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History - Tang, Song and Yuan Dynasties
YUAN DYNASTY CRAFTS AND CERAMICS
YUAN DYNASTY CRAFTS
Buckle plaque with dragon and Ruyi scrolls
According to the National Palace Museum, Taipei: "Starting from the reign of Chinggis Khan, artisans of great skill were honored under the Mongols. For example, the craftsman Sun Wei (1183-1240) excelled at making armor. When even the arrow of Chinggis Khan could not pierce a piece of armor that Sun Wei had made, Chinggis honored him with the title "Yeke Uran" and ordered him as leader of the artisan command. In Mongolian, "Yeke Uran" means a great artisan or a craftsman with exceptional skill. Sun Wei's title was so valued that he even passed it on to his son Sun Kung-liang (1222-1300)." One story goes: "When the Great Khan picked up a piece of armor that his arrow could not pierce, he uttered in Mongolian to the artisan who made it, "Ah, you — Yeke Uran!" The artisan was greatly honored for this title, for he knew that the khan was referring to him as a great artisan." [Source: National Palace Museum, Taipei \=/ ]
"The Mongols admired refined craftsmanship. When the Mongol armies conquered large parts of the Eurasian continent, they took the artisans they captured and placed them in art and craft workshops in various areas. For this reason, local techniques and styles spread far and wide as artisans of different cultural backgrounds influenced and interacted with each other. For example, the techniques of silk weaving and papermaking in China spread west as gold weaving techniques and astronomical knowledge from the Central Asia area spread into China. In this period of widespread cultural fusion, innovation in the arts and crafts was as great as the influence that it would have on later generations. \=/
"The culture of the Mongols is characterized by its multi-faceted, pluralistic features. Gold works, Buddhist sculptures, ritual objects and certain patterns on ceramics exhibition all reveal a strong affinity to Tibet and Islam. That porcelains of some of the major kilns of China have been discovered in Inner Mongolia serves to confirm that trade between the north and south was common during the Mongol Empire and Yuan Dynasty. \=/
Good Websites and Sources: on the Mongols and Yuan Dynasty Wikipedia Yuan Dynasty Wikipedia ; Mongols in China afe.easia.columbia.edu Mongols Wikipedia Wikipedia ; Mongol Empire allempires.com ; Wikipedia Kublai Khan Wikipedia ; Kublai Khan notablebiographies.com ; Chinese History: Chinese Text Project ctext.org ; 3) Visual Sourcebook of Chinese Civilization depts.washington.edu ; Chaos Group of University of Maryland chaos.umd.edu/history/toc ; 2) WWW VL: History China vlib.iue.it/history/asia ; 3) Wikipedia article on the History of China Wikipedia Books: "Daily Life in Traditional China: The Tang Dynasty"by Charles Benn, Greenwood Press, 2002; "Cambridge History of China" Vol. 3 (Cambridge University Press); "The Culture and Civilization of China", a massive, multi-volume series, (Yale University Press); "Chronicle of the Chinese Emperor" by Ann Paludan; "Housing, Clothing, Cooking, from Daily Life in China on the Eve of the Mongol Invasion 1250-1276" by Jacques Gernet (Stanford: Stanford University Press, 1962. Ceramics and Porcelain: 1) China Museums Online: chinaonlinemuseum.com ; 2) Guide to Chinese Ceramics: Song Dynasty, Minneapolis Institute of Arts; artsmia.org features many examples of different types of ceramic ware produced during the Song dynasty, including ding, qingbai, longquan, jun, guan and cizhou. 3) Making a Cizhou Vessel Princeton University Art Museum artmuseum.princeton.edu. This interactive site shows users seven steps used to create Song- and Yuan-era Cizhou vessels.
Books: 1) "Cambridge History of China" Vol. 6 (Cambridge University Press); 2) 2) "Housing, Clothing, Cooking, from Daily Life in China on the Eve of the Mongol Invasion 1250-1276" by Jacques Gernet (Stanford: Stanford University Press, 1962). 3) Schafer, Edward H. "The Golden Peaches of Samarkan," Berkeley: University of California Press, 1963; 4) "The Culture and Civilization of China", a massive, multi-volume series, (Yale University Press); 5) Benn, Charles, "Daily Life in Traditional China: The Tang Dynasty," Westport: Greenwood Press, 2002;You can help this site a little by ordering your Amazon books through this link: Amazon.com.
RELATED ARTICLES IN THIS WEBSITE: TANG, SONG AND YUAN DYNASTIES factsanddetails.com; GENGHIS KHAN AND THE MONGOLS factsanddetails.com; YUAN (MONGOL) DYNASTY (1215-1368) AND THE MONGOLS IN CHINA factsanddetails.com; YUAN DYNASTY LIFE AND ECONOMICS factsanddetails.com; YUAN DYNASTY CULTURE, THEATER AND LITERATURE factsanddetails.com; YUAN ART, PAINTING AND CALLIGRAPHY factsanddetails.com; KUBLAI KHAN AND CHINA'S YUAN DYNASTY (1215-1368) factsanddetails.com; MARCO POLO'S DESCRIPTIONS OF CHINA factsanddetails.com; MARCO POLO AND KUBLAI KHAN factsanddetails.com; MONGOL INVASION OF JAPAN: KUBLAI KHAN AND KAMIKAZEE WINDS factsanddetails.com CHINESE CERAMICS factsanddetails.com ; PORCELAIN IN CHINA factsanddetails.com ; CELADONS factsanddetails.com ; JIANGDEZHEN AND ITS PORCELAIN, KILNS AND GLAZING AND PAINTING TECNIQUES factsanddetails.com
Yuan Influences
According to the National Palace Museum, Taipei: "High culture was traditionally maintained in China by the scholar-official class, but the refined literary pursuits of cultivation and leisure also influenced the educated members of Mongol and other ethnic groups in the Yuan dynasty. However, in terms of arts and crafts, the establishment of the National School and academies across the land inspired a revivalist style in the production of bronzes and ceramics. Furthermore, with a rich supply of jade at its source, Chinese jade craftsmen and Central Asian gold artisans were also able to combine their creative energies under the Mongols to produce intricate openwork jade." [Source: National Palace Museum, Taipei \=/]
"Many of the techniques used in arts and crafts during the Ming and Ch'ing dynasties were established in the previous Yuan dynasty under the Mongols. For example, designs painted in underglaze blue and underglaze red rose in the Yuan dynasty and flourished in the Hung-wu, Yung-lo, and Hsuan-te reigns of the following Ming dynasty. The import of "Tadjik ware" from the Middle East greatly influenced the aesthetics of cloisonne enamelware in the Hsuan-te and Ching-t'ai reigns. Chinese lacquer ware was renowned in foreign lands during the Yuan dynasty and inspired the famed carved lacquer wares produced in the Yung-lo reign. \=/
Wolfram Eberhard wrote in "A History of China": "In the fine arts, foreign influence made itself felt during the Mongol epoch. This was due in part to the Mongol rulers' predilection for Tibetan Buddhism, which developed as a fusion between traditional Tibetan shamanism (Bon) and Buddhism. During the rise of the Mongols this religion, which closely resembled the shamanism of the ancient Mongols, spread in Mongolia, and through the Mongols it made great progress in China, where it had been insignificant until their time. Religious sculpture especially came entirely under Tibetan influence (particularly that of the sculptor Aniko, who came from Nepal, where he was born in 1244). This influence was noticeable in the Chinese sculptor Liu Yuan; after him it became stronger and stronger, lasting until the Manchu epoch. [Source: "A History of China" by Wolfram Eberhard, 1951, University of California, Berkeley]
"In architecture, too, Indian and Tibetan influence was felt in this period. The Tibetan pagodas came into special prominence alongside the previously known form of pagoda, which has many storeys, growing smaller as they go upward; these towers originally contained relics of Buddha and his disciples. The Tibetan pagoda has not this division into storeys, and its lower part is much larger in circumference, and often round. To this day Beijing is rich in pagodas in the Tibetan style.
Examples of Yuan Dynasty Crafts
According to the National Palace Museum, Taipei: "Although the technique of openwork jade carving was practiced as early as the late Neolithic, jade carvers even as late as the Sung and Liao dynasties were not able to develop a technique for multi-level openwork design. However, it began to appear in the Yuan dynasty. First it was two- and three-level designs that gradually developed into even more intricate ones for a truly three-dimensional effect. Yuan dynasty jade artisans were thus able to combine surface and openwork techniques to develop multi-level carved jades. [Source: National Palace Museum, Taipei \=/ ]
Los Angeles County Museum of Art description of Textile with Griffins, Lampas weave, silk: The Mongols established three centers of textile production through the forced relocation of workers under Genghis Khan and his son and successor Ögödei (reigned 1229–41). Many of these artisans were conscripted from eastern Iranian cities such as Herat, in Khurasan [map], which had been renowned for its silk and gold cloth. Textiles such as this remarkable woven panel adorned with griffins illustrate the resulting blend of motifs and styles. While the griffin motif is better known in West rather than East Asian art, the creatures' curvaceous, scroll-like wings and tails in this textile suggest an influence from east of the Iranian world. The main decoration is a repeat design of lobed medallions enclosing a pair of rampant addorsed griffins with heads turned back to face one another. The medallions are set against a pattern of hexagons each bearing a rosette formed from seven circles.The borders, which are woven in one piece with the main pattern, are decorated with a scrolling peony design. This piece belongs to the Inner Mongolia Museum, Hohhot. [Source: "The Legacy of Genghis Khan: Courtly Art and Culture in Western Asia, 1256-1353", Los Angeles County Museum of Art, 2003 exhibition ^\^]
National Palace Museum, Taipei description of Seal in Phagspa Script, bronze (height: 7.5 centimeters, width: 6.4 centimeters): This square seal in Phagspa script has a trapezoidal knob. The face of the seal is carved in three rows of Phagspa seal script with the name of an official title, indicating it belonged to a commanding officer of the Yuan imperial armies. The top is carved in Chinese with the corresponding official title in regular script as well as the bureau that manufactured it (Ministry of Rites) and the date, which corresponds to 1287 and thus puts it during the reign of the Mongol ruler Kublai Khan in the Yuan dynasty of China. This belongs to the Museum of Inner Mongolia (Hohhot). [Source: National Palace Museum, Taipei \=/ ]
Mongol Symbols in Chinese Art
Ilkanate silk
Stefano Carboni and Qamar Adamjee of the Metropolitan Museum of Art wrote: " In the creation of luxury textiles and objects for the Mongol elite, Chinese artists developed a visual language that was an effective means of establishing their rule and consolidating their presence throughout the vast empire. A number of motifs that were part of the existing artistic repertoire were adopted as imperial symbols of power and dominance—the dragon and the phoenix, for example, two mythical beasts that integrated the ideas of cosmic force, earthly strength, superior wisdom, and eternal life. The Mongol versions of the creatures are the highly decorative sinuous dragon with legs, horns, and beard and the large bird with a spectacular feathered tail floating in the air. In Iran, these motifs were often paired and became so popular with the Ilkhanids that they eventually lost their original meaning, becoming part of the common artistic repertoire in the first half of the fourteenth century. [Source: Stefano Carboni and Qamar Adamjee, Department of Islamic Art, Metropolitan Museum of Art metmuseum.org \^/]
"Other motifs of this period that were familiar throughout the Asian continent are the peony, the lotus flower, and the lyrical image of the recumbent deer, or djeiran, gazing at the moon. The flowers, often seen in combination and viewed from both the side and top, provided ideal patterns for textiles and for filling dense backgrounds on all kinds of portable objects. The djeiran became widespread in the decorative arts because of the well-established association of similar quadrupeds with hunting scenes."^/
"For the semi-nomadic Mongols, portable textiles and clothing were the best means of demonstrating their acquired wealth and power, so it is reasonable to assume that the main mode of transmission of motifs such as the dragon and peony was through luxury textiles. The most prominent clothing accessories were belts of precious metal (gold belt plaques, The Nasser D. Khalili Collection of Islamic Art). Many of the textiles illustrated here prove transmission from east to west, yet in some instances, exemplified by the Chinese silk with addorsed griffins (cloth of gold: winged lions and griffins, The Cleveland Museum of Art), the origin of the image is clearly Central or western Asia. The Mongol period is unique in art history because it permitted the cross-fertilization of artistic motifs via the movement of craftsmen and artists throughout a politically unified continent."^/
Mongol-Chinese- Yuan Crafts with Phoenixes
Los Angeles County Museum of Art description of Canopy with Phoenixes, China, Yuan dynasty (1271–1368), Embroidery, silk and gold thread: With its lavish use of raised gold threads, this embroidered silk canopy demonstrates the Chinese taste for luxurious textiles during the Yuan dynasty. The dynamic radial composition of two phoenixes circling in flight is enhanced by the bird's curved wings and elaborate plumage. Such motifs were popular in the thirteenth and fourteenth centuries, where they were used in a variety of media, such as the carved lacquer tray here. The same type of design is found in early-fourteenth-century Iran among the so-called Sultanabad wares (such as the Bowl with Four Phoenixes shown here); it is likely to have derived from the Chinese motif, with textiles such as this one serving as a means of transmission. This piece belongs to the The Metropolitan Museum of Art, New York. [Source: "The Legacy of Genghis Khan: Courtly Art and Culture in Western Asia, 1256-1353", Los Angeles County Museum of Art, 2003 exhibition ^\^]
Los Angeles County Museum of Art description of Lacquer Tray with Phoenixes, Southern Song dynasty (1127–1279), Red, yellow, and black lacquer on wood: In China, objects made from lacquer—a seemingly humble material produced from tree sap—were, in fact, highly prized luxury goods. Carved lacquers such as this finely detailed tray, for example, could require the application of hundreds of layers of lacquer, and take over a year to complete. The tray's motif of paired phoenixes, arranged in a circular configuration, became a common theme under the Chinese Yuan dynasty (1271–1368) and in Ilkhanid Iran in a variety of media, including ceramics. The opposed phoenixes in flight are set among flowers representing each of the four seasons: 1) winter, plum blossoms; 2) spring, peonies; 3) summer, lotuses; 4) autumn, chrysanthemums. This piece belongs to the Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C.
Yuan Period Buddhist Tapestries and Thankas
National Palace Museum, Taipei description of Hevajra, (originally ascribed as a Yuan Mahakala tapestry): "Hevajra is one of the five main deities in Tibetan Buddhism. A believer could choose any Buddha, bodhisattva, or protector as a "principal deity" of worship and practice throughout life. The popularity of Hevajra was mainly due to the faith of Kublai Khan. It was in 1253 that Kublai Khan and his consort Chabi were converted to Buddhism by Tibetan high monk Phagspa. They received the tantric baptism of Hevajra as practiced in the Sakya sect of Phagspa. In the personification of Buddhist ideals and practices, Hevajra stood for wisdom and compassion as well as the overriding power of Buddhism. Thus, Hevajra is shown here trampling on four figures to symbolize overcoming one's difficulties. \=/ [Source: National Palace Museum, Taipei \=/]
National Palace Museum, Taipei description of a thanka of Onpo Lama Rimpoche, (Fourth Abbot of the Taklung Monastery), 13th century: The Taklung Monastery, the main monastery of the Taklung Sect, is situated 65 kilometers north of Llasa. In 1240, the Mongol general Godan sent To-ta to Tibet in preparation for an assault. To-ta returned and informed him that "Monks of the Taklung monastery are of the highest morals." Indeed, the two Taklung thankas in this exhibit have inscriptions on the reverse that emphasize the importance of the virtues of "restraint" and "perseverance" for monks. For this reason, Taklung clergy were respected by the Yuan imperial precept Phagspa and received the patronage of Kublai Khan. Buddhists revere the "Three Treasures" of the Buddha, the Law, and the clergy. Most of the surviving portraits from the Yuan dynasty are from the Taklung Monastery, which established a norm and a didactic model for posterity. \=/
National Palace Museum, Taipei description of "Amitabha Buddha, Sung to Yuan Dynasty: "In the 13th century, as Genghis Khan was commanding his armies to the north, the Buddhist holy land of India came under the control of Muslim leaders. The last classic phase of Indian Buddhist art from the Palas dynasty (750-1200) reveals the classic elegance and introversion of Gupta (5th century) art with the decorative and delicate esoteric features of East Indian art. Fortunately, the Palas tradition was preserved in Nepal and Tibet. But what exactly is the East Indian Palas style? The figure in this work is elegant and the coloring clear. This work is representative of a thanka from the Kadam sect of central Tibet." \=/
"The Mongols also developed in China the art of carpet-knotting, which to this day is found only in North China in the zone of northern influence. There were carpets before these, but they were mainly of felt. The knotted carpets were produced in imperial workshops—only, of course, for the Mongols, who were used to carpets. A further development probably also due to West Asian influence was that of cloisonné technique in China in this period. [Source: "A History of China" by Wolfram Eberhard, 1951, University of California, Berkeley]
Yuan Sculpture
Buddha relief
Los Angeles County Museum of Art description of a dragon protome, second half of the 13th century, White marble: This impressive dragon's head, which is both a decorative and a protective figure, embellished one of the buildings at Shangdu ("Xanadu") [map], the summer capital that Kublai Khan completed in 1258. This type of architectural decoration became popular throughout the Mongol empire in Asia, as indicated by similar objects found in the former territories of the Golden Horde. The L-shaped, roughly carved rear section of the stone was set into the wall, securing the finely carved head of a hornless dragon. ; This piece belongs to the Inner Mongolia Museum, Hohhot. [Source: "The Legacy of Genghis Khan: Courtly Art and Culture in Western Asia, 1256-1353", Los Angeles County Museum of Art, 2003 exhibition ^\^]
Los Angeles County Museum of Art description of a stone cenotaph, 14th century: "This cenotaph, or grave marker, which was found near the city of Chifeng in Inner Mongolia. demonstrates the presence of Muslims among the upper echelons of Chinese society under the Yuan dynasty. Dramatic clouds and large peonies fill the larger bands on the sides, vegetal scrolls with peonies and lotuses are carved inside narrower bands below, and lotus or peony flowers seen from above are shown in the vertical bands at both ends of the cenotaph. The top is also decorated with dense vegetal patterns. This piece belongs to the Inner Mongolia Museum, Hohhot. [Source: "The Legacy of Genghis Khan: Courtly Art and Culture in Western Asia, 1256-1353", Los Angeles County Museum of Art, 2003 exhibition ^\^]
Yuan Ceramics and Porcelain
With the invention of underglaze blue porcelain in the Yuan period (1271-1368), Jingdezhen in Jiangxi province made itself the pre-eminent center for porcelain production, a position it held throughout the Ming (1368-1644) and Qing (1644-1911) dynasties. Celadon and white porcelain were superseded by porcelain with decoration painted under or over the glaze and by various wares with monochrome glazes. Porcelain decoration became richer and more colorful than ever before. [Source: Shanghai Museum, shanghaimuseum.net]
According to the National Palace Museum, Taipei: In the Yuan dynasty (1279-1368) Jingdezhen became the center of porcelain production for the entire empire. Most representative of Yuan dynasty porcelain are the underglaze blue and underglaze red wares, whose designs painted beneath the glaze in cobalt blue or copper red, replaced the more sedate monochromes of the Song Dynasty. At the same time, from the standpoint of the shape of the objects, Yuan dynasty porcelains became thick, heavy, and characterized by great size, transforming the refinement of Song Dynasty shapes. From this we can get some idea of the differences between the eating and drinking customs of the Sung and Yuan dynasties. [Source: National Palace Museum, Taipei, npm.gov.tw]
During the Song, Jin and Yuan dynasties from the tenth to fourteenth centuries, the firing of stoneware are widespread. Famous stonewares were named after the locations at which they were produced. Various kilns in different places came to establish their own independent styles as each excelled in the forms, glazes, skills for decorating and techniques of production for which they became known.
"The centers of white-ware production during this period were the Ding kilns located in Hebei province of the north and the Jingdezhen kilns in Jiangxi province of the south. The former produced an ivory-white glaze while the latter created shadowy blue glaze. Wares from both places were known for their fluidly-carved decorative motifs and patterns created by impressing molds onto the clay body. As for black ware, Jian ware produced in Fujian province enjoyed the greatest reputation, with the crystallized streaks in the glaze appearing like the hairs of a hare. The center of multi-colored ware production was at the Jun kilns in Henan province, the glazes exhibiting various shades of blues and violets on milky-green base colors. Furthermore, many kilns also applied various ferric oxides as a coloring agent, producing celadons in different shades of light green or blue. For example, Yaozhou kilns made olive-green ware, Ru kilns created sky-blue glazes, and Guan (Official) and Longquan kilns produced pastel-green and plum-green wares, respectively. Stonewares of the period feature plain but elegant glazes as well as simple and archaic forms. Many of the decorative patterns are inspired by daily life and nature. These stonewares were much appreciated by nobility, the general public and even foreign markets. Works are generally categorized based on the color of glaze, the location where made and the date of production. The objects are grouped as white, black, celadon and multi-colored ware.
The world record price paid for an art work from any Asian culture is $27.8 million, paid in March 2005 for a 14th century Chinese porcelain vessel with blue designs painted on a white background. The vessel contains scenes of historical events in the 6th century B.C. and has unique Persian-influenced shape. Only seven jars of this shape exist in the world. The buyer was Giuseppe Eskenazi., the renowned dealer of Chinese art, acting on behalf of a client. The previous record for porcelain was $5.83 million paid for a14th-century blue-and-white porcelain vessel called the pilgrims vessel in September 2003.
Colors and Glazes Used Yuan Ceramics
In the Yuan Dynasty floral motifs and cobalt blue paintings were made under a porcelain glaze. This was considered the last great advancement of Chinese ceramics. The cobalt used to make designs on white porcelain was introduced by Muslim traders in the 15th century. The blue-and-white and polychrome wares from the Yuan Dynasty were not as delicate as the porcelain produced in the Song dynasty. Multi-colored porcelain with floral designs was produced in the Yuan dynasty and perfected in the Qing dynasty, when new colors and designs were introduced.
According to the National Palace Museum, Taipei: "The Mongols themselves originally did not have a tradition of ceramic vessels. In Yuan China, however, the ceramics produced under the Mongols continued to follow in distinct lines of development. The once quite popular wares of the Ting kilns in Hebei and those from the Yao-chou kilns in Shaanxi waned in the Yuan, while the opulent blue and purple glazes of Chun ware and the painterly ones from Tz'u-chou kilns gained wide popularity. Official kilns were established at Ching-te-chen in Kiangnan (in the south), and Lung-ch'uan wares rose in popularity due to export demand. The official ware types of the Southern Sung, however, were still preferred by the scholar class. Nonetheless, a distinct taste for opulent colors and painterly lines gradually appeared at this time. [Source: National Palace Museum, Taipei \=/ ]
"Vivid and colorful ceramics became the focus in pottery. Chun ware featured cooper-red haloes of glaze, Tz'u-chou ware featured peacock-blue glaze from the Middle East covering ceramics with black flower designs, and Ching-te-chen potters developed underglaze blue and underglaze red ceramics. These dynamic styles differ greatly from the pristine monochrome glazes works appreciated in the upper classes of previous periods. More importantly, these ceramic styles along with deeply carved lacquer wares and colorful cloisonne reflect important trends that would take place in post-Yuan arts and crafts. \=/
Types of Yuan Ceramics
According to the National Palace Museum, Taipei: 1) Chun Ware: "The body of Chun ware is thick and covered with an impure glaze. However, the effective control of sky blue glaze produces a rough yet warm effect produced in the sky blue glaze. With the skillful application of copper red pigments, the splashes and dots fuse to create a brilliant display of colors and patterns. Yuan dynasty Chun wares were quite popular and kilns were scattered over northern China and even imitated beyond China and in the south." [Source: National Palace Museum, Taipei \=/ ]
2) "Ting Ware: "The Ting kilns, located in Ch'u-yang County of Hebei province, served as the center of white ceramic production in north China. The quality white wares became renowned through the land. Production flourished from the late T'ang to the Chin dynasty but diminished in the early Yuan dynasty. The Ting ware in this exhibit still reveals delicate molded patterns, but the body and glaze do not reflect the quality found in previous periods." \=/
3) "Ko Ware: "Ceramics in imitation of official (Kuan) ware from the Southern Sung are often found in tombs and burials of the late Yuan dynasty. The glaze is more grayish-green and they bear clear linear decoration and deep crackling similar to collection examples of so-called "Ko ware". In the late Yuan, this type was referred to as Ko-ko Cave ware and may have been fired in the Hangchow vicinity or at Lung-ch'uan. It apparently reveals a kind of nostalgia in the Yuan dynasty for the aesthetic features of Southern Sung ceramics." \=/
4) "Lung-ch'uan Ware Starting from the Southern Sung period, the Lung-ch'uan kilns provided wares to supply domestic and foreign demand. With kilns centered in Lung-ch'uan County of Zhejiang province, production locations eventually spread to include Jiangxi, Fukien, and Guangdong provinces for a style that covered many areas. Lung-ch'uan celadons of the Yuan dynasty are often large dishes, bowls, vases, and jars covered with a warm and dark-green glaze and with complex carved, engraved, and impressed patterns." \=/
Yuan Ceramic Decoration
Porcelain pillow with scene from popular drama
According to the National Palace Museum, Taipei: "The flourishing pluralism of Yuan dynasty culture inspired new forms and decoration in the arts and crafts. Stem cups and small cups reflected new habits of drinking at the time, and stringed-bead patterns and rhombic designs were closely related to the decoration of Mongolian clothing. Egg white, mazarine blue, underglaze blue, and peacock blue glazes were also innovations in ceramic coloring. The fact that a single work could have alternating linear patterns and framed decoration is a direct expression of the Mongol Yuan taste in design. [Source: National Palace Museum, Taipei \=/ ]
1) Underglaze Blue: "Underglaze blue decoration in ceramics is achieved by painting a design with oxidized cobalt glaze pigment, then covering it with a transparent glaze, and then firing at high temperatures. This blue painted design against a white background that is protected by a transparent glaze is what is known as "underglaze blue". Blue-and-white ceramics appeared as early as the T'ang dynasty, but they did not flourish until the Yuan period. Both fine and opulent as well as painterly and sketchy designs in underglaze blue became an important trend in later Chinese ceramics. \=/
2) "Peacock-blue Glaze: The Ching-te-chen and Tz'u-chou kilns began to fire ceramics with peacock-blue glaze at the beginning of the Yuan dynasty. This attractive glaze is fired at low temperatures. However, since the glaze pigment was imported from Persia, it did not hold well on traditional Chinese ceramics, resulting in a tendency to flake off." \=/
3) Huo-chou Ware: "The production of white ceramics flourished in Huo County, Shansi province, and angled-waist plates and stem cups are obvious indications of production in the Yuan dynasty. The body of such ceramics is exceptionally white, and slender separators were used to stack the ceramics when firing. Some vessels also have delicately protruding patterns and designs. The fine linear patterns are said to be the work of the gold lacquer master P'eng Chun-pao." \=/
4) "Mazarine Blue and Gold Coloring: Mazarine blue glaze translates directly in Chinese as "sky-clearing blue". This type of glaze is achieved with oxidized cobalt pigments fired at high temperatures. It rose in the Yuan dynasty, and the hue was a gem-like indigo blue. The most treasured examples have blue glaze decorated with gold coloring. The cup and plate shown here still retains traces of the gold rims, which indicate the opulence of these ceramics at the time." \=/
5) "Brown-splashed Celadons: Glaze pigment with a large proportion of iron painted on ceramics appeared as early as green wares of the Six Dynasties period. This technique appeared intermittently throughout the centuries, but it was not until the Yuan dynasty that it achieved widespread popularity in the Lung-ch'uan celadons and blue-and-white wares from Ching-te-chen. Indeed, the splashed brown glaze is quite eye-catching. \=/
6) "Egg-white Porcelain Glaze: The innovative white porcelain glaze fired at Ching-te-chen was slightly bluish in color, similar to that of a duck egg (hence the name "egg-white"). It was opaque and thick, similar to jade. Typical ceramic forms include wide plates and angled-waist bowls, and decoration was often impressed winding branches and flowers in a fine and regular manner. Sometimes the designs conceal the characters for "shu" and "fu", making these the highly prized "Shu-fu wares"." \=/
Examples of Yuan Ceramics
The world record price paid for an art work from Asia is $27.8 million paid in March 2005 for a 14th century Chinese porcelain vessel with blue designs painted on a white background. The vessel contains scenes of historical events in the 6th century B.C. and has a unique Persian-influenced shape. Only seven jars of this shape exist in the world. The buyer was Giuseppe Eskenazi., the renowned dealer of Chinese art, acting on behalf of a client. The previous record for porcelain was $5.83 million paid in September 2003 for a14th-century blue-and-white porcelain vessel called the pilgrims vessel.
Los Angeles County Museum of Art description of Wine Jar with Lion-Head Handles, porcelain, underglaze painted: "Artistic ideas, materials, and objects traveled across Asia in the Mongol period to the distant poles of the empire and beyond. This Chinese wine jar was probably made specifically for export to the west, possibly to Iran. Similarly, its visual motifs were transmitted to the west, where they were employed on Ilkhanid tiles, bowls, and jars. The introduction and rise of blue-and-white porcelain in Yuan China is likely attributable to this fertile interaction: the Iranian cobalt ore was sent east to China, and highly sought after Chinese blue-and-white porcelains were exported west.The cloud-collar motif appears on the shoulder of the jar and within the cloud collar motifs are soaring phoenixes set against a floral ground that circles the body. This piece belongs to the The Cleveland Museum. [Source: "The Legacy of Genghis Khan: Courtly Art and Culture in Western Asia, 1256-1353", Los Angeles County Museum of Art, 2003 exhibition ^\^]
National Palace Museum, Taipei description of Blue Vase with Flying Phoenix Decor, ceramic (height: 29.5 centimeters, base diameter: 9.2 centimeters): With a rim flaring outward, a slender neck, a globular body, and a ring base, the base of this vase is done with a cream underglaze tinged with blue. The neck and body are decorated with a pattern in blue-and-white of peonies, vines, and phoenixes. The body at the widest part has a band of curling forms, below which is a row of lotus petal designs. This is a typical pear-shaped vase of the Yuan dynasty but of exceptional quality and decoration, making it a masterpiece of blue-and-white ceramics from this period. This belongs to the Collection: Municipal Antique Store (T'ung-liao, Inner Mongolia). [Source: National Palace Museum, Taipei \=/ ]
Chun Ware
According to the National Palace Museum, Taipei: "Chun ware porcelain is famous for the color of its glazes. The glaze colors used on the majority of Chun wares, such as vessels, incense burners, bowls, and plates in the National Palace Museum collection, are bluish-green, greenish-blue, and sky blue. Copper red coloring pigment was applied on some green or blue glaze bases in order to create a visual effect like the glow of the sunset. The richness of the glaze colors of objects like planters and pot stands was beyond imagination. Two different colors, hues, or tones on both the inside and the outside of the vessel occurred frequently. Ancient scholars thus referred to the glaze on Chun ware as "art by accident". Since the Ming dynasty, the literati have commented regularly on Chun glaze, as in Kao Lien's Tsun-sheng pa-chien (Eight Discouves on a Healthful Life Style) (1591) where he used terms such as cinnabar-red, shallot-green, and eggplant-purple to describe the brilliant glaze on Chun ware. The predominant colors of the Museum's Chun ware collection are green, blue, purple and red. The variety in levels of tone in the same hue and the mixture of the different colors in the wares is also an important aspect of this collection. The work "Inverted bell-shaped planter with sky-blue and rose-purple glaze" is a good example of the above technique where specks of light blue and rose red appear on the sky blue glaze base, while copper red forms a ribbon-like pattern on the rim of the ware. [Source: National Palace Museum, Taipei \=/ ]
"The question as to whether or not Chun ware was made during the Northern Sung dynasty has always confused researchers in this field. The theory that Chun ware was indeed produced during the Northern Sung (960-1127) dynasty originated during the late Ming (ca. 16-17th century), when scholars identified five major wares — Ting, Ju, Kuan, Ko, and Chun. In publications such as the Nan-yao pi-chi (The Notebook of Nan Ware), T'ao-Shu (The Theory of Ceramic), and Ching-te-chen t'ao-lu (The Ceramic Record of Ching-te-chen), Chun was referred to as a product of the Northern Sung dynasty (960-1279). The need to re-evaluate this analysis was proposed in 1975, when there was new evidence unearthed from Yu County in Henan Province suggesting that Chun ware may have been made during another time period. The structure of the kilns, the casting mold, and unearthed items from this site have raised many yet unanswered questions. The confirmation of the chronology of Chun ware is still ambiguous and difficult to attain. Until convincing archaeological evidence has been excavated, Chun ware will not be classified as a product made during the Northern Sung dynasty. Unlike previous exhibitions of Chun ware, some of the displayed items in this exhibition have yet to be conclusively dated and will therefore not be labeled as a product of the Sung dynasty (960-1279). \=/
"The Chun ware collection of the National Palace Museum includes utilitarian wares, such as vessels, bowls, plates, and incense burners, as well as planters, pot stands and a tsun vase. The above works can be identified as pieces that were fired in the Chin (1115-1234) or Yuan (1271-1368) dynasty according to the observation of Chun ware excavated from ware cellars, kiln sites and dated tombs. Documents from the Ming (1368-1644) and Ch'ing (1644-1911) dynasties refer to Yu County as the origin of Chun ware production. The discovery of most of these cellars and kilns containing Chun ware in Henan Province supports this assertion. In order to deliver a more effective viewing experience for the audience, a map of cellar and kiln sites has been prepared. Shards of Chun ware that have been recovered in Lin-ju, Pao-feng, Ho-pi, Yeh-chu-kou, and Liu-chia-men in Henan Province have been put on display. Through observing the shards, and comparing the colors of the glazes, viewers will be able to distinguish the difference between the glaze colors from different places and thus appreciate the diversity and beauty of Chun ware. \=/
"Chun ware appears thick and milky in quality. After low temperature firing and multi-layer glazing, cracks sometimes occurred during the first few firing processes. These cracks were then covered with new layers, leaving a unique pattern known as the "pattern of a worm trail along the ground", which can be seen in the "Hibiscus-shaped planter with moon-white glaze" in this exhibition. The Chun ware displayed has a thick clay body. The layers of glaze on the edges of these types of works are thinner and are an earthy yellow in color. This is in contrast with the thick layers of colored glaze on the body. In order to showcase the dazzling colors of Chun ware, some of displayed items are partially enlarged and reproduced, so that the uniqueness of its beauty with ever changing colors can be clearly seen in detail. \=/
Examples of Yuan Dynasty Chun Ware
National Palace Museum, Taipei description of Bowl with Greenish-blue Glaze and Reddish-purple Splashes (height: 8.9 centimeters, rim width: 15 centimeters, foot width: 4.6 centimeters): This bowl has a contracted round rim, deep sides, concave center, and a short conical base on a slightly everted ring foot. The shape is similar to a "lotus bowl." Covered with a greenish-blue glaze, it appears creamy yellow along the rim. The body bears decorative splashes of reddish-purple glaze that evoke atmospheric colors against a bluish sky. The glaze is covered with a light crackle and extends down to the base, the underside of which reveals a clump of glaze. The other areas of the foot and underside are unglazed, exposing the brownish color of the body. The rim of the foot has been scraped unevenly, the inner edge being longer than the outer one. [Source: National Palace Museum, Taipei \=/ ]
National Palace Museum, Taipei description of Ju-i Pillow with Azure Glaze and Purple Splashes (height: 13.4 centimeters, length: 28-30.8 centimeters, width: 19-19.7 centimeters): "This pillow is in the shape of a ju-i. With an irregular profile, the front is lower than the back, and it has a depression in the middle. On the back wall are two gourd-shaped holes facing towards the middle at an angle. Hollow inside, the body of this ceramic is quite heavy and thick, and it is covered with an azure glaze that runs down to the base. Since the glaze was quite viscous, it created an uneven thick border when it ran down to the bottom. The rim is brown, and the azure-glazed top is decorated with purplish-red splotch marks. The glaze is covered with a fine, dark crackle pattern. The bottom is unglazed, revealing the dark body, which was incised in 1776 with a poem by the Ch'ien-lung emperor along with two of his seals. The ju-i pillow appeared as early as the Sung dynasty (960-1279), with surviving examples ranging from tri-color to incised white ware. Compared to Sung ju-i pillows, Chun ware ones of the Yuan dynasty have outlines that are simpler and more distinct. The deliberate tilting and irregular surface makes the pillow even more narrow and straight. \=/
National Palace Museum, Taipei description of Brush Washer with Bluish-green Glaze, Chin to Yuan dynasty (12th-13th century) (height: 5.8 centimeters, rim width: 18.1 centimeters, base width: 9.7 centimeters): This dish has a contracted circular rim with a shallow, slightly rounded body. It has a flat bottom, no foot ring, and is covered with a bluish-green glaze that is evenly thin. The rim has a slight ridge in creamy yellow color. The glaze surface is uneven and pitted. The glaze, covering the entire vessel, is punctuated only on the bottom by five spur marks. The form, glaze color, and ridge of this vessel is similar to ones excavated from the Chun kiln site at Yu-chou, Henan. \=/
Image Sources: Wikimedia Commons
Text Sources: Asia for Educators, Columbia University afe.easia.columbia.edu; University of Washington's Visual Sourcebook of Chinese Civilization, depts.washington.edu/chinaciv /=\; National Palace Museum, Taipei \=/; Library of Congress; New York Times; Washington Post; Los Angeles Times; China National Tourist Office (CNTO); Xinhua; China.org; China Daily; Japan News; Times of London; National Geographic; The New Yorker; Time; Newsweek; Reuters; Associated Press; Lonely Planet Guides; Compton's Encyclopedia; Smithsonian magazine; The Guardian; Yomiuri Shimbun; AFP; Wikipedia; BBC. Many sources are cited at the end of the facts for which they are used.
Last updated August 2021
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Remember A.-M,'s request to renovate her bathroom? Well, I did it. Eventually…..
Don't be fooled – those old tiles on the walls were brown (like the floor) before and had been repainted with white colour two years ago and the colour had already come off at some exposed parts.
Ok, everything was out now. No shower & toilet for three (!) weeks. Can you imagine?
Unfortunately, I don't have another pic of this, but it turned out that we sort of called some friendly fundi who was supposed to have a closer look at it. In consequence of that, I had to make a bigger hole (just as big as the area marked with those red dots).
The fundi didn't do anything and just said "huuu….(argh…work …so much work….where's my donut?)…aaahhh….I guess it's okay like this."
Yeah, great. A huge hole in the wall, everything soaked with water and a woman here that pushes me to get her bathroom back into function. What to do?
hehe, vielleicht sollte ich dich auch mal zwei wochen hier durchfüttern, *gg*. Du bist ja zum richtigen fundi geworden!!
ich kann nur sagen: das mit dem durchfüttern lohnt sich aufjedenfall:)! einen bessen Fundi gibts nicht, ist n'mlich ein allround Talent…Falls ihr noch Schuhe, Taschen etc zum reparieren habt oder Eure Handys verschoenern lassen oder gar reparieren lassen wollt, this is da man to talk to!


So far Love Rynbäck has created 34 blog entries.
Summer has reached its end. This weekend we had vistors from UK joining us on a great trekking tour in Luleå river valley.
Wonderful fishing in the tropics!
A great clip from the Spanish Expedition Baltic Extrem in March 2010. Creactive Adventure was the support and rescue team for our Spanish partners Team Globus Kon-Tiki and Lleida Extrem Runners!
Images taken from the hot air balloons over the Bothnian Sea by Team Globus KONTIKI.
Adventure company that since year 2000 is specialized in experiences and adventures in Lapland, North of Sweden. We offer a wide range of arrangements all year around to fit a demanding international market. CreActive efficiently and professionally, plan and deliver wilderness arrangements for groups from 2 – 300 persons in the north of Sweden.
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text:
Movies and TV Entertainment and Culture Columnists
'Bad Boys for Life': Will Smith, Martin Lawrence keep up their chemistry
Though it sticks to the buddy-cop playbook, threequel worth seeing for the stars' great give-and-take.
By Richard Roeper
SHARE 'Bad Boys for Life': Will Smith, Martin Lawrence keep up their chemistry
While Marcus (Martin Lawrence) has had enough of the danger, longtime police partner Mike (Will Smith) keeps working the streets in "Bad Boys for Life."
In one of the many shootouts in "Bad Boys for Life," the camera pans up to show us a beautiful, stained glass cupola that has remained pristine despite the rest of the structure having fallen into disrepair.
What do you think will eventually become of the stained glass?
A. It will shatter into a hundred pieces.
B. It will shatter into a thousand pieces.
C. It will shatter into too many pieces to count.
D. It will remain unbroken and will become the centerpiece of the building when it is restored to its original glory.
'Bad Boys for Life'
Columbia Pictures presents a film directed by Adil & Bilall and written by Joe Carnahan and Chris Bremner. Rated R (for strong bloody violence, language throughout, sexual references and brief drug use). Running time: 123 minutes. Opens Thursday at local theaters.
If you answered A., B., or C., congratulations: You've seen action movies before!
In recent years we've had a mini-trend of sequels a long time coming, e.g., 2015's "Mad Max Fury Road" (three decades after "Beyond Thunderdome"); 2017's "Blade Runner 2049" (35 years since the original); 2018's "Mary Poppins Returns" (a whopping 54 years).
Add to that list "Bad Boys for Life," which comes 25 years after the original and 17 years after "Bad Boys II," crowned by yours truly as the absolute worst movie of 2003.
So no, I wasn't pining for a threequel, despite the considerable appeal of Will Smith and Martin Lawrence. Also, it feels like the bullets have long since sailed for an R-rated, logic-defying, loud and violent buddy cop drama/comedy.
And yet here I am giving three stars to "Bad Boys for Life," even though it DOES have the familiar look of so many films of the genre, from the sweeping-camera-over-the-water moves to the stunt-person chase scenes and shootouts when there's never any concern about collateral civilian damage to the main characters cracking jokes and trading insults even as gunfire rings out everywhere.
So, what's the upside? We'll start with Smith and Lawrence, who are great together in the return of Mike Lowery and Marcus Burnett, partners now for some 25 years who are still badass crime fighters, though they have slowed down some. Mike is dyeing his goatee and Marcus can't see a thing without his glasses.
But Mike is still all about the Bad Boys for Life-style, whereas Marcus (who has become a grandfather) is ready to trade in his badge for a BarcaLounger. He's done with all the excitement and danger.
Marcus vows to stay retired, even after Mike is gunned down by a mysterious, motorcycle-riding assassin and vows to gain revenge on the man who came oh so close to killing him.
There's some comic-relief juxtaposition of the dapper Mike hitting the streets of Miami to crack some skulls and rustle up some leads while Marcus kicks around home in his robe, microwaving snacks and watching trash TV and getting on the last nerve of his wife (a returning Theresa Randle).
Of course, we know Marcus will eventually get back in the game.
Joe Pantoliano's brusque but lovable Captain Howard is back, and good ol' "Joey Pants" takes a big bite out of every scene he's in and kills in his usual style. The stunning Paola Nunez is Rita, a former love interest of Mike's who heads Miami P.D.'s elite, cutting-edge AMMO unit, which includes Vanessa Hudgens as a tough and resourceful sharp-shooter who greatly admires Mike; Charles Melton as a hotshot who disrespects the "old man," and Alexander Ludwig as a Thor-looking dude who prefers to stay in the surveillance van and concentrate on the tech side because he abhors violence.
The plot, such as it is, revolves around Kate de Castillo's Isabel escaping a Mexican prison in gruesome, bloody fashion, and ordering her killing machine of a son (Jacob Scipio) to go to Miami and gun down everyone responsible for putting away her late husband, the leader of … wait for it … a powerful cartel.
Quick sidebar about Isabel, who mutters black-magic curses under her breath and ruthlessly and rather easily slashes her way out of the prison. Why did she wait some 25 years to escape?
Another quick sidebar, this time concerning Mike's penthouse apartment in Miami: How much do admittedly legendary Miami police detectives rake in? Mike's place would be $4 mil, easily.
Anyway. Bad boys, bad boys…
(And yes, the 1987 song by Inner Circle is referenced multiple times by Mike and Marcus, and gets heavy play on the soundtrack, and it's still one of the most infectious hits of all time.)
The credited writers of the "Bad Boys for Life" story include newcomer Chris Bremner and veterans Peter Craig (who wrote the award-level script for "The Town") and Joe Carnahan ("Smokin' Aces," "The Grey"), and though we don't know who wrote what, there is a kind of stitched-together, patchwork-quilt quality to the film. (All of a sudden, quite late, the four biggest laughs in the movie come in rapid-fire fashion.)
An attempt at a Big Reveal is ludicrous albeit wildly entertaining, on a couple of levels. Almost nothing that takes place in the last 20 minutes of this movie could ever transpire in anything resembling the known universe.
By then, you'll have long since either checked out or decided to strap on the popcorn bag, put reality on hold and just go with it.
Whatcha gonna do.
Next Up In Movies & TV
Johnny Depp denies hitting Amber Heard: 'Nothing of the kind ever happened'
'Shining Girls' team needed Chicago's look and 'amazing' talent to tell the story
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Foxx to make announcement in R. Kelly sex abuse cases
Cook County indictments involving to four women were filed in February 2019, but Kelly has twice been convicted on federal charges involving some of the same alleged victims.
By Andy Grimm
80-year-old man shoots and seriously wounds man who forced his way into home on Northwest Side
The man was also injured during the confrontation in the 8500 block of West Catherine Street, and both he and the intruder were listed in critical condition at Resurrection Hospital, according to police.
By Sun-Times Wire

redpajama_set_name: RedPajamaCommonCrawl


Forest Cove Farm Open for Business!!
Opening Day has arrived for Forest Cove Farm & Country Market!
Starting December 8th, Laurentian Hills newest business, Forest Cove Farm will be open Monday to Saturday: 7am-5pm, and Sunday 11am-4pm.
Congratulations to the Forest Cove Farm team! It's been amazing to watch your dream come to life.
Visit www.forestcovefarm.ca for more info!


text:
De Historiador marzo 17, 2009
Some friends of Mrs. Anne Hutchinson established a colony on Aquidneck, the Indian name for Rhode Island. Williams went to England and secured from Parliament a patent which united that plantation with his in one government. Charles II.'s charter of 1663 added Warwick to the first two settlements, renewing and enlarging the patent, and giving freest scope for government according to Williams' ideas. Mrs. Hutchinson, a woman of rare intellect and eloquence, who maintained the right of prívate judgment and pretended to an infallible inner light of revelation, was, like Williams, a victim of Puritan intolerance. She and her followers were banished, and some of them, returning, put to death, 1659-60. She came to Providence, then went to Aquidneck, where her husband died in 1642. She next settled near Hurl Gate, within the Dutch limits, where herself and almost her entire family were butchered by the Indians in 1643.
In 1633 the Dutch erected a fort where Hartford now is, but some English emigrants from Plymouth Colony, in defiance of a threatened cannonade, sailed past and built a trading-house at Windsor, where, joined by colonists, from about Boston, they soon effected a settlement.
Wethersfield and Hartford were presently founded. In 1630 the Plymouth Company had granted Connecticut to the Earl of Warwick, who turned it over to Lord Brooke, Lord Say-and-Seal, and others. Winthrop the Younger, son of Governor Winthrop, of Massachusetts, commissioned by these last, built a fort at Saybrook. Till the expiration of his commission the towns immediately upon the Connecticut were under the government of Massachusetts. Their population in 1643 was three thousand. A convention of these towns met at Hartford, January 14, 1639, and formed a constitution, like that of Massachusetts Bay, thoroughly republican in nature. Connecticut breathed a freer spirit than either Massachusetts or New Haven, being in this respect the peer of Plymouth.
At Hartford Roger Williams was always welcome.
Meantime, in 1638, having touched at Boston the year before, Davenport, Eaton, and others from London began planting at New Haven. The Bible was adopted as their guide in both civil and religious affairs, and a government organized in which only church members could vote or be elected to the General Court. The colony flourished, branching out into several towns. In 1643 it numbered twenty five hundred inhabitants.
As early as 1622, Mason and Gorges were granted land partly in what is now Maine, partly in what is now New Hampshire; and in 1623 Dover and Portsmouth were settled. Wheelwright, a brother-in-law of Mrs.
Hutchinson, with others, purchased of the natives the southeast part of New Hampshire, between the Merrimac and the Piscataqua, and in 1638 Exeter was founded. In the same year with Wheelwright's purchase, Mason obtained from the council of the Plymouth Company a patent to this same section, and the tract was called New Hampshire. These conflicting claims paved the way for future controversies and lawsuits. The settlers here were not Puritans, nor were they obliged to be church members in order to be deputies or freemen.
The settlement of Maine goes back to 1626, when the Plymouth Company granted lands there both to Alexander and to Gorges. In 1639 Gorges secured a royal charter to re-enforce his claim. Large freedom, civil and religious, was allowed. For many years the Maine settlements were small and scattered, made up mostly of such as came to hunt and fish for a season only.
See also: 1631, 1635
Brasil 1534-1548
Brasil 1526, 1532


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Columbus Deluxe Monstril*** 47288 руб.
Blood Suckers Zhan*** 17153 руб.
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The Magic Flute Vezun4*** 59515 руб.


Jones of Washington is a family-owned winery, with vineyards located along the Columbia River in central Washington state. As one of the first families to farm these productive and scenic lands, we watch over our estate vineyards and world-class grapes as if they were a son or daughter. The same commitment is applied to our small-batch artisan wines, which receive the love and attention only people closely tied to the land can provide.
Monday through Thursday: 12 to 7 p.m.
Friday and Saturday: 12 to 9 p.m.
We like to think that we have a little something for everyone…dry to sweet, light to heavy, fruity to savory. Our prices are known to win applause, too. It is important to us that Jones of Washington wine can be enjoyed every day…not just sometimes. Those are the kind of decisions only a small family-owned enterprise can make, so pick up a bottle or drop by one of our tasting rooms – you'll taste the difference!


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    <connector id="websockets" bind="ws://0.0.0.0:0" />
</broker>

redpajama_set_name: RedPajamaGithub


Last few years, we seen and read so many stories of strong women and also to give us inspiration to how to become a strong woman, fight to many problems to achieve the goals and be an independent woman. Lets' see 20 small Business Ideas for Women Entrepreneurs.
Today we want to highlight some of the best small business ideas for women to motivate you to take that first step!
We give some small business ideas for women's at home. Stay connected with prisom technology to get more business related latest blogs. Read Women Entrepreneurs story to get more confident and motivate and clear your way for your goal.


text:
Benjamin Beauchamp est un homme politique canadien ( – ). Il était le député conservateur de Deux-Montagnes de 1882 à 1897.

Personnalité politique canadienne
Naissance en décembre 1842
Décès en mars 1913
Décès à 70 ans

redpajama_set_name: RedPajamaWikipedia


What are Modified Milk Ingredients?
Modified milk ingredients can be any ingredient that was derived from milk. Examples that it may refer to are; casein, caseinates, whey or whey protein, skim milk, and/or any other milk protein concentrates or isolates.
The percentage represents the approximate total number of food products from UPC Food Search's data that contain the ingredient, "Modified Milk Ingredients".


19 Jun - 6 sec - Uploaded by cregets The best 5 second clip on the internet. secretsdoll.com?r= Use the link above to earn. Dramatic Chipmunk is a popular Internet comedy viral video. The video is a five- second clip of clip of a prairie dog (erroneously referred to as a chipmunk) turning its head while the camera zooms in and dramatic music is played. 9 Oct Dramatic chipmunk sound. Dramatic Chipmunk is a popular internet viral video. Free sound effects. Sound Clips from Orange Free Sounds.
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According to investigators, it appears that Betty may have been ambushed by the raccoon while nesting. The event has given tragic resonance to the phrase "sitting duck."
In a prepared statement, the raccoon (or one of his doubles, or another raccoon that looks like one of his doubles) accused Woody of killing the duck in a friendly fire incident, since Woody is frequently seen rough-housing with the ducks. But Woody categorically denies the charge and the condition of the remains strongly resembles the work of the paramilitary raccoon regime. We will miss Betty and in particular Betty's eggs which she used to leave around the edge of the pond for us to find and fight over. Betty will also be missed by her partner, the drake Barry White. Barry tried hard to convince Betty that it wasn't safe to wander too far from the security of the pond, "but you know hens," he said, "you just can't tell them anything."
sorry for your loss, from our family to yours.
I am not sure what is worse, being killed by the raccoon or by Li Wang at the local Chinese restaurant. Sad either way really.


text:
Chicago Reporter (https://www.chicagoreporter.com/comings-goings-moreno-cargie/)
Comings & Goings: Moreno Cargie
By Debra Williams | March 17, 2014
Nora Moreno Cargie, the director of global corporate citizenship at The Boeing Company's Chicago office, is stepping down in April. She is moving to Boston, where she will serve as vice president of corporate citizenship for Tufts Health Plan and executive director of its foundation. Before her work at Boeing, Cargie was the vice president of external relations at Illinois Action for Children. She has also worked for the Mayor's Office of Workforce Development, the Chicago Park District, the Chicago Department of Human Services and Chicago Public Schools.
Comings & Goings: Cruzat, Washington
Tasha Green Cruzat will become Voices for Illinois Children's new president, and Kelley Washington is now executive director of the Governor's Office of Early Childhood Education.
Comings & Goings: Berry, Lyons, Giraldo
Chicago Principals & Administrators Association President Clarice Berry will be leaving her position, while Matt Lyons has joined Chicago Public Schools as chief talent officer.
Comings & Goings: Ostro, Hawley, Allen
Chicago Public Schools Chief Financial Officer Ginger Ostro is leaving CPS to become executive director of Advance Illinois, while Theresa Hawley has stepped down from her position as executive director of the Governor's Office of Early Childhood Development.


We would like you to use these and show your friends how well they work so we will keep them priced low here.
These FireBrite LED lights have been designed with ice fishing in portable fish houses in mind. It has been designed for the serious ice fisherman who is looking for an extremely high quality, long lasting and super bright portable LED light. These Outdoor Pro Series FireBrite LED lights features are as follows for each type of power source.
8 feet of wire and 2 heavy duty alligator clips.
Clear PVC housing, 96 3mm leds encapsulated.
Clear PVC housing, 120 3mm leds encapsulated.


If you need to transfer your information over to a new computer or are doing the 'delete and re-install' shuffle, the following will help you get re-connected to SURFARI.NET service.
The simplest way to re-connect your computer to the internet is to use the "Internet Connection Wizard" (ICW). If you have just re-installed your software on your computer, the first time you try to run Internet Explore the ICW will start. If you are re-establishing your settings, open your Control Panel and open the 'Internet' or 'Internet Options' icon, click on the 'Connections' tab and there you will find a button for the ICW.
DO NOT SELECT "Log On Using Secure Authentication"


Hey guys😊 guess what? I finally got a thousand pageviews and more yesterday,yup that's right and that's excluding my own views *victory dance*💃💃💃 I know some people will start asking whether that's why I'm making noise😏 yes o that's why because my own bible tells me not to forget the days of humble beginnings and that is exactly what I'm trying to do😆.
I'm actually very grateful to everyone who takes out time to visit this blog and for your constant belief in me,you guys don't know how much it means to me. The comments I get sometimes are just overwhelming and heartwarming (as a baddo I can't cry sha😆).
You guys have taken me to the point where if I don't post in a while I start to feel guilty(to think that this all started for fun and just to improve my writing skill).
There was even a time I used to 'yab' people who had blogs because everybody seemed to have a blog then,little did I know I'll also end up having one😊.


text:
Punk Rock Operations Research
*** operations research or die! *** a blog by Laura Albert
Tag Archives: grand challenges
engineering achievements of the 20th century
By Laura Albert
Yesterday, I blogged about NAE grand challenges and how operations research can contribute to those grand challenges. You may find the list of 20th century engineering achievements interesting. The NAE's full list of engineering achievements with an explanation for each item, can be found at www.greatachievements.org. Here is the brief list courtesy of the NAE publication The Bridge. The list is ordered according to importance.
Electrification-Vast networks of electricity provide power for the developed world.
Automobile-Revolutionary manufacturing practices made cars more reliable and affordable, and the automobile became the world's major mode of transportation.
Airplane-Flying made the world accessible, spurring globalization on a grand scale.
Water Supply and Distribution-Engineered systems prevent the spread of disease, increasing life expectancy.
Electronics-First with vacuum tubes and later with transistors, electronic circuits underlie nearly all modern technologies.
Radio and Television-These two devices dramatically changed the way the world receives information and entertainment.
Agricultural Mechanization-Numerous agricultural innovations led to a vastly larger, safer, and less costly food supply.
Computers-Computers are now at the heart of countless operations and systems that impact our lives.
Telephone-The telephone changed the way the world communicates personally and in business.
Air Conditioning and Refrigeration-Beyond providing convenience, these innovations extend the shelf-life of food and medicines, protect electronics, and play an important role in health care delivery.
Highways-44,000 miles of U.S. highways enable personal travel and the wide distribution of goods.
Spacecraft-Going to outer space vastly expanded humanity's horizons and resulted in the development of more than 60,000 new products on Earth.
Internet-The Internet provides a global information and communications system of unparalleled access.
Imaging-Numerous imaging tools and technologies have revolutionized medical diagnostics.
Household Appliances-These devices have eliminated many strenuous, laborious tasks, especially for women.
Health Technologies-From artificial implants to the mass production of antibiotics, these technologies have led to vast health improvements.
Petroleum and Petrochemical Technologies-These technologies provided the fuel that energized the twentieth century.
Laser and Fiber Optics-Their applications are wide and varied, including almost simultaneous worldwide communications, noninvasive surgery, and point-of-sale scanners.
Nuclear Technologies-From splitting the atom came a new source of electric power.
High-performance Materials-They are lighter, stronger, and more adaptable than ever before.
I find it interesting that OR hasn't obviously contributed to these 20th century achievements. The 20th century achievements celebrate making things, not improved systems. Our world is becoming increasingly more complex and interconnected – and this sometimes makes us more vulnerable and fragile. This is reflected in the list of 21st century challenges. We need operations research to improve connections, ensure efficiency, and introduce resilience. As highlighted in the NSF-sponsored report in yesterday's post, OR will clearly make important contributions to 21st century challenges.
Last semester I team-taught a course to freshman about engineering grand challenges. The idea was to talk about a theme (mine was Mega-cities) that cuts across all engineering disciplines to help students pick a major. It was interesting to talk about how during their careers, they will solve problems that we don't know that exist. We talked about the 20th century achievements as a springboard for talking about what awaits us in the 21 century.
I sometimes tell my students that the world runs on eighth grade math – many important systems are shockingly simplistic and there is plenty of room to apply operations research to make things work better. This isn't universally true, many systems are becoming more complex and interconnected, and eighth grade math no longer cuts it. Higher education and graduate education is needed just to keep up.
The Society for Industrial and Applied Mathematics (SIAM) published a list of the top 10 algorithms in the 20th century [Link] in chronological order. The simplex algorithm is on the list (obviously!), despite George Dantzig being teased for assuming the world is linear.
the Monte Carlo method or Metropolis algorithm, devised by John von Neumann, Stanislaw Ulam, and Nicholas Metropolis;
the simplex method of linear programming, developed by George Dantzig;
the Krylov Subspace Iteration method, developed by Magnus Hestenes, Eduard Stiefel, and Cornelius Lanczos;
the Householder matrix decomposition, developed by Alston Householder;
the Fortran compiler, developed by a team lead by John Backus;
the QR algorithm for eigenvalue calculation, developed by J Francis;
the Quicksort algorithm, developed by Anthony Hoare;
the Fast Fourier Transform, developed by James Cooley and John Tukey;
the Integer Relation Detection Algorithm, developed by Helaman Ferguson and Rodney Forcade; (given N real values XI, is there a nontrivial set of integer coefficients AI so that sum ( 1 <= I <= N ) AI * XI = 0?
the fast Multipole algorithm, developed by Leslie Greengard and Vladimir Rokhlin; (to calculate gravitational forces in an N-body problem normally requires N^2 calculations. The fast multipole method uses order N calculations, by approximating the effects of groups of distant particles using multipole expansions)
What is your favorite 20th century OR contribution? What is your favorite anecdote about a complex system relying on eighth grade math?
2 Comments	| tags: grand challenges	| posted in Uncategorized
engineering grand challenges that operations research can help solve
In May, the report Operations Research – A Catalyst for Engineering Grand Challenges was released to the National Science Foundation [grant info here]. The report outlines operations research grand challenges for the next century, and they reflect the National Academy of Engineering's list of grand challenges [Link]. This committee worked on a project funded by the NSF, and it was a great idea for highlighting the importance of operations research in relation to other STEM fields with regard to solving important societal problems as well as for prioritizing directions for our field. The report was written by a committee composed by:
Suvrajeet Sen, Chair, University of Southern California
Cynthia Barnhart, Massachusetts Institute of Technology
John R. Birge, University of Chicago
E. Andrew Boyd, PROS
Michael C. Fu, University of Maryland
Dorit S. Hochbaum, University of California -Berkeley
David P. Morton, University of Texas-Austin
George L. Nemhauser, Georgia Institute of Technology
Barry L. Nelson, Northwestern University
Warren B. Powell, Princeton University
Christine A. Shoemaker, Cornell University
David D. Yao, Columbia University
Stefanos A. Zenios, Stanford University
Executive summary. The growth and success of Operations Research (OR) depends on our ability to transcend disciplinary boundaries and permeate the practices of other disciplines using ideas, tools, and experience of the OR community. This report is intended to continue the tradition of transcending disciplinary boundaries by using the U.S. National Academy of Engineering's (NAE) Engineering Grand Challenges as a source of inspiration for the OR community. Our goal is to view these challenges as an opportunity for the OR community to play the role of a catalyst – utilizing OR to facilitate some pressing technological challenges facing humanity today.
A panel of thought-leaders convened by the NAE (and facilitated by NSF) unveiled its vision of the Engineering Grand Challenges in 2008. Over the past several years, this report has invited (and received) feedback from international leaders and professional organizations, including the Institute for Operations Research and the Management Sciences (INFORMS). As input from the OR community, several past Presidents of INFORMS prepared a white paper, an abbreviated version of which appeared as the President's Column in OR/MS Today (April 2008). As predicted, the OR community has been active in many of the thematic areas of the NAE Grand Challenges via publications in topical research areas of our flagship journals, joint major conferences, and other collaborative efforts. The question of whether there are ways to dovetail OR with these challenges is not the issue. Of importance is whether there is a need to introduce greater structure for research and exchange between domain experts in core areas of the engineering Grand Challenges and the OR community.
In order to accelerate the growth, this report recommends a two-pronged approach: (1) An NSF announcement of "Grand Challenge Analytics" as a major EFRI topic, and (2) an NSF sponsored institute for "Multidisciplinary OR and Engineering" which will be dedicated to coalescing a general-purpose theory, as well as building a community to support "Grand Challenge Analytics". Together, these initiatives are likely to unleash a vast array of methodologies onto the engineering Grand Challenges of today. Such an effort could be likened to the manner in which the interface between OR and computer/communications science/engineering has propelled the development of the Internet. Similarly, the long-standing exchanges between the INFORMS and Economics communities has produced deep results, many of which have been honored by the Nobel Prize in Economics. Drawing upon such successes, we propose a new era in which the OR community reaches out to domains that are more directly connected to the NAE Grand Challenges. This more structured approach, driven by NSF sponsorship of research and thematic exchanges (workshops), will result in well-defined outcomes, leading to a strong foundation for the NAE Grand Challenges.
Challenges areas from the report:
OR: A General-Purpose Theory of Analytics
"The time has come to engage both domain experts as well as OR experts, so that policies/decisions become an integral part of analysis, not an afterthought."
OR for sustainability
"The Earth is a planet of finite resources, and its growing population currently consumes them at a rate that cannot be sustained. Utilizing resources (like fusion, wind, and solar power), preserving the integrity of our environment, and providing access to potable water are the first few steps to securing an environmentally sound and energy-efficient future for all of mankind."
OR for security
"As our interconnected systems grow in complexity, having a trusted operational model is even more essential for assessing system vulnerabilities and, in turn, addressing the challenge of how to secure that system."
OR for human health.
Also see my last blog post on healthcare challenges – I'm glad the White House and the OR community agree with this one!
"One of the most significant problems facing the health care system is keeping costs under control while providing high levels of service. Doing so requires a careful analysis of costs and benefits, but as Kaplan and Porter (2011) argue, "The biggest problem with health care is that we're measuring the wrong things the wrong way." "
OR for Joy of Living
"For example, reducing traffic congestion in urban areas, improving response times of first-responders, designing smart, energy efficient homes, and others raise many novel OR questions. One such example is an application related to predicting movie recommendations associated with the so-called "Netflix Prize" problem. Other "joys of life," such as sports, have also seen many applications of analytics; in addition to the well publicized baseball movie "Moneyball," there is Major League Baseball scheduling which is done routinely using OR models. In this sense, OR casts such a wide net in the "Joy of Living" area, that the following subsections (pertaining only to the NAE Grand Challenges) explicitly discuss only a small subset of applications for "Joy of Living." "
Report Recommended Actions
Action 1. NSF should announce an EFRI (Emerging Frontiers in Research and Innovation) topic for "Grand Challenge Analytics". These proposals should not only be judged according to the impact on a Grand Challenge problem, but also on the novel methodology that will be developed as a result of the research. EFRI is a well-established program within NSF, and given the ground work of this report, we believe that NSF program officers will find it relatively straightforward to craft a RFP on this topic.
Action 2. Concurrently with Action 1, we recommend the formation of an Institute which will invite both EFRI-funded researchers as well as others from the field to participate in workshops which will explore common themes resulting from "Grand Challenge Analytics" projects. These workshops will not only help cross-fertilization between projects, but also help develop a general-purpose theory of analytics.
My Recommend Actions
Submit your student paper to the INFORMS Doing Good with Good OR student paper competition next year
Submit your paper to the INFORMS Section of Public Programs, Services, and Needs Best Paper Competition (due on June 15!)
What do you think of the OR grand challenges?
Leave a comment	| tags: grand challenges	| posted in Uncategorized
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Category: Seminar series news published on
Alison Smith on 10/12/18: Riboswitches – Plug-and-play devices for synthetic biology approaches to metabolic engineering
Seminar series news published on / November 29, 2018
Professor Alison Smith from the University of Cambridge will be speaking in the WISB Seminar Series on the 10th December 2018 from 2-3pm in BSR3 in the School of Life Sciences. Thiamine pyrophosphate (TPP) riboswitches are regions in messenger RNA that bind to TPP directly without the involvement of protein factors. They are present ubiquitously … Continue reading Alison Smith on 10/12/18: Riboswitches – Plug-and-play devices for synthetic biology approaches to metabolic engineering
Adam Noel speaks to WISB on 04/04/18
Seminar series news published on / March 26, 2018
WISB are delighted to announce that Adam Noel, from the School of Engineering here at the University of Warwick, will be delivering a Seminar Series lecture from 1-2pm on Wednesday 4 April 2018. Full details of his talk are included below. If you are interested in attending, please contact wisb@warwick.ac.uk for room details. Talk title: … Continue reading Adam Noel speaks to WISB on 04/04/18
Francisco J. Navarro speaks to WISB on 21/03/18
Seminar series news published on / February 22, 2018
WISB are delighted to announce that Francisco J. Navarro, from the Department of Plant Sciences at the University of Cambridge, will be delivering a Seminar Series lecture at 1pm on Wednesday 21 March 2018. Full details of his talk are included below. If you are interested in attending, please contact wisb@warwick.ac.uk for room details. Talk … Continue reading Francisco J. Navarro speaks to WISB on 21/03/18
Simon Moore on 22/02/18: Cell-Free – Transcription, Translation and Biosynthesis
Dr Simon Moore will speak to WISB, and the wider Life Sciences community, on Thursday 22nd February about his research on cell-free-transcription, translation and biosynthesis. Simon is a Faculty Research Fellow in Paul Freemont's group at Imperial College London. An abstract of his talk is included below. More information on Simon's research an be found on … Continue reading Simon Moore on 22/02/18: Cell-Free – Transcription, Translation and Biosynthesis
Georg Fritz on 28/02/18: Engineering orthogonal synthetic timer circuits in bacteria
Seminar series news published on / January 08, 2018
Dr Georg Fritz (SYNMIKRO, University of Marburg, Germany) will be speaking at the WISB Seminar Series on Wednesday 28th February from 12-1pm in the School of Life Sciences. If you would like to attend, please contact wisb@warwick.ac.uk for location details. An abstract of Georg's talk is as follows: The rational design of synthetic circuits is often … Continue reading Georg Fritz on 28/02/18: Engineering orthogonal synthetic timer circuits in bacteria
"Shared resources by the numbers" from Andras Gyorgy (23 November)
WISB is delighted to announce that Andras Gyrogy, Assistant Professor at NYU Abu Dhabi, will be coming to deliver a talk on Thursday 23rd November. Andras is part of the NetBio Group. Please email wisb@warwick.ac.uk if you would like to attend. Talk abstract Without accounting for the limited availability of shared cellular resources, the standard model … Continue reading "Shared resources by the numbers" from Andras Gyorgy (23 November)
Reduced models of circadian clocks: Dr Ozgur Akman (8 November)
Seminar series news published on / October 12, 2017
Dr Ozgur Akman is a Senior Lecturer in the Mathematics department at the University of Exeter, and will be visiting WISB as part of our seminar series on Wednesday 8th November. Ozgur will speak about his research which could lead to the reverse-engineering of large-scale biochemical networks. If you would like to attend, please email wisb@warwick.ac.uk. … Continue reading Reduced models of circadian clocks: Dr Ozgur Akman (8 November)
Prof Barbara Ann Halkier: Pathway and transport engineering
Visiting WISB from the DynaMo Center in the Department for Plant and Environmental Sciences at the University of Copenhagen on Wednesday 1st November, Prof Barbara Ann Halkier will be speaking about pathway and transport engineering when using glucosinolates as case study. If you are interested in attending Barbara's talk, please email wisb@warwick.ac.uk. Abstract of Barbara's talk: … Continue reading Prof Barbara Ann Halkier: Pathway and transport engineering
Dr Ross Anderson at next seminar series
Seminar series news published on / September 27, 2017
Visiting WISB from the University of Bristol, Dr Ross Anderson will be speaking on Wednesday 11th October at 1pm (MRI room) about the design of new proteins and enzymes and how this remains one of the great challenges in biochemistry. Ross will explain how our fundamental understanding of both the nature of protein as a … Continue reading Dr Ross Anderson at next seminar series


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Questions About Jennifer Hudson Dominate Murder Trial Juror Questionnaire
Filed Under:Darnell Donerson, Jason Hudson, Jennifer Hudson, Julia Hudson, Julian King, Juror Questionnaire, Jury Selection, Lisa Fielding, Murder Trial, William Balfour
Jennifer Hudson (Credit: Michael Buckner/Getty Images)
CHICAGO (CBS) — Prospective jurors in the Jennifer Hudson family murder trial will have to answer a lot of questions to show what they know about the singer.
Attorneys on Friday released the questionnaire being given to jurors in the trial of William Balfour, 30, the onetime boyfriend of Hudson's sister, Julia, who now stands charged with killing her mother, brother, and 7-year-old nephew.
• READ THE JUROR QUESTIONNAIRE
LISTEN: WBBM Newsradio's Lisa Fielding reports
https://chicago.cbslocal.com/wp-content/uploads/sites/15116062/2012/04/mp3_bc_-wav_carts_balfour-jury-v1.mp3
Prospective jurors are being asked if they have ever seen Hudson on television, or seen a movie in which she played a role – which they must name. The would-be jurors are also being asked if they have ever read book by or about Hudson, seen her perform in person, or read or viewed an interview with her in a newspaper, magazine, television or radio broadcast.
Other questions are more specific, such as whether the prospective jurors have ever watched "American Idol" or seen the movie "Dreamgirls."
In total, potential jurors are being asked 66 questions. The questionnaire also asks about media coverage and whether jurors have read or heard about the case.
On Thursday, Criminal Court Judge Charles Burns set aside three more days to pick a panel of 12 jurors and six alternates.
Balfour is accused of killing Hudson's mother, Darnell Donnerson, and brother, Jason Hudson, in a violent invasion of their Englewood home in 2008. He is also accused of kidnapping and killing her nephew, Julian King. They boy's body was discovered in a stolen vehicle abandoned on the West Side.
CBS 2's Mike Parker says attorneys on both sides of the case want the answers to those questions.
CBS 2 legal analyst Irv Miller says the defense would be concerned about Hudson fans potentially getting on the jury.
"The defense is very concerned that people who are fans of Jennifer Hudson are going to want to be on that jury, and they're going to want to demonstrate their like for her by being in her corner, the prosecution's corner," he says.
As for prosecutors, Miller says, "They're looking for people that may be victims of crime in the past, so they can sympathize with Jennifer Hudson."
If Jennifer Hudson appears at the trial, there is speculation that fans outside and TV news cameras won't see her enter the courthouse via the front entrance, that instead she may be driven through a security gate and will enter the courthouse privately.
It's estimated the trial could last up to a month.


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La dictadura de Primo de Rivera fou el règim polític autoritari que s'instaurà a Espanya entre el 13 de setembre del 1923 i el 28 de gener del 1930 sota la direcció del general Miguel Primo de Rivera y Orbaneja i l'acceptació per part del rei Alfons XIII.

Causes
En mig d'una situació social amb tensions revolucionàries (creixement del proletariat industrial i la concentració urbana, creació del Partido Comunista de España el 1921, nombrosos episodis d'enfrontaments entre patrons i obrers, etc.), una crisi econòmica des del 1919 degut a la contracció dels mercats europeus durant la Primera Guerra Mundial i la commoció de la societat que provoquen els fracassos de la política colonial espanyola al Marroc (desastre d'Annual el 1921), es produeix el Cop d'Estat del general Primo de Rivera, Capità General de Catalunya, que provocà la dimissió del Govern de Manuel García Prieto.

L'alternativa autoritària per resoldre els problemes de l'estat comptà amb el suport de la Monarquia d'Alfons XIII, el suport evident de l'Exèrcit, de la burgesia, dels terratinents i dels medis eclesiàstics.

El règim nasqué amb la pretensió de constituir-se en un sistema de govern estable, amb fonaments constitucionals propis, influït per les maneres del feixisme italià, tot i no identificar-s'hi.

La dictadura de Primo

Acció de govern: supressió dels partits polítics i guerra colonial
En una primera etapa (1923-1926) establí un Directori militar (integrat per 9 generals i 1 contralmirall) que, en el terreny social, restablí l'ordre públic basant-se en una forta repressió del moviment obrer i la prohibició dels drets públics, els partits polítics i les organitzacions sindicals.

En l'àmbit polític, es creà la Unión Patriótica, mena de partit únic que pretenia fonamentar el règim. Las Corporaciones, organitzacions de caràcter estrictament laboral, pretenien substituir els partits polítics a la manera del feixisme italià. Finalment, es creà un àgil sistema d'administració central, provincial i municipal.

En el terreny colonial, el 1925 dona un cop d'efecte amb el desembarcament a la badia d'Alhucemas, a la Regió del Rif marroquí, que acaba amb la derrota del líder rebel Abd el-Krim el 1926 i la fi de la Guerra del Marroc.

Després de la substitució del Directori militar per un Consell civil el 1926, es crea una Assemblea Nacional Consultiva que el 1929 prepara endebades un Anteproyecto de Constitución de la Monarquía Española, que fracassa per la caiguda de la Dictadura el 1930.

Seguint la línia dels "nous dictadors", el règim va trencar el marc polític parlamentari de la Restauració, però en certa manera va ser tolerat per les forces de l'esquerra i el sindicalisme moderats.

Repressió del catalanisme

A Catalunya va ser inicialment aplaudit pels sectors de l'alta burgesia conservadora que van donar la benvinguda a Primo com a salvaguarda davant les forces radicals de l'anarquisme. En un primer moment es va permetre que la Mancomunitat continués existint, però la dictadura va treballar a fons contra el catalanisme republicà, cada cop més radicalitzat i en alça, prohibint partits, associacions i institucions autòctones. Finalment, la Mancomunitat de Catalunya va ser definitivament suprimida l'any 1924 i prohibit l'ús de la llengua i la bandera catalanes en l'administració i en la vida pública.

Catalunya es va convertir aviat en un dels focus més actius i unànimes d'oposició a la dictadura, ambient que va afavorir el creixement de la força i popularitat del catalanisme republicà que va tenir en Estat Català (1922) i en el seu líder Francesc Macià, el lluitador més compromès. Per contra, el catalanisme moderat i socialment conservador de la Lliga Regionalista va quedar molt desprestigiat.

Cap a la fi: un règim sense suports socials ni institucionals

La intervenció estatal en l'economia, encara que limitada, va afavorir l'aparició dels primers monopolis espanyols, va impulsar les grans obres públiques i va beneficiar les finances, que van donar lloc a figures com Juan March. Això no obstant, el règim de Primo no tenia suports institucionals ni socials; era una construcció amb peus de fang que depenia de la bonança econòmica i la pau social.

Quan l'impuls econòmic va començar a esgotar-se, víctima de les seves pròpies contradiccions, va quedar patent que el dictador estava pràcticament sol al poder. A partir del 1926 el règim va entrar en decadència i les forces d'oposició es van reactivar fins a arribar, per l'agost del 1930, a formar un front únic, el pacte de Sant Sebastià, que agrupava republicans, nacionalistes catalans, bascos i gallecs, socialistes i fins i tot anarquistes.

La dictablanda
Alarmat, Alfonso XIII va forçar la dimissió de Primo de Rivera (gener del 1930) però la "dictablanda" del general Berenguer, nom amb el qual era conegut popularment el seu govern en contraposició a la dictadura de Primo, no va aconseguir la reconciliació política amb l'oposició.

Finalment, les eleccions municipals, el 12 d'abril de 1931, van suposar una derrota indiscutible de l'opció monàrquica. Davant la tessitura d'imposar-se mitjançant una repressió a ultrança o l'abdicació, el rei va optar per aquesta última opció i el 14 d'abril de l'any 1931 es va proclamar la Segona República espanyola.

Vegeu també
 Restauració borbònica
 Cuadrilátero
 Dictablanda del general Berenguer

Restauració borbònica a Espanya al segle XX


The newest and hot action camera sj4000, sj 5000 attracts many customers .
It may not be the smartest phone on the market, but Nokia's latest handset has one huge advantage - a battery that can last for a month between charges.
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Although there are a limited number of apps available, the Nokia 215 has preinstalled Facebook and Twitter, along with a web browser - although the phone does not have a 3G capabilities.
The handset is available in two version, with one or two SIM cards.
The Single SIM has a stand-by time of up to 29 days, while the dual SIM version offers up to 21 days.
'For those who like to talk, Nokia 215 provides up to 20 hours of talk time,' it says.
Unsurprisingly, the handset also includes, MSN Weathe.
The handset also boasts Bluetooth, so can be connected to a headset or speaker.
'With a built-in MP3 player and FM radio, Nokia 215 keeps you entertained for up to 50 or 45 hours playback respectively,' the firm says.
It also features Nokia's SLAM technology, which allows people to simply bring two SLAM-enabled devices together to send or receive files.
It will be available in green, black and white versions, and will initially go on sale in the Middle East, Africa, Asia, and Europe in the first quarter of 2015.