text:
AN ARCHITECTURAL CURIOSITY:
THE THANGKA WALLS OF THE MAJOR TIBETAN MONASTERIES
Christian Lassure, agrégé de l'Université
A "thangka wall" is a stone-built structure used in some buddhist monasteries of China's Tibet for the open-air hoisting of giant or monumental appliqued thangkas, or scrolls [1], called gos sku / go ku ("cloth image") in Tibetan. The wall stands on a hillside from where it overlooks the monastic complex. It is a narrow, elongated, tall rectangular building with a battered façade and a flat roof surrounded by a parapet. The overall appearance of a thangka wall is not unlike− all things being equal − that of a computer's flat screen. Some authors have also compared the thangka wall to the screen of an open-air cinema or to the blackboard of a classroom. Thangka walls are used mainly during the Buddha-displaying festivals that take place in four large monasteries at various dates of the Tibetan calendar.
The discovery of these unique edifices has induced this writer to look for photographic and textual evidence about them. While the present article is the result of these investigations, it does not purport to cover every aspect of the subject.
Fig. 1 - Tashilhunpo monastery at Shigatse. View of the thangka wall during the display ritual of the thangka of Amitabha, the Buddha of infinite light, on July 1, 2015. Source : site vtibet.com.
Followers are seen contemplating the image.
1. Designations of giant thangka walls
Depending on whether one faces the front long side or one of the short sides of the edifice, one gets the impression of either a gigantic wall or a lofty tower. This may explain why the writings that describe these edifices refer either to a "wall" or to a "tower". Whatever the case may be, the more popular designation is "wall" : "thangka wall" in English, "mur à thangka" in French, "tangamuer" in German.
1.1 In Tibetan
At Tashilhunpo monastery in Shigatse, the thangka wall has had the following designations:
- kugopea (Samuel Turner, 1800) ;
- gö-ku-pea (Laurence Austin Waddell, 1895), ie cloth-image tower ;
- kiku tamsa tower (Laurence Austine Waddell, 1895 ; William Carey, 1901), ie cloth-image support tower ;
- kiku-tamsa » (Sarat Chandras Das, 1902), ie cloth-image support ;
- gos-sku-spe'u (Michael Aris, 1982), ie cloth-image tower support [2].
Fig. 2 - Tashilhunpo monastery at Shigatse. Source: Ali and Julians Travels in Tardis.
Viewed from the front and at a low angle, the elongated, narrow edifice looks like a gigantic wall. Its stonework is rendered with whitewash.
At Palcho Chode monastery in Gyantse, the thangka wall is called
- gheku tower (Victor Chan, 1994), ie cloth-image tower ;
- goku tramsa (The Tibet Album, 2006) or gos sku thang sa (Michael Henss, 2011), ie cloth-image support.
The words kugo, gos sku, goku, gheku and kiku refer to the monumental thangka (kugo being apparently the result of inverting the two syllables of goku while gheku and kiku are supposed to be informal pronunciations of gos sku or goku).
1.2 In English
In English-language writings, this type of building is referred to as
- "thangka wall" (Victor Chan, 1994 ; Andreas Gruschke, 2001 [3] ; The Tibet Album, 2006 ; Michael Henss, 2011 ; Tibet, Lonely Planet, 2015 ; Diana Lange, 2016) ;
- or sometimes "support wall" (Tibet, Lonely Planet, 2015) ;
- or again "display wall" (Ronald M. Bernier, 1997) ;
if not simply and metonymically "wall".
American explorer F. Bailey Vanderhoef, Jr. uses the term "pylon" in his memoirs published in 1938.
1.3 In German
In the original captions attached to the photos taken by the 1938–39 German expedition to Tibet, the Palcho Chode edifice is called große Gebetsmauer ("large prayer wall") while its counterpart at Tashilhunpo is termed große Tangamauer ("large thangka wall").
1.4 In French
In the French translation (1998) of Victor Chan's Tibet Handbook: A Pilgrimage Guide (1994), "thangka wall" is "mur à thangka " and "gheku tower" is "tour du gheku".
Fig. 3 - Tashilhunpo monastery at Shigatse. Source: tripadvisor.com website.
Viewed from the side and at a low angle, the slender edifice looks like a gigantic tower. The three rods jutting out from the top of the rear façade are presumably gargoyles allowing rainwater to run off the flat roof and away from the foot of the rear wall.
2. Inventory of giant thangka walls
At least four large monasteries in China's Tibet Autonomous Region possess a giant thangka wall : Sera (Lhasa), Palcho Chode (Gyantse), Tashilhunpo (Shigatse) and Riwo Dechen (Qonggyai). The walls at Sera and Riwo Dechen are recent additions while those at Tashilhunpo and Palcho Chode are centuries-old monuments. Their sturdy construction is not unrelated to such longevity.
2.1 Sera monastery at Lhassa
The thangka wall at Sera stands near the Chöding hermitage (Tsongkhapa's retreat before the monastery was built). The wall is a recent replacement to a scaffolding erected on a slope [4]. It has some semblance to its counterpart at Tashilhunpo (see beneath).
Fig. 4 - Sera monastery near Lhasa, in 2011. Source: Wikimedia Commons.
In the right half of the photo, the thangka wall can be seen in the background with its blind front face (except for rows of diminutive windows or lights) and its trapezoid form, enhanced by the wide-angle shot.
Fig. 5 - Sera monastery near Lhasa. Source: Guide de la Chine website.
View of the rear façade and the narrow side of the thangka wall. While the rear façade is blank, the narrow end is pierced by a line of three large windows (the same goes for the opposite end with its entrance to the building). The dark red textile surrounding the top level does not cover the rear wall. The four gargoyles are used to evacuate rainwater from the flat roof. The wide yard fronting the building is where the faithful gather to gaze on the giant thangkas.
The wall is used for lifting giant thangkas of the Buddha during the Shoton festival in August.
Fig. 6 - Sera monastery near Lhasa. Guide de la Chine website.
View of a monumental thangka hanging from the top of the wall. The building's entrance with its guardrail can be seen in the lower part of the narrow end.
Fig. 7 - Sera monastery near Lhasa. Source: Potala Travel.
View of another monumental scroll being displayed during the Shoton festival. Judging from its faded look, it must be an old thangka. It hangs from a wooden rod that is attached to ropes lowered through the parapet of the flat roof. On the right, the stairs leading up to the side entrance sport a bright yellow metallic guardrail. At the foot of the thangka wall, on the left, a flock of devotees are throwing ceremonial scarves towards the deity.
2.2 Palcho Chode monastery at Gyantse
The stark, massive thangka wall at Palcho Chode monastery stands toweringly above the hillside in the north-eastern part of the monastic enclosure built in 1425. The wall is not supposed to have been built before the 1430s when the associated monumental scrolls were ordered. The wall is called gheku tower (according to Victor Chan), goku tramsa (according to The Tibet Album) or gos sku thang sa (according to Michael Henss who also styles it gos sku spe'u) [5].
Fig. 8 - Palcho Chode monastery at Gyantse in 1938. View of the monastic enclosure with its towers and ramparts photographed by Ernst Schäfer from the neighbouring plain. Source : Wikimedia Commons.
The large thangka wall (große Tangamauer) rears its imposing mass at the highest point of the enclosure wall, hiding from view a length of rampart and ruined towers. Unlike the other monastic buildings, it is not whitewashed.
Fig. 9 - Palcho Chode monastery at Gyantse in 2010. Source: Wikimedia Commons.
View over the monastery in its cirque of hills bordered by ramparts and towers. The thangka wall is high up on a hillside, just against the rampart. Its stone masonry has been spared the whitewash splashed on to the monastic buildings and the redwash splashed on to the ramparts and towers.
Fig. 10 - Palcho Chode monastery at Gyantse. Satellite view of the thangka wall and the remains of the ramparts (from Google Earth).
Interestingly, this screen capture reveals the presence of a long flat roof bordered by a parapet at the top of the structure.
During the Gyantse festival, on the 15th day of the fourth month of the Tibetan year [6], the wall is used, within a two-year cycle, to display the Sakyamuni thangka (kept in a leather bag in the Dorje Ying chapel) in alternation with the Maitreya thangka. A third thangka, the Dipankara gos sku, is no longer displayed due to its poor state of repair [7].
Fig. 11 - Palcho Chode monastery at Gyantse in 1938. The thangka wall photographed by Ernst Schäfer during the display ritual of the Buddha. Source : Wikimedia Commons.
Standing in the top part of the hillside, the large thangka wall (große Tangamauer) has a sloping front face designed to resist the outward thrust that the building has to sustain. The narrow sides, too, exhibit a marked batter in their upper part and possess buttresses in their lower part. The diminutive figures standing at the top or at the foot of the massive edifice give us, by contrast, an indication of its size.
In the picture, a large central thangka is displayed on the wall next to a smaller banner to its right − right and left are defined in relation to an outside observer facing the wall. The space to the left is empty. A small yard outside the base of the wall is used for hoisting and lowering giant thankas and accommodating devotees.
Fig. 12 - Palcho Chode monastery at Gyantse. Photo by Brian J. McMorrow. Source : site pbase.com.
The lighter marks visible on the front face of the building apparently match the footprint of a fully deployed central banner. The eighteen small holes in a row right beneath the parapet at the top of the edifice (and above a row of three small openings) are housings for the 18 pulleys that guide the ropes used to pull up the central and side banners.
Fig. 13 - Palcho Chode monastery at Gyantse. Source : Tibet: Sakya & Gyantse, Om-Round the World weblog, 15 november 2011.
Exhibition of the Sakyamuni thangka, the oldest in the whole Tibet, on the 15th day of the 4th month of the Tibetan year. Two more recent side banners flank the faded central banner. At the foot of the wall a throng of devotees greet the deity with ceremonial scarves or khatas.
Fig. 14 - Palcho Chode monastery at Gyantse. Source : Wona Bartoszcze, Sagadawa; wielka thangka w Gyantse, Czerwiec 23, 2011.
Close view of the central banner and its two side banners. The central piece hangs from a horizontal rod that is slightly curved at the ends. The white trails clinging to the top of the banners are khatas.
2.3 Tashilhunpo monastery at Shigatsé
The thangka wall at Tashilhunpo monastery stands on a hillside in the far north-eastern part of the monastic compound. With its overbearing position, it can be seen from afar. It is the largest and most formidable thangka wall still extant. It is approximately 32 metres high and 42 metres long at its base. It was constructed in 1468 [8].
Fig. 15 - Tashilhunpo monastery at Shigatse as photographed in 1900 or 1901 by Russian explorer G. Ts. Tsybikov (or Tsybikoff) on behalf of the Imperial Geographical Society of Russia at Saint-Petersburgh. Source: website of the World Digital Library. The white mass of the thangka wall looms high on the slope to the right of the monastic buildings.
Fig. 16 - General view of Tashilhunpo monastery at Shigatse in 1938. Picture taken from the plain by Ernst Schäfer, leader of the German expedition to Tibet (1938-1939). Source : Wikimedia Commons.
The caption in German – große Tangamauer im Hintergrund und Pferdesteppe – lays stress on the "large thangka wall in the background" and the small herd of steppe horses in the foreground.
Fig. 17 - Tashilhunpo monastery at Shigatse. Satellite view of the thangka wall and its outside yard (as shown in GoogleEarth).
The wall is used for displaying giant representations of Matreya (the Buddha of the future), Amitabha (the Buddha of the infinite light), and Sakyamuni (the enlightened Buddha) on the basis of one different thangka a day during the festival taking place on the 14th, 15th and 16th of the fifth Tibetan month (ie 1st, 2nd and 3rd July).
Fig. 18 - Tashilhunpo monastery at Shigatse, 1938. The thangka wall (tangamauer in German) as photographed by Ernst Schäfer, head of the German expedition to Tibet (1938-1939). Source: Wikimedia Commons.
This is a low-angle view of the thangka wall shot from a building down below. The wall's front is pierced by six rows of four ventilation or lighting holes each, the sixth row being hidden by the dark-coloured hangings round the top. The wall's narrow sides have a strong batter and are buttressed by a masonry reinforcement structure (only the left-hand reinforcement is visible in the photo). A terrace retained by a high wall fronts the edifice. It is intended to accommodate a large crowd of the faithful. The whole structure is whitewashed.
Fig. 19 - Tashilhunpo monastery at Shigatse, 1938. Shot of one of the narrow sides and the rear side of the thangka wall as photographed by Ernst Krause, a member of the German expedition to Tibet (1938-1939). Source: Wikimedia Commons.
The lower third of the narrow side is hidden from view by a bulge in the slope between the photographer and the wall structure. The vertical succession of five small windows in the narrow side matches the succession of five rows of openings in the front side. The small protrusion on the top of the edifice is a covered loggia sheltering the access to the flat roof from the inside of the building.
Fig. 20 - Tashilhunpo monastery at Shigatse, 1938. View of the monastery from above as shot by Ernst Krause. Source: Wikimedia Commons.
In the left-hand upper corner of the photo, the thangka wall can be seen with its back face and huge stone-built side buttresses. It is topped by a flat roof ringed by a slightly corbelled parapet. Underneath, a dark-coloured hanging runs along the front and sides of the structure.
Fig. 21 - Tashilhunpo monastery at Shigatse, 2005. Photo by Philip Rodelli. Source: Wikimedia Commons.
Front side view of the thangka wall with one of its side buttresses and its outside terrace. The hanging running along the top of the façade wall is dark-red. The row of small rectangular cutouts corresponds to the sixth row of slot-like openings.
Fig. 22 - Tashilhunpo monastery at Shigatse. Source: Wallpaper Studio 10 website.
Rear side view of the thangka wall. The masonry consists of successive courses of large, similar-sized mortared stones. The stonework of the side buttress alternates a course of large stones with a course of thin flat stones. The narrow side wall is pierced from base to top by six wood-bars openings, the lowest of which is hidden from view by the side buttress. The rear side is blank. The edifice's entrance can be discerned in its base, in the vertical middle axis. Under the parapet at the top, three inclined gargoyles are used to evacuate runoff water from the flat roof. The monastery's circumambulation path runs alongside the rear façade.
Fig. 23 - Tashilhunpo monastery at Shigatse. Displaying the thangka of Amitaba, the Buddha of the infinite light (July 1st, 2015). Source: vtibet.com wbsite.
The veil with multi-coloured vertical stripes (used to conceal the thangka from view while the latter is being hoisted) has been rolled up at the top of the wall. A yellow strap or rope is attached to the middle of the lower edge of the thangka.
Fig. 24 - Tashilhunpo monastery at Shigatse. Displaying the thangka of Sakyamuni, the founder of Buddhism, or historical Buddha (July 2nd, 2018). Source: unknown.
Fig. 25 - Tashilhunpo monastery at Shigatse. Displaying the thangka of Maitreya, or Jampa, the Buddha of the future (July 3rd, 2018). Source : Tibet Vista website.
The thangka is brand-new judging by its vivid colours.
2.4 Riwo Dechen monastery in Qonggyai
Built on a hillside, the Riwo Dechen kagyupa monastery possesses a thangka wall that overbears the other monastic buildings and can be seen from afar. It is apparently a recently-built addition to the complex.
A giant thangka of Maitreya, the Buddha of the future, is preserved and maintained by the monastery.
Fig. 26 - Riwo Dechen monastery in Qonggyai in 2008. Source: Wikimedia Commons.
The narrow sides of the thangka wall are upright, the front face of the wall has a strong batter. The top storey is set back from the front face of the structure. It has a row of three small windows and a door at each end.
Fig. 27 - Riwo Dechen monastery in Qonggyai (no date available). Source: mapio.net.
The batter of the thangka wall's front is obtained through a succession of setbacks in the masonry, hence the serrated appearance of both left and right corners. A guardrail runs along the gallery beneath the top of the building. Each receding step in the wall's front face is pierced by a row of of small openings or lights. A stone masonry wall retains the platform that extends outside the thangka wall.
3. Ancient descriptions of Tashilhunpo's thangka wall
3.1 Samuel Turner (1800)
The thangka wall at Tashilhunpo monastery is, according to the description published by Samuel Turner in 1800 [9], "a lofty & broad, but shallow edifice" standing towards the extreme limit of the monastery in the north-east and "styled Kugopea." It reportedly contained "portraits of the sovereign Lamas", and "other sacred subjects appertaining to their mythology." It was dedicated to the practice of certain "mystic rites" during their religious festivals.
Fig. 28 - Engraving of Tashilhunpo monastery's thangka wall published by traveller Samuel Turner in 1800 (with the caption "The Dwelling of Tessaling Lama, with the religious Edifice stiled Kugopea"). Source: Michael Taylor, Le Tibet – de Marco Polo à Alexandra David-Néel, Payot, Office du livre, Fribourg, 1885, p. 86, fig. 54.
Fig. 29 - Map of "Thibet, Mongolia, and Mandchouria" taken from R. M. Martin and J. & F. Tallis's Atlas of the World (1851). In it are shown the northern and western parts of the Chinese empire within its borders delineated by the treaty of Nerchinsk in 1685. Source: Wikimedia Commons.
In the left-hand upper corner, the picture of the panchen lama's palace at Tashilhunpo monastery can be seen along with the towering wall used for hanging a thangka of the Buddha (see below).
Fig. 30 - Image of the panchen lama's palace at Tashilhunpo monastery in Shigatse as found in the "Thibet, Mongolia, and Mandchouria" map from R. M. Martin and J. & F. Tallis's Atlas of the World (1851). The image is a copy of the engraving by Nicolas Turner.
The thangka wall appearing to the right of the palace and further up the hillside has been stretched height-wise inordinately by the engraver. It is easily recognizable with its blank front face, strong batter, small openings on the side face, and the cloth hangings round its top storey. However, the edifice is lacking in depth.
3.2 The Wise Collection (mid-19th century)
A detail of the panoramic map of Southern Tibet belonging to what is known as the Wise Collection renders the appearance of Tashilhunpo monastery as it was in the middle of the 19th century with its thanka wall, the four panchen lama mausoleums and the Kiku Naga garden [10].
Fig. 31 - Image of Tashilhunpo monastery on the panoramic map of Southern Tibet in the Wise Albums. Source: The British Library Board, Add. Or. 3016, Folio 2.
In the right-hand upper corner, a barely discernible thangka wall is dwarfed by the panchen lama mausoleums although in reality the wall is taller than, and towers over, them. This points to an obvious hierarchy in the monastic buildings according to their religious importance.
3.3 Laurence Austine Waddell (1895)
Half a century later, British explorer Laurence Austine Waddell describes the same edifice, going at the time by the name of "gö-ku-pea " ("the stored silken pictures"), which was used on certain festivals to exhibit gigantic pictures of Maitreya and other Buddhist deities on the edifice's front. Devotees for their part would call the building "ki-ku tamsa." It was also a store room for the dried carcasses of sheep, goats and yaks used for feeding monks. The large terrace outside the front of the edifice would accommodate crowds of people when the monumental thangkas were exhibited in June and November [11].
3.4 William Carey (1901)
Waddell's portrayal of the thangka wall is echoed by the description given by missionary William Carey in 1901. Carey sees the display wall as the most interesting building in Tashilhunpo. He compares its shape to that of "a wedge" or "the broad blade of a hatchet" and likens its functions to that of "a gigantic blackboard or picture screen." As a quip, he calls the edifice "the lamas' larder" on account of its being used alternatively as a store house for dried meat (in the same way, the caption of a photograph reads "the Lamas' Blackboard"). The only name he uses for the edifice is that of "kiku tamsa" [12].
3.5 Sarat Chandra Das (1902)
Around the same period, the Indo-British spy, Sarat Chandra Das, went to examine the edifice and found it to be more than 200 years old, about 60 paces in length and 30 in breadth, with 9 storeys, and "kiku tamsa" for its designation. He also notes that the edifice is used as a store for dried meat and that Turner made a sketch of it in 1879 but mistook it for "a religious edifice" [13].
Fig. 32 - Drawing of Tashilhunpo monastery as made in the Tibetan manner by pandit Sarat Chandra Das in 1882
In the right-hand upper corner, under number 19 the thangka wall can be seen with its terrace and access stairs. The caption reads: "Kiku Tamsa. The nine storeyed stone structure, about 120 feet high (= 42 m 60), 100 feet long (= 30 m 50) , and 60 feet wide (= 21 m 30), to the western face a tapestry is hung during the prayer time every year."
Fig. 33 - Enlargement of the thangka wall in the above drawing.
The real thangka wall has bigger side buttresses and five rows of 4, not 3, small openings.
4. Ancient description of the thangka wall at Palcho Chode
4.1 F. Bailey Vanderhoef, Jr. (1938)
A relatively detailed description of both the inside and the outside of the Palcho Chode thangka wall is found in the memoirs of F. Bailey Vanderhoef, Jr., an American explorer who went to Gyantse in 1938 to photograph the dances performed by monks during the Saga Dawa yearly festival held in celebration of the anniversary of the Buddha. He first of all remarks that the "pylon" as he calls the edifice, originally served a dual purpose: not only hanging a gigantic "banner" bearing a picture of the Buddha but also storing grain ("granary"). He stresses the fact that the thangka is in three parts: a middle banner and two side banners. The left-hand side banner was missing though, it had disappeared in unexplained circumstances, he was told. The rumour blamed either the Chinese or the English. The thangka is made of brocade"which was cut to bits that were sewn together before being applied upon a base." The brocades are, Wanderhoef observes, among the finest and most expensive ones: Genoese velvet, Florentine cut velvet, Persian gold tissue, 17th-century French silk brocade, besides pieces of Chinese, Indian and even Japanese material [14].
Fig. 34 - Palcho Chode monastery at Gyantse. Source: F. Bailey Vanderhoef, Jr., A Glimpse of Another World: A Journey Through Western Tibet (1938), 2008, p. 120. The ascent to the thanka wall. (The entrance to the building is at the back of the building.)
The inside of the pylon is divided into several floors supported by heavy cypress beams. The ground floor is steeped in almost complete darkness. Each floor is occupied by a row of huge grain bins along each side of a central gallery. Communication between floors is by means of a wide circular ramp at one end of the gallery. As the pylon is constructed on a relatively steep hillside, its rear elevation is much reduced in comparison to its sloping front elevation. On the top of the pylon is a flat roof serving as a terrace. Under the front parapet is a row of big wooden pulleys set into the masonry to guide the ropes attached to the upper edge of the banner [15].
5. Transporting, hoisting, unveiling, displaying and letting down of a gigantic thangka
5.1 At Palcho Chode
The transport, hoisting, unveiling, displaying and letting down of the gosku at Palcho Chode monastery in 2001 were related by tibetologist Michael Henss. On the ninth of June, at 4 a.m., in one of the chapels, the large bags containing the thangkas were opened. At 5 a.m., the principal scroll and the lateral banner were carried by young lay people to the foot of the thangka wall where 35 monks or so were waiting, chanting sutra verses and blowing long trumpets. At a quarter to six, when it was still dark, the central banner was fixed in its full upper width to a long metal pole. A little after six, fifteen devotees standing behind the parapet topping the front face of the gos sku spe'u started to pull up and unroll the central image with the help of fifteen ropes fixed to the metal rod. The process took only five minutes. At a quarter past six, the side banner in its turn was pulled up and unrolled with the help of another three ropes by three devotees. All eighteen ropes slid over as many wooden rolls set in holes under the parapet at the top. When passing by the base of the thangka wall, the pilgrims performing their circumambulation, or kora, were able to offer silken scarves to the deity and prostrate themselves in front of its image. Around ten, when the sun was about to rise over the eastern hills, the long trumpets sounded again, signalling the end of the ceremony and the letting down of the banner. The process of rolling up took half an hour, requiring more care and time than the earlier process of unrolling: the thangkas had to be folded, not rolled, by savvy hands before being packed and carried back to their place of origin. This took one more hour. In all, the gos sku were displayed for about four hours [16].
Although Michael Henss's description matches that of F. Bailey Vanderhoef, Jr., it lacks any of the photos taken by the latter eight decades ago.
Fig. 35 - Palcho Chode Monastery at Gyantse. Source : F. Bailey Vanderhoef, Jr., A Glimpse of Another World: A Journey Through Western Tibet (1938), 2008.
The central banner has been hoisted up the front face of the wall and displayed for devotees to worship. The side banner is missing as it is nowhere to be found in the monastery.
Fig. 36 - The thangkas are being let down to avoid their being hit by sun rays. One notices the battered or sloping base of the wall with its succession of steps.
Fig. 37 - Monks are busy folding the scrolls under the early rays of the sun.
Fig. 38 - A scroll is being folded (not rolled).
Fig. 39 - The side banner is being put back into its bag while the folding of the principal banner is nearing completion. A few monks are still perched on the steps formed by the successive ledges in the lower part of the wall face.
5.2 At Tashilhunpo
A video posted by a Chinese travel agency highlights the hoisting process of a giant thangka from the top platform of the Tashilhunpo kiku-tamsa. Groups of two or three monks sitting on the floor are rhythmically pulling up the ropes used for lifting the kiku by means of muscle power. Being attached to the thangka rod, the ropes run through cavities underneath the front parapet and are guided by wooden pulleys set into the masonry [17].
Fig. 40 - The covered loggia over the access to the terrace on the flat roof. Ascent is by means of simple wooden ladders.
Fig. 41 - Monks in pairs are hard at work pulling up the ropes behind the front parapet.
Fig. 42 - Perched atop the parapet wall, a monk is setting the pace by beating on a drum.
The thangka's upper rod is in fact an assembly of smaller wooden rods (made of poles split lengthwise).
Fig. 44 - The overhung base of the front parapet rests on floor joists. One interval between two joists is occupied by a pulley consisting of a shaft and two wooden wheels. The pulley allows the hoisting of a rope.
These video images bring an end to this author's investigations of thangka walls. However, it is worth bearing in mind that the outdoor display of giant thangkas can also take place on the façade of a building, on a cobbled platform or on a metallic contraption on a hillside, a variety of supports which are also worthy of study.
Appendix : the large thangkas of the Potala palace
Since the last quarter of the 17th century, the centre wall of the white façade of the Tibetan pontiffs' fortress palace has provided a vast expanse for displaying two giant thangkas which appear to be stitched together at the side in photographs of the turn of the 20th century while being unstitched and switched around in a post-1959 postcard.
Fig. 45 - Black and white photograph of the Potala palace taken in 1900 by Russian explorer O. M. Norzunov (or Norzunoff) from the Chagpori hill. The vast base wall in the central part of the white façade is being used to display a double monumental thangka which can be seen from afar owing to its elevated position. With this kind of support, there is no need for a free-standing thangka wall.
Fig. 46 - Black and white photograph of the Potala palace taken from the south south-east by G. Ts. Tsybikov (or Tsybikoff) in 1901 during the Tsog Chod festival on the 29th day of the second moon of the Tibetan year. Source: American Geographical Society.
The central white façade is covered by two thangkas sewn together to form a single piece. The giant images hang from the lowermost row of windows. According to the photographer, the character on the right is Sakyamuni while the character on the left is Tara or Doma.
Fig. 47 - Black and white photograph taken by Hugh Edward Richardson in April 1949. Source: The Tibet Album, 2006.
Partly hidden by the Shöl outer stone pillar (doring chima, rdo ring phyi ma), the two koku (gos sku), joined together into one piece are seen hanging from the lowermost row of windows in the background.
Fig. 48 - Colour photograph taken by Hugh Edward Richardson between 1936 and 1950. Source : The Tibet Album, 2006.
The double koku is being displayed on the Potala façade.as part of the Sertreng ceremony on the 30th day of the 2nd Tibetan month.
Fig. 49 - Mural painting representing the ceremony held after the completion of the Potala palace. Source : A Mirror of the Murals in the Potala, Pékin, Jiu zhou tushu chubanshe, 2000.
On this occasion, the two banners were deployed (with the goddess Tara being on the left-hand banner). They are joined together as is indicated by the single continuous veil along the top.
Fig. 50 - Colour postcard of the Potala (c. 1980-1990).
Two gigantic thangkas are displayed side by side on the large white walls of the south façade. They are hanging from the eaves of the roof (and not from the lowermost row of windows as in Richardson's photos). Apparently, each individual thangka of the double koku visible in the previous documents has regained its autonomy although after switching sides (the goddess Tara is now to the right). When the banners are not displayed, they are kept in a small building further down the slope.
[1] A monumental thangka – a Tibetan word meaning "scroll" – is a gigantic cloth several dozen metres wide and high which bears the image of the Buddha or some other deity of Tibetan buddhism. The cloth uses the appliqué technique – pieces of brocade carefully cut out and assembled on it. The thangka can be unrolled and rolled up on a vertical wall or a sloping ramp.
[2] Michael Aris, Views of Medieval Bhutan. The Diary and Drawings of Samuel Davis, Segindia Publications/Smithsonian Institution Press, London - Washington, DC, 1982: "The building in the foreground is the residence of the unidentified 'Tessaling Lama' and the tall construction to the rear is what Turner called the 'Kugopea' (Tibetan: Gos-sku-spe'u, 'Cloth-Image Tower'). Its purpose was to serve as a frame for displaying once a year a gigantic tapestry of Buddhist divinities worked in applique of a type still seen during certain festivals in Bhutan today." See also Ronald M. Bernier, Himalayan Architecture, Farley Dickinson University Press, 1997, 196 p., p. 72: "a building of one of the region's most extraordinary structural types [is] in the background. Turner called it a kugopea and Aris provides the Tibetan term Gos-sku-spe'u or 'cloth-image tower'."
[3] Andreas Gruschke, The Cultural Monuments of Tibet's Outer Provinces: The Qinghai Part of Amdo, White Lotus Press, 2001, p. 249: "thangka-wall, Tib. --> gökudramsa (gos sku bgram sa)."
[4] Michael Henss, Liberation from the pain of evil destinies: the giant appliqué thang kas (gos sku) at Gyantse (rgyal rtse dpal 'khor chos de), in Issues in Traditional Tibetan Art from the Seventh to the Twentieth Century, Proceedings of the Tenth Seminar of the IATS, 2003, Volume 13: Art in Tibet (Erberto F. Lo Bue dir.), International Association for Tibetan Studies. Seminar, Charles Ramble, BRILL, 2011, 240 pages, pp. 73-90, p. 87: "Most recently a huge image tower of this kind was erected at Se ra monastery, where – as at 'Bras spungs and other places – the banner had been until then displayed over a permanent scaffolding structure on the slopes ascending behind the monastic compound."
[5] Victor Chan, Tibet Handbook, MOON publications inc., 1994, p. 420: "In Gyantse, the gheku tower can still be seen, massive and severe, high up on the hill;" Michael Henss, op. cit., p. 87: "This huge 'tower for displaying the cloth image' (gos sku spe'u) inside the great enclosure wall built around the Dpal 'khor chos sde in 1425 probably was not erected before the 1430s, when the giant Gyantse banners were commissioned. This form of architectural 'image support' was constructed specifically for the display ritual."
[6] "Service by thangka wall at Palkhor Chode, Gyantse," The Tibet Album, 5 Dec. 2006, The British Museum: People standing and sitting next to the Goku Tramsa wall of Palkhor Chode monastery, Gyantse, where the large embroidered thangka on display can just be seen in the left side of the image. This textile would be displayed during the Gyantse festival which took place in the fourth month of the Tibetan year. The wall [...] was high on the hillside around Gyantse in the north east corner of the monastery."
[7] Michael Henss, op. cit., p. 86: "Because the damaged Dīpankara gos sku is not displayed, the display of the Maitreya alternates annually within a two-year cycle with the Sakyamuni gos sku."
[8] Michael Henss, op. cit., p. 87: "the largest intact tower that has survived is at Bkra shis lhun po [Tashilhunpo]. This is approximately 32 meters in height and 42 meters in width (at the base) and was constructed in 1468 for the display of Sman bla don grub's giant Buddha banner (circa 28 by 19 m)."
[9] Samuel Turner, An Account of an Embassy to the Court of the Teshoo Lama in Tibet: Containing a Narrative of a Journey Through Bootan, and Part of Tibet, G. and W. Nicol, London, 1800, 473 p. P. 313: "Here [towards the extreme limits of the monastery upon the north east] stood a lofty and broad, but shallow edifice, styled Kugopea, filled, as I was informed, with portraits of the sovereign Lamas, and with other sacred subjects appertaining to their mythology ; and solemnly dedicated to the festive celebration of some mystic rites of their religion" – P. 314: "A view of the dwelling of Tessaling Lama, with the religious edifice styled Kugopea, on the north eastern boundary of the monastery of Teshoo Loomboo [Tashilhunpo], is given in the annexed plate."
[10] Diana Lange, There's More Than Meets the Eye with These Maps of Tibet, on The Rubin website, November 28, 2016: "Tashilhunpo Monastery with the big thangka wall, the four Panchen Lama mausoleums, and the Kiki Naga Garden; detail of the panoramic map of Southern Tibet © The British Library Board, Add. Or. 3016, Folio 2 (detail)."
[11] Laurence Austine Waddell, The Buddhism of Tibet, or Lamaism, With Its Mystic Cults, Symbolism and Mythology and in Its Relation to Indian Buddhism, W.H. Allen & Co, Limited, London, 1895, p. 272: "Hard by the last-named premises, is to be observed a lofty building of rubble-stone, reared to the amazing height of nine storeys. This edifice, which forms a very remarkable object on the hill-side, was sketched by Turner, who visited Tashi-lhumpo one hundred years ago, and his drawing of it is here annexed on opposite page. It is called Gö-Ku-pea, or 'The Stored Silken Pictures,' as it is used to exhibit at certain festivals the gigantic pictures of Maitreya and other Buddhist deities, which are brought out and hung high up as great sheets outside the walls of the tall building. By the vulgar it is called Kiku Tamsa. It is used as a storehouse for the dried carcasses of sheep, goats, and yak, which are kept in stock for feeding the inmates of the monastery. A wide-walled yard fronts the Kiku Tamsa, and this space is thronged by a motley crowd when (as is the custom in June and November) the pictures are exhibited." P. 273: "The 'Gö-Ku-pea' or 'Kiku-Tamsa' Tower at Tashi-lhunpo." After Turner.
[12] William Carey, Adventures in Tibet: Including the Diary of Miss Annie R. Taylor's Remarkable Journey From Tau-Cahu to Ta-Chien-Lu Through the Heart of the "Forbidden Land", United society of Christian endeavor, 1901, 285 pages, p. 101: "The most interesting building at Tashi Lhunpo is that called the Kiku Tamsa. It is nine stories high, and tapers upwards like a wedge or like the broad blade of a hatchet. It is the lamas' larder, being filled with dried carcasses of sheep, yak, and goat, for the monastic table. But it is also a gigantic blackboard or picture screen, and this purpose determined its peculiar shape. A large enclosure fronts the building; and twice a year, in June and November, immense crowds gather to gaze on the silken pictures of Buddhist deities which are hung over it for exhibition. These pictures are a hundred feet long. The chief favorite is Jampa, the 'Loving', the Buddha that is to be. Pilgrims come from long distances to see this picture, and press forward to kiss its silken fringe."
[13] Sarat Chandra Das, Journey to Lhasa in Central Tibet, J. Murray, 1902, 285 p., pp. 117 and 274. P. 117: "Some 200 paces farther on in the same drection, we came to a huge stone building called Kiku-tamsa. It is about 60 paces in length and 30 in breadth, and I counted nine stories in it. Though it is upwards of two hundred years old, it is still in excellent repair. Captain Turner made a sketch of it in 1785, but he mistook it for 'a religious edifice.' It is at present used as a store for dried carcasses of yaks, sheep, and goats. Every year, in the latter part of November, all the sacred pictures of the Labrang are hung up on this building for the benefit of the people, who, by touching these paintings with their foreheads, receive the blessings of the gods they represent.'
[14] F. Bailey Vanderhoef, Jr., A Glimpse of Another World: A Journey Through Western Tibet (1938), edited with a foreword by José Ignacio Cabezón, a Joint Project of the University of California at Santa Barbara and the Santa Barbara Museum of Art, 2008, 135 p.: p. 77, "On the hill behind the monastery of Gyantse, there is an enormous stone pylon which has a flat sloping side facing the town and the plain. Though the building itself serves the double purpose of a granary, it was built for the ceremony of Tangka day on the fifteenth day of the fourth month, called Saga Dawa, when the monks hang on the pylon an enormous Tangka, or banner, bearing a picture of the Buddha. [...] it is in three sections, the center section measuring about a hundred feet square, and the two side panels a hundred by about twenty feet. Moreover, instead of being painted, it is made entirely of brocade which has been cut to bits and then sewn and applied upon a base to make the picture." P. 79-80: "One of the side panels was missing. It was stolen some years ago under the most mysterious circumstances. [...] Some say the Chinese took it; some say the English took it." P. 81: "Beside the work involved, the Tangka must have cost an enormous sum to make, for it is entirely composed of the finest and richest of brocades. We were interested to find that parts of it were made of Genoese velvet, some of Florentine cut velvet, some of Persian gold tissue, some even of French seventeenth century silk brocade, besides bits of Chinese, Indian and even Japanese material."
[15]F. Bailey Vanderhoef, Jr., op. cit., p. 119: "[...] we came to the spot where the wall runs along behind the top of the great pylon that holds the giant tangka. [...] the pylon we found to be only one flight of steps above the level of the hill at the back, and we climbed up to inspect it. On the very top was a wide terrace on the flat roof. Along the front side of this was a covered loggia with several windows looking down on the town. Above the row of windows was a row of twenty or thirty huge wooden pulleys set into the masonry and used to carry the ropes when pulling up the great tangka. [...] We crept through into the darkness. At the very bottom, the building was almost dark, but we could make out a row of square compartments, like huge coal bins, along each side of the gallery that ran down the center of the building. At the far end, a wide ramp circled upward to another floor that had the same double raft of huge bins. The internal construction of the building was entirely of heavy cypress beams, so arranged that the sloping front wall of the building was supported by the hillside at the back. [...] the entire building was once used as a granary. That was the purpose of the giant bins along each floor [...]."
[16] Michael Henss, op. cit., pp. 86-88 (section The Ritual of Displaying The Gos Sku): "On the 9th of June of 2001 preparations began around four am as every year in the Rgyal rtse gtsug lag khang with the opening of the heavy leather bags in which the thang kas are kept throughout the year. Soon after 5 am the principal scroll and the side-banner were carried – mostly by young lay people – out of the assembly hall up to the gos sku thang sa, 'the place for unfolding the silken image' where around 35 monks had gathered and were chanting sutra verses and blowing long dung chen trumpets. / [...] At a quarter to six am, when it was still dark, the thang ka procession arrived at the foot of the steeply inclined wall and the banner was fixed in its full upper width to a long metal pole. Shortly after six, fifteen laymen standing behind the façade at the top of the gos sku spe'u (plate 54) began to pull their precious load up. The image was then unrolled with the help of fifteen ropes in little more than five minutes. / At a quarter past six, the side-banner was pulled-up, fixed to another three ropes. All eighteen ropes slid over an equivalent number of wooden rolls in the top section of the tower and were handled by as many laymen lifting the silken scroll simultaneously. / Pilgrims performing their sacred bskor ra intra muros around the Dpal 'khor chos sde passed by the base of the gos sku thang sa, offering silken scarves and prostrating themselves to worship the silken image. Around ten, when the sun was about to rise over the upper ridge of the eastern hills, the sound of dung chen ('long trumpets') overwhelmed that of monks reciting prayers and the giant banner was let down. This took half an hour, and involved a procedure handled with considerably more care and time than the earlier process of unrolling. The thang ka was displayed for around four hours. Folding (not rolling!) the huge fabric thang ka to keep it safe for another two years is surprisingly complicated and requires a very professional expertise to avoid damage. One more hour was needed for packing and before noon the silken scroll had been carried back to the gtsug lag khang."
[17] Hoisting of the monumental thangka from the top of the thangka wall at Tashilhunpo monastery, on the tibettravel.org website.
2.3 Tashilhunpo monastery at Shigatse
2.4 Riwo Dechen monastery at Qonggyai
3.2 Wise Collection (mid 19th century)
To print, use landscape mode
© Christian Lassure
To be referenced as :
Christian Lassure
An architectural curiosity: the thangka walls of the major Tibetan monasteries
http://www.pierreseche.com/thangka_walls_english.htm


text:
Étienne Victor Exbrayat, est un sculpteur, graveur et médailleur français, né à Saint-Étienne le  et mort pour la France le  à Boulogne-la-Grasse (Oise).

Biographie
Étienne Victor Exbrayat devient sociétaire de la Société des artistes français en 1905. Il obtient une mention honorable au Salon des artistes français en 1904 et une médaille de troisième classe en 1911.

Caporal au 16e régiment d'infanterie, il meurt des suites de blessures de guerre à l'ambulance installée dans les murs du château de Bains à Boulogne-la-Grasse.

Œuvres

 Médaille offerte par Le Petit Parisien.
Dentellière de la Haute-Loire, plâtre, Musée national des beaux-arts du Québec
 La Renommée - Médaille des récompensés, Association des petits fabricants et inventeurs français - Concours Lépine, 1902.

Notes et références

Annexes

Bibliographie
 René Édouard-Joseph, Dictionnaire biographique des artistes contemporains, tome 1, A-E, Art & Édition, 1930,
 Emmanuel Bénézit, Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, tome 4, 1976, .

Liens externes

Sculpteur français du XIXe siècle
Sculpteur français du XXe siècle
Sculpteur rhône-alpin
Médailleur français
Naissance en mai 1879
Naissance à Saint-Étienne
Décès en octobre 1914
Militaire français mort au combat lors de la Première Guerre mondiale
Décès à 35 ans

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Can't decide which add on packs you want?
No problem! Here's a pack that includes a sampling from each pack (plus some pages that aren't available anywhere else). And, of course, they are all sized and punched to fit right in your Sweet Life Planner.


text:
Q: Group header files in C and/or Objective-C I have on occasion used a header file purely to import a group of related header files that describe the interfaces on all public components of a module. This was done for convenience. Anyone using the module need only import the one header file.
Is this practice recommended, and if so does said practice have a name? I am trying to name the header files something that explicitly states that they are a group imports and am wondering if there is any convention?

A: All Cocoa frameworks do this: For example AppKit.framework contains a header name "AppKit.h" so that one can include all of AppKit using #import <AppKit/AppKit.h>. It simply contains a list of ~ 180 header import statements.
I don't have a name for this pattern but I use it in my own libraries as well (static or framework).

A: In case of Objective-C the situation is a little bit better with the #import directive, however, in C/C++ this would be a very bad thing to do, since any change to any of the interfaces described in those headers would trigger an inevitable rebuild of all .c/.cpp files including the one you use.
Should you at some point discover things like TDD or at least just unit tests, you'd have to fight with potentially very complicated dependencies introduced by such header.
I would personally recommend to avoid such solutions, unless you know what you're doing.

A: It's OK, but with one caveat: as much as possible, try not to include header files that you don't need.
If fewer headers are included, then there is less dependency on the headers, and hence between modules, and fewer files will need to be recompiled if a header changes.
A common pattern in C for embedded systems is to have one header (provided by the processor manufacturer) which includes all the separate headers defining the registers for the processor's peripherals, with that one header included in every source file. Besides that, source files only include the headers they actually need.
(In the above, "header" means a header file with .h extension, and "included" refers to the #include preprocessor directive).

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text:
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Down Valley
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Fort Ross - Seaview
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Los Carneros
Moon Mountain
Napa - Eastern Mountains
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Northern Sonoma
Oak Knoll District of Napa Valley
Pine Mountain-Cloverdale Peak
Rockpile
Sonoma - Central
Sonoma - East
Sonoma - North
Sonoma - South
Sonoma - West
Spring Mountain District
Wild Horse Valley
The Spirit of Bali Exhibition
July 12, 2019, 12:00 pm - 7:00 pm at Oakland Asian Cultural Center, 388 9th St. #290, Oakland, California 94607
oacc.cc
I Madé Moja comes from Batuan, a traditional arts village in Bali, known for its classical music and dance, fine woodcarving and unique painting style. These time-honored traditions are passed from one generation to the next and continue to thrive, despite great changes in the culture and economy of Bali. Moja's father, renowned painter I Madé Budi, passed on the amazing ink and watercolor technique of Batuan to his son, who has taken it in new directions here in the U.S.
The technique starts with a pen and ink sketch, which is then shaded with Chinese ink for a 3-dimensional effect. Watercolor or acrylic paint is added in a series of layers or "washes" and finished with bright highlights to complete the sense of depth and dimension. The compositions are often very detailed and complex, drawing from Hindu mythology, traditional village life, and nature. This style and caliber of Balinese painting is rarely seen here in the United States. Moja's work has been shown internationally and featured in numerous books detailing the art and culture of Bali.
Since moving to the Bay Area, Moja has branched out artistically. In addition to teaching and experimenting with new themes in his painting.Moja has also worked extensively with ShadowLight Productions, a non-profit theater company based in San Francisco that takes its inspiration from classical Indonesian "wayang kulit" (shadow puppet theater).
Presidio Picnic
Main Parade GroundMain Parade Ground, Sheridan Ave, San Francisco, CA 94129, USAa
More From Arts
BETSIE MILLER-KUSZ "RETRO FIT: AN INSTALLATION OF PAIN ...
Think Round Fine Arts2140 Bush St. Suite 1, San Francisco, CA 94115a
Gallery 181 Summer Art Exhibition July 11 - Sept. 9.
Gallery 181181 Fremont Residences, 181 Fremont St. , San Francisco, California 94103a
Pacific Terminus
Telematic323 10th street, San Francisco, CA 94103a
The New Religion
906 World Cultural Center 906 Broadway, San Francisco, CA, San Francisco, Ca a

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text:
Private firms to bid on Philips' chip unit
By MarketWatch
SAN FRANCISCO (MarketWatch) -- Three groups of private-equity firms are in the final stage of bidding more than $10 billion for Philips Electronics NV's semiconductor division, according to a report published Sunday.
According to a story in the online edition of the Wall Street Journal citing people familiar with the matter, Philips PHG, +1.22% will decide whether to pursue a public offering of shares in the unit or accept a deal from a private-equity firm after the final round of bids are submitted by the end of the week.
See the full story at WSJ.com (Subscription.)
Philips put the division, which is one of the world's biggest maker of computer chips for electronic equipment, up for sale last year so it could focus on its core businesses. The company said it would pursue an initial public offering of shares in the semiconductor division, but also began accepting bids from potential buyers, almost all private-equity firms.
The Journal reports the bidders include the world's largest private-equity firms and some specialist-technology investors. Kohlberg Kravis Roberts & Co. of New York has teamed up with Silver Lake Partners of Menlo Park, Calif.; Permira Advisors of London is bidding with Texas Pacific Group of Fort Worth, Texas, and Blackstone Group of New York; and Bain Capital Inc. of Boston has joined with Apax Partners Worldwide LLC of London and Francisco Partners Management LLC of Menlo Park, California, according to people involved in the bidding.
Officials from Philips Electronics spokesman could not be reached for comment on the report.
Last week, the Dutch conglomerate said it was buying back $1.9 billion (1.5 billion euros) of its own shares after its quarterly profit tumbled 69%.
Philips Electronics noted the profit slide, which brought its second-quarter income down to 301 million euros, was due to a year-ago sale of its 753 million-euro stake in digital mapmaker Navteq; otherwise, Philips said its profit would've improved 30%. Its operating profit more than doubled to 367 million euros and sales rose 10% to 7.6 billion euros. Philips' net income missed analyst forecasts while sales were above consensus.
Its semiconductors unit showed a quadrupling of its operating profit on restructuring. Medical systems, domestic appliances and lighting divisions also showed profit growth, while consumer electronics' operating profit dropped 27% on price pressure. Sales won't grow as fast in the second half after a strong 2005 second half, Philips added.
Tesla stock rally 'extremely unusual,' analyst says
Koninklijke Philips N.V. ADR U.S.: NYSE: PHG


text:
Books for Tough Times
Books for Tough Times: Moving
Books for tough times, difficult topics, and bibliotherapy.
Childhood Illness
Passing of a Loved One
Books about Moving
Books on this page are about moving. There are non-fiction informational books, as well as fiction books and parenting books.
Franklin's Bad Day by Paulette Bourgeois; Brenda Clark (Illustrator)
Call Number: JP BOURGEOIS
I'm Not Moving, Mama! by Nancy White Carlstrom; Thor Wickstrom (Illustrator)
Call Number: JP CARLSTROM
Mama and child discuss the family's upcoming move to a new house and the reasons why she does not wish to leave the child behind.
Gilbert the Great by Charles Fuge (Illustrator); Jane Clarke
Call Number: JP CLARKE
Almost every child knows what it's like to move or to have a friend move away. Ever since Gilbert the Great White Shark was a tiny pup, Raymond the Remora stuck to him like glue. Them, one day, Gilbert wakes to find his friend has left town to live somewhere new. "It's my fault," the little shark wails. "Last week I called him a sucker!" Nothing can console Gilbert: not his mother, not the funny clownfish, not his kind friends at school. Then he meets Rita, a disconsolate remora who has lost her shark. And that is the start of a beautiful new friendship.
On Meadowview Street by Henry Cole (Illustrator)
Call Number: JP COLE
Caroline lives on Meadowview Street. But where's the meadow? Where's the view? There's nothing growing in her front yard except grass. Then she spots a flower and a butterfly and a bird and Caroline realizes that with her help, maybe Meadowview Street can have a meadow after all.
The Louds Move In! by Carolyn Crimi; Regan Dunnick (Illustrator)
Call Number: JP CRIMI
From There to Here by Laurel Croza; Matt James (Illustrator)
Call Number: JP CROZA
A little girl and her family have just moved across the country by train. Their new neighborhood in the city of Toronto is very different from their home in the Saskatchewan bush, and at first everything seems better. Laurel Croza and Matt James have beautifully captured the voice and intense feelings of a young child who, in the midst of upheaval, finds hope in her new surroundings.
Leaving Home with a Pickle Jar by Barbara Dugan; Karen L. Baker (Illustrator)
Call Number: JP DUGAN
Half a World Away by Libby Gleeson; Freya Blackwood (Illustrator)
Call Number: JP GLEESON
The U.S. debut of an incredible new illustrator introduces two everyday friends whose closeness endures no matter how far apart they are. Amy and Louie are the best of friends. They build towers as high as the sky, they look for magical creatures in clouds, and they always greet one another with their special call. But when Amy's family moves far across the ocean, the color drains out of their lives---until Louie finds a way to restore their special bond. A perfect book for any friends separated by a move, this is the unforgettable story of a friendship lost and found.
Clancy and Millie and the Very Fine House by Libby Gleeson; Freya Blackwood (Illustrator)
Two new neighbors discover that friends are what make a house a home.
I Like Where I Am by Jessica Harper; Kathy Osborn (Illustrator); G. Brian Karas (Illustrator)
Call Number: JP HARPER
This boy has trouble. The movers are here and they're loading the truck without a care for his feelings. 'Cause I like my room and I like my school, And we live real close to a swimming pool, And my best friend lives around the block. Why move to a place called Little Rock Anyway? Any child who has ever had to move will relate to the feelings of loss and also rejoice in the boy's newfound pleasures when he gets to his new neighborhood.
Dear Panda by Miriam Latimer
Call Number: JP LATIMER
Living in a new house and about to start at a new school, Florence feels sad that she had to leave all her friends behind. So she decides to write a letter to the panda who lives in the zoo next door, asking him to be her friend. Thanks to Panda, Flo meets Bea, a little girl who shares her love of pandas, swimming, and hula-hooping, and all kinds of other things. A quiet, introspective story about finding the confidence to make new friends, Dear Panda plays with the boundaries of what's real and what's imagined, and will give readers a new way to think about finding kindred spirits.
Wooby and Peep by Cynthea Liu; Mary Peterson (Illustrator)
Call Number: JP LIU
Wooby lives in a nice, quiet neighborhood where everyone minds his own business. And he likes it that way. Then noisy, energetic Peep moves next door with her banging and smashing and crashing.
Nini Here and There by Anita Lobel
Call Number: JP LOBEL
Perfectly content to stay at home, Nini soon embarks on a momentous journey in which she learns to embrace change.
A Kiss Goodbye by Audrey Penn; Barbara Leonard Gibson (Illustrator)
Call Number: JP PENN
Moving is hard on everyone, but especially children. Chester Racoon, is facing another dilemma common to the lives of many children; he and his family are moving. Young readers will love the way Chester says goodbye to his old home and learns that there are some exciting aspects to his new home.
Herman's Letter by Tom Percival
Call Number: JP PERCIVAL
Herman the bear and Henry the raccoon are best friends. But Henry's moving far, far away! So what do they do? Promise to write each other all the time and stay best friends forever, that's what. But being pen-pals is easier said than done, especially when your best friend seems to be having way more fun than you are. . . .
Moving House by Mark Siegel
Call Number: JP SIEGEL
The fog in Foggytown was so thick that people bumped into parking meters . . . and streetlamps . . . and each other! So Joey and Chloe's parents decide it's time to move. But Joey and Chloe love their house. And as it turns out, their house loves them . . . and has a very special and utterly fantastic way of taking matters into its own hands.
No Friends by James Stevenson (Illustrator)
Call Number: JP STEVE
Worried that they won't make friends in their new neighborhood, Mary Ann and Louie listen to Grandpa reminisce about the new friends he and his brother made when he moved to another neighborhood.
Bad Bye, Good Bye by Deborah Underwood; Jonathan Bean (Illustrator)
Call Number: JP UNDERWOOD
A boy and his family are packing up their old home, and the morning feels scary and sad. But when he arrives at his new home, an evening of good byes awaits: bye to new friends, bye to glowing fireflies, bye to climbing trees. The child-centric transition from dreary morning to cheerful evening comforts young readers facing big changes of their own.
Alexander, Who's Not (Do You Hear Me? I Mean It!) Going to Move by Judith Viorst; Robin Preiss Glasser (Illustrator); Ray Cruz (Other Primary Creator)
Call Number: JP VIORST
When Alexander feels mad or dad he wants to move to Australia. But most of the time he likes it right where he is. So when his mom and dad say that they're moving a thousand miles away, Alexander decides that he's not going. Never, Not ever. No way. Uh uh. N.O. For how can he leave his best friend or his favorite sitter or Seymour the cleaners?
Ira Says Goodbye by Bernard Waber (Illustrator)
Call Number: JP WABER
Ira confronts several emotions when he learns his best friend Reggie is moving away.
Augustine by Mélanie Watt (Illustrator)
Call Number: JP WATT
Moving all the way from the South Pole to the North Pole isn't easy for the young penguin Augustine. Uprooted from her home, she misses her friends, her grandma and grandpa and her old bedroom. There are all kinds of unfamiliar faces at the North Pole, and everything looks strange and different. When it's time to go to her new school, Augustine gets cold feet. But with the help of a few colored pencils and some inspiration from Picasso, this shy, artistic young penguin discovers a way to break the ice with her classmates and feel at home on the other end of the world.
A Tiger Called Thomas by Charlotte Zolotow; Catherine Stock (Illustrator)
Call Number: JP ZOLOTOW
New to the neighborhood, Thomas is shy about making friends until he wears a tiger suit on Halloween.
My Life in Dioramas by Tara Altebrando
Call Number: J ALTEBRANDO
Kate Marino knows very well that home is where her heart is, and if she had any say in the matter, her heart would stay put in Big Red. The old, rambling farmhouse has withstood the test of time with her family, but now Kate's parents have decided to sell it from under her feet. The preventative solution: sabotage the realtor's tours with the help of best friends and a plan that has maximum stinkage potential. The back-up plan: hang on to at least a little bit of life at Big Red by creating shoebox dioramas of each room. But even with a full-scale assault, will her mission be a success? And if not, what will the diorama of Kate's future look like?
Violet Mackerel's Personal Space by Anna Branford; Elanna Allen (Illustrator)
Call Number: J BRANFORD
Is it possible to leave a piece of you wherever you go? Violet Mackerel thinks so in this fourth illustrated chapter book of a charming series. Violet Mackerel believes that wherever you leave something small, a tiny part of you gets to stay too-like how the little piece of green sea glass under the mattress at the beach house means that a little piece of Violet gets to stay on summer holiday. Violet's theory is put to the test when Mama and Vincent announce some very special news: They are going to get married. And they are all going to move. Violet is excited for the wedding, but Dylan is angry about the move. When Dylan won't budge, the wedding preparations feel a bit sad. But just in time, Violet thinks of the perfect way to help Dylan feel better about moving. And her Theory of Leaving Small Things Behind is going to come in handy!
Not for Sale by Sara Cassidy; Helen Flook (Illustrator)
Call Number: J CASSIDY
When ten-year-old Cyrus sees a For Sale sign plunged into his front lawn, it's a complete and utter disaster. Usually, his younger brother, Rudy, is the scaredy-cat, but for the first time in his life, Cyrus is terrified. He's lived at 637 Petunia Boulevard since he came to live with his adoptive mom and dad at two months old. Won't he go hurtling into outer space without these four familiar walls to hold him in? Luckily, Cyrus has a few sneaky tricks up his sleeve to stop this moving business before it even gets started.
Fenway and Hattie by Victoria J. Coe
Call Number: J COE
Fenway is an excitable and endlessly energetic Jack Russell terrier. He lives in the city with Food Lady, Fetch Man, and--of course--his beloved short human and best-friend-in-the-world, Hattie; But when his family moves to the suburbs, Fenway faces a world of changes. He's pretty pleased with the huge Dog Park behind his new home, but he's so happy about the Evil Squirrels that taunt him from the trees, the super-slippery Wicked Floor in the Eating Room, and the changes that have come over Hattie lately. Rather than playing with Fenway, she seems more interested in her new short human friend, Angel, and learning to play baseball. His friends in the Dog Park next door say Hattie is outgrowing him, but that can't be right. And he's going to prove it!
Amber Brown Is on the Move by Paula Danziger; Bruce Coville; Elizabeth Levy; Anthony Lewis (Illustrator)
Call Number: J DANZIGER
Now that Amber's mom and Max are married, the three of them are moving to a new house and Amber is worried about more than just packing. How can she leave the home her dad used to live in? And with her dad dating again, how will they ever find time for just the two of them, like they used to?
The Year My Parents Ruined My Life by Martha Freeman
Call Number: J FREEMAN
Kate Sommers is stunned when her parents announce that their family is moving from sunny California to Belletoona, Pennsylvania. Kate can't bear leaving her friends, her cool surfer boyfriend, and the beach. But maybe, just maybe, Belletoona won't be so bad. Forget it. All it ever does is snow in Belletoona -- and Kate's already in trouble with the principal and half her class. What's worse is her younger sister, who acts like Miss Perfect. Kate's had it. Nothing will stop her from going back to California where she belongs.
Beatrice More Moves In by Alison Hughes; Helen Flook (Illustrator)
Call Number: J HUGHES
Beatrice More is no average third-grader. She is a list-making, hyperorganized perfectionist whose laid-back parents and messy little sister consistently frustrate her high standards. And when a new house, a new neighborhood and new friends are thrown into the mix, Beatrice sends the family into a comic tailspin, all in the name of "professionalism." Despite her most feverish organizational efforts, Beatrice ultimately discovers that some of the best experiences are the ones you can't control.
Best Friends for Never by Adrienne Maria Vrettos
Call Number: J VRETTOS
After Hattie and her three best friends watch one of their classmates publicly defriended in the school cafeteria, they make a loyalty pact promising never to mistreat each other. But after Hattie unwittingly breaks the pact, her friends begin ignoring her. In fact, they literally don't even know who she is anymore! Can Hattie figure out how to break the spell and make things right again?
Moving to a New House by Nicola Barber
Call Number: J 648.9 BAR
The events around moving to a new house can be daunting. This insightful book takes readers through the highs and lows of leaving a beloved home for a whole new one. Readers are encouraged to enjoy the chance to explore a new life.
Moving by Patricia J. Murphy
Call Number: J 648.9 MUR
Read 'Moving' to learn about the feelings many people experience when they move to a new home. This sensitive book describes the process of moving and explores the ways people can start to feel settled in a new place.
Moving Day by Jennifer Emery (Illustrator); Ralph Fletcher
Call Number: J 811.54 FLE
The traumas and trials of moving away are poignantly expressed in new poems from a respected writer. Ralph Feltcher's poems evoke what's hard about moving away as well as what makes moving day, well, maybe, okay.
Next: Loss of a Pet >>


When confronted with the notion that Church and State must remain separated, the subject of voting against Prohibition is quickly brought. There is no denying the fact that Ellen G. White and the Adventist Pioneers saw the consumption of alcohol as a pernicious evil. There is near unanimity in the condemnation of alcohol consumption in the early stages of the Adventist Church, and for very good reasons.


text:
El clientelisme a l'URSS és la pràctica de clientelisme, altrament dit patronatge, polític al govern de l'antiga URSS.

Després que el líder soviètic Vladimir Lenin es retirés de la política el març del 1923, va tenir lloc una lluita per posicionar-se entre el nou primer ministre Aleksei Ríkov, l'editor del diari Pravda Nikolai Bukharin, el líder bolxevic Mikhail Tomsky, el fundador de l'exèrcit Lev Trotski, l'anterior primer ministre Lev Kàmenev, el líder del Komintern Grigory Zinóviev i el secretari general Ióssif Stalin. Stalin va emprar el patronatge per nomenar delegats estalinistes (com ara: Vyacheslav Molotov, Lazar Kaganovich, Grigory Ordzhonikidze i Mikhail Kalinin) per càrrecs del Politburó i el Sovnarkom per tal de decantar el nombre de vots a favor seu, aconseguint així que Stalin fos el líder de fet al país a partir del 1929.

Referències

Unió Soviètica
Política de la Unió Soviètica


"William Mathias's enchanting music is unlike any other music you will hear. Much of it has an etheral, otherworldly quality, and while it is a bit edgy at times, it is lyrical and not atonal. His 3 fine symphonies just scratch the surface as he was quote prolific, and this particular CD is certainly top-shelf. And if you are a a devotee of the choral genre, there is an amazing abundance of excellent choral works by Mathias. He is on my list of top 10 composers."- Anonymous ---- "I had read that William Mathias' music was Stravinskian before hearing this disc, so that, at least, was enough to get my attention. But Mathias is no mere imitator. While he may evoke Stravinsky's neo-classicism to a degree in his Sym. #1 from 1965, he also evokes any number of other modern composers, without sounding like any of them. The 2nd Symphony, from 1983, is even more individual in its use of the symphonic form. The music is difficult to describe. There are tunes, complex vigorous rhythms, orchestral color to burn, augemented percussion, grand moments, mystical evocations of nature, without, however, traditional sound-painting. The music in these symphonies is a heady, invigorating mix of all I like about modern music, put together in propulsive and attractive way. Oh, the sound is spacious and well-recorded, too. Don't miss it!"- Timothy Dougal.


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We know that our way of consuming must change. It is the duty of each of us to take into consideration the impact of our consumption on the environment but also on the human resources involved (or not!) Throughout the process of designing a product or service! Today's entrepreneur must take responsibility and catalyze change. In any case, this is the vision we have of our role!
Thus, our ethical commitments begin with the way we thought the Zen Garden concept: natural products, reusable and minimalist packaging, bulk, zero waste items, … throughout our purchasing process, in the selection of our logistic organization: we try at best to adopt an ecological approach.
In our cosmetic containers corner, we have chosen to go plastic free and sell glass containers for your homemade cosmetics. Those containers will last longer, will protect your homemade cosmetics better and guess what? They will help to reduce the consumption of plastics bottles and pot in the world!
But beyond our products, we have also decided to act on the ground!
The goal of this beautiful adventure "Zen Garden" is also to have the opportunity to contribute to the sustainable development and development of local populations in need.
The cosmetic candles are landing in Madagascar!
Our cosmetic candle workshop in Madagascar is now open. We use local vegetable oils and essential oils, most of which are produced by small producers.
Our points of sale and our range in Madagascar will be communicated online soon! Stay tuned!
Yes to range of local vegetable oils in Madagascar!
Our long-term ambition is to expand the range of vegetable oils in Madagascar and popularize their use rather than products from China and Thailand. Responsible consumption starts with more local consumption, and Madagascar has not only endemic resources rich in virtues but also land where plants can be grown in order to produce quality organic oils. We will talk about this project soon!
Commitments on the ground too!
We also carry out charitable projects to help the local population improve their living conditions. Our projects are more about sustainable development. We prioritize actions that have an impact on duration. Our main project in preparation is Mandraka's Children's House, which I tell you about on the blog!
Our first action in the field was the operation "Coloriage pour tous". The concept: collect second-hand colored pencils in France and England and distribute them in Madagascar. We had the great joy of being able to distribute these pencils with coloring books specially designed for local children, with animals, plants and landscapes that speaks to them!


Professors and experts from Birzeit University, the Islamic University of Gaza, and Al-Quds Open University held a conference titled "International Conference for Business and Economics Research Experiences (ICBE)" at Birzeit University and the Islamic University of Gaza, on Monday, March 4, 2019.
This conference was the closing symposium of the project "Developing the Capacity of Business and Economic Research Centers at Palestinian Higher Education Institutions (BERC)," funded by the European Union through the Erasmus Plus program.
Comprising Al-Azhar University, Birzeit University, the University College of Applied Sciences, Al-Quds Open University, the University of Huddersfield, the University of Almería, the University of L'Aquila, and the Royal Institute of Technology, the project aimed to develop and reinforce the quality standards for business and economics research centers at Palestinian institutions of higher education and to build the capacity of their research staff.
"Research is a vital tool in the study and analysis of business and economic phenomena in Palestine. It plays an essential role in the generation of data and allows Palestinian universities and colleges to produce knowledge that takes Palestinian and Arab contexts into account," Al-Botmeh said.
Nasser Farhat, president of the Islamic University of Gaza, highlighted the importance of cooperation in research, emphasizing that Palestinian universities must collaboratively engage in research that positively affects Palestinians. He highlighted the limitations and obstacles faced by researchers and called on universities to help remove these challenges and enable experts from all over Palestine to produce joint applied research.
Mohammed Miqdad, dean of the Faculty of Commerce at the Islamic University of Gaza, confirmed that the BERC project helped develop and improve research mechanisms at Palestinian universities. He called for the development of a national research strategy to guide researchers in carrying out studies and analyses that help develop the Palestinian nation.
Sadiq Abu Sulaiman, vice president for academic affairs at Al-Azhar University, emphasized the unique, interconnected nature of individuals, institutions, and nations in the twenty-first century, adding that Palestinian universities must take advantage of the available tools and resources to encourage and promote a national culture of research.
Nedal Jayousi, director of the National Erasmus+ Office, gave a brief overview of Erasmus-Plus-supported projects in Palestine and noted that the BERC project was unique in its focus on the tools and mechanisms that help produce new knowledge and encourage research. Jayousi stressed the need for more joint projects in economics and business education and research.
Maher Ajour, vice president for academic affairs at the University of Applied Sciences, stressed that Palestinian universities must cooperate and produce knowledge that is competitive on regional and international levels and benefits the Palestinian community as a whole.
Subsequently, the conference comprised two sessions. The first, chaired by Nojoud Habash, professor of business administration at Birzeit University, focused on the management and sustainability of research centers and on partnership management in international projects.
In this session, four research papers were presented: "Experiences in Establishing and Managing Research Centers" by Birzeit University professors Suhail Sultan, Nojoud Habash, and Omar Omran; "Palestinian Business and Economics Research Centers: Financial and Intellectual Sustainability Challenges" by Al-Quds Open University professor Raslan Mohammad; "Managing Partnerships in Think Tanks and International Academic Projects" by Birzeit University professors Anton Sabella, Samir Baidoun, Mira El-Far, and Wojdan Farraj; and "The Higher Council for Innovation and Excellence: Is it the Correct Model?" by Al-Quds Open University professors Wisam Samarah and Mohammad Talalweh.
The second session, chaired by Atteyeh Musleh, professor of business administration at Al-Quds Open University, focused on the quality of input, output and instruction of research curricula.
This session featured the papers "Assessing the Quality of Research Courses Instruction and Management" by Birzeit University professors Yousef Hassan and Nojoud Habash, "The Role of University Research Centers' Objectives in Assuring their Sustainability" by Al-Quds Open University professor Salah Sabri, and "Assessing the Quality of Research Inputs and Outputs" by Birzeit University professors Mohanad Ismael and Tareq Sadeq.
In their closing remarks, participants called on university administrations to foster research as an effective method to aid in solving social and economic issues; they stressed that the government must encourage research through financial and other means, emphasized the positive effects of creating an atmosphere of innovation in schools and at universities, highlighted the role of cluster research groups − comprising representatives of educational, civil society and governmental institutions − in solving social and economic issues through the production of applicable research and studies, and called for increased attention to and research into the role of decision-making when issues are resolved on the ground.


Please use the confidential Client Services Evaluation form ("Goldenrod") to provide feedback on any Ryan White services you have received.
For information on HIV/AIDS care and treatment service providers, please visit www.211sandiego.org.
For information related to the San Diego HIV Planning Group and its committees, including meeting materials and reports, visit www.sdplanning.org.
For information on the Ryan White Treatment Extension Act and the services covered, please visit the HRSA HIV/AIDS Bureau and the California Office of AIDS.


The problem was to fit a 30,000 square foot office building across the street from the historic Santa Barbara County Courthouse into an existing parking lot. The solution was the creation of a single elegant structure that would meet the needs of the growing District Attorney staff while not competing with the beauty of the Courthouse. The scope included both the building shell, as well as the interior design for the attorney offices. The focus was making the building as sustainable as possible, and to create a positive light-filled working environment with optimal controllability of lighting and mechanical.


Whenever Jim Bob and Michelle went on a date or if they had to travel out of town for a business trip. They take this rule so seriously that even if a member of the family gets pregnant out of wedlock, nobody is allowed to help her in any way and they should just avoid contact with her altogether. As with hand-holding and hugging, kissing is a gesture that should be saved until marriage. When it comes to courtship and dating, the Duggar family is nothing like other families and they have some very specific rules that their children have to follow— no questions asked. Can you imagine sharing something so intimate with your parents? In fact, one report suggested that Jill was going to serve as the midwife of a single mother, but her parents convinced her not to. In fact, many of the younger Duggars tag along, often in exchange for candy! Dress modestly to impress You won't catch any of the Duggar girls in trendy crop tops or mini skirts. Susanna's life choices has caused her to be shunned by both families. Mara Betsch In the last season of "19 Kids and Counting," you've seen not one, but two Duggar daughters Jill and Jessa go through the courting process. Luckily, the Duggar girls are savvy about making modesty fashionable, wearing lots of maxi skirts and layering tank tops. Once engaged, the girls get a bit more privacy when communicating. Of course, his children have no business just casually dating people and if they do want to date someone, the whole process has to be monitored in order to establish whether the person actually is spouse material or not. The echoed their parents sentiment that a kiss is special and should be saved for the wedding. Even though times get tough, all marriages can be saved with hard work and dedication.
Most of the time it was for speaking engagements or just to visit their friends The Bates. When it comes to courtship and dating, the Duggar family is nothing like other families and they have some very specific rules that their children have to follow— no questions asked. NO kissing or any other hanky panky In order to emphasize communication and getting to know their significant other, the Duggar daughters agree to save their first kiss, and everything that follows, for their wedding day. Can you imagine sharing something so intimate with your parents? No alcohol As part of their religious views, the Duggar ladies say no to all forms of alcohol, in order to keep their heads and hearts clear throughout the dating process. Even though other members of their family view divorce differently, the Duggars are committed to making their marriages work despite any problems that arise. Jana, Jill, Jessa, and Jinger chipped in to take care of the household chores. With the daughters now becoming mothers, fans are wondering if they're going to have big families just like their parents. According to Duggar rules, a kiss is a special moment that should be shared between the couple on the wedding day. Watch below as a nervous Ben Seewald asks Jessa Duggar to officially court. However, if you think that a chaperone has to be Michelle, Jim Bob, or any other adult, you are wrong. As the girls have explained, romance novels are forbidden because they promote promiscuity. Instead, they practice modest dress , which means keeping shoulders, thighs and cleavage covered. Even though dancing is prohibited, music is a good part of their lives. Read on to get all the do's and don'ts of Duggar dating. The whole idea is simply not to let the two young teenagers or young adults getting too comfortable together because that might possibly lead them to some sort of activity the Duggars consider sinful, such as hand-holding, for example. When the Duggars girls are greeting their beaus, they often go in for an innocent side hug. Despite being music lovers and performing songs for others, the Duggars maintain their stance that dancing is a no-no and refuse to take part in the activity. Not only does it prevent distractions while dating, but it also "keeps the relationship pure" according to Michelle. Holding hands is only allowed if you're engaged The rules that the girls set during the courtships evolve with the relationship. The Duggars have pretty strict rules when it comes to premarital relations so they find women with the children out of wedlock completely inappropriate to date. Going on the dates for the sole purpose of having fun is something that no Duggar kid will ever experience because it is against everything they believe in. Because they strongly disapprove, their daughters are not allowed to hang out with single mothers. Luckily, the Duggar girls are savvy about making modesty fashionable, wearing lots of maxi skirts and layering tank tops. That being said, all Duggar kids are encouraged to ask as many questions as possible during their dates to get a better idea of who is the person sitting across the table. With a large home like the Duggars, it was a lot of hard work for the four girls to do, but they made it look like a breeze as they kept the home nice and tidy. But the chaperone doesn't have to be an adult.
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text:
Jennifer Aniston Tears Up During First Post-Engagement Interview
The future wife of Justin Theroux was overcome with emotion as she talked to Chelsea Handler.
By Marc Malkin
Published Oct 16, 2012 at 10:25 AM | Updated at 12:01 PM EDT on Oct 16, 2012
This combo made from Feb. 16, 2012 file photos shows Justin Theroux, left, and Jennifer Aniston.
Jennifer Aniston is so happy about her engagement to Justin Theroux, she could cry--literally!
That's what she did when her BFF Chelsea Handler asked her about the engagement during an interview Monday on "Chelsea Lately."
"I just got verklempt," Aniston said as she wiped the tears from her eyes.
Chelsea wants Tim Tebow--to be on her show
Celebrity Hookups: David Foster, Katharine McPhee Marry
Allen Berezovsky/Getty Images
As the world now knows, Theroux, 41, popped the question back in August.
"He's the greatest guy ever," Handler said. "You guys make the greatest couple ever."
Aniston nodded while flashing a big smile. Aww.
Baby Bumps: Kate Middleton and Shakira
Aniston, 43, hasn't said anything publicly about it until today. Heck, we didn't even get a look at her gigantic engagement rock (yes, she was wearing it during "Chelsea Lately") until just a little over a week ago, when paparazzi snapped the lovebirds sharing a sweet moment in Sante Fe, N.M.
The two were most recently spotted on Saturday night enjoying dinner at the Chateau Marmont hotel in West Hollywood.
Jennifer pregnant with triplets, shows off baby bump
Aniston is Handler's first guest on her new bigger and bolder set on the historic Stage 1 at Universal Studios. The former "Friends" star was casual chic in an all-black ensemble of skinny jeans and a leather camisole.
Handler's guests for the rest of the week are Fergie, Miley Cyrus and Christina Aguilera.
Congrats, Chelsea!
Check out Jennifer Aniston's Fashion Spotlight


text:
ULEZ confirmed
Posted by busandcoachbuyer on Thu 2nd April 2015 - 12:19PM | No Comments
The Mayor of London, Boris Johnson, has confirmed the introduction of the world's first Ultra Low Emission Zone (ULEZ). It will launch in central London on 7 September 2020. It is intended to significantly improving air quality and help to protect the health of Londoners. It will require vehicles travelling in the Congestion Charge Zone of central London to meet new emission standards 24 hours a day, seven days a week or pay a daily charge. The full ULEZ package is expected to halve emissions of nitrogen oxide (NOx) and particulate matter (PM10) from vehicle exhausts in central London.
The ULEZ will require minibuses to meet Euro6 for diesel engines (registered from 1 September 2016 so four years old or less in 2020) and Euro4 for petrol engines (registered from 1 January 2007 so 13 years old or less in 2020). Non-compliant vehicles will be required to pay a daily charge of £12.50. Buses and coaches will have to meet Euro6 (registered from 1 January 2014 so six years old or less in 2020 except TfL buses which are required to meet a higher standard). Non-compliant vehicles will be required to pay a daily charge of £100.
The Mayor of London, Boris Johnson, said, 'The world's first Ultra Low Emission Zone is an essential measure to help improve air quality in our city, protect the health of Londoners, and lengthen our lead as the greatest city on earth. With additional funds announced today, more help is on the way for taxi drivers to support their transition to the latest technology in greener cabs. Together we can ensure everyone who lives, works in, or visits our city has the cleanest possible air to breathe.'
SMMT Chief Executive, Mike Hawes, said, 'The London ULEZ will play a key role in driving the market for ultra low emission vehicles in Europe's leading mega city, and set a precedent not only in the UK but around the world. SMMT supports this vision and wants to see London meet its air quality and climate change targets, while driving innovation and supporting jobs. We are pleased to see the Mayor has recognised that the latest diesel technology has a place in an Ultra Low Emissions Zone. It is only by encouraging motorists to invest in the latest, lowest emission technology, regardless of vehicle or fuel type, that the Mayor's vision be fully realised.'
Freight Transport Association's Head of Policy London, Natalie Chapman, said, 'FTA want to see some help for those who will find it harder to comply as the second hand market for Euro6 vehicles will not have fully matured by then, and unlike previous phases of the London Low Emission Zone, there will be no retrofit option available.'