will get some idea...
A short sample from the "Guide to Self-Relization" DVD. This DVD contains five programs, the famous "Acharya Series." First-class documentary films featuring Srila Prabhupada as he travels around the world preaching Krishna consciousness.
"Happiness on 2nd. Avenue" is a sample program from the "Vintage Short Films" DVD from the Complete Prabhupada DVD Library. It was produced as a news documentary by CBS News in 1966. This DVD contains many fantastic short films made in 1966 and 1967 on Srila Prabhupada's Hare Krishna movement. Other shows on this DVD include: "Matchless Gifts", "Vaisnavas", "Swamiji", "Second Ratha-Yatra Festival", "The Full Nectarine", "Gurudeva", "Who is Krishna?" This DVD allows you to experience the birth of the Hare Krishna Movement in the Western World, in New York City, NY.
This is a sample program from the "Prabhupada in Australia" DVD. It was produced by combining 16mm news film from many different television stations. It shows Srila Prabhupada arriving in Australia and the press conference that follows. A truly remarkable program. The "Prabhupada in Australia" DVD is truly amazing. It includes Television News documentaries, Initiation Ceremonies, Preaching Programs at Halls, a University, The Franciscan Seminary, The Ratha Yatra Festival, Morning Walks, the Installation of Sri Sri Mahaprabhu in Melbourne, and much more.
From the "Festivals With Srila Prabhupada" DVD. This is an amazing coverage of the 1975 Philadelphia Ratha-Yatra Festival. "Festival of the Chariots." This DVD also contains films from other Ratha-Yatra festivals and a wonderful program on Srila Prabhupada's Vyasa-Puja Festival at New Vrindavana in 1973.
One of my favorate programs on the whole "Prabhupada DVD Library." This is a short sample from the 45 minute coverage of Srila Prabhupada installing the Sri Caitanya Mahaprabhu and Lord Nityananda Deities in Melbourne, Australia. It is an incredably beautiful professional produced film funded by the Australian Film Board. You have to see it to experience it.
A great surprise! We recently discovered this 30 minute professionally produced film on the Hare Krishna movement in Germany in the mid 70's. It documents the entire Hare Krishna movement in Germany at the time and includes a visit by Srila Prabhupada and an initiation ceremony. This is one of the many programs on the "Prabhupada on Tour" DVD. The DVD also contains programs covering Srila Prabhupada's travels in the United States, South America, Mauritius and India.
This is a sample of our newly improved B&W footage. Using the magic of digital image processing the quality of all B&W footage has been improved dramatically. In some cases, as you see here, we have been able to find color footage shot at the same time and have incorparated that to give a much better experience. This is from the "Festivals With Srila Prabhupada" DVD.
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Publications Tagged: demographics
- Added March 01, 2000
- Future Leadership, Old Issues, New Methods. Edited by Dr. Douglas V. Johnson, II.
- Each year, the Army After Next Seminar students are asked to orient their Strategy Research Papers on topics appropriate to the programs 30-years in the future focus. Thirty years ago, the United States Army was deeply involved in Vietnam and in the Cold War.


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ANTIOCH — The president of a parent-teacher organization at an Antioch elementary school has been arrested after police say she used her position to steal thousands of dollars.
Police arrested Alisa Russo, 31, the president of the Fremont Elementary School PTO, Friday on suspicion of felony embezzlement, Antioch police Sgt. Tony Morefield said. She is accused of stealing more than $10,000 in funds from the PTO.
The case came to light when Fremont Elementary School Principal Jason Larson was alerted that money was missing, Morefield said.
"She has admitted to a portion of it," Morefield said. "She has not admitted to all of it."
Larson said questions came to light after a recent PTO fundraiser, when boxes of chocolate bars were sold. The PTO's funds after the fundraiser revealed they were lower than anticipated.
The PTO has not met since the arrest, so officially, Russo remains the president. But Larson said all activities and functions by the organization have been suspended indefinitely pending outcome of the case.
Fremont Elementary School is a Title I school, meaning it receives financial assistance from the federal government. Larson said 96.6 percent of the students receive free breakfast and lunch.
The PTO raises money for school activities such as field trips and dances, and also was expected to help with graduation activities.
"I'm disappointed for the staff and the kids," he said of Russo's arrest. "For obvious reasons."
Russo has been the school's PTO president since November. A call to a number listed for her was not returned.
Rick Hurd covers breaking news. Contact him at 925-945-4789 and follow him at Twitter.com/3rdERH.


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Google Closes Acquisition of AdMob
Several days after the Federal Trade Commission closed its investigation into Google's acquisition of AdMob, Google said Thursday that it has also closed its acquisition and is the proud new owner of a mobile ad network.
"We'll now begin the process of bringing our products and teams together in the best way, and building new products and features together," Google wrote in a blog post. "We're working to make this integration happen as fast and as seamlessly as possible. We'll actively keep our clients up-to-date as we bring our businesses together -- stay tuned!"
With this acquisition, mobile advertising is "now a central part of our business," Google said.
Mobile search volume has grown fivefold in the past two years, Google continued, and people searched the Web on "full" WebKit browsers (like those on iPhones, Android phones, and the Palm Pre) 62 percent more in the first three months of 2010 than they did in the last three months of 2009.
"We want to unleash agencies' and advertisers' creativity on all mobile devices and deliver them better results from their campaigns, drive better returns and more choice for publishers and developers, and help people get better ads and more free mobile content," Google concluded.


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Prices in your local currency are based on the current USD conversion rates and are subject to change. Also, we ship to and from 100+ countries.
With 5 abstract expressionism environmental printmaking artworks available, Saatchi Art is home to popular techniques such as relief, intaglio, lithography, and screenprinting.
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Emil Kraepelin (1856-1926)
The German psychiatrist Emil Kraepelin researched connections between brain biology and mental illness. He was a founder of psychopharmacology, the study of the effects of psychiatric drugs on the nervous system - Kraepelin called it 'pharmacopsychology'. He also inspired the psychiatrists who in 1980 radically revised the Diagnostic and Statistical Manual (DSM), the foundation of today's classification of mental illness.
Kraepelin was born in Mecklenburg in 1856 and was introduced to biology early. He studied medicine and experimental psychology in Leipzig. Later he adapted the techniques of early psychological laboratories, such as reaction-time measurements, and used them to study the effects of substances such as alcohol, morphine and coffee on the nervous system. He wrote his thesis on the relation between experimental psychology and psychiatry, and graduated with a medical degree in 1878. He spent his career teaching psychiatry and treating patients at universities and hospitals in Germany. In the early 1900s, Kraepelin rejected the theories of Sigmund Freud. He felt they focused too much on early sexual experiences and too little on biology. He also campaigned for the prohibition of alcohol and asylum reform.
Kraepelin's most important innovation was examining and recording mental illness in a large number of patients over many years. He divided mental illness into two categories. The first was 'manic-depressive psychosis', which tended to recur at regular intervals. It is now called bipolar disorder. The second was 'dementia praecox' (premature dementia), which usually appeared in early adulthood and remained present throughout a person's life. This is now called schizophrenia.
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A mental disorder that has symptoms of delusions, hallucinations and a loss of a sense of self and relationship to the external world that lasts over a long period of time (more than six months).


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ThemeForest Super Skeleton WP Responsive Minimal Beautiful 647570
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WordPress Theme - Super Skeleton WP Responsive Minimal Beautiful 647570 by MDNW @ ThemeForest
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SuperSkeleton is more than a WordPress theme, it's a comprehensive HTML5 framework and it includes a full templating system as well; A collection of several incredibly powerful scripts and CSS structures that's been tied together into a kit that's perfect as a jumping off point of your next project.
We've got SEO and other fancy search engine optimization tricks baked into the theme as well… so it'll get crawled well and people can find ya easier! There's even some social stuff included as well! It's all built on the SuperSkeleton theme system – a robust, flexible, magically delicious system that's collected nearly 6,000 sales in just a couple months!
Oh, and the markup, it's fully standards compliant and written in a way that's easy to understand. No messy naming silliness… just simple, semantic class names that anyone can understand within minutes. Heck, it's based on the popular 960.gs, so unless you've been living under a rock, you know this is going to be pretty simple to use.
SuperSkeleton is well organized. Take what you love, leave what you don't, customize the rest. It's completely in your hands – turn it into the next big thing, or just as your little personal projects, it's up to you.
What's Included?
- Fully Responsive WordPress Theme and Theme-Options Manager
- SEO / SEM – Search Engine Optimized and Ready for Marketing
- 20 Bonus HTML Template Files (showcasing the flexibility of the framework)
- The Super Skeleton UI Kit (Exclusive Freebie PSD)
- 3 Minimal skins and 2 fontstacks to start with. (Adding 100+ skins is really silly if you ask me )
- Fully internationalized and ready for translation!
- Individual Skinnable PSD files for all major UI elements
- Organized CSS files, including easy to use Media-Queries sections.
- Filterable Portfolio/Gallery system
- The basics: lightbox, image overlay effects, CSS3 (coded to work or degrade gracefully on old browsers), form elements, brandable footer, etc. Everything you would expect from a premium HTML framework.
- Extensive Documentation
Change Log
2.1.X updates are all going to be focused on bringing the "classic" version of Super Skeleton up to WP 3.9 standards. The goal is to do this without breaking a bunch of stuff in the process, but we recommend that you re-fill out ALL theme options and page/post options just to be safe. Heck, if your existing version is working just fine, I'm going to recommend not doing the update until you've got some free time on your hands to make sure it goes smoothly. Oh, and make a backup of your old version please!
There is a new version that I'm working on that all existing users will have access to - it'll be out next month (maybe sooner) and it'll bring a ton of new features to the theme.. so much has to change as far as the code goes though that I can almost guarantee that it won't be compatible with the old theme.. so that's why I'm spending some time on the 2.1.X stuff.
New users don't really need to sweat the update notes of course - The issues that users might encounter are strictly releted to existing users updating the theme.
Read on for more details..
1. This is 3.9 compatible now All scripts and plugins have been brought up to their latest versions and the theme no longer throws any errors.. The important thing to note that this theme was originally developed for version 3.2.. a LOT has changed since then, so if you're updating, I'm going to recommend doing it cautiously (and preferably on a development server).
2. MAKE A BACKUP of your existing theme version. I know, it's old as heck and stuff, but I've updated a fairly large number of elements here and the last thing I want is to break any existing sites.. so, backup backup backup.
Once you've made a backup, feel free to turn the old theme version off (delete it if you must) and upload/activate the new one. There is a free plugin that will do this for you called Easy Theme & Plugin Updates. Grab it here: https://wordpress.org/plugins/easy-theme-and-plugin-upgrades/
3. Yes/No radio buttons are now "On/Off" switches when possible (especially in the Theme Options panel, but also in the Page Options for the page/post sliders). As such, *they need to be filled out again*.. this means that updating might not be a super quick process. A LOT has changed since the year that I released this theme.. so it's honestly going to be something that I recommend that all users do carefully.
4. I spent a couple solid weeks going through and making sure that things are working properly, but during that process, I realized that there are some major issues with how this theme works versus the themes that I'm releasing nowadays. In short, this theme just doesn't represent my best work.. and frankly, almost all of it can be done a lot better if I were to re-write the whole thing.
Re-Writing the entire theme will inevitably cause issues for existing theme users though (variable names will change, templates will become irrelevant, etc.).. so we're kinda left with this "stop gap" release in the meantime.
In short, I'll be releasing a new version of this theme as an update for all existing users next month (maybe sooner). The goal for the new version will be to retain all existing features and designs.. but to bring them up to current 2014 standards (instead of trying to retrofit a 3 year old theme).. but not just in terms of it "not breaking", I actually intend to bring in new features like Revolution Slider, Drag and Drop Layouts, the new Skeleton Grid system, etc.
It's going to take a bit more time of course - the 2.1 update (which was released this morning) is intended to basically be a quick fix for all existing users - the 3.0 version (which is coming out next month) will be intended to be a brand new theme (released under the same product name) that does the same thing, but does it properly and efficiently.
Hope that all makes sense!
Oh - and for the record - I'm a total ass for not releasing this sooner.. the simple fact is that I've had a LOT happen in my life since releasing this theme, including some serious medical issues, 3 new kids, and a whole bunch of other stuff. Still, I recognize that it sucks that it took me this long to circle around and release some updates. It's not anything heroic, but I'll honestly do my best to keep up with these updates now that I'm back in action.
Last Update: 20 April 14; High Resolution: No; Widget Ready: Yes; Compatible Browsers: IE7, IE8, IE9, Firefox, Safari, Opera, Chrome; Software Version: WordPress 3.6, WordPress 3.5, WordPress 3.4, WordPress 3.3, WordPress 3.2, WordPress 3.1, WordPress 3.0; ThemeForest Files Included: Layered PSD, PHP Files, CSS Files, JS Files; Columns: 2; Documentation: Well Documented; Layout: Responsive.
Gridcraft WP: Full Screen Grid + Slider Portfolio; Bar + Grill: Restaurant & eCommerce Theme for WP; Elevate: A Full Screen Theme for WordPress; ShapeShifter 2 : Responsive, One Page, HTML Pack; Point Break: Responsive Agency Theme ; Radiant WP: Colorful, Beautiful, Responsive; Reason WP: Smart, Responsive, Customizable.
Keywords: SEM, contemporary, epicera, filterable, flexible, gallery, grid system, grid theme, minimal, mobile, portfolio, responsive, seo, skeleton.


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Sunday Sweets: Double Dose
You're in for a treat today, guys; I've got a special double-feature Sweets for you!
First, a little luck o' the Irish:
Now that's a rockin' shamrock.
And here's some fondant-free fun:
This one, too!
Also by The Dairy Berry
Check out that "foam" on top: amazing!
And finally, a wee tiered beauty:
Ah, but we're not done yet! Since I haven't featured any Mardi Gras Sweets, here are a few masquerade beauties to make up for it:
Pretty paisley.
Gooorgeous. And the mask and flower on top are sugar paste!
This one was spotted at the "That Takes the Cake Show" in Austin:
Photo by Amanda SG, made by Daniel Keadle
Such a cool design: it was split down the middle!
I always love color, but sometimes an all-white design really lets the detail shine through:
By Black Flour
Beautiful. The mask is also made from gumpaste, and would you believe those lower feathers are cut from rice paper?
And finally, hold on to your hats, 'cuz yes, this really is cake:
There are no words. Just "WOW."
Hope you enjoyed your double dose of Sweets, all!


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10 worst ferry disasters worldwide
Storms and overcrowding are often blamed for ferry disasters. Following are 10 ferry disasters that had some of the highest numbers of casualties worldwide:
1987: Dona Paz ferry collided Dec. 20 in Philippines with oil tanker Vector; resulting fire and sinking killed 4,341 in the world's worst peacetime maritime disaster.
2002: Overloaded Le Joola ferry capsized Sept. 26 in Senegal, killing 1,863.
1954:Toya Maru ferry sank Sept. 26 off Japan during a typhoon, killing more than 1,000 passengers and crew members.
RELATED: Hundreds missing in sea off South Korea
2006: Al Salaam Boccaccio 98 ferry sank Feb. 3 in the Red Sea, killing more than 1,000.
1996: Bukoba ferry hit a rock and capsized May 21 in Lake Victoria in Tanzania, killing up to 1,000 people aboard a ship certified to carry 430.
2008: Princess of the Stars ferry capsized and sank June 21 in a typhoon off the Philippines, killing about 700.
1986: Shamia ferry capsized and sank May 27 in a storm on a river in Bangladesh, killing an estimated 500.
2003: Nazreen-1 ferry sank July 8 in a Bangladesh river, killing about 500.
1993: Neptune ferry sank Feb. 16 in Haiti, killing at least 500.
2000: Overcrowded Cahaya Bahari ferry sank June 29 in a storm off Indonesia, killing nearly 500.
Sources: Associated Press, Agence France-Presse, World Almanac


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★★★★★★ No experience required! Only 20 Working Hrs per Week + Free Accommodation. Xi'an,Chengdu, Guangzhou, Yinchuan, Chang'an, Baoji, Ningbo ★★★★★★
Posted By: Aston English <[email protected]>
Date: Thursday, 15 August 2019, at 6:02 p.m.
Aston English is the flagship division of The Aston Educational Group. Aston English started in the city of Dalian in 1996. From the humble beginning of a single school we have flourished into one of the largest ESL operators in China with over 130 schools across the whole country, from Inner Mongolia to Guangdong, Xinjiang to Jiangsu. We understand the dynamics of working within a multicultural environment and do our best to make your time in China as comfortable as possible and your experience enjoyable and extraordinary.
Along with our students, you, the teachers are our priority. We have spent much time and resources on teacher development and support and we understand what it takes to be a successful ESL teacher and it all starts with a positive attitude and a willingness to learn.
Our goal is to provide you with a supportive environment and the guidance and training to allow you to continually develop your teaching skills.
Whatever your background we will teach you all you need to know!!
We understand what it takes to be a successful ESL teacher and it all starts with a positive attitude and a willingness to learn.
We believe the right mindset is more crucial than experience and with Aston you will gain hands-on experience, individualized training, and acquire the skills you need to be successful.
We have developed our own detailed curriculum for beginner, elementary, intermediate and advanced students. Each level includes teacher's guides jam packed with ideas and strategies that gives you the in classroom support you need to enable you to bring out the best from students of all abilities.
Included also is our unique online and face to training which is an ongoing part of your development throughout your time with us and you are on your way to becoming a great teacher
Living and teaching in China can be an amazing endeavor and we understand one of the reasons you come to China is for the unique experience this fascinating country offers. So the workload is very reasonable with only 20 hours of teaching plus three office hours per week, with the majority of your teaching time being held on the weekends so you will have plenty of free time to learn Mandarin, enjoy the cuisine China is famous for and travel and explore around this culturally rich nation all the while gaining valuable international experience.
Free Accommodation (no start up costs)
A free fully self-contained apartment is provided from the moment you arrive, you won't have to spend time in a hotel or go through the unwanted stress of trying to arrange your living arrangements it has already been done for you.
You also won't have the initial costs associated with renting an apartment or loans to be paid back from your first few months' salary and apartments are in close proximity to the school.
Career Opportunity
Teaching with Aston English also offers you the chance of a unique personal and career opportunity.
We can offer you the chance to develop a career with Aston in the important dynamic and fastest growing economies. Aston takes pride in the fact all our management team, trainers, recruiters, curriculum designers etc, have all come from initial teaching experience with Aston.
Who we are looking for:
• Passport holders from the USA, UK, Canada, Australia, New Zealand and Ireland.
• A university degree in any subject
• Clean criminal record
• Good communication and interpersonal skills.
• Enthusiastic and fun loving
• Flexible and adaptable
• Competitive salary up to 18,000 RMB per month for only 20 teaching hours per week
• Flight Allowance equals to one month salary
• Full work visa
• Free accommodation
• Four hours of Chinese lessons per week
• Airport pick up
• Insurance
• 3 days off per week
• Ongoing training and support
• Paid holidays
• Opportunities for career advancement
Since 1996 we have helped over 4000 teachers experience China and we have a simple and efficient recruitment procedure with Recruitment Professionals with you each step of the way.
Secure your position today and speed up the application process by emailing your resume, college/university degree, TEFL/TESOL Certificate, and your passport information page to the Aston English Recruitment Department at: [email protected]
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Browse by Medical Category
Learn more about the 2014 Mass General Marathon Team
Learn more about the MGHfC Cancer Center
Friday, April 4, 2014
At the Mile 20 marker of the Boston Marathon route, Lily Waldeck, 6, waits impatiently. When she finally sees the wiry, silver-haired Howard Weinstein, MD, running towards her in his Mass General Marathon Team uniform, she can barely contain herself, and she leaps into his fatigued arms where the two share beaming smiles amid cheers and clanging cowbells.
Lily's bear hug propelled Weinstein, chief of Pediatric Hematology-Oncology at MassGeneral Hospital for Children (MGHfC), to finish the marathon in 2012, and her courageous spirit is an ongoing source of inspiration for him as he works to find a cure for childhood cancer. Lily, now 8 years old and a bubbling source of energy and tenacity, embodies the MGHfC Cancer Center's mission to persevere in the fight against childhood cancer. Thanks to the care she received from Weinstein and the rest of her care team, she now proudly says that she's "stronger and faster now than when [she] had leukemia."
At the starting line
It was during the summer of 2011, just before Lily was to begin kindergarten that she began to feel sick. Recurring fever and "wobbly" legs prompted Lily's parents, Garry and Kathleen of Charlestown, MA, to visit their pediatrician's office, where they asked for blood work to test for something besides a virus or growing pains.
"We were meeting with Lily's kindergarten teacher when our pediatrician called and asked us to go to the MassGeneral Hospital for Children Cancer Center," Kathleen says. "We figured that wasn't great news."
Lily and Weinstein at the MGHfC Cancer Center.
At the MGHfC Cancer Center, the family met with Weinstein who explained that Lily had acute lymphoblastic leukemia – the most common form of childhood cancer. Although the family was devastated by the news, they learned Lily's cancer was treatable thanks to strides made in chemotherapy over the past 30 years. In the 1970's, children diagnosed with acute lymphoblastic leukemia had about a 40 percent cure rate; now, children have an 80 to 90 percent cure rate with chemotherapy, says Weinstein.
"Chemotherapy involves the use of several drugs called chemotherapeutic agents, and each drug works on leukemia cells in a different way," Weinstein says. "During the first four to six months, treatment is often intensive and may involve hospitalizations and moderate complications such as hair loss, fevers and fatigue. After the initial months, children for the most part stay out of the hospital and only come into the clinic for frequent blood work, outpatient chemotherapy and check ups."
Lily's treatment plan involved two years of chemotherapy at the MGHfC Cancer Center, with nearly 30 to 40 visits per year. Although she and her parents were nervous about the diagnosis, they said they never second guessed their decision to stay at MGHfC.
"Meeting all the doctors and nurses, it felt like a family," Garry says. "Right off the bat we felt like these were going to be the people who would give us the best care."
Hitting their stride
Over the first month of treatment, Lily became more accustomed to the clinic and at ease with the staff. She went from hiding under a blanket to doling out her famous hugs and participating in the MGHfC Cancer Center's programs and services for families. Lily says she loved seeking out the Child Life Specialists, playing with the music and art therapists, and participating in the holiday parties. Her parents remember times when Lily would long be done with treatment but wouldn't leave because she was so engaged in completing an art project or putting on fashion shows with the staff.
"I was never afraid to come to the clinic. I always enjoyed coming to the clinic," Lily says. "I would always ask, 'When's our next clinic visit?'"
Weinstein and the Waldeck family as he prepares for the 2012 Boston Marathon.
Having Weinstein as her doctor made Lily's visits even easier. The two instantly bonded and grew an energetic and fun-loving connection. During a recent visit to the clinic, the pair scrambled to the waiting room's aquarium – Weinstein widening his eyes above his teddy-bear tie, and Lily curiously pointing out fish. At school, when Lily's class was asked to do a report on a famous person, she chose Weinstein and boasted about his sense of humor and thoughtful care.
"He's a doctor that mostly no other doctor can be. He always comes into my room every time I'm here at the clinic and says 'Hi' and 'How ya doin?'" Lily says, smiling. "He always checks in."
Lily's admiration of Weinstein was returned when he decided to run the Boston Marathon in her honor as part of the Mass General Marathon Team Fighting Kids' Cancer...One Step at a Time, which has raised nearly $9 million for childhood cancer care and research since 1998. As the team's founder and captain, Weinstein chooses one of his patients to run for each year (2014 will be his 24th Boston Marathon). When he met Lily, he said there was no doubt in his mind who his patient partner would be for the 2012 Boston Marathon.
"Lily got to my heart very quickly. I saw her as such an inspiration that I wanted to run in her honor, and I knew that seeing Lily's bright smile when she came to clinic would be something I would carry with me as I ran the 26.2 miles," Weinstein says.
Lily and her family were honored to partner with Weinstein for the marathon, help with fundraising and participate in the annual Mass General Marathon Team pasta dinner where Lily and other patient partners were presented with medals of their own. As part of the program, the Waldecks say their experience was not only emotional, but solidified the connection between Lily and Weinstein.
Crossing the finish line
Weinstein and Lily pose at the Mass General Marathon Team Mural.
Having completed her chemotherapy, Lily says she likes "looking forward." The blonde-haired, outgoing second-grader rambles about space and the solar system while her parents marvel at how much she's grown – "she's making up for two years of no growth," Kathleen says. Lily and her parents have also continued to cheer on Weinstein at Mile 20, where Lily has given him more of her leaping bear hugs.
Although her visits are on a follow up basis now, Lily's presence is still felt in the clinic. In Weinstein's office, which overflows with a collection of marathon paraphernalia, a silver picture frame etched with the word "believe" holds a photo of him and Lily at the team's Mile 20 cheering area. The frame reflects a lesson Lily learned about how she persevered during her fight with cancer:
"Believe that you're gonna get through it," Lily says. "And even if you're not strong now, be strong now."
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