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Amir Khusrau

Abu'l Hasan Yamīn ud-Dīn Khusrau (1253 – 1325 AD), better known as Amīr Khusrau, was an Indo-Persian Sufi singer, musician, poet and scholar who lived during the period of the Delhi Sultanate.

He is an iconic figure in the cultural history of the Indian subcontinent. He was a mystic and a spiritual disciple of Nizamuddin Auliya of Delhi, India. He wrote poetry primarily in Persian, but also in Hindavi. A vocabulary in verse, the Ḳhāliq Bārī, containing Arabic, Persian and Hindavi terms is often attributed to him. Khusrau is sometimes referred to as the "voice of India" or "Parrot of India" (Tuti-e-Hind), and has been called the "father of Urdu literature."

Khusrau is regarded as the "father of qawwali" (a devotional form of singing of the Sufis in the Indian subcontinent), and introduced the ghazal style of song into India, both of which still exist widely in India and Pakistan. Khusrau was an expert in many styles of Persian poetry which were developed in medieval Persia, from Khāqānī's qasidas to Nizami's khamsa. He used 11 metrical schemes with 35 distinct divisions. He wrote in many verse forms including ghazal, masnavi, qata, rubai, do-baiti and tarkib-band. His contribution to the development of the ghazal was significant.

Family background
Amīr Khusrau was born in 1253 in Patiyali, Kasganj district, in modern-day Uttar Pradesh, India, in what was then the Delhi Sultanate, the son of Amīr Saif ud-Dīn Mahmūd, a man of Turkic extraction and Bibi Daulat Naz, a native Indian mother. Amir Saif ud-Din Mahmud was a Sunni Muslim. He grew up in Kesh, a small town near Samarkand in what is now Uzbekistan. When he was a young man, the region was destroyed and ravaged by Genghis Khan's invasion of Central Asia, and much of the population fled to other lands, India being a favored destination. A group of families, including that of Amir Saif ud-Din, left Kesh and travelled to Balkh (now in northern Afghanistan), which was a relatively safe place; from there, they sent representatives to the Sultan of distant Delhi seeking refuge. This was granted, and the group then travelled to Delhi. Sultan Shams ud-Din Iltutmish, ruler of Delhi, was also Turkic like them; indeed, he had grown up in the same region of Central Asia and had undergone somewhat similar circumstances in earlier life. This was the reason the group had turned to him in the first place. Iltutmish not only welcomed the refugees to his court but also granted high offices and landed estates to some of them. In 1230, Amir Saif ud-Din was granted a fief in the district of Patiyali.

Amir Saif ud-Din married Bibi Daulat Naz, the daughter of Rawat Arz, an Indian noble and war minister of Ghiyas ud-Din Balban, the ninth Sultan of Delhi. Daulatnaz's family belonged to the Rajput community of modern-day Uttar Pradesh.

Early years
Amir Saif ud-Din and Bibi Daulatnaz became the parents of four children: three sons (one of whom was Khusrau) and a daughter. Amir Saif ud-Din Mahmud died in 1260, when Khusrau was only eight years old. Through his father's influence, he imbibed Islam and Sufism coupled with proficiency in Turkish, Persian, and Arabic languages. He was known by his sobriquet Tuti-i Hind ("Parrot of India"), which according to the Encyclopaedia of Islam "compares the eloquent poet to the sweet-talking parrot, indicates his canonical status as a poet of Persian." Khusrau's love and admiration for his motherland is transparent through his work.

Khusrau was an intelligent child. He started learning and writing poetry at the age of nine. His first divan, Tuhfat us-Sighr (The Gift of Childhood), containing poems composed between the ages of 16 and 18, was compiled in 1271. In 1273, when Khusrau was 20 years old, his grandfather, who was reportedly 113 years old, died.

Career
After Khusrau's grandfather's death, Khusrau joined the army of Malik Chajju, a nephew of the reigning Sultan, Ghiyas ud-Din Balban. This brought his poetry to the attention of the Assembly of the Royal Court where he was honoured.

Nasir ud-Din Bughra Khan, the second son of Balban, was invited to listen to Khusrau. He was impressed and became Khusrau's patron in 1276. In 1277 Bughra Khan was then appointed ruler of Bengal, and Khusrau visited him in 1279 while writing his second divan, Wast ul-Hayat (The Middle of Life). Khusrau then returned to Delhi. Balban's eldest son, Khan Muhammad (who was in Multan), arrived in Delhi, and when he heard about Khusrau, he invited him to his court. Khusrau then accompanied him to Multan in 1281. Multan at the time was the gateway to India and was a center of knowledge and learning. Caravans of scholars, tradesmen and emissaries transited through Multan from Baghdad, Arabia and Persia on their way to Delhi. Khusrau wrote that: "I tied the belt of service on my waist and put on the cap of companionship for another five years. I imparted lustre to the water of Multan from the ocean of my wits and pleasantries."

On 9 March 1285, Khan Muhammad was killed in battle while fighting Mongols who were invading the Sultanate. Khusrau wrote two elegies in grief of his death. In 1287, Khusrau travelled to Awadh with another of his patrons, Amir Ali Hatim. At the age of eighty, Balban called his second son Bughra Khan back from Bengal, but Bughra Khan refused. After Balban's death in 1287, his grandson Muiz ud-Din Qaiqabad, Bughra Khan's son, was made the Sultan of Delhi at the age of 17. Khusrau remained in Qaiqabad's service for two years, from 1287 to 1288. In 1288, Khusrau finished his first masnavi, Qiran us-Sa'dain (Meeting of the Two Auspicious Stars), which was about Bughra Khan meeting his son Muiz ud-Din Qaiqabad after a long enmity. After Qaiqabad suffered a stroke in 1290, nobles appointed his three-year-old son Shams ud-Din Kayumars as Sultan. A Turko-Afghan named Jalal ud-Din Firuz Khalji then marched on Delhi, killed Qaiqabad and became Sultan, thus ending the Mamluk dynasty of the Delhi Sultanate and starting the Khalji dynasty.

Jalal ud-Din Firuz Khalji appreciated poetry and invited many poets to his court. Khusrau was honoured and respected in his court and was given the title "Amir". He was given the job of "Mushaf-dar". Court life made Khusrau focus more on his literary works. Khusrau's ghazals which he composed in quick succession were set to music and were sung by singing girls every night before the Sultan. Khusrau writes about Jalal ud-Din Firuz: "The King of the world Jalal ud-Din, in reward for my infinite pain which I undertook in composing verses, bestowed upon me an unimaginable treasure of wealth."

In 1290, Khusrau completed his second masnavi, Miftah ul-Futuh (Key to the Victories), in praise of Jalal ud-Din Firuz's victories. In 1294, Khusrau completed his third divan, Ghurrat ul-Kamaal (The Prime of Perfection), which consisted of poems composed between the ages of 34 and 41.

After Jalal ud-Din Firuz, Ala ud-Din Khalji ascended to the throne of Delhi in 1296. Khusrau wrote the Khaza'in ul-Futuh (The Treasures of Victory) recording Ala ud-Din's construction works, wars and administrative services. He then composed a khamsa (quintet) with five masnavis, known as Khamsa-e-Khusrau (Khamsa of Khusrau), completing it in 1298. The khamsa emulated that of the earlier poet of Persian epics, Nizami Ganjavi. The first masnavi in the khamsa was Matla ul-Anwar (Rising Place of Lights) consisting of 3310 verses (completed in 15 days) with ethical and Sufi themes. The second masnavi, Khusrau-Shirin, consisted of 4000 verses. The third masnavi, Laila-Majnun, was a romance. The fourth voluminous masnavi was Ayina-i Iskandari, which narrated the heroic deeds of Alexander the Great in 4500 verses. The fifth masnavi was Hasht-Bihisht, which was based on legends about Bahram V, the fifteenth king of the Sasanian Empire. All these works made Khusrau a leading luminary in the world of poetry. Ala ud-Din Khalji was highly pleased with his work and rewarded him handsomely. When Ala ud-Din's son and future successor Qutb ud-Din Mubarak Shah Khalji was born, Khusrau prepared the horoscope of Mubarak Shah Khalji in which certain predictions were made. This horoscope is included in the masnavi Saqiana.

In 1300, when Khusrau was 47 years old, his mother and brother died. He wrote these lines in their honour:  A double radiance left my star this year Gone are my brother and my mother, My two full moons have set and ceased to shine In one short week through this ill-luck of mine. Khusrau's homage to his mother on her death was: "Where ever the dust of your feet is found is like a relic of paradise for me."

In 1310, Khusrau became a disciple of Sufi saint of the Chishti Order, Nizamuddin Auliya. In 1315, Khusrau completed the romantic masnavi Duval Rani - Khizr Khan (Duval Rani and Khizr Khan), about the marriage of the Vaghela princess Duval Rani to Khizr Khan, one of Ala ud-Din Khalji's sons.

After Ala ud-Din Khalji's death in 1316, his son Qutb ud-Din Mubarak Shah Khalji became the Sultan of Delhi. Khusrau wrote a masnavi on Mubarak Shah Khalji called Nuh Sipihr (Nine Skies), which described the events of Mubarak Shah Khalji's reign. He classified his poetry in nine chapters, each part of which is considered a "sky". In the third chapter he wrote a vivid account of India and its environment, seasons, flora and fauna, cultures, scholars, etc. He wrote another book during Mubarak Shah Khalji's reign by name of Ijaz-e-Khusravi (The Miracles of Khusrau), which consisted of five volumes. In 1317 Khusrau compiled Baqia-Naqia (Remnants of Purity). In 1319 he wrote Afzal ul-Fawaid (Greatest of Blessings), a work of prose that contained the teachings of Nizamuddin Auliya.

In 1320, Mubarak Shah Khalji was killed by Khusro Khan, who thus ended the Khalji dynasty and briefly became Sultan of Delhi. Within the same year, Khusro Khan was captured and beheaded by Ghiyath al-Din Tughlaq, who became Sultan and thus began the Tughlaq dynasty. In 1321, Khusrau began to write a historic masnavi named Tughlaq Nama (Book of the Tughlaqs) about the reign of Ghiyath al-Din Tughlaq and that of other Tughlaq rulers.

Khusrau died in October 1325, six months after the death of Nizamuddin Auliya. Khusrau's tomb is next to that of his spiritual master in the Nizamuddin Dargah in Delhi. Nihayat ul-Kamaal (The Zenith of Perfection) was compiled probably a few weeks before his death.

Shalimar Bagh Inscription
A popular fable which has made its way into scholarship ascribes the following famous Persian verse to Khusrau:  Agar Firdaus bar ru-ye zamin ast, Hamin ast o hamin ast o hamin ast. In English: "If there is a paradise on earth, it is this, it is this, it is this." This verse is believed to have been inscribed on several Mughal structures, supposedly in reference to Kashmir, specifically a particular building at the Shalimar Garden in Srinagar, Kashmir (built during the reign of Mughal Emperor Jahangir).

However, recent scholarship has traced the verse to a time much later than that of Khusrau and to a place quite distant from Kashmir. Historian Rana Safvi inspected all probable buildings in the Kashmir garden and found no such inscription attributed to Khusrau. According to her the verse was composed by Sa'adullah Khan, a leading noble and scholar in the court of Jahangir's successor and son Shah Jahan. Even in popular memory, it was Jahangir who first repeated the phrase in praise of Kashmir.

Qawwali
Khusrau is credited with fusing the Persian, Arabic, Turkic, and Indian singing traditions in the late 13th century to create qawwali, a form of Sufi devotional song. A well-punctuated chorus emphasising the theme and devotional refrain coupled with a lead singer utilising an ornate style of fast taans and difficult svara combinations are the distinguishing characteristics of a qawwali. Khusrau's disciples who specialised in Qawwali singing were later classified as Qawwals (they sang only Muslim devotional songs) and Kalawants (they sang mundane songs in the Qawwali style). The musical flow of some of his poems has made them favorites of musicians even today.

Tarana and Trivat
Tarana and Trivat are also credited to Khusrau. Musicologist and philosopher Jaidev Singh has said: Tarana was entirely an invention of Khusrau. Tarana is a Persian word meaning a song. Tillana is a corrupt form of this word. True, Khusrau had before him the example of Nirgit songs using śuṣk-akṣaras (meaningless words) and pāṭ-akṣaras (mnemonic syllables of the mridang). Such songs were in vogue at least from the time of Bharat. But generally speaking, the Nirgit used hard consonants. Khusrau introduced two innovations in this form of vocal music. Firstly, he introduced mostly Persian words with soft consonants. Secondly, he so arranged these words that they bore some sense. He also introduced a few Hindi words to complete the sense…. It was only Khusrau's genius that could arrange these words in such a way to yield some meaning. Composers after him could not succeed in doing so, and the tarana became as meaningless as the ancient Nirgit. It is believed that Khusrau invented the tarana style during his attempt to reproduce Gopal Naik's exposition in raag Kadambak. Khusrau hid and listened to Gopal Naik for six days, and on the seventh day, he reproduced Naik's rendition using meaningless words (mridang bols) thus creating the tarana style.

Sitar
Khusrau is credited for the invention of the sitar. At the time, there were many versions of the Veena in India. He modified the three stringed Tritantri Veena as a Setar (Persian for 3 stringed), which eventually became known as the sitar.

Legacy
Amir Khusrau was a prolific classical poet associated with the royal courts of more than seven rulers of the Delhi Sultanate. He wrote many playful riddles, songs and legends which have become a part of popular culture in South Asia. His riddles are one of the most popular forms of Hindavi poetry today. It is a genre that involves double entendre or wordplay. Innumerable riddles by the poet have been passed through oral tradition over the last seven centuries. Through his literary output, Khusrau represents one of the first recorded Indian personages with a true multicultural or pluralistic identity. Musicians credit Khusrau with the creation of six styles of music: qaul, qalbana, naqsh, gul, tarana and khyal, but there is insufficient evidence for this.

Development of Hindavi
Khusrau wrote primarily in Persian. Many Hindustani (or Hindi-Urdu) verses are attributed to him, since there is no evidence for their composition by Khusrau before the 18th century. The language of the Hindustani verses appears to be relatively modern. He used the term 'Hindavi' (meaning 'of Hind or India' in Persian) for the Hindustani language, and gave shape to it in the Islamic literature, earning him the epithet "father of Urdu literature".

He also wrote a war ballad in Punjabi. In addition, he spoke Arabic and Sanskrit. His poetry is still sung today at Sufi shrines throughout India and Pakistan.

In popular culture
The 1978 film Junoon opens with a rendition of Khusrau's Aaj Rung Hai, and the film's plot sees the poem employed as a symbol of rebellion.

Amir Khusro, a documentary feature covering his life and works directed by Om Prakash Sharma released in 1974. It was produced by the Government of India's Film's Division.

Amir Khusro, an Indian television series based on Khusrau's life and works aired on DD National, the national public broadcaster, in the 1980s. He was portrayed by actor Bhawani Muzamil as a court poet of Alauddin Khalji in the 2018 Indian film Padmaavat by Sanjay Leela Bhansali.

One of Khusro's poems on Basant, Sakal bun phool rahi sarson, was quoted in an episode of Saladin Ahmed's The Magnificent Ms. Marvel. Various renditions of this poem have been recorded time and again, including one sung by Rizwan-Muazzam in Season 8 of Coke Studio Pakistan, as well as another rendition by Pakistani singer Meesha Shafi in collaboration with the instrumental funk band Mughal-e-Funk. It was also recreated in the Netflix web series Heeramandi, sung by Raja Hassan.

Works

 * Tuhfat us-Sighr (The Gift of Childhood), 1271 - Khusrau's first divan, contains poems composed between the ages of 16 and 18.
 * Wast ul-Hayat (The Middle of Life), 1279 - Khusrau's second divan.
 * Qiran us-Sa'dain (Meeting of the Two Auspicious Stars), 1289 - Khusrau's first masnavi, which detailed the historic meeting of Bughra Khan and his son Muiz ud-Din Qaiqabad after a long enmity.
 * Miftah ul-Futuh (Key to the Victories), 1290 - Khusrau's second masnavi, in praise of the victories of Jalal ud-Din Firuz Khalji.
 * Ghurrat ul-Kamaal (The Prime of Perfection), 1294 - poems composed by Khusrau between the ages of 34 and 41.
 * Khaza'in ul-Futuh (The Treasures of Victories), 1296 - details of Ala ud-Din Khalji's construction works, wars, and administrative services.
 * Khamsa-e-Khusrau (Khamsa of Khusrau), 1298 - a quintet (khamsa) of five masnavis: Matla ul-Anwar, Khusrau-Shirin, Laila-Majnun, Aina-e-Sikandari and Hasht-Bihisht (which includes The Three Princes of Serendip).
 * Saqiana - masnavi containing the horoscope of Qutb ud-Din Mubarak Shah Khalji.
 * Duval Rani - Khizr Khan (Duval Rani and Khizr Khan), 1316 - a tragedy about the marriage of princess Duval Rani to Ala ud-Din Khalji's son Khizr Khan.
 * Nuh Sipihr (Nine Skies), 1318 - Khusrau's masnavi on the reign of Qutb ud-Din Mubarak Shah Khalji, which includes vivid perceptions of India and its culture.
 * Ijaz-e-Khusravi (The Miracles of Khusrau) - an assortment of prose consisting of five volumes.
 * Baqia-Naqia (Remnants of Purity), 1317 - compiled by Khusrau at the age of 64.
 * Afzal ul-Fawaid (Greatest of Blessings), 1319 - a work of prose containing the teachings of Nizamuddin Auliya.
 * [[File:"A King Offers to Make Amends to a Bereaved Mother", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi.jpg|thumb|upright=.8|"A King Offers to Make Amends to a Bereaved Mother" is a painting based on a story written by Amir Khusrau Dihlavi, but illustrated by Mughal Indian artist, Miskin, in 1597–98.]]Tughlaq Nama (Book of the Tughlaqs), 1320 - a historic masnavi of the reign of the Tughlaq dynasty.
 * Nihayat ul-Kamaal (The Zenith of Perfection), 1325 - compiled by Khusrau probably a few weeks before his death.
 * Ashiqa - Khusro pays a glowing tribute to Hindi language and speaks of its rich qualities. It is a masnavi that describes the tragedy of Deval Devi. The story has been backed by Isaami.
 * Qissa Chahar Dervesh (The Tale of the Four Dervishes) - a dastan told by Khusrau to Nizamuddin Auliya.
 * Ḳhāliq Bārī - a versified glossary of Persian, Arabic, and Hindavi words and phrases often attributed to Amir Khusrau. Hafiz Mehmood Khan Shirani argued that it was completed in 1622 in Gwalior by Ẓiyā ud-Dīn Ḳhusrau.
 * Jawahir-e-Khusravi - a divan often dubbed as Khusrau's Hindavi divan.

title: Amir Khusrau


text:
KNU

KNU can refer to:

Education

 * Kagawa Nutrition University
 * Kangwon National University
 * Kazi Nazrul University
 * Kongju National University
 * Korea Nazarene University
 * Kyiv National University
 * Kyungpook National University

Other

 * Karen National Union
 * Kanpur Airport

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: KNU


text:
Americana (The Offspring album)

Americana is the fifth studio album by American rock band the Offspring, released on November 17, 1998, by Columbia Records. Following a worldwide tour in support of Ixnay on the Hombre (1997), the band commenced work on a new album in July 1998.

Americana was a major success, debuting at number six on the US Billboard 200 and selling over 198,000 copies in its first week. It is the band's second best-selling album after their 1994 breakout, Smash, and has sold over ten million copies worldwide. Americana spawned the hit singles "Pretty Fly (for a White Guy)", "Why Don't You Get a Job?" and "The Kids Aren't Alright", and was promoted with a worldwide tour and an appearance at the Woodstock '99 festival.

Background and recording
After the unexpected success of Smash (1994), the Offspring were signed to Columbia Records in 1996, releasing the fourth studio album, Ixnay on the Hombre (1997). Although Ixnay on the Hombre was not as well received as Smash, it managed simultaneous gold and platinum certifications in the United States in April 1997. After touring in support of Ixnay on the Hombre, the Offspring began writing new material for their next album. Frontman Dexter Holland told Rolling Stone in August 1998, "I wanted to write a record that wasn't a radical departure from what we've done before. I feel like we have managed to change stuff up from Ignition to Smash to Ixnay. We're in a place where we more or less set the boundaries where we can do a lot of stuff without having to stretch it out farther ... and do a swing song or something."

Recording took place from July to September 1998 at Eldorado Recording Studios with producer Dave Jerden, who also produced Ixnay on the Hombre. Holland told Guitar World, "The idea wasn't to reinvent the wheel. We expanded our horizons on our last record and that's okay, but I don't feel like you have to be a completely different band on every record." While most songs are the regular punk rock the band popularized, others such as the Latino-influenced "Pretty Fly (for a White Guy)" and the psychedelic "Pay the Man" add variety, "so that there's enough in there so people don't get bored". "Pay the Man" was even left off Ixnay on the Hombre for sounding too different from anything else the band had currently made at that time. The structure of the song more resembles progressive rock (having no repetitive sections and no continuous musical theme). Holland also contributed the song "Too Much Drama" to the Vandals' album Hitler Bad, Vandals Good, which was released five months before Americana. The chorus melody is reused on this album on the song "Walla Walla".

Composition
Americana contains themes of unhappy American lifestyles. Speaking of the album shortly after its release, Holland explained, "The songs on Americana aren't condemnations, they're short stories about the state of things and what we see going on around us. We want to expose the darker side of our culture. It may look like an episode of Happy Days out there in America, but it feels more like Twin Peaks." He detailed that Americana was not thought right away as a concept album and "this really cool social statement", though once the band recorded a few songs complaining about 1998 America, "then we realized we had a theme".

Holland also explained that Americana  served as "a commentary on American culture", satirizing hypocritical lives and political correctness. One of the influences was The Jerry Springer Show, with the band even considering naming the album after the show's news tickers such as "Stripper Wars". A major source of inspiration was seeing the people in Holland's hometown of Huntington Beach, such as the "wiggers" who were mocked in "Pretty Fly (for a White Guy)". Despite dealing with aimlessness and disillusionment, derived from how the generation that had just got to adulthood was having problems in getting jobs and sustaining themselves, Holland declared that "I didn't want it to be a record that made you feel hopeless. At the end of the day I hope that you can get something positive out of it."

Packaging
Artist Frank Kozik was hired to do the artwork for the album, as Holland found that his concert tour posters "had all the connotations we associated with Americana: very glossy, innocent and 1950s, but with a twisted aspect." Kozik, who had known the singer for a long time, was reluctant to work for the band due to the reception his fans would have, eventually demanding $75,000 to do the Americana illustrations. The album's cover art features a blond boy with an orthopedic boot seated on a swing holding a sand flea. From out of the frame, a tentacle reaches toward the boy. Kozik had originally done said illustration for a Nebraskan band, Ritual Device, and reused it as the cover of his book Man's Ruin: The Poster Art Of Frank Kozik. On the booklet, which Holland described as "a little Kozik picture book", every song has its own accompanying illustration.

Some pressings of Americana are also enhanced CDs and contain the karaoke videos of "Staring at the Sun", "Pretty Fly (for a White Guy)" and "Why Don't You Get a Job?", and the previous MTV music videos from its predecessor, Ixnay on the Hombre.

Release and reception
Americana was released on November 17, 1998, and peaked at number 2 on the Billboard 200 album chart, the highest position the band has attained as of 2023. Shortly after its release, the album was certified gold and then later platinum.

The album received mixed reviews. Michael Gallucci of AllMusic described the album as a "raucous ride through America as seen through the eyes of a weary, but still optimistic, young kid". Gallucci praised the music as "a hearty combination of poppy punk" and a "blend of salsa and alterna-rock sounds", stating the band's music was taking a different direction. The album received a rating of three out of five stars, while "Pretty Fly (for a White Guy)", "Why Don't You Get a Job?", "The Kids Aren't Alright" and "She's Got Issues" earned the Offspring its heaviest airplay on MTV and radio stations to date. Entertainment Weekly reviewer Dan Snierson considered Americana as post-punk done right, "with crafty yell-odies and winky lyrics". In his review for the Offspring's next album Conspiracy of One, The A.V. Club critic Stephen Thompson called Americana "the unbearable result being the kind of stupidity that thinks it's clever", considering it "bad enough to create a backlash against not only pop-punk, but also novelty songs, guitars, smug thirtysomethings, and the human race."

Americana is the 224th best selling album of all time according to Billboard as of 2009. The album was included in Rock Sound's 101 Modern Classics list at number 79. The album was included at number 23 on Rock Sound's "The 51 Most Essential Pop Punk Albums of All Time" list. NME listed the album as one of "20 Pop Punk Albums Which Will Make You Nostalgic".

The album was named at the 2000 Juno Awards as one of the best-selling albums that year.

Track listing
All songs written and composed by Dexter Holland, except where noted.

 * "Pay the Man" ends at 8:10, followed by the hidden track "Pretty Fly (Reprise)" at 9:15. The track is a mariachi reprise of the song "Pretty Fly (for a White Guy)". The online download release of Americana has "Pay the Man" and "Pretty Fly (Reprise)" separately, with the reprise as track 14. The main riff on "Pay the Man", particularly the drum part, is the same as found on the title track of Smash during the acoustic version of "Come Out and Play".

The Offspring

 * Dexter Holland – lead and backing vocals, rhythm guitar
 * Noodles – lead guitar, backing vocals
 * Greg K. – bass, backing vocals (uncredited for backing vocals)
 * Ron Welty – drums

Additional musicians

 * Chris "X-13" Higgins – backing vocals, additional vocals on "Pretty Fly (For a White Guy)"
 * Heidi Villagran and Nika Frost – additional vocals on "Pretty Fly (For a White Guy)"
 * Calvert DeForest – spoken word on "Why Don't You Get a Job?", additional vocals on "Pretty Fly (Reprise)"
 * John Mayer – spoken word  on "Welcome", additional vocals on "Pretty Fly (Reprise)"
 * Davey Havok, Jack Grisham and Jim Lindberg – backing vocals
 * Gabrial McNair – horn on "Why Don't You Get a Job?" & "Pretty Fly (Reprise)"
 * Alvaro Macias – vihuela on "Why Don't You Get a Job?" & "Pretty Fly (Reprise)"
 * Phil Jordan – horn on "Why Don't You Get a Job?" & "Pretty Fly (Reprise)"
 * Carlos Goméz – guitar on "Why Don't You Get a Job?" & "Pretty Fly (Reprise)"
 * Derrick Davis – flute on "Why Don't You Get a Job?" & "Pretty Fly (Reprise)"

Production

 * Dave Jerden – producer, mixing
 * Bryan Carlstrom – engineer
 * Annette Cisneros – assistant engineer
 * Eddy Schreyer – mastering

Artwork

 * Sean Evans – art direction
 * Justin Beope – artwork
 * Frank Kozik – artwork

title: Americana (The Offspring album)


text:
Natural Area Code

The Natural Area Code, or Universal Address, is a proprietary geocode system for identifying an area anywhere on the Earth, or a volume of space anywhere around the Earth. The use of thirty alphanumeric characters instead of only ten digits makes a NAC shorter than its numerical latitude/longitude equivalent.

Two-dimensional system
Instead of numerical longitudes and latitudes, a grid with 30 rows and 30 columns - each cell denoted by the numbers 0-9 and the twenty consonants of the Latin alphabet - is laid over the flattened globe. A NAC cell (or block) can be subdivided repeatedly into smaller NAC grids to yield an arbitrarily small area, subject to the ±1 m limitations of the World Geodetic System (WGS) data of 1984.

A NAC represents an area on the earth—the longer the NAC, the smaller the area (and thereby, location) represented. A ten-character NAC can uniquely specify any building, house, or fixed object in the world. An eight-character NAC specifies an area no larger than 25 metres by 50 metres, while a ten-character NAC cell is no larger than 0.8 metres by 1.6 metres.

Using a base 30 positional numeral system, NAC uses an alternate method which excludes vowels and avoids potential confusion between "0" (zero) and "O" (capital "o"), and "1" (one) and "I" (capital "i"): For example, the ten-character NAC for the centre of the city of Brussels is HBV6R RG77T.

Extension to three dimensions
The full NAC system provides a third coordinate: altitude. This coordinate is the arctangent of the altitude, relative to the Earth's radius, and scaled so that the zero point (000...) is at the centre of the Earth, the midpoint (H00...) is the local radius of the geoid, i.e. the Earth's surface, and the endpoint (ZZZ...) is at infinity.

For example, the three-dimensional NAC for the centre of Brussels, at ground level, is HBV6R RG77T H0000.

title: Natural Area Code


text:
Qawwali

Qawwali (Urdu: ; Hindi: क़व्वाली; Bengali: ক়াওয়ালী; Punjabiਕ਼ੱਵਾਲੀ; ) is a form of Sufi Islamic devotional singing originating in South Asia. Originally performed at Sufi shrines or dargahs throughout South Asia, it is famous throughout Pakistan, India, Bangladesh and Afghanistan and has also gained mainstream popularity and an international audience as of the late 20th century.

While hereditary performers continue to perform Qawwali music in traditional and devotional contexts, Qawwali has received international exposure through the work of Nusrat Fateh Ali Khan, Aziz Mian and Sabri Brothers largely due to several releases on the Real World label, followed by live appearances at WOMAD festivals. Other famous Qawwali singers include Fareed Ayyaz & Abu Muhammad, Rahat Fateh Ali Khan, Badar Miandad, Rizwan & Moazzam Duo, Qutbi Brothers, the late Amjad Sabri, Wadali Brothers, Nizami Bandhu, Bahauddin Qutbuddin, Aziz Naza, among others. Most modern Qawwali singers belong to the famed 'Qawwal Bachon ka Gharana' school of Qawwali, which was based in Delhi before 1947 and migrated to Pakistan after the Partition of British India.

Terminology
Qawl (قَوْل) is an "utterance (of the prophet)", Qawwāl is someone who often repeats (sings) a Qaul, Qawwāli is what a Qawwāl sings.

Origins
Delhi's Sufi saint Amir Khusrow of the Chisti order of Sufis is credited with fusing the Persian, Arabic, Turkish, and Indian traditions in the late 13th century in India to create Qawwali as we know it today. The word sama is often still used in Central Asia and Turkey to refer to forms very similar to Qawwali, and in India, Pakistan and Bangladesh, the formal name used for a session of Qawwali is Mehfil-e-Sama.

Originally, musical instrument use in Qawwali was prohibited. The following conditions were initially placed on Qawwali: "Sima’ (to listen to Qawwali) is permissible if a few conditions are met. The singer must be an adult and not a child or a female. The listener must only listen to everything in the remembrance of Allah. The words that are sung must be free from obscenity and indecency and they must not be void. Musical instruments must not be present in the gathering. If all these conditions are met, Sima’ is permissible.

Someone complained to the Sultan of the Mashaa’ikh that some of the dervishes danced in a gathering where there were musical instruments. He said, they did not do good as something impermissible cannot be condoned."

Sufi Saints such as Nizamuddin Auliya, the teacher of the famous Sufi singer Amir Khusrow, were quite blunt about the prohibition: "Musical instruments are Haram."

Eventually, however, musical instrument use found its way into Qawwali. Instruments such as the harmonium, tabla and dholak are now common in many Qawwali parties.

Historical practice and training
Traditional qawwali practice is built upon a system of hereditary training in which qawwals are part of the service community connected to a particular shrine. Their primary function to the shrine is to service formal activities, primarily the death anniversaries of Sufi saints (Urs).

Since the intention of qawwali is to act as a bridge toward the experience of Sufi mystical love and builds upon religious chants and chanted poetry, the practice is viewed as permissible in what Islamic scholar Lois Lamya al-Faruqi refers to as non-musiqa. Qawwals themselves are central figures within qawwali ritual but are not regarded as the focus and are still regarded as part of the servant class.

Qawwals are trained in two primary ways: (1) as part of a bradri or brotherhood of performers in which they learn the fundamentals of the music, and (2) within Sufic teaching circles typically reserved for the higher classes in which they learn about Sufism. The understanding of the spiritual aspects but also the form's reliance on poetry requires a level of literacy in order to fulfill the role.

Qawwali repertory
Ethnomusicologist Regula Qureshi distinguishes between "old" tunes (purānī dhuneṅ, purānī bandisheṅ) and "tunes of nowadays" (ājkal kī dhuneṅ). The "old" tune repertory includes movable tunes that can be adapted to multiple poems as well as "special" (makhsūs, khās) settings of poems, which are identified by their text. Qureshi also includes "typical Qawwal tunes" (Qawwālī kī thet dhunen) in this category, referring to tunes that can be used for a variety of poems based on the music's structural features. The songs which constitute the qawwali repertoire are primarily in Persian, Urdu, and Hindi, although Sufi poetry appears in local languages as well (including Punjabi, Saraiki, and dialects of northern India like Braj Bhasha and Awadhi.)  The sound of regional language qawwali can be totally different from that of mainstream qawwali, as in the case of Chhote Babu Qawwal, whose style of singing is much closer to the Bengali Baul music than to the qawwali of Nusrat Fateh Ali Khan, for example.

The central themes of qawwali are love, devotion and longing for the Divine. The Sufi poets whose texts have made up the qawwali repertory often used worldly images to convey mystic spiritual love. As such, it is not uncommon to see mentions of worldly or forbidden concepts such as romantic longing, wine, and drunkenness, which are used as metaphors for the mystic state. Qawwals bear the responsibility of maintaining a spiritually appropriate context for such songs, so as not to distract from the religious focus of the Qawwali occasion.

Qawwali songs are classified by their content into several categories:
 * A Qaul, Arabic for 'saying,' is a basic ritual song of Sufism in India, often used as an opening or closing hymn for a Qawwali occasion. The texts contain sayings of the Prophet Muhammad (hence the form's name), and they form an obligatory part of the Qawwali occasion. The Qaul may be followed by one or more obligatory hymns that refer to the founding saint of a given Sufi lineage.
 * A hamd (حمد), Arabic for 'praise,' is a song (or poem) in praise of Allah. A hamd traditionally begins the thematic sequence of songs in a Qawwali occasion (after the obligatory hymns).
 * A na`at (نعت), Arabic for 'description,' is a song (or poem) in praise of Muhammad. The hamd is traditionally followed by a na` at.
 * A manqabat (plural manaqib, مناقب, which means 'characteristics') is a song in praise of either Imam Ali or one of the Sufi saints. Manaqib in praise of Ali are sung at both Sunni and Shi'a gatherings. If one is sung, it will follow right after the n a` at. There is usually at least one manqabat in a traditional program.
 * A marsiya (مرثية), Arabic for 'lamentation for a dead person', is a lamentation over the death of much of Imam Husayn's family in the Battle of Karbala. This would typically be sung only at a Shi'a gathering.

 * A ghazal (غزل), Arabic for 'love song' and based on the poetic genre of the same name, is a song made up of thematically independent couplets in Farsi or Urdu. The ghazal is found in the majority of qawwali songs, and has been considered an ideal form for the mystical experience because its emphasis on repetition allows a qawwal to reiterate a central theme or phrase which can be used as a way to engage in dhikr. To create a sense of thematic unity, ghazals often draw from conventional metaphors, imagery, and topics throughout the form, such as themes of unrequited love, separation from (or reunion with) the beloved, the beauty of nature, and consuming wine. In the context of, these songs of yearning and intoxication use secular metaphors to poignantly express mystical concepts like the soul's longing for union with the Divine and its joy in loving the Divine. Intoxication is understood as a metaphor for attaining spiritual knowledge, or being filled with the joy of loving the Divine. In the songs of yearning, the scorned lover becomes a metaphor for the soul that has been abandoned in this world by God and longs for reunion. While ghazals take on a specifically devotional context in qawwali performance, the form exists beyond devotional music, constituting a distinct secular musical genre in Pakistan and India where the poetry’s worldly themes may be taken at face value.

 * A kafi is a poem in Punjabi, Seraiki or Sindhi, which is in the unique style of poets such as Sultan Bahoo, Shah Hussain, Bulleh Shah and Sachal Sarmast. Two of the more well-known Kafis include Ni Main Jana Jogi De Naal and Mera Piya Ghar Aaya.
 * A munajaat (مناجاة), Arabic for a conversation in the night or a form of prayer, is a song where the singer displays his thanks to Allah through a variety of linguistic techniques. It is often sung in Persian, with Mawlana Jalāl-ad-Dīn Rumi credited as its author.

Composition of a qawwali party
A group of qawwali musicians, called a party (or Humnawa in Urdu), typically consists of eight or nine men including a lead singer, one or two side singers, one or two harmoniums (which may be played by the lead singer, side singer or someone else), and percussion. If there is only one percussionist, he plays the tabla and dholak, usually the tabla with the dominant hand and the dholak with the other one (i.e. a left-handed percussionist would play the tabla with his left hand). Often there will be two percussionists, in which case one might play the tabla and the other the dholak. There is also a chorus of four or five men who repeat key verses, and who aid percussion by hand-clapping.

The performers sit cross-legged on the ground in two rows — the lead singer, side singers and harmonium players in the front row, and the chorus and percussionists in the back row.

Before the fairly recent introduction of the harmonium, qawwalis were usually accompanied by the sarangi. The sarangi had to be retuned between songs; the harmonium didn't, and was soon preferred.

Women used to be excluded from traditional Muslim music, since they are traditionally prohibited from singing in the presence of men. These traditions have changed, however, as is evident by the popularity (and acceptance) of female singers such as Abida Parveen. However, qawwali has remained a predominantly male business and there are still not many mainstream female qawwals.

Musical structure of Qawwali
The longest recorded commercially released qawwali runs slightly over 115 minutes (Hashr Ke Roz Yeh Poochhunga by Aziz Mian Qawwal). The qawwali maestro Nusrat Fateh Ali Khan has at least two songs that are more than 60 minutes long.

Qawwalis tend to begin gently and build steadily to a very high energy level in order to induce hypnotic states both among the musicians and within the audience. Almost all Qawwalis are based on a Raga from the Hindustani classical music tradition. Songs are usually arranged as follows:

 * 1) They start with an instrumental prelude where the main melody is played on the harmonium, accompanied by the tabla, and which may include improvised variations of the melody.
 * 2) Then comes the alap, a long tonal improvised melody during which the singers intone different long notes, in the raga of the song to be played.
 * 3) The lead singer begins to sing some preamble verses which are typically not part of the main song, although thematically related to it. These are sung unrhythmically, improvised following the raga, and accompanied only by the harmonium. After the lead singer sings a verse, one of the side singers will repeat the verse, perhaps with his own improvisation. A few or many verses will be sung in this way, leading into the main song.
 * 4) As the main song begins, the tabla, dholak and clapping begin. All members join in the singing of the verses that constitute the refrain. The lyrics of the main verses are never improvised; in fact, these are often traditional songs sung by many groups, especially within the same lineage. However, the tunes are subtly improvised within the framework of the main melody. As the song proceeds, the lead singer or one of the side singers may break out into an alap. Nusrat Fateh Ali Khan also popularised the interjection of sargam singing at this point. The song usually builds in tempo and passion, with each singer trying to outdo the other in terms of vocal acrobatics. Some singers may do long periods of sargam improvisation, especially alternating improvisations with a student singer. The songs usually end suddenly.

The singing style of qawwali is different from Western singing styles in many ways. For example, in words beginning with an "m", Western singers are apt to stress the vowel following the "m" rather than the "m" itself, whereas in qawwali, the "m" will usually be held, producing a muted tone. Also in qawwali, there is no distinction between what is known as the chest voice and the head voice (the different areas that sound will resonate in depending on the frequency sung). Rather, qawwals sing very loudly and forcefully, which allows them to extend their chest voice to much higher frequencies than those used in Western singing, even though this usually causes a more noisy or strained sound than what would be acceptable in the West.

Notable Qawwals of the past 70 years

 * Aziz Mian
 * Badar Ali Khan, (also known as Badar Miandad)
 * Bahauddin Qutbuddin
 * Fateh Ali Khan
 * Prabha Bharti
 * Habib Painter
 * Iqbal Hussain Khan Bandanawazi
 * Munshi Raziuddin
 * Nizami Bandhu
 * Nusrat Fateh Ali Khan
 * Sabri Brothers
 * Wadali Brothers
 * Warsi Brothers
 * Qutbi Brothers

Current and recent Qawwals

 * Ateeq Hussain Khan
 * Abdullah Manzoor Niazi
 * Faiz Ali Faiz
 * Fareed Ayaz
 * Dhruv Sangari
 * Rahat Fateh Ali Khan
 * Sukhawat Ali Khan
 * Rizwan Muazzam
 * Waheed and Naveed Chishti
 * Warsi Brothers
 * Qutbi Brothers
 * Tahir Faridi Qawwal
 * Aminah Chishti Qawwal,
 * Amjad Sabri
 * Abida Parveen
 * Sanam Marvi
 * Nooran Sisters

title: Qawwali


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Wright County

Wright County is the name of three counties in the United States:

 * Wright County, Iowa
 * Wright County, Minnesota
 * Wright County, Missouri

It is also the name of one company:
 * Wright County Egg, based in Galt, Iowa

It is also a historic county in Canada:
 * Wright County, Quebec

title: Wright County


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French School of the Far East

The French School of the Far East (École Française d'Extrême-Orient, ; also translated as The French School of Asian Studies ), abbreviated EFEO, is an associated college of PSL University dedicated to the study of Asian societies. It was founded in 1900 with headquarters in Hanoi in what was then French Indochina. After the independence of Vietnam, its headquarters were transferred to Phnom Penh in 1957, and subsequently to Paris in 1975. Its main fields of research are archaeology, philology and the study of modern Asian societies. Since 1907, the EFEO has been in charge of conservation work at the archeological site of Angkor.

Paul Mus was a member of EFEO since 1927, and "returned to Hanoi in 1927 as a secretary and librarian with the Research Institute of the French School of the Far East until 1940."

EFEO romanization system
A romanization system for Mandarin was developed by the EFEO. It shares a few similarities with Wade-Giles and Hanyu Pinyin. In modern times, it has been superseded by Hanyu Pinyin.

The differences between the three romanization systems are shown in the following table:

Directors

 * 1900: Louis Finot
 * 1905: Alfred Foucher
 * 1908: Claude-Eugène Maitre
 * 1920: Louis Finot
 * 1926: Léonard Aurousseau
 * 1929: George Cœdès
 * 1947: Paul Lévy
 * 1950: Louis Malleret
 * 1956: Jean Filliozat
 * 1977: François Gros
 * 1989: Léon Vandermeersch
 * 1993: Denys Lombard
 * 1998: Jean-Pierre Drège
 * 2004: Franciscus Verellen
 * 2014: Yves Goudineau
 * 2018: Christophe Marquet
 * 2022: Nicolas Fiévé

Publications
The catalog of EFEO Publications, of some 600 titles, includes works on a wide range of disciplines in the humanities and social sciences (archaeology, history, anthropology, literature, philology, etc.), centered on Asia, from India to Japan. These publications are directed at specialists and a wider public interested in Asian civilizations and societies.

The EFEO in publishes five scholarly journals on an annual or twice-yearly basis:
 * Bulletin de l'École française d'Extrême-Orient - BEFEO (Bulletin of the French School of Asian Studies), published since 1901
 * Arts Asiatiques (Asian Arts), published jointly with the Musée Guimet and the CNRS
 * Cahiers d'Extrême-Asie (East Asian Journal), published in Kyoto
 * Aséanie (Southeast Asian Studies), published in Bangkok
 * Sinologie française [S: 法国汉学, T: 法國漢學, P: Fǎguó Hànxué] (French Sinology), published in Chinese in Beijing

title: French School of the Far East


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List of polygons, polyhedra and polytopes

A polytope is a geometric object with flat sides, which exists in any general number of dimensions. The following list of polygons, polyhedra and polytopes gives the names of various classes of polytopes and lists some specific examples.

Polygon (2-polytope)

 * Vertex the ridge or (n−2)-face of the polygon
 * Edge the facet or (n−1)-face of the polygon

Polyhedron (3-polytope)

 * Vertex the peak or (n−3)-face of the polyhedron
 * Edge the ridge or (n−2)-face of the polyhedron
 * Face the facet or (n−1)-face of the polyhedron

Polychoron (4-polytope)

 * Vertex the (n−4)-face of the polychoron
 * Edge the peak or (n−3)-face of the polychoron
 * Face the ridge or (n−2)-face of the polychoron
 * Cell the facet or (n−1)-face of the polychoron

5-polytope

 * Vertex the (n−5)-face of the 5-polytope
 * Edge the (n−4)-face of the 5-polytope
 * Face the peak or (n−3)-face of the 5-polytope
 * Cell the ridge or (n−2)-face of the 5-polytope
 * Hypercell or Teron the facet or (n−1)-face of the 5-polytope

Other

 * Point
 * Line segment
 * Vertex figure
 * Peak – (n−3)-face
 * Ridge – (n−2)-face
 * Facet – (n−1)-face

Two dimensional (polygons)

 * Triangle
 * Equilateral triangle
 * Isosceles triangle
 * Scalene triangle
 * Right triangle
 * Oblique triangle
 * Acute triangle
 * Obtuse Triangle
 * Quadrilateral
 * Rectangle
 * Square
 * Rhombus
 * Parallelogram
 * Trapezoid
 * Isosceles trapezoid
 * Kite
 * Rhomboid

 * Pentagon
 * Hexagon
 * Heptagon
 * Octagon
 * Nonagon
 * Decagon
 * Hendecagon
 * Dodecagon
 * Triskaidecagon
 * Tetradecagon
 * Pentadecagon
 * Hexadecagon
 * Heptadecagon
 * Octadecagon
 * Enneadecagon
 * Icosagon
 * Icosihenagon
 * Icosidigon
 * Icositrigon
 * Icositetragon
 * Icosipentagon
 * Icosihexagon
 * Icosiheptagon
 * Icosioctagon
 * Icosienneagon
 * Triacontagon
 * Tetracontagon
 * Pentacontagon
 * Hexacontagon
 * Heptacontagon
 * Octacontagon
 * Enneacontagon
 * Hectogon
 * 257-gon
 * Chiliagon
 * Myriagon
 * 65537-gon
 * Megagon
 * Gigagon
 * Teragon
 * Apeirogon

Star polygons

 * Pentagram
 * Hexagram
 * Heptagram
 * Octagram
 * Enneagram
 * Decagram
 * Hendecagram
 * Dodecagram
 * Icositetragram

Families

 * Concave polygon
 * Cyclic polygon
 * Regular polygon
 * Polyform
 * Gnomon
 * Golygon

Tilings
List of uniform tilings

Uniform tilings in hyperbolic plane

 * Archimedean tiling
 * Square tiling
 * Triangular tiling
 * Hexagonal tiling
 * Truncated square tiling
 * Snub square tiling
 * Trihexagonal tiling
 * Truncated hexagonal tiling
 * Rhombitrihexagonal tiling
 * Truncated trihexagonal tiling
 * Snub hexagonal tiling
 * Elongated triangular tiling

Three dimensional (polyhedra)

 * Three-dimensional space

Regular
Regular polyhedron
 * Platonic solid:
 * Tetrahedron, Cube, Octahedron, Dodecahedron, Icosahedron
 * Regular spherical polyhedron
 * Dihedron, Hosohedron
 * Kepler–Poinsot polyhedron (Regular star polyhedra)
 * Small stellated dodecahedron, Great stellated dodecahedron, Great icosahedron, Great dodecahedron
 * Abstract regular polyhedra (Projective polyhedron)
 * Hemicube (geometry), hemi-octahedron, hemi-dodecahedron, hemi-icosahedron

 * Tetrahedron
 * Disphenoid
 * Pentahedron
 * Square pyramid, Triangular prism
 * Hexahedron
 * Parallelepiped, Cuboid, Rhombohedron, Trigonal trapezohedron, Cube, Pentagonal pyramid, Triangular dipyramid, quadrilateral frustum
 * Heptahedron
 * hexagonal pyramid, pentagonal prism, tetrahemihexahedron
 * Octahedron
 * Hexagonal prism, Truncated tetrahedron, Tetragonal trapezohedron
 * Enneahedron
 * Octagonal pyramid, Heptagonal prism
 * Decahedron
 * Octagonal prism, Square antiprism, Square cupola, Pentagonal dipyramid, Augmented pentagonal prism
 * Dodecahedron
 * Pentagonal antiprism, Decagonal prism, Pentagonal cupola, Snub disphenoid, Elongated square dipyramid, Metabidiminished icosahedron, Hexagonal bipyramid, Hexagonal trapezohedron, Triakis tetrahedron, Rhombic dodecahedron, Hendecagonal pyramid, Trapezo-rhombic dodecahedron, Rhombo-hexagonal dodecahedron

Archimedean solids

 * Archimedean solid
 * Truncated tetrahedron, Cuboctahedron, Truncated cube, Truncated octahedron, Rhombicuboctahedron, Truncated cuboctahedron, Snub cube, Icosidodecahedron, Truncated dodecahedron, Truncated icosahedron, Rhombicosidodecahedron, Truncated icosidodecahedron, Snub dodecahedron

Prisms and antiprisms

 * Prism
 * Triangular prism, Pentagonal prism, Hexagonal prism, Heptagonal prism, Octagonal prism, Enneagonal prism, Decagonal prism, Hendecagonal prism, Dodecagonal prism
 * Antiprism
 * Square antiprism, Pentagonal antiprism, Hexagonal antiprism, Heptagonal antiprism, Octagonal antiprism, Enneagonal antiprism, Decagonal antiprism, Dodecagonal antiprism

Catalan solids

 * Catalan solid
 * Triakis tetrahedron, Rhombic dodecahedron, Triakis octahedron, Tetrakis hexahedron, Deltoidal icositetrahedron, Disdyakis dodecahedron, Pentagonal icositetrahedron, Rhombic triacontahedron, Triakis icosahedron, Pentakis dodecahedron, Deltoidal hexecontahedron, Disdyakis triacontahedron, Pentagonal hexecontahedron

Bipyramids and Trapezohedron

 * Bipyramid
 * Triangular dipyramid, Pentagonal dipyramid, Hexagonal bipyramid, Octagonal bipyramid, Decagonal bipyramid
 * Trapezohedron

Uniform star polyhedra

 * Uniform star polyhedron
 * Cubitruncated cuboctahedron
 * Cubohemioctahedron
 * Ditrigonal dodecadodecahedron
 * Dodecadodecahedron
 * Great cubicuboctahedron
 * Great dirhombicosidodecahedron
 * Great disnub dirhombidodecahedron
 * Great ditrigonal dodecicosidodecahedron
 * Great ditrigonal icosidodecahedron
 * Great dodecahemicosahedron
 * Great dodecahemidodecahedron
 * Great dodecicosahedron
 * Great dodecicosidodecahedron
 * Great icosicosidodecahedron
 * Great icosidodecahedron
 * Great icosihemidodecahedron
 * Great inverted snub icosidodecahedron
 * Great retrosnub icosidodecahedron
 * Great rhombidodecahedron
 * Great rhombihexahedron
 * Great snub dodecicosidodecahedron
 * Great snub icosidodecahedron
 * Great stellated truncated dodecahedron
 * Great truncated cuboctahedron
 * Great truncated icosidodecahedron
 * Icosidodecadodecahedron
 * Icositruncated dodecadodecahedron
 * Inverted snub dodecadodecahedron
 * Nonconvex great rhombicosidodecahedron
 * Nonconvex great rhombicuboctahedron
 * Octahemioctahedron
 * Rhombicosahedron
 * Rhombidodecadodecahedron
 * Small cubicuboctahedron
 * Small ditrigonal dodecicosidodecahedron
 * Small ditrigonal icosidodecahedron
 * Small dodecahemicosahedron
 * Small dodecahemidodecahedron
 * Small dodecicosahedron
 * Small dodecicosidodecahedron
 * Small icosicosidodecahedron
 * Small icosihemidodecahedron
 * Small retrosnub icosicosidodecahedron
 * Small rhombidodecahedron
 * Small rhombihexahedron
 * Small snub icosicosidodecahedron
 * Small stellated truncated dodecahedron
 * Snub dodecadodecahedron
 * Snub icosidodecadodecahedron
 * Stellated truncated hexahedron
 * Tetrahemihexahedron
 * Truncated dodecadodecahedron
 * Truncated great dodecahedron
 * Truncated great icosahedron

Uniform prismatic star polyhedra

 * Prismatic uniform polyhedron
 * Pentagrammic prism, Pentagrammic antiprism, Pentagrammic crossed-antiprism
 * Heptagrammic antiprism (7/2), Heptagrammic antiprism (7/3)
 * Enneagrammic antiprism (9/2). Enneagrammic antiprism (9/4)
 * Enneagrammic crossed-antiprism, Enneagrammic prism (9/2), Enneagrammic prism (9/4)
 * Decagrammic prism, Decagrammic antiprism

Johnson solids

 * Johnson solid
 * 1) Augmented dodecahedron
 * 2) Augmented hexagonal prism
 * 3) Augmented pentagonal prism
 * 4) Augmented sphenocorona
 * 5) Augmented triangular prism
 * 6) Augmented tridiminished icosahedron
 * 7) Augmented truncated cube
 * 8) Augmented truncated dodecahedron
 * 9) Augmented truncated tetrahedron
 * 10) Biaugmented pentagonal prism
 * 11) Biaugmented triangular prism
 * 12) Biaugmented truncated cube
 * 13) Bigyrate diminished rhombicosidodecahedron
 * 14) Bilunabirotunda
 * 15) Diminished rhombicosidodecahedron
 * 16) Disphenocingulum
 * 17) Elongated pentagonal bipyramid
 * 18) Elongated pentagonal cupola
 * 19) Elongated pentagonal gyrobicupola
 * 20) Elongated pentagonal gyrobirotunda
 * 21) Elongated pentagonal gyrocupolarotunda
 * 22) Elongated pentagonal orthobicupola
 * 23) Elongated pentagonal orthobirotunda
 * 24) Elongated pentagonal orthocupolarotunda
 * 25) Elongated pentagonal pyramid
 * 26) Elongated pentagonal rotunda
 * 27) Elongated square bipyramid
 * 28) Elongated square cupola
 * 29) Elongated square gyrobicupola
 * 30) Elongated square pyramid
 * 31) Elongated triangular bipyramid
 * 32) Elongated triangular cupola
 * 33) Elongated triangular gyrobicupola
 * 34) Elongated triangular orthobicupola
 * 35) Elongated triangular pyramid
 * 36) Gyrate bidiminished rhombicosidodecahedron
 * 37) Gyrate rhombicosidodecahedron
 * 38) Gyrobifastigium
 * 39) Gyroelongated pentagonal bicupola
 * 40) Gyroelongated pentagonal birotunda
 * 41) Gyroelongated pentagonal cupola
 * 42) Gyroelongated pentagonal cupolarotunda
 * 43) Gyroelongated pentagonal pyramid
 * 44) Gyroelongated pentagonal rotunda
 * 45) Gyroelongated square bicupola
 * 46) Gyroelongated square bipyramid
 * 47) Gyroelongated square cupola
 * 48) Gyroelongated square pyramid
 * 49) Gyroelongated triangular bicupola
 * 50) Gyroelongated triangular cupola
 * 51) Hebesphenomegacorona
 * 52) Metabiaugmented dodecahedron
 * 53) Metabiaugmented hexagonal prism
 * 54) Metabiaugmented truncated dodecahedron
 * 55) Metabidiminished icosahedron
 * 56) Metabidiminished rhombicosidodecahedron
 * 57) Metabigyrate rhombicosidodecahedron
 * 58) Metagyrate diminished rhombicosidodecahedron
 * 59) Parabiaugmented dodecahedron
 * 60) Parabiaugmented hexagonal prism
 * 61) Parabiaugmented truncated dodecahedron
 * 62) Parabidiminished rhombicosidodecahedron
 * 63) Parabigyrate rhombicosidodecahedron
 * 64) Paragyrate diminished rhombicosidodecahedron
 * 65) Pentagonal bipyramid
 * 66) Pentagonal cupola
 * 67) Pentagonal gyrobicupola
 * 68) Pentagonal gyrocupolarotunda
 * 69) Pentagonal orthobicupola
 * 70) Pentagonal orthobirotunda
 * 71) Pentagonal orthocupolarotunda
 * 72) Pentagonal pyramid
 * 73) Pentagonal rotunda
 * 74) Snub disphenoid
 * 75) Snub square antiprism
 * 76) Sphenocorona
 * 77) Sphenomegacorona
 * 78) Square cupola
 * 79) Square gyrobicupola
 * 80) Square orthobicupola
 * 81) Square pyramid
 * 82) Triangular bipyramid
 * 83) Triangular cupola
 * 84) Triangular hebesphenorotunda
 * 85) Triangular orthobicupola
 * 86) Triaugmented dodecahedron
 * 87) Triaugmented hexagonal prism
 * 88) Triaugmented triangular prism
 * 89) Triaugmented truncated dodecahedron
 * 90) Tridiminished icosahedron
 * 91) Tridiminished rhombicosidodecahedron
 * 92) Trigyrate rhombicosidodecahedron

Dual uniform star polyhedra

 * Great complex icosidodecahedron
 * Great deltoidal hexecontahedron
 * Great deltoidal icositetrahedron
 * Great dirhombicosidodecacron
 * Great dirhombicosidodecahedron
 * Great disdyakis dodecahedron
 * Great disdyakis triacontahedron
 * Great disnub dirhombidodecacron
 * Great ditrigonal dodecacronic hexecontahedron
 * Great dodecacronic hexecontahedron
 * Great dodecahemicosacron
 * Great dodecicosacron
 * Great hexacronic icositetrahedron
 * Great hexagonal hexecontahedron
 * Great icosacronic hexecontahedron
 * Great icosihemidodecacron
 * Great inverted pentagonal hexecontahedron
 * Great pentagonal hexecontahedron
 * Great pentagrammic hexecontahedron
 * Great pentakis dodecahedron
 * Great rhombic triacontahedron
 * Great rhombidodecacron
 * Great rhombihexacron
 * Great stellapentakis dodecahedron
 * Great triakis icosahedron
 * Great triakis octahedron
 * Great triambic icosahedron
 * Medial deltoidal hexecontahedron
 * Medial disdyakis triacontahedron
 * Medial hexagonal hexecontahedron
 * Medial icosacronic hexecontahedron
 * Medial inverted pentagonal hexecontahedron
 * Medial pentagonal hexecontahedron
 * Medial rhombic triacontahedron
 * Hexahemioctacron
 * Hemipolyhedron
 * Octahemioctacron
 * Rhombicosacron
 * Small complex icosidodecahedron
 * Small ditrigonal dodecacronic hexecontahedron
 * Small dodecacronic hexecontahedron
 * Small dodecahemicosacron
 * Small dodecahemidodecacron
 * Small dodecicosacron
 * Small hexacronic icositetrahedron
 * Small hexagonal hexecontahedron
 * Small hexagrammic hexecontahedron
 * Small icosacronic hexecontahedron
 * Small icosihemidodecacron
 * Small rhombidodecacron
 * Small rhombihexacron
 * Small stellapentakis dodecahedron
 * Small triambic icosahedron
 * Tetrahemihexacron

Honeycombs

 * Convex uniform honeycomb
 * Cubic honeycomb
 * Truncated cubic honeycomb
 * Bitruncated cubic honeycomb
 * Cantellated cubic honeycomb
 * Cantitruncated cubic honeycomb
 * Rectified cubic honeycomb
 * Runcitruncated cubic honeycomb
 * Omnitruncated cubic honeycomb
 * Tetrahedral-octahedral honeycomb
 * Truncated alternated cubic honeycomb
 * Cantitruncated alternated cubic honeycomb
 * Runcinated alternated cubic honeycomb
 * Quarter cubic honeycomb
 * Gyrated tetrahedral-octahedral honeycomb
 * Gyrated triangular prismatic honeycomb
 * Gyroelongated alternated cubic honeycomb
 * Gyroelongated triangular prismatic honeycomb
 * Elongated triangular prismatic honeycomb
 * Elongated alternated cubic honeycomb
 * Hexagonal prismatic honeycomb
 * Triangular prismatic honeycomb
 * Triangular-hexagonal prismatic honeycomb
 * Truncated hexagonal prismatic honeycomb
 * Truncated square prismatic honeycomb
 * Rhombitriangular-hexagonal prismatic honeycomb
 * Omnitruncated triangular-hexagonal prismatic honeycomb
 * Snub triangular-hexagonal prismatic honeycomb
 * Snub square prismatic honeycomb

 * Dual uniform honeycomb
 * Disphenoid tetrahedral honeycomb
 * Rhombic dodecahedral honeycomb

 * Others
 * Trapezo-rhombic dodecahedral honeycomb
 * Weaire–Phelan structure

 * Convex uniform honeycombs in hyperbolic space
 * Order-4 dodecahedral honeycomb
 * Order-5 cubic honeycomb
 * Order-5 dodecahedral honeycomb
 * Icosahedral honeycomb

Other

 * Apeirogonal prism
 * Apeirohedron
 * Bicupola
 * Cupola
 * Bifrustum
 * Boerdijk–Coxeter helix
 * Császár polyhedron
 * Flexible polyhedron
 * Gyroelongated square bipyramid
 * Heronian tetrahedron
 * Hexagonal bifrustum
 * Hexagonal truncated trapezohedron
 * Hill tetrahedron
 * Holyhedron
 * Infinite skew polyhedron
 * Jessen's icosahedron
 * Near-miss Johnson solid
 * Parallelepiped
 * Pentagonal bifrustum
 * Polytetrahedron
 * Pyritohedron
 * Rhombic enneacontahedron
 * Rhombic icosahedron
 * Rhombo-hexagonal dodecahedron
 * Rhombohedron
 * Scalenohedron
 * Schönhardt polyhedron
 * Square bifrustum
 * Square truncated trapezohedron
 * Szilassi polyhedron
 * Tetradecahedron
 * Tetradyakis hexahedron
 * Tetrated dodecahedron
 * Triangular bifrustum
 * Triaugmented triangular prism
 * Truncated rhombic dodecahedron
 * Truncated trapezohedron
 * Truncated triakis tetrahedron
 * Tridyakis icosahedron
 * Trigonal trapezohedron
 * Regular skew polyhedron
 * Waterman polyhedron
 * Wedge

Regular and uniform compound polyhedra

 * Polyhedral compound and Uniform polyhedron compound
 * Compound of cube and octahedron
 * Compound of dodecahedron and icosahedron
 * Compound of eight octahedra with rotational freedom
 * Compound of eight triangular prisms
 * Compound of five cubes
 * Compound of five cuboctahedra
 * Compound of five cubohemioctahedra
 * Compound of five great cubicuboctahedra
 * Compound of five great dodecahedra
 * Compound of five great icosahedra
 * Compound of five great rhombihexahedra
 * Compound of five icosahedra
 * Compound of five octahedra
 * Compound of five octahemioctahedra
 * Compound of five small cubicuboctahedra
 * Compound of five small rhombicuboctahedra
 * Compound of five small rhombihexahedra
 * Compound of five small stellated dodecahedra
 * Compound of five stellated truncated cubes
 * Compound of five tetrahedra
 * Compound of five tetrahemihexahedra
 * Compound of five truncated cubes
 * Compound of five truncated tetrahedra
 * Compound of five uniform great rhombicuboctahedra
 * Compound of four hexagonal prisms
 * Compound of four octahedra
 * Compound of four octahedra with rotational freedom
 * Compound of four tetrahedra
 * Compound of four triangular prisms
 * Compound of great icosahedron and great stellated dodecahedron
 * Compound of six cubes with rotational freedom
 * Compound of six decagonal prisms
 * Compound of six decagrammic prisms
 * Compound of six pentagonal prisms
 * Compound of six pentagrammic crossed antiprisms
 * Compound of six pentagrammic prisms
 * Compound of six tetrahedra
 * Compound of six tetrahedra with rotational freedom
 * Compound of small stellated dodecahedron and great dodecahedron
 * Compound of ten hexagonal prisms
 * Compound of ten octahedra
 * Compound of ten tetrahedra
 * Compound of ten triangular prisms
 * Compound of ten truncated tetrahedra
 * Compound of three cubes
 * Compound of three tetrahedra
 * Compound of twelve pentagonal antiprisms with rotational freedom
 * Compound of twelve pentagonal prisms
 * Compound of twelve pentagrammic prisms
 * Compound of twelve tetrahedra with rotational freedom
 * Compound of twenty octahedra
 * Compound of twenty octahedra with rotational freedom
 * Compound of twenty tetrahemihexahedra
 * Compound of twenty triangular prisms
 * Compound of two great dodecahedra
 * Compound of two great icosahedra
 * Compound of two great inverted snub icosidodecahedra
 * Compound of two great retrosnub icosidodecahedra
 * Compound of two great snub icosidodecahedra
 * Compound of two icosahedra
 * Compound of two inverted snub dodecadodecahedra
 * Compound of two small stellated dodecahedra
 * Compound of two snub cubes
 * Compound of two snub dodecadodecahedra
 * Compound of two snub dodecahedra
 * Compound of two snub icosidodecadodecahedra
 * Compound of two truncated tetrahedra
 * Prismatic compound of antiprisms
 * Prismatic compound of antiprisms with rotational freedom
 * Prismatic compound of prisms
 * Prismatic compound of prisms with rotational freedom

Four dimensions
4-polytope – general term for a four dimensional polytope
 * Four-dimensional space

 * Regular 4-polytope
 * 5-cell, Tesseract, 16-cell, 24-cell, 120-cell, 600-cell

 * Abstract regular polytope
 * 11-cell, 57-cell

 * Regular star 4-polytope
 * Icosahedral 120-cell, Small stellated 120-cell, Great 120-cell, Grand 120-cell, Great stellated 120-cell, Grand stellated 120-cell, Great grand 120-cell, Great icosahedral 120-cell, Grand 600-cell, Great grand stellated 120-cell

 * Uniform 4-polytope
 * Rectified 5-cell, Truncated 5-cell, Cantellated 5-cell, Runcinated 5-cell
 * Rectified tesseract, Truncated tesseract, Cantellated tesseract, Runcinated tesseract
 * Rectified 16-cell, Truncated 16-cell
 * Rectified 24-cell, Truncated 24-cell, Cantellated 24-cell, Runcinated 24-cell, Snub 24-cell
 * Rectified 120-cell, Truncated 120-cell, Cantellated 120-cell, Runcinated 120-cell
 * Rectified 600-cell, Truncated 600-cell, Cantellated 600-cell

 * Prismatic uniform 4-polytope
 * Grand antiprism
 * Duoprism
 * Tetrahedral prism, Truncated tetrahedral prism
 * Truncated cubic prism, Truncated octahedral prism, Cuboctahedral prism, Rhombicuboctahedral prism, Truncated cuboctahedral prism, Snub cubic prism
 * Truncated dodecahedral prism, Truncated icosahedral prism, Icosidodecahedral prism, Rhombicosidodecahedral prism, Truncated icosidodecahedral prism, Snub dodecahedral prism

 * Uniform antiprismatic prism
 * Triangular antiprismatic prism, Square antiprismatic prism, Pentagonal antiprismatic prism, Hexagonal antiprismatic prism, Heptagonal antiprismatic prism, Octagonal antiprismatic prism, Enneagonal antiprismatic prism, Decagonal antiprismatic prism
 * Pentagrammic antiprismatic prism, Hexagrammic antiprismatic prism, Heptagrammic antiprismatic prism, Octagrammic antiprismatic prism, Enneagrammic antiprismatic prism, Decagrammic antiprismatic prism
 * Pentagrammic crossed antiprismatic prism, Hexagrammic crossed antiprismatic prism, Heptagrammic crossed antiprismatic prism, Octagrammic crossed antiprismatic prism, Enneagrammic crossed antiprismatic prism, Decagrammic crossed antiprismatic prism

Honeycombs

 * Tesseractic honeycomb
 * 24-cell honeycomb
 * Snub 24-cell honeycomb
 * Rectified 24-cell honeycomb
 * Truncated 24-cell honeycomb
 * 16-cell honeycomb
 * 5-cell honeycomb
 * Omnitruncated 5-cell honeycomb
 * Truncated 5-cell honeycomb
 * Omnitruncated 5-simplex honeycomb

Five dimensions

 * Five-dimensional space, 5-polytope and uniform 5-polytope
 * 5-simplex, Rectified 5-simplex, Truncated 5-simplex, Cantellated 5-simplex, Runcinated 5-simplex, Stericated 5-simplex
 * 5-demicube, Truncated 5-demicube, Cantellated 5-demicube, Runcinated 5-demicube
 * 5-cube, Rectified 5-cube, Truncated 5-cube, Cantellated 5-cube, Runcinated 5-cube, Stericated 5-cube
 * 5-orthoplex, Rectified 5-orthoplex, Truncated 5-orthoplex, Cantellated 5-orthoplex, Runcinated 5-orthoplex

 * Prismatic uniform 5-polytope
 * 5-cell prism, Rectified 5-cell prism, Truncated 5-cell prism, Cantellated 5-cell prism, Runcinated 5-cell prism, Bitruncated 5-cell prism, Cantitruncated 5-cell prism, Runcitruncated 5-cell prism, Omnitruncated 5-cell prism
 * Tesseractic prism, Rectified tesseractic prism, Truncated tesseractic prism, Cantellated tesseractic prism, Runcinated tesseractic prism, Bitruncated tesseractic prism, Cantitruncated tesseractic prism, Runcitruncated tesseractic prism, Omnitruncated tesseractic prism
 * 16-cell prism, Truncated 16-cell prism, Runcitruncated 16-cell prism
 * 24-cell prism, rectified 24-cell prism, truncated 24-cell prism, cantellated 24-cell prism, runcinated 24-cell prism, bitruncated 24-cell prism, cantitruncated 24-cell prism, runcitruncated 24-cell prism, omnitruncated 24-cell prism, snub 24-cell prism
 * 120-cell prism, Rectified 120-cell prism, Truncated 120-cell prism, Cantellated 120-cell prism, Runcinated 120-cell prism, Bitruncated 120-cell prism, Cantitruncated 120-cell prism, Runcitruncated 120-cell prism, Omnitruncated 120-cell prism
 * 600-cell prism, Rectified 600-cell prism, Truncated 600-cell prism, Cantellated 600-cell prism, Cantitruncated 600-cell prism, Runcitruncated 600-cell prism
 * Grand antiprism prism

Honeycombs

 * 5-cubic honeycomb
 * 5-simplex honeycomb
 * Truncated 5-simplex honeycomb
 * 5-demicubic honeycomb

Six dimensions

 * Six-dimensional space, 6-polytope and uniform 6-polytope
 * 6-simplex, Rectified 6-simplex, Truncated 6-simplex, Cantellated 6-simplex, Runcinated 6-simplex, Stericated 6-simplex, Pentellated 6-simplex
 * 6-demicube, Truncated 6-demicube, Cantellated 6-demicube, Runcinated 6-demicube, Stericated 6-demicube
 * 6-cube, Rectified 6-cube, Truncated 6-cube, Cantellated 6-cube, Runcinated 6-cube, Stericated 6-cube, Pentellated 6-cube
 * 6-orthoplex, Rectified 6-orthoplex, Truncated 6-orthoplex, Cantellated 6-orthoplex, Runcinated 6-orthoplex, Stericated 6-orthoplex
 * 122 polytope, 221 polytope

Honeycombs

 * 6-cubic honeycomb
 * 6-simplex honeycomb
 * 6-demicubic honeycomb
 * 222 honeycomb

Seven dimensions

 * Seven-dimensional space, uniform 7-polytope
 * 7-simplex, Rectified 7-simplex, Truncated 7-simplex, Cantellated 7-simplex, Runcinated 7-simplex, Stericated 7-simplex, Pentellated 7-simplex, Hexicated 7-simplex
 * 7-demicube, Truncated 7-demicube, Cantellated 7-demicube, Runcinated 7-demicube, Stericated 7-demicube, Pentellated 7-demicube
 * 7-cube, Rectified 7-cube, 7-cube, Truncated 7-cube, Cantellated 7-cube, Runcinated 7-cube, Stericated 7-cube, Pentellated 7-cube, Hexicated 7-cube
 * 7-orthoplex, Rectified 7-orthoplex, Truncated 7-orthoplex, Cantellated 7-orthoplex, Runcinated 7-orthoplex, Stericated 7-orthoplex, Pentellated 7-orthoplex
 * 132 polytope, 231 polytope, 321 polytope

Honeycombs

 * 7-cubic honeycomb
 * 7-demicubic honeycomb
 * 331 honeycomb, 133 honeycomb

Eight dimension

 * Eight-dimensional space, uniform 8-polytope
 * 8-simplex, Rectified 8-simplex, Truncated 8-simplex, Cantellated 8-simplex, Runcinated 8-simplex, Stericated 8-simplex, Pentellated 8-simplex, Hexicated 8-simplex, Heptellated 8-simplex
 * 8-orthoplex, Rectified 8-orthoplex, Truncated 8-orthoplex, Cantellated 8-orthoplex, Runcinated 8-orthoplex, Stericated 8-orthoplex, Pentellated 8-orthoplex, Hexicated 8-orthoplex,
 * 8-cube, Rectified 8-cube, Truncated 8-cube, Cantellated 8-cube, Runcinated 8-cube, Stericated 8-cube, Pentellated 8-cube, Hexicated 8-cube, Heptellated 8-cube
 * 8-demicube, Truncated 8-demicube, Cantellated 8-demicube, Runcinated 8-demicube, Stericated 8-demicube, Pentellated 8-demicube, Hexicated 8-demicube
 * 142 polytope, 241 polytope, 421 polytope, Truncated 421 polytope, Truncated 241 polytope, Truncated 142 polytope, Cantellated 421 polytope, Cantellated 241 polytope, Runcinated 421 polytope

Honeycombs

 * 8-cubic honeycomb
 * 8-demicubic honeycomb
 * 521 honeycomb, 251 honeycomb, 152 honeycomb

Nine dimensions

 * 9-polytope
 * 9-cube
 * 9-demicube
 * 9-orthoplex
 * 9-simplex

Hyperbolic honeycombs

 * E9 honeycomb

Ten dimensions

 * 10-polytope
 * 10-cube
 * 10-demicube
 * 10-orthoplex
 * 10-simplex

Dimensional families

 * Regular polytope and List of regular polytopes
 * Simplex
 * Hypercube
 * Cross-polytope
 * Uniform polytope
 * Demihypercube
 * Uniform 1k2 polytope
 * Uniform 2k1 polytope
 * Uniform k21 polytope

 * Honeycombs
 * Hypercubic honeycomb
 * Alternated hypercubic honeycomb

Geometric operators

 * Rectification (geometry)
 * Truncation (geometry)
 * Bitruncation
 * Cantellation
 * Runcination
 * Sterication
 * Omnitruncation
 * Expansion (geometry)
 * Snub (geometry)
 * Alternation (geometry)
 * Dual polyhedron
 * Gyration (geometry)
 * Elongation (geometry)
 * Augmentation (geometry)
 * Diminishment (geometry)
 * Greatening (geometry)
 * Aggrandizement (geometry)
 * Stellation
 * Kleetope
 * Conway polyhedron notation