text:
Kek Lok Si

The Kek Lok Si Temple is a Buddhist temple within the city of George Town in the Malaysian state of Penang. Located at Ayer Itam, it is the largest Buddhist temple in Malaysia and an important pilgrimage centre for Buddhists from Hong Kong, the Philippines, Singapore and other parts of Southeast Asia. The entire complex of temples was built over a period from 1890 to 1930, an inspirational initiative of Beow Lean, the abbot. The main feature of the complex is the seven-story Ten Thousand Buddhas Pagoda commissioned by the late Thai king Rama VI, featuring 10,000 alabaster and bronze statues of Buddha and the 36.57 m bronze statue of Guanyin (Kuan Yin), the Goddess of Mercy. The 10,000 Buddhas concept belongs to the Chinese Mahāyāna school of Buddhism while Rama VI was king over a Theravāda country and Buddhist tradition.

Mahayana Buddhism, Theravada Buddhism and traditional Chinese rituals blend into a harmonious whole, both in the temple architecture and artwork as well as in the daily activities of worshippers.

Etymology
Kek Lok Si means "Sukhāvatī Temple". In Hokkien (a southern Chinese language), Kek-lok literally means "supreme joy", itself a translation of Sukhāvatī, a paradise. Si means "temple".

Kek Lok Si has also been translated as "Heavenly temple", "Pure Land Temple" (Sukhāvatī is one of the pure lands), "Temple of Supreme Bliss", and the "Temple of Paradise".

History
The construction of the temple began in 1890 and was completed in 1905. It was inspired by Beow Lean, the chief Chan Buddhist monk of the Goddess of Mercy Temple at Pitt Street in 1887; he had served earlier in the Kushan Abbey in Fujian in China. The site chosen by Beow, a spiritual location in the hills of Ayer Itam, facing the sea, was named "Crane Mountain". It was established as a branch of the Buddhist Vatican in Drum Mountain in Fuzhou, Fujian Province. Beow Lean was the first abbot of the temple. The buildings of the temple complex were sponsored by five leading Chinese business people of Penang known as "Hakka tycoons": Cheong Fatt Tze, his cousin Chang Yu Nan, Cheah Choon Seng, Tye Kee Yoon, and Chung Keng Kooi. Collection of funds for building the temple was also facilitated by dedicating the structures and artefacts in the name of the temple's benefactors. The main hall, which was completed first, housed a shrine to Guanyin, in a recessed area where many other female goddesses called the Queen of Heaven, the Goddess of the Earth, and Goddess of Childbirth are housed; which is said to represent, on a miniature scale, the island of Potalaka (as Mount Putuo), where there is a large shrine dedicated to Guanyin in the China Sea. People compared this shrine to the Amitabha Buddha's Western Paradise and started calling it the "Kek Lok Si" (Jile Si in Mandarin). There are also many other shrine chambers, which have stately statues, all gilded, of the Buddhas, bodhisattvas, saintly lohans, guardian spirits, and Heavenly (or Diamond) Kings of Pure Land Buddhism.

The consular representative of China in Penang reported the grandeur of the temple to the Qing imperial government. Following this, the Guangxu Emperor invited Beow Lean to Beijing in 1904 and bestowed on him 70,000 volumes (or 7,000, according to other sources) of the "psalms and other sacred works of Buddhism" and also presented him edicts anointing him the "dignity of the Chief Priest of Penang" and also declaring "the Chinese temple at Air Itam as the head of all Chinese temples in Penang". On the abbot's return to Penang, a royal procession, carrying the edict in a rattan chair and the scriptures in pony-driven carts, was organised leading to the temple complex. Prominent Chinese dignitaries of Penang in their royal mandarin attire accompanied the abbot in the procession.

In 1930, the seven-storey main pagoda of the temple, the "Ban Po Thar" (萬佛塔, "Pagoda of the Ten Thousand Buddhas"), a 30 m structure, was completed. This pagoda combines a Chinese octagonal base with a middle tier of Thai design, and a Burmese crown (spiral dome); reflecting the temple's amalgam of both Mahayana and Theravada Buddhism. It represents syncretism of the ethnic and religious diversity in the country. There is a large statue of Buddha donated by King Bhumibol of Thailand deified here. King Rama VI of Thailand laid the foundation for the pagoda, so it is also named "Rama Pagoda".

In 2002, a 30.2 m bronze statue of Guanyin, the Goddess of Mercy, was completed and opened to the public. It replaced the previous white plaster Kuan Yin statue which was damaged due to a fire a few years earlier. The bronze statue is located on the hillside above the pagoda. The statue is complemented with a 60.9 m three-tiered roof pavilion (with 16 columns made of bronze supporting the pavilion), which was completed in 2009. It was the tallest Guanyin statue in the world. One hundred statues of the goddess Kuan Yin, each of 2 m height, are set around the main statue of the goddess. However, its height was restricted to avoid its shadow falling on the Penang State Mosque. This shrine also has other 10,000 statues of Buddha, apart from a statue of 12 Zodiac Animal Signs of the Chinese Calendar.

The temple complex has a large hydraulically operated bell, which tolls with a high pitch at frequent intervals. Wood and stone carvings are profusely seen in the temple. In front of each deity there is a cushion, impressive scrolls, and candles set in very attractive suspended lamps, and with a large number of priests in attendance.

In October 2021, about 70% of one of the temple buildings was destroyed by the fire, with flames measuring about 12m by 15m. The Fire and Rescue Department (BOMBA) were alerted about the incident at 2:56am on a Tuesday morning. The cause of the fire is still being investigated by authorities.

Description
Kek Lok Si Temple is located at the foot of the Air Itam mountain in George Town on Penang Island. It is built over a plot of an area of 12.1 ha that was donated by Yeoh Siew Beow. It is about 3 km walk from the Penang Hill Station.

Most visitors approach the temple as they ascend a stairway, roofs of which provide shelter to a multitude of shops selling souvenirs and other - mostly secular - commodities. They pass by a so-called Liberation Pond, following the Buddhist tradition of merit-making, turtles may be released into freedom, albeit a limited one.

The temple itself consists of several large prayer halls and pavilions for assembly and prayer, statues of Buddha; various bodhisattvas as well as Chinese deities are being venerated. The architectural features include carved pillars, fine woodwork, mostly painted in bright colours, and a plethora of lanterns add to the visual impression. Fish ponds and flower gardens are also part of the temple complex.

There are two tiers of double-lane inclined elevators to carry pilgrims and visitors further uphill. An electric buggy service links the different tiers of elevators as their middle levels are some distance apart. On the elevated platform, there is a fish pond, and the towering statue of Kuan Yin, Goddess of Mercy, beseeched by women hoping to have children. Monks and nuns reside in a monastery.

Annual events
The temple is a focal point of festivals of the Chinese community in Penang. The Chinese New Year celebrations are particularly impressive. For 30 days following Chinese New Year, the temple remains open until late at night whilst thousands of lights turn the scenery into a sea of light. During the festival days, the complex is decorated with thousands of lanterns representing donations offered by devotees. Another festive feature is the long marches undertaken by hundreds of monks from Thailand to the temple, once or twice in a year.

Worship
Worship of the deities in the temple complex reflects the diversity of the ethnic origins of the Buddhist devotees. Such worship could be in the form of counting prayer beads or by burning incense or by cash offerings or just by bowing and clapping to make one's presence known to the deity. Highly learned people offer prayers at the tower of Sacred Books in the upper part of the temple. Some pilgrims also offer prayers in the extensive gardens located in the precincts of the temple.

The religious paraphernalia sold along the winding steps that lead to the temple precincts cater to the religious offerings to be made by the pilgrims. The goods on sale comprise ornaments, books, pictures, collection of sayings and strings of a sacred orange colour and mementos such as T-shirts and CDs.

Fire Outbreak
A fire broke out at the temple on the morning of 12 October 2021, and The Fire and Rescue Department of Malaysia were alerted about the incident at 2:56am. The flames had already engulfed one of the temple buildings when firemen arrived at the scene. Penang Fire and Rescue Department operations officer, Muhamad Norhisham Ibrahim reported that the fire have completely destroyed at least 70% of the 18.5 square metre temple building with fires fully extinguished around 6 am. There were no casualties or injuries reported during the whole incident. The cause of the fire is still being investigated by authorities. As of 18 October 2021, the temple complex is still opened to the public except for its affected mid-section. The temple is promised be repaired before 22 December 2021, the date marking the 130th anniversary of the temple.

title: Kek Lok Si


text:
Talk:Korean art

Merge
I suggest that Korean sculpture and List of Korean ceramic artists and sculptors be merged into Korean art. 126.234.121.176 (talk) 05:06, 12 June 2023 (UTC)

 * ✅ 126.167.189.172 (talk) 05:54, 16 June 2023 (UTC)

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

title: Talk:Korean art


text:
User talk:Transend

Hi! welcome to Wikipedia!

Hope you enjoy contributing to Wikipedia. Be bold in editing pages. Here are some links that you might find useful:

 * Try the Tutorial. If you have less time, try How to edit a page.
 * To sign your posts (on talk pages, Articles for deletion page etc.) use 	 ~ (four tildes). This will insert your name and timestamp. To insert just your name, type (3 tildes).
 * You can experiment in the test area.
 * You can get help at the Help Desk
 * Some other pages that will help you know more about Wikipedia: Manual of Style and Policies and Guidelines, Neutral point of view, Civility, What Wikipedia is not

I hope you stick around and keep contributing to Wikipedia. Drop us a note at New user log.

-- utcursch | talk to me

title: User talk:Transend


text:
Talk:Korean mask

Wiki Education Foundation-supported course assignment
This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page. Student editor(s): RaineRules.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 01:53, 17 January 2022 (UTC)

Untiltled
Korean Believe in spirit and shamans their masks are devised into two mask is used for excorcism and religious cerymonies 124.105.80.121 (talk) 07:54, 25 November 2021 (UTC)

5000 Years
Korean masks have a long tradition going back at least 5000 years.

Can you prove by Archaeological findings? --219.125.102.158 16:41, 24 June 2005 (UTC)

Updated
Updated, any comments post to POofYS Dated 04:05, 8 April 2005. 69.158.147.167 (talk) 07:36, 8 April 2005 (UTC)

Duck wood?
What's "duck wood?" I suspect this is just a typo, but I can't figure out what it was meant to say. Perhaps dark wood? --Reuben 18:38, 19 October 2006 (UTC)

 * Actually it's a mistranslation of 오리나무 ("duck tree"), aka Alnus japonica or the Japanese Alder. Fixed now.  Cheers, -- Visviva 01:22, 20 October 2006 (UTC)

 * Ah, good catch. --Reuben 01:33, 20 October 2006 (UTC)

title: Talk:Korean mask


text:
Department of Railways and Canals

The Department of Railways and Canals is a former department of the Government of Canada. It had responsibility for the construction, operation, and maintenance of federal government-owned railways, as well as the operational responsibility for canals in Canada.

The department was created in 1879 by transferring several existing government operations, namely the Railway Branch of the Department of Public Works and the operational responsibilities for canals, which were administered by the government's Office of the Chief Engineer.

These components were reorganized into the Railway Branch and the Canal Branch, respectively. The Railway Branch was responsible for administering the federally owned railways, namely the Intercolonial Railway of Canada and the Prince Edward Island Railway (at the time of the department's creation). The branch also provided a program of financial assistance to encourage new railway construction in the country. The Canal Branch administered Canada's canal system and undertook new construction as required.

One of the most powerful departments in the early governments of Canada, it was amalgamated with the Department of Marine and the Civil Aviation Branch of the Department of National Defence in 1936 to form the Department of Transport.

title: Department of Railways and Canals


text:
Tarrasch Defense

The Tarrasch Defense is a chess opening characterized by the moves:

 * 1. d4 d5
 * 2. c4 e6
 * 3. Nc3 c5

The Tarrasch is a variation of the Queen's Gambit Declined.

Black's third move is an aggressive bid for central. After White plays cxd5 and dxc5, Black will be left with an isolated pawn on d5. Such a pawn may be weak, since it can no longer be defended by other pawns, but it grants Black a foothold in the, and Black's bishops will have unobstructed lines for development.

The opening was advocated by the German player Siegbert Tarrasch, who contended that the increased Black enjoys is well worth the inherent weakness of the isolated center pawn. Although many other masters, after the teachings of Wilhelm Steinitz, rejected the Tarrasch Defense out of hand because of the pawn weakness, Tarrasch continued to play his opening while rejecting other variations of the Queen's Gambit, even to the point of putting question marks on routine moves in all variations except the Tarrasch (which he awarded an exclamation mark) in his book Die moderne Schachpartie. (See chess punctuation.)

The Tarrasch Defense is considered. Even if Black fails to make use of their mobility and winds up in an inferior endgame, tied to the defense of their isolated pawn, they may be able to hold the draw if they defend accurately.

In the Encyclopedia of Chess Openings, the Tarrasch Defense has codes D32 through D34.

Main line: 4.cxd5 exd5 5.Nf3 Nc6 6.g3 Nf6
In the main line, White will isolate Black's queen pawn with 4.cxd5 exd5 and attempt to exploit its weakness. The most common setup is to fianchetto the king's bishop in order to put pressure on the isolated d5-pawn, as 3...c5 has relinquished the possibility of protecting the point d5 by means of ...c6.

After 4.cxd5, Black may offer the Hennig–Schara Gambit with 4...cxd4. While this was once essayed by Alexander Alekhine, it has never achieved popularity at master level and is considered advantageous for White.

On the third move White often plays 3.Nf3 instead (in part to avoid the Hennig–Schara Gambit), which after 3...c5 4.cxd5 exd5 5.Nc3 transposes to the main line.

'''7. Bg2 Be7 8. 0-0 0-0'''

In modern praxis, 9.Bg5 is most frequently played here, though there are other ideas of note, 9.dxc5 and 9.b3 being the main alternatives. (Other lines are 9.Be3, 9.Bf4, and 9.a3.)

During the 2010's, the hitherto forgotten line 1.d4 d5 2.c4 e6 3.Nf3 Nf6 4.Nc3 c5 5.cxd5 exd5 6.g3 Nc6 7.Bg2 cxd4 8.Nxd4 Bc5 became a topic of theoretical debate at the top level mainly due to the efforts of Russian grandmaster Daniil Dubov. This approach to the Tarrasch Defense is therefore known as the Dubov Tarrasch.

Swedish Variation
The Swedish Variation (also called the Folkestone Variation) is a line beginning 6...c4. Black now has a four to three pawn, and will try to expand with ...b5, with White aiming for a central break with e4. The line is considered somewhat dubious and is rarely seen in modern practice.

The Swedish Variation has ECO code D33.

title: Tarrasch Defense


text:
Talk:Korean calligraphy

Updated, any comments post to POofYS Dated 04:05, 8 April 2005.

The article used to end in: "Thus in this article we shall divide the history into Korean calligraphy in languages not purely Korean as the first part of this article; and the new approach to Korean calligraphy in the Korean language in the second part of the article."

this implies it was copy&pasted from a research paper without proper mentioning of the author, which is potentially bad practice I guess? (clem 22:01, 16 Apr 2005 (UTC))

Jong-sung?
What is this phrase that is used in the article, in reference to modern hangul calligraphy? Is this 종숭? This makes no sense to me. Jyg (talk) 19:01, 13 July 2017 (UTC)
 * Or 종성 (final consonant, e.g. ㄱ in 책). But it still doesn't make sense and I think the whole paragraph (added by an IP) may be removed. Seudo (talk) 18:43, 4 April 2020 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Korean calligraphy. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20050416042438/http://kn.koreaherald.co.kr/SITE/data/html_dir/2001/01/13/200101130043.asp to http://kn.koreaherald.co.kr/SITE/data/html_dir/2001/01/13/200101130043.asp

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 10:04, 12 December 2017 (UTC)

title: Talk:Korean calligraphy


text: Category:Mindless Self Indulgence albums


text:
Talk:Korean knot

Updated, any comments post to POofYS Dated 04:05, 8 April 2005.

Merged with Chinese knot into Decorative knotwork in East Asia. Kokiri 28 June 2005 15:27 (UTC)

title: Talk:Korean knot


text:
Suliman S. Olayan

Suliman Saleh Olayan (سليمان صالح العليان; 5 November 1918 – 4 July 2006) was among Saudi Arabia's wealthiest businessmen.

Biography and career
Orphaned at the age of six, Olayan had more humble beginnings than most of his business counterparts from the Kingdom. Olayan's rise to great wealth reflected his connections to the Al-Saud royal family and his fronting for them, his acumen, the ability to cross cultural barriers, as well as extraordinary timing.

Initially working for ARAMCO from 1937 to 1947, he left to start his own trucking company, the first of over 50 companies he would create or own. Over a 55-year career as an independent businessman, he served as an entrepreneur, investor, and philanthropist. Under his guidance and leadership, The Olayan Group became both a leading diversified enterprise in Saudi Arabia and a major participant in global investing.

In 1918, Suliman Olayan was born into one of these merchant families. His father, Saleh, had recently returned from Medina, where he had been a spice trader. Suliman spent the first years of his life in his family's ancestral hometown.

Suliman's mother died just a few months after he was born, and his father died when he was still a child. When he was about 10 years old, Suliman traveled with his older brother by camel to the Persian Gulf coast and then by boat to Bahrain. In Bahrain, at the dawn of the age of oil in that part of the Persian Gulf, Suliman attended the American school, where he learned English, and then the Al Khalifa and Al Jafariya schools. He proved to be an exceptional student with a prodigious memory and an uncanny ability to see things not just as they were but as they could be. After leaving school in 1936, he went to work for the Bahrain Petroleum Company. A year later, he returned to Saudi Arabia to take a job with the California Arabian Standard Oil Company, the forerunner of the Arabian American Oil Company (Aramco). By 1947, Suliman had risen from transportation dispatcher to storehouse supervisor to a position in Government Relations. During King Abdul Aziz Al Saud's historic visit to Dhahran in April of that year, Suliman served as a company translator.

The story of his entrepreneurial journey begins in the town of Unayzah in North Central Saudi Arabia. For centuries, the town had been a haven for caravans venturing across the Najd, Saudi Arabia's heartland. The merchant families of Unayzah had developed important trading links with the world outside central Arabia - the cities on the Red Sea and Persian Gulf coast, which had ties to Africa and Asia. In the wake of World War II, the oil industry was expanding rapidly. Sensing a once-in-a-lifetime opportunity, Suliman set out on his own in the summer of 1947. With a personal loan secured on his home, he established General Contracting Company (GCC).

GCC's first customer was Bechtel, which was under contract to Aramco to manage the construction of the Trans-Arabian Pipeline (Tapline), a mammoth project designed to link the oil wells in Saudi Arabia's Eastern Province to a terminal in Lebanon on the Mediterranean Sea. GCC handled transportation and related services for the historic project.

Buoyed by GCC's success and with his entrepreneurial instincts and drive now in high gear, Suliman undertook a series of trailblazing projects in the 1950s. He played a key role in developing Saudi Arabia's earliest electrical power companies, founding the country's first public utility, the National Gas Company.

In 1954, he launched General Trading Company (GTC), the Group's food and consumer products distribution business. Also in 1954, Suliman was instrumental in introducing commercial insurance to Saudi Arabia, founding Arab Commercial Enterprises (ACE), which went on to become the largest insurance and reinsurance broker in the Middle East.

In the 1960s, Suliman turned to international equity investing, an activity which would eventually establish the Group as an influential participant in global capital markets.

Meanwhile, Suliman was also developing business alliances, pioneering in Saudi Arabia the concept of strategic partnerships and strengthening his relationship to Bechtel. Moreover, through GTC and GCC he acquired exclusive distributorships for Kimberly Clark, General Foods, Pillsbury, Hunt Wesson, Cummins Engine, Kenworth and Atlas Copco. In 1969, the Group obtained a license from Kimberly Clark to construct the first paper tissue converting plant in Saudi Arabia. The same year, GTC established one of the first cold storage and meat processing plants in the Kingdom, and the Group played a leading role with other Saudi and foreign investors to establish a large factory for manufacturing plastic pipe and fittings. Other joint manufacturing ventures with major multinationals followed.

In 1983 Suliman became one the world's sixty-four richest bankers, and his estimated net worth was reported to be $2 billion by a Business International report. Beginning in the late 1980s, the Group embarked on a series of new activities in Saudi Arabia, focusing on light manufacturing and franchising, reaching beyond the Kingdom to other Persian Gulf countries and the greater Middle East. At the same time, it consolidated and strengthened existing operations, a process that continues to this day.

He is survived by his son, Khaled Olayan, his three daughters, Hayat Olayan, Hutham Olayan, Lubna Olayan, and his wife Maryam.

title: Suliman S. Olayan


text:
Talk:Korean embroidery

Untitled
Updated by the press office of Prince Yi Seok, any comments post to POofYS Dated 04:05, 8 April 2005.

title: Talk:Korean embroidery


text:
User talk:Skinjob

Hi! welcome to Wikipedia!

Hope you enjoy contributing to Wikipedia. Be bold in editing pages. Here are some links that you might find useful:

 * Try the Tutorial. If you have less time, try How to edit a page.
 * To sign your posts (on talk pages, Articles for deletion page etc.) use 	 ~ (four tildes). This will insert your name and timestamp. To insert just your name, type (3 tildes).
 * You can experiment in the test area.
 * You can get help at the Help Desk
 * Some other pages that will help you know more about Wikipedia: Manual of Style and Policies and Guidelines, Neutral point of view, Civility, What Wikipedia is not

I hope you stick around and keep contributing to Wikipedia. Drop us a note at New user log.

-- utcursch | talk to me

Image Tagging Image:Lynne stewart.jpg
Thanks for uploading Image:Lynne stewart.jpg. I notice the image page currently doesn't specify who created the image, so the copyright status is therefore unclear. If you have not created the image yourself then you need to argue that we have the right to use the image on Wikipedia (see copyright tagging below). If you have not created the image yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

If the image also doesn't have a copyright tag then you must also add one. If you created/took the picture then you can use GFDL to release it under the GFDL. If you believe the image qualifies as fair use, please read fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other images, please check that you have specified their source and copyright tagged them, too. You can find a list of image pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thank you. Matt 23:47, 27 January 2006 (UTC)

Image copyright problem with Image:National lawyers guild emblem.jpg
Thanks for uploading Image:National lawyers guild emblem.jpg. However, the image may soon be deleted unless we can determine the copyright holder and copyright status. The Wikimedia Foundation is very careful about the images included in Wikipedia because of copyright law (see Wikipedia's Copyright policy).

The copyright holder is usually the creator, the creator's employer, or the last person who was transferred ownership rights. Copyright information on images is signified using copyright templates. The three basic license types on Wikipedia are open content, public domain, and fair use. Find the appropriate template in Image copyright tags and place it on the image page like this:.

Please signify the copyright information on any other images you have uploaded or will upload. Remember that images without this important information can be deleted by an administrator. If you have any questions, feel free to contact me. Thank you. --Adam Clark(User_Talk) (email) 21:16, 18 March 2006 (UTC)

Proposed deletion of Radio CPR

The article Radio CPR has been proposed for deletion  because of the following concern:
 * unlicensed Part 15 radio station with no assertion of notability, no references from reliable third-party sources

While all contributions to Wikipedia are appreciated, content or articles may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the  notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the article to address the issues raised. Removing  will stop the Proposed Deletion process, but other deletion processes exist. The Speedy Deletion process can result in deletion without discussion, and Articles for Deletion allows discussion to reach consensus for deletion. Dravecky (talk) 22:40, 25 August 2009 (UTC)

title: User talk:Skinjob


text:
Talk:Korean architecture

Untitled
Note: This is another contribution to the wikipedia by the Press Office of Yi Seok, and with hope it will allow useful information for those attempting a fast accurate guide to Korean architecture. Users are encouraged as well to see the Korean art entry for a subdivision of other important Korean art forms.

Updated, any comments post to POofYS Dated 04:05, 8 April 2005.

Updated, substantive editing; will cut down repeated elements in the next edit and clarify this complicated subject to focus more on individual buildings and architects. Urban architecture in Seoul looks as if it needs devolve another entry; as Busan and perhaps other cities. There might as well be a requirement for an entry on Sports architecture to be generated. POofYS Dated 12:45, 12 April 2005.

Multicolored 'Day Glo' Stripes In Korean Temples Shrines and Elsewhere
This is a very obvious Korean architectural detail. McDogm

The Influence of Frank Lloyd Wright In Ordinary Architecture
It is as though Koreans decided that FLW was really good, and made a lot of good looking apartment buildings that emulated that style. Korean American Ska music in Southern California and Manhattan Fruit Stands follow a similar template. I suppose it is a 'template' template. It is a very good method that is easy to adapt to one's life; is there a Korean word for it?McDogm Dated Apr 28 2005 0318 est usa

Early Architecture
Is there any way we can get more information about pre-1900 architecture in Korea. There is plenty of stuff on post-Soviet and post-World War II and a lot of referencing to earlier sytles, but no mention of what these earlier styles are. --Kerowyn 10:05, 1 May 2005 (UTC)

 * Chief editor is working on it; we have been getting information in on Korean swords, and Korean flower arrangement, and Righteous army movements; expected to get more information on architecture over the next while, and add more on earlier times. Sorry for the delay. I will be filling in Goryeo temple architecture next, and related information to Japanese temple architecture originated by Koreans; and as well the Confucian styles. It's a very big subject, and the initial thrust was to talk about the new wave of atelier architects, and then go retrograde. Thanks for the encouragement.

--POofYS 01:57, 11 May 2005 (UTC)

Tagged Section's Title
Please clean it up. The ==Sports architecture: transition to a Korean style== is against wikipedian style. What kind of title is that.100110100 01:06, 13 November 2006 (UTC)

Korean castles
I see no mention in this article of Korean castles or fortresses. Certainly they existed, and certainly many are still extant, no? WikiProject Castles has recently come into existence, and could use the help of experts on Korea to expand Wikipedia's coverage of castles and fortresses around the world. Thank you. LordAmeth 12:13, 13 February 2007 (UTC)

Korean architectural influence on Japan.
Someone should make put architectures like Kudara-ji, Kudara Odera, Horyu-ji, Asukadera, etc. Baekje impact on Asuka period architectures. Also, Japanese Yayoi-Kofun architectures was greatly influenced by Southern Korean proto-types. —Preceding unsigned comment added by 74.72.15.7 (talk) 18:41, 31 March 2011 (UTC)

Colonial Period Architecture
It feels like that this particular section mentioned in the header is biased and takes on a specific POV. In the entire subsection, there are only 2 sources for this very contentious period of Korean history. There is a section that reads "This ruthless execution of systematic colonialism left important Korean buildings neglected" that honestly reeks of pro-Korean bias by use of words such as ruthless when it adds nothing but personal opinion.

Likewise, another section reads "Korean architectural schools were subsequently closed, and Korean architects were required to train only in Japan " without nary a source mentioned. In fact, the only points the writer of this section can back up are fairly obvious statements that can be found in many scholarly works - while other accusations against Japan are uncited.

What do others think? 96.55.109.61 (talk) 10:52, 4 April 2011 (UTC)

 * No response to this very serious issue? I have taken a look at the past of this article, dating back to its infancy in 2005 and found that the Japanese colonial architecture section was mostly, if not always, very biased - and seemingly written by those with anti-Japanese bias. Thankfully mentions of genocide has been removed (what it has to do with architecture, I will not know) but in its current shape and form the Colonial section is still biased and not backed with sources.

 * If no one else replies, I will take it upon myself to do some research and possibly rewrite the section.

 * To elaborate, I'd like to identify just some of the problems with this section of the article.

 * 1. Lacks sources for virtually all of the text, except in 2 locations.
 * 2. General flow issues (as if written by someone with English as a second language).
 * 3. Unnecessary use of words that convey emotion such as ruthless.

 * Additionally, this article faces many issues in general. For instance, this article has only 7 references, while a shorter article on Japanese Architecture features no less than 70. Even the article on Chinese Architecture, which really is only a summary of links to full articles, feature 14 references.

 * Due to these issues I'd like to call for an expert to contribute to this article. At the least, it needs an overhaul and see the number of sources doubled or more.
 * -Edwin- 13:37, 22 June 2011 (UTC)

 * I'd hesitate to label content regarding Japanese colonial rule as anti-Japanese or biased, as a lot of horrible things did in fact happen during that time period. As far as architecture goes, palaces were razed (Gyeongbok and Changyeong palaces, notably - the Japanese General Government building was pretty infamous for having been built inside the Gyeongbok palace grounds), artifacts were stolen (e.g. the stone lion statuettes from Bulguksa), and so on. The facts exist, although one can't be certain how accurately they are represented in this article without proper citations.

 * If emotionally charged text existed, it seems to be gone now, thankfully. The article as a whole is, however, still rather lacking in citations, so I think it would be appropriate to replace the disputed tag with a cleanup tag and attach a refimprove tag to the entire article.
 * Unbal3 (talk) 19:21, 29 April 2012 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 3 external links on Korean architecture. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20080622234947/http://www.koreanculture.org/06about_korea/symbols/14dancheong.htm to http://www.koreanculture.org/06about_korea/symbols/14dancheong.htm
 * Added archive https://web.archive.org/web/20110703082420/http://www.koreanbook.de/index.php?main_page=product_info&cPath=84_125&products_id=1238 to http://www.koreanbook.de/index.php?main_page=product_info&cPath=84_125&products_id=1238
 * Added archive https://web.archive.org/web/20051024190851/http://www.ucnet.pe.kr/Architecture%20in%20Korea/KA-Contemporary%20Building-Seoul-01.htm to http://www.ucnet.pe.kr/Architecture%20in%20Korea/KA-Contemporary%20Building-Seoul-01.htm

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 10:00, 12 December 2017 (UTC)

Argh
It's so close. Detailed but poor sourcing... At least it'll be informative to people, but it's still not a "good" article. toobigtokale (talk) 00:16, 12 February 2024 (UTC)

title: Talk:Korean architecture


text:
Korean embroidery

Korean embroidery techniques and artifacts have a long history, but there is the most evidence from the Joseon Dynasty, after the 14th century in Korea. This article talks about the history, styles, preservation, artists, and examples of screens, costumes, and domestic wares of this exacting and beautiful art form.

People used needles made out of bones of fish or animals to sew and weave animal skins and the bark or leaves of trees.

Chasu, the Korean word for embroidery, was a method of cultivating beauty in every corner of daily life. Pokshik chasu, kiyong chasu, kamsang chasu and Buddhist chasu are the four types of Chasu.

 * Pokshik chasu is the embroidery on clothes.
 * Kiyong chasu is the embroidery decorated on various materials used in the king’s palace.
 * Kamsang chasu represented a type of artistic piece.
 * Buddhist chasu came from Buddhism. Buddhist chasu was used in the statues of Buddha or various temples. Chasu has begun from the prehistoric era when the humans first started to make clothes.

History
Traditional embroidery of Korea has a long history and has expressed the aesthetic qualities of Korea according to the changes of the times. The embroidery has been cultivating beauty with delicate skill in everyday life through the stiffness of needle, sweat and stitches along with weaving and sewing, and also the national emotions have blossomed in.

Traditional embroidery of Korea used silk cloth and thread mainly before the Three Kingdoms of Korea and had a special gloss and texture. As a result, the aesthetic effect of embroidery was expressed as beautifully as possible. This silk embroidery was first introduced in Persia, became popular in Iran, and was known to have been brought to Korea through India and China.

Prehistory
In the Bronze Age, there are ferrules made of soil or stone, large and small crocodiles, stone needles, and needle houses. It can be inferred that weaving and sewing were already done at the time when such spinning tools and sewing tools were unearthed.

Following the Bronze Age, iron farming came into being in the Iron Age, and agriculture was remarkably developed. Textile cultivation technology developed and textile production increased. In the case of "Three Kingdoms" and "Huh Hanbook", it is said that this time, it was cultivated horse and mulberry trees and raised that silkworm cocoons, including cotton seeds, mapo, and coops.

The development of these fabrics is a basic requirement for embroidery development. In the granting of the transfer of the "Three Kingdoms", "the grantor wears clothes made of silver, gold, silver, and silver when he goes abroad", and the number is recorded as silver silk embroidered with gold and silver.

The embroidery is presumed to have been embroidered on clothes, flags and wagons with signs indicating the rank and class of the ruling class at that time, although the facts of this age are not conveyed to today because of the nature of the materials which are easily damaged. Literary records of the embroidery before the Three Kingdoms period are only fragmentary about the embroidery and the fabric used in the Goryeo, Goguryeo, Mahan, Jinhwan, Changjin, and Yeon before the Three Kingdoms period.

Samgukside (Three Kingdoms Period)
In this age, production tools and production technology have been developed in general and productivity has improved. As a result, weaving machines have been improved and weaving has been developed. And the kinds of fabrics have increased and quality also has improved. Therefore, embroidery decorations would have been performed on clothes and various textile products. However, the literature on embroidery is scarce and there are no examples of embroidery artifacts left yet. Among the unearthed artifacts of Gyeongju Cheonmachuk excavated in 1973, traces of gold silk were found on the hem.

In the Samguk sagi and Samgukyusa, the Silla Dynasty Queen (Jinduk Queen 4) sent "Taipyeong Song" to Tang dynasty. The "Taepyeongsong" embroidery, which was produced as a diplomatic gift at that time, is a masterpiece in which 100 Chinese characters combined with 5 and 20 lines are embroidered. The content was a ritual that praised Gojong's dignity.

The number of "Taepyongsong" suggests that firstly, embroidery has made a great contribution as a diplomatic gift to represent the friendship between nations. Secondly, the record that the queen squeezed her handmade silk was important for embroidery, including sewing, weaving and dyeing, as a household art that women should acquire from their childhood, from noble to commoner.

The embroidery was brought to Japan with various cultures developed in this period and had a great influence. Such facts can be found in the records of the Japanese Nihon Shiki and the Japanese embroidery textbook chronicle. Around 340 BC, the king of Baekje sent Jin Maojin, the workwoman, to Japan and she became the founder of Japanese embroidery.

In addition, the head of the maritime state Mandara (Japanese National Treasure), which was built by Kagyu Iga, is depicted as a Goguryeo-style figure. It is believed that the embroidery techniques of Koguryo and Baekje were handed down to Japan because there are many similarities. The embroidery of Goguryeo, Silla, and Baekje are commonly seen as representing the identity of the nobility, and they have been supplemented with abstract paintings on restoration, longevity.

Unified Silla Period
In this era, cultural characteristics of the Three Kingdoms were fused and gathered and enjoyed the glorious golden age of culture. Embroidery was also considered to have developed considerably both quantitatively and qualitatively. However, there are no existing artifacts at the time, and no detailed data on embroidery techniques and patterns can be found, so research through works is impossible. However, when you look at the "Samguksagi", you can see that the embroidery has been decorated with embroidery from cloths to saddle, and daily necessities, and Buddhist embroidery has also prospered considerably. The records of the embroidery are summarized first, and in 834 (the 9th year of King Heungdeok) the costume ban was issued and stipulated the kind of use of fabric according to the status. This ban was enforced, and it can be seen that the demand for fine fabrics and embroidery was considerable due to the luxury that was prevalent in the noble society at the time. On the other hand, there were many workshops dedicated to weaving, dyeing, and sewing in this period, contributing to the development of textile arts.

Goryeo Dynasty
In the Goryeo era, the embroidery has evolved more and more. The country established a bureaucratic office and a manual book to produce various cloths and handicrafts. It seems that not only the items shown in the literature have been diversified compared to the previous era, but also the production technology has developed considerably. According to the "Goryo Dogyung", the guards who escorted the king usually wore silk bouquets embroidered with five-color flowers or birds, and decorated with white flowers in their waistbands. As the embroidery is decorated up to military uniforms, it seems that the embroidery decoration was also performed in the costumes of the noble and common people.

Joseon Dynasty
The most prominent feature of embroidery development in the Joseon Dynasty is that the use of handicrafts has expanded to the general level, The embroideries used in the court are made by skilled ladies who are experts in embroidery belonging to the court, and the embroidery expressions are precise and the arrangement of the colors is sophisticated, but it is somewhat formalized because it is made by standardized handwriting. On the other hand, the embroideries made in the villages are not very sophisticated because of their low proficiency, but they are varied and interesting because they embroidered to their taste.

The most popular themes used to decorate men’s quarters in this era were common objects and accoutrements typically used by Confucian scholars; these included books, pens, scrolls, and vases.

Modern
Craftsman with professional handicraft technique embroidering succeeds embroidery culture. They hold an exhibition in South Korea and abroad.

Material
The base cloth of embroidery was white or blue silk colored silk, and wool was rarely used. And the investigation was mainly used by the half - puns and the twins. In the mid Joseon Dynasty, the lacquered sagas became thinner and the thick braided saga after the late Joseon Dynasty was the basic material of traditional embroidery. Braided yarn has strength and elasticity and can be easily remained or undamaged. Also, it is suitable for regular fine embroidery, and the twisted yarn is strong, so that the gloss of the yarn is not exposed. There are differences in the effect of expression depending on the number of twisted lines and the direction of the beam (left or right), but in any case, the surface of the braided yarn of constant thickness by a constant light becomes flat without any bending. On the other hand, it is difficult to carry regular or detailed description of the hempen yarn because it is thick and coarse and it can not keep the stool short.

Embroidery pattern
In the case of the actual pattern, the phrase implies that the pattern has the role of verbal communication as a combination of kanji with the meaning of a word indicating a phenomenon in the cloth. Therefore, the pattern contains a silent language that I want to convey, and the origin of human beings is contained in the silent language. It is embroidery pattern that expresses the pattern with these characteristics in real, and expresses the wish and origination of human history by expressing nature 's landscape, flora and fauna.

Women's Costume
The Hwal-ot:활옷 is the ladies' dresses of the Princess and Ongju of the Joseon Dynasty, Mainly worn by women of the upper classes. It is a common practice to sew 10 things that symbolize long live over the entire garment.

Accessories
The pouch was packed with a small item or money and packed in a waistband. The main characters used in the text are light, wealthy, long live and luck. plant pattern are chrysanthemums, flowers, morning glory, orchids, peonies, bamboo, vines, cherry blossoms, peaches, peach flowers,, Pine trees, lotus flowers, roses, fenugreek. And the animal pattern is a turtle, a butterfly, a barbeque, a bee, a phoenix, a deer, a bird and so on.

Norigae is a trinket for women to wear on a jacket pant or skirt waist. It is embroidered lotus, clouds, stones, waves, suns, and gauze in a square emblem.

Suhye, also known as kkotsin (flower shoes), refers to Korean silk shoes decorated with elaborate embroidery. These were most popular during the Silla Kingdom (57 B.C-A.D. 935) among Korean women throughout the Joseon Dynasty (1392–1910). Women of the upper and common class wore them, especially on their wedding day, because they were associated with special and formal occasions. Suhye were made by layering hemp onto a shoe form covered with blue and red silk fabrics. Once sewn in place, brilliant silk threads were embroidered into elegant designs in shapes of chrysanthemum, bamboo, pine trees, and arabesque motifs. The beautiful flower shoes thus became an essential accessory of stylish women of Korean society. They were even commonly custom-ordered for the most exquisite embroidery. Women wore these to be visible under long skirts, as an expression of charm and stylishness with every step.

Clothing and household items were commonly colorfully embroidered with symbolic motifs throughout East Asia. During the Joseon Dynasty, court officials wore spectacularly embroidered hyungbae (Korean insignia badge) on the chest and back. Different bird and animal motifs were embroidered, indicating the wearer’s position or rank in the court. The double-crane rank badge, for example, indicated first- to third-rank civil officials from the 18th to 20th centuries. Single leopard patterns indicated military officials of fourth- to ninth-rank in the 19th century. Double leopards represented the top three ranks. These were embroidered with tightly twisted silk threads. In Korea, tigers and leopards were commonly used as a symbol of protection from evil.

Other exquisitely embroidered pieces also include the Bojagi (Korean wrapping cloth). A completed bojagi could indicate the socioeconomic status of its maker. Bojagi however, is utilitarian at heart. It is an age-old Korean craft meant to be accessible to everyone. Throughout Korean history, overt emotional expression has been mostly frowned upon, and therefore abundantly expressed instead through artistic characteristics of the Korean culture. Women of the Joseon Dynasty were not to be seen outside of their homes during the day until the evening bells rang and men returned home. Many women, then, found satisfaction through stitching colorful and rich designs on fabric within their homes. Wide ranges of intense to gentle color combinations told the stories of families and history as well as philosophy influenced by yin and yang, Feng Shui, and the five elements said to make up the universe.

Gu style
Pioneered by the Gu school in China, this style was quickly adopted by Koreans and neighboring East Asian countries. Also known as a style of embroidery painting, it was famed for its delicate and precise stitchery which sought to achieve the highest degree of realism. This technique evolved from the Song tradition of realistic embroidery that imitated painting. Gu style was used often to illustrate high degrees of naturalism. Authors could achieve stunning detail in the fur of animals and objects in nature by painting onto fabric before stitches were added, then use of thin, hairlike threads (eight filaments twisted into one thread), and blending of two shades by use of long and short stitches. Korean and Japanese embroiders worked with professional painters for their master designs. While much of the painted regions could be covered in stitches, some painted areas could remain visible under minimal embroidery to reveal the painting illustrations as well.

Jaryeonsu: 자련수
It is a technique used to express things in a realistic way or to express the natural change of color by using light and shade. It is filled with irregularly long, short, It can make a natural change according to the coloring of the color and the orientation of the gathering and it is suitable for embroidering petal, leaves and clouds of a comparatively large area.

Chilbosu: 칠보수
It is a unique technique of Korean embroidery which can not be seen in western embroidery. It is a technique to make regular and geometric patterns by putting the base of the embroidery on it and placing the embroidery on it.

Jing-guemsu: 징금수
It is a technique to fix a thick thread or a band with an area that is not stitched on the eye with a thin thread such as a cord, a thick thread, a gold thread, or a silver thread on a cloth.

Jarisu: 자리수
It is a unique embroidery technique that is only in Korean traditional embroidery. It is a technique to express the shape of matting mat and it is mainly used when filling a wide side.

===Stitching Technique Names in Korean ===

Jangsik su—decorative stitch

Jari su—mat stitch

Jaryun su—long and short stitch

Jick su—straight satin stitch

Jinggum su—couching stitch

Karyum su—leaf stitch

Maedup su—seed stitch

Pyung su—covering satin stitch

Sasul su—chain stitch

Socksim su—padding stitch

Yieum su—outline stitch

title: Korean embroidery


text:
Abdulaziz Al-Saqqaf

Professor Abdulaziz Y. Al-Saqqaf (24 October 1954 in Taiz – 2 June 1999) was a Yemeni human-rights activist, economist, and journalist.

Saqqaf established the Yemen Times, unified Yemen's first and most widely read English-language independent newspaper, in 1991, and was the winner of the N.P.C.'s International Award for Freedom of the Press for 1995. He was also a leading economist at the state-owned Sana'a University. He won the lifetime Achievement Award of the 2006 Middle East Publishing Conference in recognition of his efforts in promoting freedom of the press in Yemen and in the region. Dr. Saqqaf was killed in 1999 when he was hit by a motorist. Despite appeals by Dr. Saqqaf's heirs to re-open an investigation into the crash due to indicators that it may have been a carefully coordinated assassination, the authorities in 1999 refused to do so, resulting in a withdrawal from the trial proceedings against the car driver. Saqqaf's elder son Walid and younger daughter Nadia, who currently runs the Yemen Times, has mentioned on several occasions that they believe the crash was orchestrated due to their father's frequent critical writings against the former president of Yemen Ali Abdullah Saleh.

Dr. Saqqaf earned his doctoral degree in 1979 from the Fletcher School of Law and Diplomacy, Medford, Massachusetts. Of his many publications was a two part series on Islamic Economic Systems which he introduced as a subject while he taught at Sana'a University College of Commerce.

title: Abdulaziz Al-Saqqaf


text:
Wikipedia:Articles for deletion/Marko Alaupovic

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. - Mailer Diablo 16:44, 14 Apr 2005 (UTC)

Marko Alaupovic
This appears to be simply a humorous vanity page. Esrogs 07:44, 8 Apr 2005 (UTC)
 * Delete, not notable, vanity. Megan1967 11:25, 8 Apr 2005 (UTC)
 * Delete, only vanity. Plus it appeares in Google if you type "who is the coolest person on earth?" Worthstream 11:34, 8 Apr 2005 (UTC)
 * Delete. --Grouse 12:01, 8 Apr 2005 (UTC)
 * Delete. -- Please. Zachlipton 13:01, Apr 8, 2005 (UTC)
 * Delete. Funny but not appropriate Wikipedia use. Massysett 13:37, 8 Apr 2005 (UTC)
 * Delete it. --Asriel86 17:04, Apr 8, 2005 (UTC)
 * Delete vanity. Cool, but useless. Vlad M V  ٭ talk 15:31, 13 Apr 2005 (UTC)
 * Delete, nn vanitycruft. ComCat 06:26, 14 Apr 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text: User talk:218.19.66.117

title: User talk:218.19.66.117


text:
Klaus Hildebrand

Klaus Hildebrand (born 18 November 1941, Bielefeld, Germany) is a German liberal-conservative historian whose area of expertise is 19th–20th-century German political and military history.

Biography
Hildebrand is an intentionalist on the origins of the Holocaust question, arguing that the personality and role of Adolf Hitler was a crucial driving force behind the Final Solution. Writing in 1979, Hildebrand stated:

"Fundamental to National Socialist genocide was Hitler's race dogma...Hitler's programmatic ideas about the destruction of the Jews and racial domination have still to be rated as primary and causative, as motive and aim, as intention and goal of the 'Jewish policy' of the Third Reich."

Working closely with Andreas Hillgruber, Hildebrand took the view that such events as the Shoah and Operation Barbarossa were all the unfolding of Hitler's master plan. Along similar lines, in a 1976 article, Hildebrand commented on left-wing historians of the Nazi Germany that in his view they were:

"theoretically fixed, are vainly concerned with functional explanations of the autonomous force in history and as a result frequently contribute towards its trivialization."

Hildebrand has argued that the distinction drawn by the functionalists between the Einsatzgruppen massacres of Jews in the German-occupied parts of the Soviet Union in 1941-42 and between the rest of the Shoah is largely meaningless. Hildebrand wrote that:

"In qualitative terms, the executions by shooting were no different from the technically more efficient accomplishment of the 'physical final solution' by gassing, of which they were a prelude."

In 1981, the British Marxist historian Timothy Mason in his essay 'Intention and explanation: A current controversy about the interpretation of National Socialism' from the book The "Fuehrer State" : Myth and reality coined the term "Intentionist" as part of an attack against Hildebrand and Karl Dietrich Bracher, both of whom Mason accused of focusing too much on Hitler as an explanation for the Holocaust.

Though Hildebrand is a leading advocate of the totalitarianism school and rejects any notion of generic fascism as intellectually inadequate, he does believe that the Third Reich was characterized by what he deems "authoritarian anarchy". However, Hildebrand believes in contrast to the work of Martin Broszat and Hans Mommsen that the "authoritarian anarchy" caused by numerous competing bureaucracies strengthened, not weakened Hitler's power. In Hildebrand's opinion, the "Hitler factor" was indeed the central causal agent of the Third Reich. Hildebrand has argued against the Sonderweg view of German history championed by the Mommsen brothers.

In the 1970s Hildebrand was deeply involved in a rancorous debate with Hans-Ulrich Wehler over the merits of traditional diplomatic history versus social history as way of explaining foreign policy. Together with Andreas Hillgruber, Hildebrand argued for the traditional Primat der Aussenpolitik (Primacy of Foreign Policy) approach with the focus on empirically examining the foreign policy making elite. Wehler by contrast argued for the Primat der Innenpolitik (Primacy of Domestic Politics) approach which called for seeing foreign policy largely as a reflection of domestic politics and employing theoretically based research into social history to examine domestic politics. Another area of difference between Hildebrand and his left-wing critics in the role of geography in German history. Hildebrand has argued that Germany's position as the "country in the middle" bordered by Russia and France has often limited the options of the German government in the 19th-20th centuries.

In regards to the Globalist-Continentalist debate between those argue that the Hitler's foreign policy at world conquest against those who argue that Nazi foreign policy aim only at the conquest of Europe, Hildebrand has consistently taken a Globalist position, arguing that the foreign policy of the Third Reich did indeed have world domination as its goal, with Hitler following a Stufenplan (stage-by-stage plan) to reach that goal. In Hildebrand's opinion, Hitler's foreign policy aimed at nothing less than world conquest in his own lifetime, and those who argue otherwise are seriously misunderstanding the full scope of Hitler's ambitions. Hildebrand sees Hitler's "Programme" for world domination as comprising in an equal measure crafty power politics and fanatical racism. Together with Andreas Hillgruber and Gerhard Weinberg, Hildebrand is considered to be one of the leading Globalist scholars. Through Hildebrand does not maintain that Hitler was a free agent in foreign policy, and accepts that there were structural limitations upon Hitler's room to manoeuvre, he contends that these limitations only had the effect of pushing Hitler into the direction that he always wanted to go. However, Hildebrand does not favor an exclusively Hitlerist interpretation of German foreign policy in the era of the Third Reich. In Hildebrand's view, there were three other fractions within the NSDAP who advocated foreign policy programmes different from Hitler's. One fraction, whom Hildebrand dubs the "revolutionary socialists", supported an anti-Western policy with support for independence movements within the British Empire and an alignment with the Soviet Union. Most closely associated the Strasser brothers, Gregor and Otto the "revolutionary socialist" fraction played no important role in the foreign policy of the Third Reich. A rival fraction whom Hildebrand calls the "agrarians" centered around the agrarian leader Richard Walther Darré, the Party "race theorist" Alfred Rosenberg and the Reichsfũhrer-SS Heinrich Himmler, favored an anti-industrial and anti-urban "blood and soil" ideology, expansion at the expense of the Soviet Union in order to acquire Lebensraum, alliance with Britain and opposition to the restoration of overseas colonies as threatening German racial purity. Another fraction, who Hildebrand refers to as the Wilhelmine Imperialists and whose leading personality was Hermann Göring, advocated at minimum the restoration of the borders of 1914 and the overseas empire, a zone of influence for Germany in Eastern Europe, and greater emphasis on traditional Machtpolitik as opposed to Hitler's racist vision of an endless and merciless Social Darwinist struggle between different "races" for lebensraum. The emphasis on the restoration of German colonies implied an anti-British policy but, in general, the Wilhelmine Imperialists were cautious about the prospect of war with Britain, and preferred to restore the pre-1914 German colonial empire through diplomacy rather than war. Of the three fractions, it was the "agrarians" whose views were the closest to Hitler's programme, but Hildebrand argues that there was an important difference in that the "agrarians" saw an alliance with Britain as being the natural alignment of two "Aryan" powers, whereas for Hitler the proposed British alliance was more a matter of power politics.

Since 1982, Hildebrand has worked at the University of Bonn as a professor in medieval and modern history, with a special interest in the 19th and 20th centuries. Hildebrand's major work has been in diplomatic history and the development of the nation-state. He served as editor of the series concerning the publication of the documents of German foreign policy. In the mid-1980s, Hildebrand sat on a committee together with Thomas Nipperdey and Michael Stürmer in charge of vetting the publications issued by the Research Office of the West German Ministry of Defence. The committee attracted some controversy when it refused to publish a hostile biography of Gustav Noske.

In a 1983 speech, Hildebrand denied there had been a Sonderweg, and claimed that the Sonderweg applied only to the "special case" of the Nazi dictatorship In a 1984 essay, Hildebrand went further and wrote:

"It remains to be seen, whether future scholarship will initiate a process of historicization of the Hitler period, for example by comparing it with Stalinist Russia and with examples such as the Stone Age Communism of Cambodia. This would doubtless be accompanied by terrifying scholarly insights and painful human experiences. Both phenomena could, horribile dictu, even relativize the concept of the German Sonderweg between 1933 and 1945"

In response, Heinrich August Winkler argued that there was a Sonderweg before 1933, and that Germany as a country deeply influenced by the Enlightenment meant there was no point of comparison between Hitler on one hand, and Pol Pot and Stalin on the other In Germany, Hildebrand is well known for his disputes with the Mommsen brothers, Hans and Wolfgang over how best to understand Nazi Germany, especially evident at a conference held at the German Historical Institute in London in 1979 which resulted in numerous hostile exchanges.

In the Historikerstreit (historians' dispute) of the 1980s, Hildebrand sided with those who contended that the Holocaust, while a major tragedy of the 20th century was not a uniquely evil event, but just one out of many genocides of the 20th century.

In a 1987 article, Hildebrand argued that both Nazi Germany and the Soviet Union were totalitarian, expansionary states that were destined to come into conflict with each other. Hildebrand argued that in response to concentrations of the Red Army near in the border in the spring of 1941, Hitler engaged in a flucht nach vorn ("flight forward"-i.e. responding to a danger by charging on rather than retreating). Hildebrand concluded that:

"Independently, the National Socialist program of conquest met the equally far-reaching war-aims program which Stalin had drawn up in 1940 at the latest.".

Hildebrand's critics such as the British historian Richard J. Evans accused Hildebrand of seeking to obscure German responsibility for the attack on the Soviet Union, and of not being well informed on Soviet foreign policy. Some champions of the "preventive war" theory were critical of Hildebrand for using the term Überfall (fell upon) to describe Operation Barbarossa because it implied Hitler still had some freedom of choice in 1941. In a 1995 introduction to an essay about German-American relations by Detlef Junker, Hildebrand asserted that first Britain and then the United States in the 19th-20th centuries had a tendency to be highly ignorant of Central European affairs, and likewise had a propensity for engaging in "black legend" type of propaganda against Germany.

Work

 * Vom Reich zum Weltreich: Hitler, NSDAP und koloniale Frage 1919–1945, Munich: Fink, 1969.
 * "Der "Fall" Hitler" pages 375–386 from Neue Politische Literatur, Volume 14, 1969.
 * Bethmann Hollweg, der Kanzler ohne Eigenschaften? Urteile der Geschichtsschreibung, eine kritische Bibliographie, Düsseldorf, Droste 1970.
 * "Hitlers Ort in der Geschichte des Preussische-Deutschen Nationalstaates" pages 584-631 from Historische Zeitschrift, Volume 217, 1973.
 * Deutsche Aussenpolitik 1933–1945; Kalkül oder Dogma?, Stuttgart, Kohlhammer Verlag, 1970, translated by Anthony Fothergill into English as The Foreign Policy of the Third Reich, London: Batsford, 1973, ISBN 0-520-02528-8.
 * "Hitlers "Programm" und seine Realisierung, 1939-1942" pages 178-224 from Kriegsbeginn 1939 Entfesslung oder Ausbruch des Zweiten Weltkriegs? Edited by Gottfried Niedhart, Darmstadt, 1976.
 * "Hitler's War Aims" pages 522-530 from The Journal of Modern History, Volume 48, Issue # 3 September 1976.
 * "Nationalsozialismus oder Hiterismus?" pages 555-561 from Persönlichkeit und Struktur in der Geschichte, Düsseldorf, 1977.
 * Das Deutsche Reich und die Sowjetunion im internationalen System 1918–1932: Legitimität oder Revolution? Steiner, 1977, ISBN 3-515-02503-0.
 * co-written with Andreas Hillgruber Kalkül zwischen Macht und Ideologie. Der Hitler- Stalin- Pakt : Parallelen bis heute? Fromm Druckhaus, 1980, ISBN 3-7201-5125-5.
 * "Monokratie oder Polykraties? Hitlers Herrschaft und des Dritte Reich" pages 73–97 from Der 'Führerstaat': Mythos und Realität Studien zur Struktur und Politik des Dritten Reiches, Stuttgart, 1981.
 * Das dritte Reich, München : Oldenbourg, 1979, translated into English by P.S. Falla as The Third Reich, London : G. Allen & Unwin, 1984 ISBN 0-04-943032-7.
 * Von Erhard zur Grossen Koalition, Stuttgart: Deutsche Verlags-Anstalt, 1984.
 * (editor) Deutsche Frage und europäisches Gleichgewicht: Festschrift für Andreas Hillgruber zum 60. Geburtstag, Köln: Böhlau Verlag, 1985, ISBN 3-412-07984-7.
 * German Foreign Policy from Bismarck to Adenauer: The Limits of Statecraft, London: Unwin Hyman, 1989, ISBN 0-04-445070-2.
 * Co-edited with Jürgen Schmadeke & Klaus Zernack 1939 – An Der Schwelle Zum Weltkrieg Die Entfesselung Des Zweiten Weltkrieges Und Das Internationale System , Berlin: Walter de Gruyter & Co 1990, ISBN 3-11-012596-X.
 * Integration und Souveränität: Die Aussenpolitik der Bundesrepublik Deutschland, 1949-1982, Paris: Bouvier, 1991, ISBN 3-416-02285-8.
 * "The Age of Tyrants: History and Politics The Administrators of the Enlightenment, the Risk of Scholarship and the Preservation of a Worldview A Reply to Jürgen Habermas" pages 50–55 & "He Who Wants to Escape the Abyss Will Have to Sound It Very Precisely: Is the New German History Writing Revisionist?" pages 188-195 from Forever In The Shadow of Hitler? edited by Ernst Piper, Humanities Press, Atlantic Highlands, New Jersey, 1993, ISBN 0-391-03784-6.
 * Das vergangene Reich: Deutsche Aussenpolitik von Bismarck bis Hitler, 1871–1945, Deutsche Verlags-Anstalt 1995.
 * The Reich - Nation-State - Great Power: Reflections on German Foreign Policy 1871–1945, London: German Historical Institute, 1995.
 * "No Intervention": Die Pax Britannica und Preussen 1865/66-1869/70: Eine Untersuchung zur englischen Weltpolitik im 19. Jahrhundert, Munich: Oldenbourg 1997.
 * Zwischen Politik und Religion. Studien zur Entstehung, Existenz und Wirkung des Totalitarismus, Oldenbourg Verlag: Munich 2003, ISBN 3-486-56748-9.

title: Klaus Hildebrand


text:
Talk:David Whittaker (video game composer)

8.4.2005.
Xenon II was removed from the list, since D.Whittaker has only arranged it (of course it would be possible to mention about the song anyway but I don't respect arranger's work that much)

-J.S.

21/3/2008
there is also a great music games: Platoon for ZXSpectrum 128K (AY sound chip) —Preceding unsigned comment added by 151.56.118.15 (talk) 01:51, 21 March 2008 (UTC)


text:
Arular

Arular is the debut studio album by British recording artist M.I.A. It was released on 22 March 2005 in the United States, and one month later in the United Kingdom, with a slightly different track listing. In 2004, the album's release was preceded by two singles and a mixtape. M.I.A. wrote or co-wrote all the songs on the album, while collaborators included Justine Frischmann, Switch, Diplo, Richard X, Ant Whiting and Greg "Wizard" Fleming.

The album's title is the political code name used by her father, Arul Pragasam, during his involvement with Sri Lankan Tamil militant groups, and themes of conflict and revolution feature heavily in the lyrics and artwork. Musically, the album incorporates styles that range from hip hop and electroclash to dancehall, baile funk, and punk. M.I.A. created the basic backing tracks using a Roland MC-505 sequencer/drum machine given to her by long-time friend Frischmann.

Arular was lauded by critics for its blending of styles and integration of political lyrics into dance tunes. It was nominated for the Mercury Prize in 2005 and was included in the 2005 edition of the book 1001 Albums You Must Hear Before You Die. Although it only reached number 98 on the UK Albums Chart and number 190 on the US Billboard 200, several publications named it as one of the best albums of the year. By early 2010, the album had sold 190,000 copies in the US, Arular spawned the singles "Sunshowers", "Bucky Done Gun" and "Galang", which was released twice.

Composition and recording
In 2001, M.I.A. (Mathangi "Maya" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.

M.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and "drag [her collaborators] out of their boxes, musically".

DJ Diplo introduced elements of Brazilian baile funk to "Bucky Done Gun". Fellow composer-producer Richard X worked on the track "Hombre", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on "Galang", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song "a more analogue sound" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as "refreshing". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, "I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual."

Music and lyrics
Arular takes its title from the political code name employed by M.I.A.'s father, Arul Pragasam; she contends that her father's "revolutionary ideals" are the album's thematic base. "In Sri Lankan, arular means 'enlightenment from the sunshine' or something", she remarked, "but a friend pointed out that it was a pun in English – 'a ruler' – which is funny because he is a politician. And my mum always used to say about my father, 'He was so useless, all he ever gave you was his name'. So I turned it around and turned that something into nothing. And at the same time I thought it would be a good way to find him. If he really was an egomaniac, he'd be looking himself up and he'd get this pop album stealing his name that would turn out to be me, and he'd have to get in touch", a prediction which ultimately came true. Despite reports to the contrary, M.I.A. denied that her father was a member of the Liberation Tigers of Tamil Eelam, popularly known as the Tamil Tigers.

The album is influenced by music that M.I.A. listened to as a child in London, including hip hop, dancehall, and punk rock. She cited as particular influences Eric B. & Rakim, Public Enemy, and London Posse, whom she described as "the best of British hip hop". Her work on the album drew on the punk music of The Clash and music from genres such as Britpop and electroclash, to which she was exposed during her time studying at Central Saint Martins College of Art and Design. Living in West London, she met many musicians who to her defined an era of British music that was "actually credible". In a 2008 interview, she elaborated on the importance of the west London punk scene, citing acts such as The Slits, The Clash, and Don Letts; she claimed that Bow Wow Wow and Malcolm McLaren had a similar cultural impact in England to that of Public Enemy in America.

Before the album's release, M.I.A. said that audiences found it hard to dance to political songs. This made her keen to produce music that sounded like pop but addressed important issues. "Sunshowers", with its lyrical references to snipers, murder and the PLO, was written in response to the Tamil Tigers being considered terrorists in some quarters. She said, "you can't separate the world into two parts like that, good and evil. America has successfully tied all these pockets of independence struggles, revolutions and extremists into one big notion of terrorism." The lyrics caused controversy; MTV censored the sounds of gunshots in the song and MTV US refused to broadcast the video unless a disclaimer that disavowed the lyrics was added. The BBC described the lyrics as "always fluid and never too rhetorical" and sounding like "snatches of overheard conversation". The songs deal with topics ranging from sex to drug dealing.

Musically, the album incorporates elements of baile funk, grime, hip hop, and ragga. Peter Shapiro, writing in The Times, summed up the album's musical influences as "anything as long as it has a beat". Some tracks drew on Tamil film music, which M.I.A. listened to while growing up. Shapiro described her music as a "multi-genre pile-up" and likened it to her graphic art, calling it "vivid, gaudy, lo-fi and deceptively candyfloss". In a 2005 interview, when asked about the difficulty in categorising her sound, M.I.A. explained, "Influences are crossing over into each other's puddles. I just accept where I'm at, I accept where the world is at and I accept how we receive and digest information. I get that somebody in Tokyo is on the internet instant messaging, and someone in the favelas is on the internet. Everybody seems to know a little bit about everything and that's how we process information now. This just reflects that."

Artwork
M.I.A. and Steve Loveridge created all the album's artwork, using what Spin writer Lorraine Ali called a "guerrilla" style. The CD booklet features motifs of tanks, bombs and machine guns, and depictions of tigers, which writers connected with the Tamil Tigers. Village Voice critic Robert Christgau connected the album's imagery with the artist's "obsession" with the organisation, but claimed that its use was purely artistic and not propaganda. In his view, the images were considered controversial only because "rock and roll fans are assumed to be stupid" and would not be expected to ascertain their true significance. Similarly, PopMatters writer Robert Wheaton observed that tiger imagery "does predominate M.I.A.'s vision of the world", but noted that the tiger is more widely associated with Tamil nationalism and that the singer's use of such imagery did not necessarily indicate her support for the Tamil Tigers. Joshua Chambers-Letson determined that the imagery was perhaps "a means of negotiating the violence necessary" and described the controversy as "an attempt to disengage" from the performative intervention that M.I.A.'s album's made, through what he called "the complicated negotiation" of M.I.A.'s own autobiographical trauma, violence, and loss, as well as the geopolitical trauma, violence, and loss that her audience are engaged in from different subject positions.

Release
Arular was to be released in September 2004, but was delayed. M.I.A.'s record label stated that the delay was caused by problems obtaining permission to use an unspecified sample. Revised release dates of December 2004 and February 2005 were publicised, but the album remained unreleased; at one point, Pitchfork announced that it had been shelved indefinitely. It was eventually released on 22 March 2005, when XL Recordings made it available in the US, albeit with the track "U.R.A.Q.T." omitted as the issues with a sample had not been resolved. The UK edition was released the following month with the track included, and this edition was released in the US by Interscope Records on 17 May. Arular sparked internet debates on the rights and wrongs of the Tamil Tigers. By the time it was released, a "near hysterical buzz" on the internet had created "slavish anticipation" for the album. Despite this, M.I.A. claimed in late 2005 that she had little comprehension of her prior popularity with music bloggers, stating that she did not even own a computer.

Promotion
The first track from the album to be made available was "Galang". It was initially released in late 2003 by independent label Showbiz Records, which pressed and distributed 500 promotional copies before M.I.A. signed with XL Recordings. The song was re-released on XL as the second official single from the album in September 2004, and again in October 2005, under the title "Galang '05", with a remix by Serj Tankian. The first official single, "Sunshowers", was M.I.A.'s first on XL and was released on 5 July 2004. It was supported by a music video directed by Indian filmmaker Rajesh Touchriver. Following the re-release of "Galang", the third single from the album, "Bucky Done Gun", was released on 26 July 2005. The video was directed by Anthony Mandler.

In December 2004, M.I.A. independently released a mixtape titled Piracy Funds Terrorism, produced by M.I.A. and Diplo, as a "teaser" for the album. The release featured rough mixes of tracks from Arular mashed up with songs by other artists, and was promoted by word-of-mouth. In early 2005, after the release of Arular, an extensive collection of fan-made remixes of M.I.A.'s work was uploaded, expanded and made available as an "online mixtape" on XL's official website, under the banner Online Piracy Funds Terrorism. M.I.A. toured extensively during 2005 to promote the album. The Arular Tour included concerts in North America supporting LCD Soundsystem and appearances at music festivals in Europe, Japan and South America. In November 2005, she appeared as the support act at a number of dates on Gwen Stefani's Harajuku Lovers Tour.

Critical reception
Arular received widespread acclaim from music critics. Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, reported an average score of 88 based on 33 reviews, described as "universal acclaim".

Julianne Shepherd of Spin appreciated the album's fusion of "hip hop's cockiness with dancehall's shimmy and the cheap and noisy aesthetics of punk" and claimed that Arular would be regarded as the best political album of the year. Adam Webb, writing for Yahoo! Music, described the album's style as "professionally amateurish" and M.I.A.'s approach as "scattergun", but said that she "effortlessly appropriates the music of various cultures and filters them through the most elementary equipment". He said, "dancehall is the primary influence, but also one of many seismic collisions with several other genres."

In his review for Stylus Magazine, Josh Timmermann described Arular as "a swaggering, spitting, utterly contemporary album" and went on to say, "We've not heard its like before." Rolling Stone writer Rob Sheffield found Arular "weird, playful, unclassifiable, sexy, brilliantly addictive". Sasha Frere-Jones, writing in The New Yorker, described the album as "genuine world music", based on "the weaving of the political into the fabric of what are still, basically, dance tunes". Other reviewers were not as complimentary. Paste's Jeff Leven said that the album, although strong, was not as "mindblowing" as many critics were saying. Q characterised the album as "style mag-cool pop-rap" and claimed that it lacked the substance suggested by M.I.A.'s decision to name it after her father.

Arular was nominated for the Mercury Prize and the Shortlist Music Prize, and was named as the best album of the year by Stylus Magazine. The album placed second in two major critics' polls, The Village Voices 33rd annual Pazz & Jop poll for the Best Album of 2005 and The Wires annual critics' poll for Record of the Year. The Washington City Paper chose it as the second best album of the year, and Pitchfork and Slant Magazine named Arular the fourth best of 2005. The Observer listed it as one of the year's five best albums.

Reappraisal
Arular was featured in the book 1001 Albums You Must Hear Before You Die, where it was described as "the most sparkling debut since Madonna's first album". The singer Nelly Furtado expressed her admiration for M.I.A.'s style, flow and dancing on Arular, having listened to it during the recording of her album Loose. Thom Yorke of alternative rock band Radiohead cited M.I.A.'s method of music making on Arular as an influence on his own work, saying that it reminded him of "just picking up a guitar and [liking] the first three chords you write" as opposed to "agonizing over the hi-hat sound which seems to happen with programming and electronica a lot of the time". In 2009, the NME placed the album at number 50 in its list of the 100 greatest albums of the decade. In 2009, online music service Rhapsody ranked the album at number four on its "100 Best Albums of the Decade" list. In 2011, Rolling Stone ranked the album number 52 on its list of the 100 best albums of the 2000s. Clash magazine ranked the album at number 7 on their list of the "50 greatest albums of our lifetime (since 2004)". Pitchfork ranked the album the 54th best album of the 2000s. In 2019, the album was ranked 32nd on The Guardian's 100 Best Albums of the 21st Century list, while in 2020, Rolling Stone ranked the album at number 421 in their list of the 500 Greatest Albums of All Time. In July 2022, Rolling Stone also ranked Arular as the 77th best debut album of all time.

Commercial performance
Arular peaked at number 190 on the Billboard 200, while reaching number three on the Top Electronic Albums chart and number 16 on the Top Independent Albums. By May 2010, it had sold 190,000 copies in the United States. The album peaked at number 98 on the UK Albums Chart, while in mainland Europe, it reached number 20 in Norway, number 47 in Sweden, number 71 in Germany and number 97 in Belgium.

Track listing

 * Digital bonus tracks
 * "You're Good" – 4:13
 * "Lady Killa" – 3:32
 * "Do Ya" – 3:22

 * Notes
 * undefined signifies an additional producer
 * undefined signifies a co-producer
 * "Bucky Done Gun" is inspired by "Injeção" by Deize Tigrona and incorporates elements of "Gonna Fly Now" by Bill Conti.
 * "U.R.A.Q.T." contains a sample from "Sanford and Son Theme (The Streetbeater)" by Quincy Jones.

Personnel
Credits adapted from the liner notes of Arular.

 * Maya Arulpragasam – vocals, artwork
 * A. Brucker (Switch under a pseudonym) – production ("Pull Up the People"), final mix and production ("Bucky Done Gun", "U.R.A.Q.T.")
 * Paul Byrne – production "Pull Up the People", final mix and production ("Bucky Done Gun", "U.R.A.Q.T.")
 * Diplo – production ("Bucky Done Gun", "M.I.A."), co-production "U.R.A.Q.T."
 * Pete Hofmann – engineering, mixing ("Amazon", "10 Dollar")

 * KW Griff – mixing, production "U.R.A.Q.T."
 * Steve Loveridge – artwork design
 * Richard X – production ("Amazon", "10 Dollar")
 * Nesreen Shah – chorus vocals ("Sunshowers")
 * Anthony Whiting – mixing, production ("Fire Fire", "Bingo")
 * Dwain 'Willy' Wilson III (Richard X under a pseudonym) – production ("Hombre")
 * Wizard – additional production, mixing, programming ("Bucky Done Gun")

title: Arular


text:
Yemen Times

The Yemen Times (يمن تايمز) was an independent English-language newspaper in Yemen. The paper was published twice weekly.

History and profile
Yemen Times was founded in 1991 by Abdulaziz Al-Saqqaf, a leading economist and human rights activist, who was also its editor and publisher until he died in a traffic accident in 1999. In the paper's mission statement, he wrote that: "We use the Yemen Times to make Yemen a good world citizen." The paper is based in Sana'a.

As of 2007, Nadia Al-Sakkaf was the editor-in-chief of the daily. The paper has offices and correspondents all over the country. It supports press freedom, respect for human rights, political pluralism and democracy. It promotes non-governmental organizations (NGOs) and other forms of civil-society organizations. At the economic front, it supports liberalization and open interaction with other nations. The paper and its editor were awarded the NPC's International Award for Freedom of the Press for 1995. In 2004, managing editor Iona Craig won the Martha Gellhorn Prize for her work with the paper. The paper also won the Free Media Pioneer Award by the International Press Institute in 2006.

The first national English-language Yemeni newspapers were published in 1960s in Aden. These were Aden Chronicle by Mohammed Ali Luqmān and The Recorder by Muhmmad Bā-Sharāhīl. The publication of these and their sister Arabic-language newspapers Fatāt ul-Jazīrah and Al-Ayyam ceased when the National Front for the Liberation of South Yemen (NLF) took power in the then People's Republic of South Yemen, (PRSY) (later known as the People's Democratic Republic of Yemen, PDRY) in 1967. The publication of Al-'Ayyam was resumed after the unification of the two sectors of Yemen in 1990.

Since 2014, the newspaper was unable to continue issuing the printed version of the newspaper due to the Yemeni Civil War and was deemed defunct. The website said that it "hopes to resume when conditions permit.” As of 2024, the newspaper’s website acts as an archive of its own publications.

title: Yemen Times


text:
Wakashan languages

Wakashan is a family of languages spoken in British Columbia around and on Vancouver Island, and in the northwestern corner of the Olympic Peninsula of Washington state, on the south side of the Strait of Juan de Fuca.

As is typical of the Northwest Coast, Wakashan languages have large consonant inventories—the consonants often occurring in complex clusters.

Family division
The Wakashan language family consists of seven languages:

 * Wakashan
 * Northern Wakashan (Kwakiutlan) languages
 * Haisla (also known as Xaʼislak'ala, X̌àh̓isl̩ak̓ala or Haisla-Henaksiala, with two dialects, spoken by the Haisla) – about 200 speakers (2005)
 * C̓imo'c̓a/Cʼimaucʼa (Kitimaat/Kitamat) - X̄a'islak̓ala dialect (spoken by the Haisla/x̣àʼisəla)
 * Gitlo'p (Kitlope) - X̄enaksialak̓ala dialect (spoken by the Henaaksiala/X̄enaksiala)
 * Kwak'wala (also known as Kwakiutl and Lekwala / Liq̓ʷala, with four dialects, spoken by and Kwakwaka'wakw or Northern Kwakiutl and the Laich-kwil-tach or Southern Kwakiutl) – 235 speakers (2000)
 * Northern Kwakiutl or Kwak'wala
 * G̱ut̕sala / G̱uc̓ala / Quatsino Sound dialect (Bands of Quatsino Sound, today by the Gwa'sala people from Smiths Inlet and the 'Nakwaxda'xw people from Blunden Harbour)
 * Kwak̕wala / Kwaḵ̓wala dialect (Bands of Gilford Island, Knight Inlet, Kwakiutl, Nimpkish, Alert Bay, Kincome Inlet)
 * 'Nak̕wala / Bak̓wa̱mk̓ala dialect (also known as Northern Kwak̓wala dialect, spoken by the Northern Bands or 'Nak̕waxda'x̱w and Gwa'sa̱la peoples)
 * Gwa’cala subdialect
 * ‘Na‘kwala subdialect
 * T̕łat̕łasik̕wala / Nahwitti dialect (Bands of today's T̕łat̕łasiḵ̕wala people on Hope Island)
 * Southern Kwakiutl
 * Lekwala / Liq̓ʷala / Lekwiltok dialect (Bands of the Laich-kwil-tach (Lekwiltok), they were oft called Southern Kwakiutl but identify as a separate people from the Kwakwaka'wakw and their dialect is sometimes considered a separate language)
 * Heiltsuk-Oowekyala (also known as Bella Bella) – about 200 speakers (2005)
 * Heiltsuk dialect (also known as Bella Bella and Haihais, Haiɫzaqvla, Haíɫzaqv/Híɫzaqvḷa, with two subdialects, spoken by the Heiltsuk people, once incorrectly known as the Northern Kwakiutl)
 * Haíɫzaqv/Híɫzaqvḷa or Bella Bella (Wágḷísḷa) subdialect (spoken by the Heiltsuk (Haíɫzaqv / Híɫzaqv) in Bella Bella)
 * X̌íx̌íc̓ala/Haihais or Klemtu (Ɫṃ́du̓ax̌sṃ) subdialect (spoken by the X̌íx̌ís (Xixis / Xai’xais / Haihais) in Klemtu)
 * Oowekyala dialect or ’Wuik̓ala dialect (also known as 'Uik'ala, Ooweekeeno, Wuikala, Wuikenukv, Oweekeno, Wikeno, Owikeno, Oweekano, Awikenox, Oowek'yala, Oweek'ala) (spoken by the Wuikinuxv (Oowekeeno or Rivers Inlet) People, once incorrectly known as the Northern Kwakiutl)
 * Southern Wakashan (Nootkan) languages
 * Nuu-chah-nulth (also known as Nuučaan̓uł, Nootka, Nutka, Aht, West Coast, T'aat'aaqsapa, spoken by the Nuu-chah-nulth, 12 different dialects) – 510 speakers (2005)
 * Nitinaht or Ditidaqiic̓aq Cicqiʔ (also known as Diidiitidq, Diitiidʔaatx̣, Nitinat, Ditidaht, Southern Nootkan, spoken by the Ditidaht or Southern Nootka, Pacheedaht, and Ts'uubaa-asatx (Lake Cowichan), located in southwestern Vancouver Island – 30 speakers (1991)
 * Ditidaqiic̓aq Cicqiʔ or DiiɁdiitidq/Diidiitidq dialect (spoken by the Ditidaht (Diitiid7aa7tx / Diitiidʔaaʔtx̣) - "People of Diitiidaʔ" or "People along the Diitiidaʔ, i.e. Jordan River")
 * Pacheedaht dialect (once spoken by the Pacheedaht (P'a:chi:da / P’a:chi:da?-aht) - "People of the Sea Foam" or "People along the San Juan River")
 * Ts'uubaa-asatx dialect (once spoken by the Lake Cowichan (Ts'uubaa-asatx) - "People of the Lake, i.e. Cowichan Lake" )
 * Makah (also known as Qʷi·qʷi·diččaq, Q'widishch'a:'tx, spoken by the Makah together with the now extinct Ozette people) – extinct (Last fluent speaker, where it was their first language, died in 2002)
 * Qʷi·qʷi·diččaq/Q'widishch'a:'tx or Makah dialect (spoken by the Makah (Kwih-dich-chuh-ahtx (Qʷidiččaʔa·tx̌) - "People who live by the rocks and seagulls")
 * 'Osi:l-'a:'tx/ʔuseeʔłaʔtx̣ or Ozette village dialect (once spoken by the Ozette people (Osi:l-'a:'tx/ʔuseeʔłaʔtx̣ - "People of ʔuseeʔł, i.e. Ozette Village")

Possible relations to external language families
As first proposed by Edward Sapir and Leo J. Frachtenberg, and later elaborated by Morris Swadesh, the Wakashan languages were grouped together with Salishan and Chimakuan languages in a "Mosan" macrofamily. This proposed macrofamily is now generally rejected as a genealogical grouping. Structural similarities and shared vocabulary are best explained as the result of continuous intensive contact; the Mosan languages thus represent a sprachbund within the wider Pacific Northwest typological area.

In the 1960s, Swadesh also suggested a connection of the Wakashan languages with the Eskimo–Aleut languages. This was picked up and expanded by Holst (2005). Sergei Nikolaev has argued in two papers for a systematic relationship between the Nivkh language of Sakhalin island and the Amur river basin and the Algic languages, and a secondary relationship between these two together and the Wakashan languages.

Name and contact
The name Wakesh or Waukash originates from the Nuu-chah-nulth word for 'good'. It was used by early explorers including Captain James Cook, who believed it to be the tribal appellation.

Juan de Fuca was probably the first European to meet Wakashan-speaking peoples, and Juan Perez visited the Nuu-chah-nulth people in 1774. After 1786, English mariners frequently sailed to Nootka Sound; in 1803, the crew of the American ship Boston were almost all killed by the local natives.

In 1843 the Hudson's Bay Company established a trading post at Victoria. European-Canadians had regular contact with the First Nations after that time. There were dramatic population losses in the early 20th century due to smallpox epidemics (because the First Nations had no acquired immunity to the new disease), social disruption, and alcoholism. In 1903 the Aboriginals numbered about 5200, of whom 2600 were in the West Coast Agency, 1300 in the Kwakewith Agency, 900 in the North West Coast Agency, and 410 at Neah Bay Company, Cape Flattery. In 1909 they numbered 4584, including 2070 Kwakiutl and 2494 Nootka. Roman Catholic missionaries were active in the region.

The name "Wakish Nation" is featured in Arrowsmith's Oregon Dispute-era map as the name for Vancouver Island.

title: Wakashan languages


text: User talk:70.32.243.48

title: User talk:70.32.243.48


text:
Talk:Confucian art

Created, earlier by the same hand. Updated, any comments post to POofYS Dated 04:05, 8 April 2005.

In its present state the article makes little sense, but might be improved. The nearest parallel in Chinese I could find is zh:儒教文化 (Confucian culture) - not especially elaborated too, but with some potential. Rename?--Shanghainese.ua (talk) 08:49, 15 November 2014 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Confucian art. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20050419032134/http://www.wam.umd.edu/~tkang/Indonesia.html to http://www.wam.umd.edu/~tkang/Indonesia.html

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 03:04, 12 August 2017 (UTC)

title: Talk:Confucian art


text:
Hermitage Rooms

The Hermitage Rooms was the name by which a series of rooms at Somerset House, London, were known from 2000 to 2007. During this period they were used as a venue for temporary exhibitions from the collection of the Hermitage Museum in Saint Petersburg. The partnership with the Hermitage has since ended and the rooms are no longer known by this name, although they continue to house temporary exhibitions.

History and construction
The project was established in the 1990s under the direction of Lord Rothschild, and is funded by individual and corporate donors and admission fees. Several rooms in the south wing of Somerset House were redecorated in a style reminiscent of the interiors of the Winter Palace and opened to the public in November 2000.

In 2003, a new Somerset House Learning Centre opened, which is used in conjunction with the Hermitage Rooms and the other visitor attractions in the building. It was funded from the proceeds of the July 2002 Somerset House gala, An Evening with Elton John. Also in 2003 the Courtauld Institute of Art, housed nearby in the Strand block of Somerset House, assumed responsibility for the Hermitage Rooms.

The first exhibition at the Hermitage Rooms was called Treasures of Catherine the Great. Subsequent exhibitions have featured not only Western painting, but also themes such as photography, ceramics, and Islamic art. In some cases the Hermitage's works have been supplemented by items from other collections, including (as in the case of Peter Paul Rubens: A Touch of Brilliance) from the Courtauld Institute Gallery.

In 2005 the future of the Hermitage Rooms became uncertain after the Hermitage announced its plans to withdraw its loans of artworks overseas. This was the result of an international loan crisis prompted by the seizure in November of paintings belonging to the Pushkin Museum in Moscow as hostages in a trade dispute between a Geneva-based company and the Russian state (owners of both the Hermitage and the Pushkin).

The rooms were closed until June 2007 when a new exhibition was put into place. This ran until November 2007 and was titled "France in Russia: Empress Josephine's Malmaison Collection".

title: Hermitage Rooms