#crescent moon in Muslim art

[compassionmattersmost]

Angel Azra’s Gift: A Muslim Bedtime Story of Kindness and Peace

Angel Azra watches over a sleeping child in a peaceful Muslim village, guiding dreams of kindness and love. A heartwarming bedtime story for children about divine protection and inner peace. Once upon a time, in a quiet village by the sea, children would gather every night to listen to stories before bed. One evening, as the stars twinkled like diamonds in the sky, a gentle wind swept through…

[bloghrexach]

☪️ … “Happy Ramadan, Happy Ramadan!” … ☪️

Art work by — @mcgazaofficial

“Ramadan is the ninth month of the Islamic calendar, observed by Muslims worldwide as a month of fasting, prayer, reflection, and community.

A commemoration of Muhammad's first revelation, the annual observance of Ramadan is regarded as one of the Five Pillars of Islam and lasts twenty-nine to thirty days, from one sighting of the crescent moon to the next.”

@hrexach

[krsnaencore]

A Fine Blend of Tradition and Reverence: The Muslim Wedding Invitation

Inviting guests to share in the joy of a matrimonial union holds immeasurable significance across cultures, and in Islam, this tradition is deep-rooted in the form of Muslim Wedding Invitations. Characterized by a distinctive charm and a reflection of Islamic customs, these invitations are a compendium of culture, faith, and celebration. This article aims to shine a light on the distinct features and spirit of Muslim wedding invitations.

Emblematic Artistry: A staple feature of Muslim wedding invitations is the beautiful use of symbolic Islamic artistry. From the widespread use of the crescent moon and the star, symbolizing faithfulness and divine hope, these emblems are often incorporated, gracing the card with a serene spiritual aura.

Sublime Wording: The wordings chosen for the Muslim wedding cards echo profound reverence and lend an air of sanctity. Typically, Arabic calligraphy and phrases such as "Bismillah" (In the name of Allah) or verses from the Holy Quran are employed, infusing the card with quotidian religious sentiments.

Canvas of Colors: Traditional Muslim wedding invitations often feature a palette of green and gold. Green symbolizes life and eternal paradise while gold is indicative of purity, luxury, and grandeur. Together, they conjure up an image of timeless elegance and a respectful nod to culture.

Precision and Protocol: Adhering to Islamic etiquette, a Muslim wedding invitation provides precise details of the various ceremonies, such as Nikah (the wedding ceremony), Walima (the reception), and other pre-wedding rituals like Mehndi. It cordially encapsulates date, venue, and time allowing guests to partake in the joyous occasion.

Modern Impressions: In keeping with progress, Muslim wedding cards have embraced subtle elements of contemporary design. Today, it is not unusual to see digital versions of traditional Islamic art or even QR codes in the layout for an innovative and practical charm.

In summing up, a Muslim wedding invitation transcends being a simple call for presence at a joyous occasion. Instead, it emerges as a spectacular testament to the Islamic way of life, a celebration of love and unity under the divine guidance of Allah. Every element, every color, and every word on the invitation is a peek into an age-old culture laced with religious devotion. Thus, when understanding the tenets of these invitations, one does not merely acknowledge a tradition but embarks on a journey of recognizing the amalgamation of faith, love, and community forged in a Muslim wedding.

[amrinaalshaikh]

Tales of Tradition: Unveiling the Artistry Behind Muslim Wedding Cards

In the heart of every celebration lies a story waiting to be told. Among the myriad cultural traditions that enrich our lives, the artistry of Muslim wedding cards stands as a testament to the beauty of heritage and craftsmanship. These intricate invitations not only announce a joyous union but also serve as gateways to the rich tapestry of Islamic culture. Join us as we explore the enchanting world of Muslim wedding cards, where tradition and art converge in a mesmerizing display.

Historical Context of Wedding Cards

The tradition of sending Muslim wedding invitations has deep roots within Islamic culture, echoing back to centuries of tradition. In historical contexts, these invitations were often handcrafted with meticulous care, a testament to the significance of the event they heralded. Over time, the designs have evolved, blending age-old customs with contemporary aesthetics. Through these cards, we witness the passage of time and the embrace of change, while still holding on to the essence of tradition.

Symbolism and Cultural Significance

Each element adorning a Muslim wedding card is infused with symbolism and cultural significance. The crescent moon and stars, for instance, evoke celestial blessings upon the union. Intricate geometric patterns harken back to the geometric designs found in Islamic architecture and art. Colors, too, play a pivotal role, with gold symbolizing wealth and prosperity, and green representing fertility and growth. These cards are not mere pieces of paper; they are carriers of meaning and blessings, connecting generations with a shared cultural heritage.

Crafting the Perfect Invitation

Crafting a Muslim wedding card is a labor of love that requires the hands of skilled artisans, calligraphers, and designers. High-quality paper, delicate gold leaf, and traditional inks come together to form these works of art. The process involves careful consideration of design elements, ensuring that each card exudes elegance and sophistication. The result is not just an invitation but a tangible embodiment of tradition and artistry.

Calligraphy as a Central Artform

At the heart of many Muslim wedding cards lies the mesmerizing art of calligraphy. With styles ranging from the flowing Thuluth to the angular Naskh, calligraphy transforms words into intricate art forms. The choice of calligraphic style carries not only aesthetic importance but also spiritual significance, as it embodies the divine nature of the written word. Every curve and stroke is a testament to the devotion and precision of the calligrapher.

Regional Variations in Design

The diversity of the Muslim world is beautifully reflected in the various design elements found in wedding cards. From the opulent designs of the Middle East to the vibrant palettes of South Asia, these cards capture the essence of different cultures. The intricate details tell stories of heritage and tradition, creating a vivid tableau that unites the past and present.

Fusion of Tradition and Modernity

As the world evolves, so too does the art of Indian wedding card design. Contemporary designers are embracing both tradition and modernity, resulting in innovative and breathtaking creations. Elements from traditional Islamic art seamlessly intertwine with modern design sensibilities, producing cards that are a harmonious blend of the old and the new.

Personalization and Customization

In an age of personalization, wedding cards have also taken on a new dimension. Couples seek to infuse their unique story and personality into the cards, turning them into cherished keepsakes. With the aid of technology, laser cutting and digital printing allow for unparalleled levels of customization. The result is not just an invitation, but a personalized work of art that resonates with the couple and their guests.

Eco-Friendly and Sustainable Practices

In an era of heightened environmental awareness, even the realm of wedding cards is witnessing a shift towards sustainability. The use of eco-friendly materials and sustainable practices is gaining traction, aligning with the values of conservation and responsibility. This move towards eco-consciousness is a testament to the adaptability of tradition in the face of changing times.

Conclusion In the delicate folds of a Muslim wedding card, centuries of tradition, artistry, and culture converge. These invitations serve as gateways to the heart of celebrations, carrying with them stories of love, heritage, and creativity. The fusion of tradition and modernity, the intricate calligraphy, and the symbolism woven into each design all contribute to the allure of these enchanting creations. Through these wedding cards, we are reminded that every union is a tale waiting to be told, and every invitation is a work of art waiting to be unveiled.

[giftsofallah]

Islamic Jewellery

Islamic jewellery is a popular way for Muslim women to display their faith and devotion. These pieces are typically adorned with Islamic symbols and motifs such as the crescent moon and star, calligraphy, and the Hamsa hand. These pieces are not only beautiful but also hold spiritual significance for the wearer.

One website that offers a wide selection of islamic jewellery is giftsofallah.com. This online store offers a variety of options for both men and women, including bracelets, necklaces, rings, and earrings. Each piece is carefully crafted with attention to detail and quality materials to ensure that it lasts for years to come.

One of the unique features of giftsofallah.com is that they offer custom engraving on their jewellery. This means that you can personalize your piece with a special message, name, or date. This is a great way to make a gift even more meaningful and unique.

In addition to their jewellery selection, giftsofallah.com also offers a range of Islamic gifts and home decor items. These include prayer mats, Quran holders, and Islamic wall art. All of their products are designed to help Muslims express and celebrate their faith.

When it comes to gift-giving, Islamic jewellery from giftsofallah.com is a perfect choice. It is a thoughtful and meaningful gift that is sure to be cherished by the recipient. Whether it is for a birthday, Eid, or any other special occasion, a piece of Islamic jewellery is a gift that will be treasured for years to come.

In conclusion, Islamic jewellery is a beautiful and meaningful way to express one's faith and devotion. Giftsofallah.com offers a wide selection of high-quality Islamic jewellery and gifts that are sure to delight any recipient. Whether you are looking for a gift for a loved one or a special treat for yourself, giftsofallah.com is a great place to start your search.

[xponentialdesign]

لا تقطع إلى قطعتين. الحفاظ على طاهر لإلقاء الضوء على سطح مع دوافع الله.

[magical-oppas]

From one Muslim to another; if you don’t know the history of Islamic architecture you can’t go around saying “it doesn’t have the crescent moon!” Like OFC it doesn’t ??? They’re not Muslim! Doesn’t mean they’re NOT trying to mimic it. What you think is “arab architecture” IS Muslim architecture. The geometry and patters is all Muslim historically because we aren’t allowed to make faces. So Muslims resorted to said patterns. They saw it and they thought it was beautiful but that doesn’t give them the right to bastardise it. Specially because they don’t belong to that culture/religion. Muslims are so fucking oppressed in Korea come on....

Hi! If we are going to do this then we have to ask ourselves what makes a mosque a mosque?

Because believe me, Arabic architecture and culture existed way before islam did. Yes, you are correct to say that geometric shapes does come from muslim art but religion influences culture and culture influences religion. Just because the artstyle is similar it doesn't automatically mean that it is islamic art.

I'll give you another example, the swedish flag has a yellow cross on it 🇸🇪. It is from a time when Sweden was very Christian. Now however Sweden has a very high population of atheists and state and religion is now completely separated. The flag still has the cross tho, because it has cultural significance. The religious values however don't exist with it anymore. Can we then say that sweden is bastardising Christianity?

Back to the question in the beginning. A mosque is a mosque because someone has decided that that place is a place to worship Allah. I highly doubt any of the sets were built for that purpose.

Yes, most mosques in the world does have Arabic architecture but that is because the religion originated from there and like I said, I'm pretty sure the architecture is older than the religion. And if you look further, alot of old architecture from the Indian subcontinent looks like that simply because of trade with Persia and Afghanistan. And the old kings of India weren't all muslim, they were mostly Hindu.

I understand where you're coming from but I personally think this is more of a culture issue(if it is an issue at all) than religious. We have to be able to separate middle Eastern culture from the religion islam because they are not the same.

If you're not satisfied with my answer you're welcome to talk to me again.

Edit: I realised I forgot to add this. The reason as to why I mentioned the crescent moon in the first place is because I'm pretty sure the only time koreans would come across middle Eastern design in Korea would be with mosques. The fact that they chose to not have the moon in their sets tells me that they actively tried to avoid any ties with Islam.

[ayearinfaith]

𝗔 𝗬𝗲𝗮𝗿 𝗶𝗻 𝗙𝗮𝗶𝘁𝗵, 𝗗𝗮𝘆 𝟱𝟮: 𝗦𝗵𝗶𝘃𝗮

Shiva is one of the most important of all the myriad Hindu deities and the supreme being in the Shaivite tradition. He is a god of destruction, an ascetic yogi, lord of all dancers, and the definitive family man.

𝗟𝗼𝗿𝗱 𝗼𝗳 𝗖𝗼𝗻𝘁𝗿𝗮𝘀𝘁𝘀

Shiva’s nature is built upon contrasting elements, a feature that likely stems from his Vedic origins. In the oldest layers of the Vedas, themselves the oldest of Hindu scriptures and the oldest Indo-European language texts, the word “Shiva” appears only as an adjective meaning “auspicious”. This adjective is notably used as an epithet for the minor storm god Rudra. In his standard form, Rudra is a fearsome manifestation of the storm, a destroyer of crops and homes. However, in his kindly aspect i.e. Rudra-Shiva, he is the rains that feed crops and thus a source of life. As the deity developed, Shiva became the namesake, with Rudra and other gods becoming aspects of this greater power, but this initial feature as destroyer and creator still defines him. In the Hindu Trinity, he remains the god of destruction as opposed to Brahma’s creation and Vishnu’s preservation, but his destruction is seen as part of the process of continuous creation and rebirth. Another contrasting element is his social life. On one hand, he is an ascetic monk, depicted as isolating himself on mountaintops to meditate, wearing animal skins and letting his hair mat. On the other hand, he has the most established household of any Hindu god and is often depicted with his wife, Parvati, and his children, Kartikeya and Ganesha.

𝗦𝘆𝗺𝗯𝗼𝗹𝗶𝘀𝗺

As may be expected of a deity with a long history and widespread cult, Shiva has a wealth of iconography. Modern Hindu art, especially under the influence of 19th century painter Raji Ravi Varma, has more or less coalesced into a consistent vision, and the following symbols can all be seen in the title card for this post. As an ascetic monk, Shiva wears his hair in Indian style dreadlocks, called Jaṭā. Jaṭā are a sign of the ascetic’s detachment from the world and, like actual ascetics, Shiva wears them loosely coiled on the top of his head. At the peak of these coils is either a lotus or a woman’s face, representing the embodiment of the Ganges river. The common story is that Shiva contains her to only let loose a small stream of her true power (the enormous Ganges river), as otherwise she would flood the world. Also in Shiva’s hair, there is a crescent moon, as Shiva is often credited as the reason behind it’s waning and waxing cycles. On his forehead, Shiva typically depicted with a third eye, or a mark representing it. Though third-eye iconography extends beyond Shiva, he is the god most commonly associated with it, and famously used it to incinerate the god of desire, Kama. Shiva dresses in only a tiger skin, again in part a reference to his ascetic detachment and also to his dominion over animals, sometimes viewed as a metaphor for the dominance of rationalism over instinct. Similarly, a cobra is wrapped around his neck. There are many explanations, most of which boil down to the fact that snakes are dangerous, but only Shiva us the ultimate lord of destruction. Shiva can be posed in one of two ways, representing different aspects of his nature. As the calm and detached ascetic, he is depicted seated in typical Yoga meditation, and as such is the patron of the Yoga tradition (both as philosophy and exercise). As an active destroyer and creator, he is portrayed as “Nataraja”, the “lord of dance”. In this pose he is dynamic, one leg kicked out astride a ring of fire. He carries with him a trident and a drum, sometimes tied together. The trident is a weapon befitting a destroyer and, as will be discussed later in this post, the number three is a recurring theme for Shiva. The drum is an extension of his Nataraja aspect, keeping the beat as he dances. Finally, there is his vehicle, or Vahana, Nandi. Nandi is a white bull, an Indian Zebu to be precise, and serves as the symbol of the Shaivite tradition.

𝗟𝗶𝗻𝗴𝗮𝗺 𝗮𝗻𝗱 𝗢𝘁𝗵𝗲𝗿 𝗜𝗰𝗼𝗻𝘀

Despite the fact that some of the worlds largest statues are of Shiva, he is most typically worshiped in an aniconic form known as the Lingam. For reference, in the art used for the title card of this post, a generic Lingam is placed directly in front of Shiva’s legs. The Lingam is made of two primary parts: the central pillar and the basin. A common interpretation of these represent a combination of a masculine (the phallic pillar) and feminine (the yonic basin) parts, representing the totality of things as well as the act of creation. Though there is little doubt from the historical record that Lingam use sex organs as the basis for their abstract iconography, it should also be noted that they can and are interpreted outside of that context and that perception of the Lingam as purely sexual (as Muslim and Christian conquerors/colonizers have) is about as accurate as perceiving the Christian cross purely as an implement of torture. Lingams come in many sizes and shapes, and date back at least to the 3rd century BCE, with some claiming evidence of even older Lingams. Lingams are often decorated with flowers and have water or milk poured over the central column. The column itself often has a symbol painted or carved into it; three horizontal lines behind a red dot. This is called a Tripundra (literally “three marks”). This is a common sign of Shiva and is often worn on the foreheads of Shaivites. The dot in the center is the third-eye, as mentioned above. The three lines are given much symbolism. They can represent Shiva’s trident, three sounds of the primordial syllable Om (typically divided as A-U-M), the Hindu trinity (of which Shiva is the third), the three realms (heaven, earth, hell), or the three Gunas i.e. fundamental attributes. The Gunas may be one of the better metaphors as, like the stripes of the Tripundra, the Gunas are simply a representation of the world split into three, literally and metaphorically.

Image Credit: J.B. Khanna Pictures, probably from the 1970's or 80's

[dailymilesmorales]

Marvel Comic's Spider-Man is an iconic character. He is power fantasy for children: a high school-aged teenager is given superpowers through the bite of a radioactive spider. But this same young person also suffers a tragic loss which he, because of his immaturity, was unable to prevent. Through this trauma Spider-Man learns to live by the mantra, "with great power comes great responsibility".

Spider-Man has amazing strength, enhanced senses, agility and reflexes, as well as great speed, but he is a still a young person trying to figure out life, work, and relationships while struggling to pay the rent.  Spider-Man is usually denied any glamour or glory for his many good works.

Spider-Man is an "every man" — "your friendly neighborhood Spider-Man" — who most people can relate to but few would actually be able to live up to his standards of good and righteous behavior.

As shown in the multitude of comic books and other stories  since the character's debut in 1962 (and the premise of the recent blockbuster film "Spider-Man: Into the Spider-Verse"), because Spider-Man is an archetype of sorts, he can be a white guy named Peter Parker from Queens, a black Latino from Brooklyn named Miles Morales — or even a young woman named Gwen Stacy.

I recently spoke with Saladin Ahmed about the appeal of Miles Morales being Spider-Man. In addition to "Miles Morales: Spider-Man," Saladin Ahmed is the writer of the-going Marvel Comics' series "Magnificent Ms. Marvel."

Ahmed has also earned numerous awards and distinctions such as the prestigious Eisner Award for "Black Bolt," which won Best New Series in 2018. Ahmed's fantasy novel “Throne of The Crescent Moon” won the 2013 Hugo Award for Best Novel.

In this conversation Ahmed shares his thoughts on what is it like to write such a beloved character such as Spider-Man. How do we explain the character's near-universal appeal? As an Arab-American and a Muslim, how does Ahmed navigate the pressures of "representation" and "diversity" in his work on "Spider-Man," "Ms. Marvel" and other projects? And why does Miles Morales resonate as a character with so many people — while  also enraging a core group of other, more "traditional" Spider-Man fans?

Ahmed also reflects on how growing up in Detroit and Dearborn, Michigan influenced his art and life, the racial politics of Detroit and his crime detective fantasy graphic novel  "Abbott," and the struggles and successes of being a professional writer who comes from a working class background

This conversation has been edited for clarity and length.

...

America is a "multiracial" society. There is no American popular culture without black and brown folks. That is a self-evident fact. Why is that basic observation still so terrifying — and often enraging — for so many people?

Well, we like to say that people just don't like what's different. But it is never just about that. The real reason is that negative reaction is connected to systems of power. If you start telling stories where the focus is on people other than those who are always at the center of the conventional mainstream narrative then questions about society and power and opportunity have to be asked. There are many people who benefit from not asking those questions.

Given your background do you feel a sense of special obligation when you sit down to write "Spider-Man" or "Ms. Marvel" for example?

Politics are central to the story for me. If I want to understand a character I need to know how they grew up. I want to know what they expected out of life. I want to know whether they achieved that. You don't know those things unless you as a writer know the social and political landscape. That's the reality that we're writing about. This is central to writing a good story and believable compelling characters.

When you take on an iconic character with the legacy of Spider-Man for example, how do you respect the character's history while also telling your own story?

That's the beauty of superhero comics from a DC or Marvel because there are many versions of the same character. But then you as a writer have to look at the core of this iconic character and focus on what made them so appealing to so many people. What do I think about when I react to those core values? What questions have I always had about these archetypes? But in doing that always keeping in mind what always spoke to you personally about the character you are writing. It is always a balancing act.

I've read Marvel comics for decades. I have deep, complex thoughts about a lot of these characters, and what they mean, and how to tell stories about them. There are certainly projects where folks have come to me both in comics and TV and film where I do not have any particular connection to the characters and their legacy. I had to pass on those.

...

Why does Spider-Man still resonate so many years after the character was first created? And why specifically does Miles Morales resonate so much?

Since I was a small kid, Spidey has always resonated for me. He's always been the most regular person superhero in a world of gods and aliens and people with perfect moral compasses. In a world of unstoppable killing machines Spider-Man is the regular guy who basically stumbled into these powers and he then has to figure out how to do right by them and the world. That is very compelling to me. Peter Parker has always been a kind of working class Marvel hero. Miles too is a 21st century embodiment of that fact. He's that Spidey brought into our moment. He looks a little different. He has a different last name. He is from a different borough. He has a different style. All that feels like a necessary update but Miles still retains a pure core of goodness which has spoken to people for decades.

What are some of the core rules you have for your version of Miles Morales as Spider-Man?

His decency. There are characters I've written such as Black Bolt who might cross lines in the service of what they think is right. Miles is the opposite. He is basically a really sweet decent guy at the core of his being. Yes, he is cool and fun and people like him. But Miles Morales' real core is his decency.

...

[tikkisaram]

Eiléan Ní Chuilleanáin — National Poet, Devil Worshipper

The Irish poet Eiléan Ní Chuilleanáin — appointed Ireland Professor of Poetry in 2016 — is not the most assuming of poets. She is far removed from the outrageous excesses of Baudelaire or the eccentricities of Cummings. In fact, she is very ordinary. Some might even say — bland.

And yet, beneath the inconspicuous surface, Ní Chuilleanáin exhibits a far more sinister nature. Her poetry is teeming with strange references to obscure knowledge, allusions to occult practices and Satanic symbols. The first examples of this darker side of her work were provided to me by an anonymous member of the Tikki Troops, to whom I am immensely grateful for sparking this extended investigation, the fruit of which I will share with you in this blessay.

Because numerology plays a significant part in occult symbolism, I decided to start with a cursory numerological analysis of one of Ní Chuilleanáin's poems — Street. There are two main ways of calculating the significant number of a word or text — the simpler Pythagorean system, and the gematria form, which is Hebrew in origin but can be applied to the English language as well. Applying these two systems to the poem's title gave the same result — the number 6. This is significant — 6 and 11 are the two most important numbers to Satanists. 1 What's more, the poem has 11 lines. Carrying out the analysis on the full text of the poem gives — remarkably — the same result in both systems as well: 7. This number is not specifically associated with Satanism, but it is of enormous importance in numerology in general — it may well be the most important number of all. It is significant in Hindu, Muslim, Judeo-Christian, Ancient Egyptian and Native American tradition, among others.2 The focus on the shoes being "paired" may be meaningful, because Pythagoras associated the number 2 with disorder, evil and the underworld.3 This linking of sacred and Satanic numbers is representative of Satanism in general, which often employs sacred elements in a profane way — for example, the drinking of blood instead of wine from a chalice in a parody of Christian mass. Dates are also often given a numerological significance in occult practice, and I immediately thought of the poem To Niall Woods and Xenya Ostrovkaia, married in Dublin on 9 September 2009 with the bizarrely conspicuous date in its title. The value of the date simplifies to 11 — a Satanic number, of course — but more importantly, expressing the date as 09/09/09 makes the 999 contained in it explicit; 999 is considered powerful in Satanism because it is simply an inversion of 666.4 Incidentally, Ní Chuilleanáin's latest poetry collection, The Mother House, came out on 31 October 2019 — yes, the date of Halloween. A strange decision to say the least. I imagine that a comprehensive numerological analysis of the entire body of Ní Chuilleanáin's work would be extremely insightful; it is, however, well outside of the scope of this blessay.

Doors are frequently seen in Ní Chuilleanáin's poetry, usually associated with some mystery hidden behind them — The Door is the most obvious example, but they also feature prominently in Street and All For You. Stairs and keys are no less a common theme; all three of these symbols represent the hidden, forbidden, esoteric knowledge involved in all kinds of occult practice. This reminded me of a rather strange interview with Ní Chuilleanáin that I read in which she explains the prevalence of nuns in her poetry by saying that "...nuns have always had their own way of living, their own community, their own rituals and festivals — they are surprising people."5 Their hermetic community and special rituals are definitely not the first thing I would think of if asked about nuns. Ní Chuilleanáin seems oddly fixated on secrecy and esoteric practices revealed only to members of a specific group; why might this be, I wonder?

The moderately alert reader will find a wealth of occult allusions and symbols in Ní Chuilleanáin's poems, especially relating to witchcraft. Street mentions bloody crescents imprinted on the stairs; a blood moon was historically connected to occult practice and two crescents together with a circle — one like the "ring" seen in the poem — constitute the Triple Moon symbol in Wicca.6 Fainfall links the mysticism of twilight, dawn and fog with a ghostly presence. Cats — the most famous of witch familiars — are common in her poetry, including the strangely forced reference in The Bend in the Road — "A tall tree like a cat's tail waited too." Kilcash references bonfires and features the oddly apocalyptic line "our ancestors' house will rise up." The Pig-boy features the kind of bestialisation associated with human sacrifice. which is employed by Satanists to signify the dominance of human carnal nature.7 Lucina Schynning in Silence of the Nicht seems to concern a witch in its entirety. And the poem's bizarre title is the opening line of a 15th-century poem by William Dunbar called — wait for it — The Birth of Antichrist.

Deaths and Engines features a curious allusion to the divinatory art of chiromancy (palm-reading) — "the lifeline in your palm// Breaks". This made me think about other methods of divination, of which perhaps the most famous is taromancy — a form of cartomancy which employs the Tarot deck, especially its 22 picture cards, called the Major Arcana. I looked through several of Ní Chuilleanáin's poems to see if I could spot obvious references to it, and I soon struck gold with To Niall Woods..., which focuses on the imminent journey of a newlywed couple. I immediately identified allusions to five cards of the Major Arcana: The Fool, The Tower, The Stars, The Lovers and The Emperor, all of which fit the poem's theme nicely. The Fool represents a new journey; The Tower, a radical change; The Stars, hope and fulfilment; The Lovers, affairs of the heart; The Emperor represents authority, but given the context of stealing from him we can take the inverted meaning of the card, which is authoritarianism and an abuse of power. We thus have lovers experiencing a radical change by leaving what they know to pursue their hopes and dreams on a new journey, freeing themselves from their constraints — "Leave behind the places that you knew:/ All that you leave behind you will find once more." We thus see that Ní Chuilleanáin associates the events of her poetry with occult divinatory symbolism. Once again, I think that a detailed examination of her work from the angle of Tarot and other fortune-telling systems would be an exciting research opportunity.

I must admit that I have little background and knowledge in the area of Satanism and occult symbolism; I am sure that someone more familiar with this kind of material would be able to find much, much more of note in the poetry of Ní Chuilleanáin. I also regret not being able to give this investigation the amount of time and effort it merits. Nonetheless, I think that even this shallow analysis reveals a trove of secrets about one of the most famous Irish poets alive and allows us to view her work in a new — bloodier, more sinister — light.

“Occultist Numerology Numbers and Meanings.” Exposing Satanism, https://www.exposingsatanism.org/occultist-numerology-numbers-and-meanings/. ↩︎

Kathryn Wilkinson (ed.), “Signs & Symbols.” (Dorling Kindersley, 2008). 295. ↩︎

Ibid. 294. ↩︎

“Occultist Numerology.” ↩︎

“Interview with Eiléan Ní Chuilleanáin.” Wake Forest University Press, https://wfupress.wfu.edu/an-interview-with-eilean-ni-chuilleanain/. ↩︎

“Signs & Symbols.” 193. ↩︎

Ibid. 190. ↩︎

[themanuchihrglobe]

The names of the twelve zodiacal signs are given near each zodiacal sign, always including the term burj (a sign of zodiac), which is not usually found on globes. The twelve zodiacal signs are:

1. Burj ḥamal (Aries), longitude 0°

2. Burj thawr (Taurus), longitude 30°

3. Burj jawzā’ (Gemini), longitude 60°

4. Burj saratān (Cancer), longitude 90°

5. Burj asad (Leo), longitude 120°

6. Burj sunbulah (Virgo), longitude 150°

7. Burj mīzān (Libra), longitude 180°

8. Burj ‘aqrab (Scorpio), longitude 210°

9. Burj qaws (Sagittarius), longitude 240°

10. Burj jadī (Capricornus), longitude 270°

11. Burj dalw (Aquarius), longitude 300°

12. Burj ḥūt (Pisces), longitude 330°

    The 48 classical constellations are depicted on the Manuchihr globe. Each constellaion is labelled using the relatively unusual term kawākib for ‘constellation’ instead of the common ṣūrah, for instance; kawākib al-‘adhrā’ for Virgo, kawākib al-asad for Leo, kawākib al-dubb al-aṣghar for Ursa Minor, or kawākib al-samakatayn for the constellation Pisces (but burj-i hūt for the zodiacal sign of Pisces).

There are approximately 1022 stars + 3 in Coma Berenices, visible above northern hand of Virgo. It is not clear whether the ‘overlooked’ star in the tail of Ursa Major has been included or not, for the area appears to be damaged.

The stars are inlaid silver studs, with some attempt to differentiate the ‘size’ of stars by the size of the silver studs. They have been placed after the outlines of the constellation images. Approximately 50 stars are given individual names.

While most of the iconography follows those that found on other recorded Islamic celestial globes, allowing for variation in regional depiction of clothing, there are some distinctive features found on this globe:

Virgo (al-‘adhrā’), for example, faces South rather than North and has a rather unusual hair and clothing. Virgo also holds an ear of wheat in the southern hand with the star labelled simāk al-a‘zal, and while this is occasionally found on other globes, it is quite rare. Also, the three stars of Coma Berenices are visible above the northern hand of Virgo, and these also are relatively rare on globes.

Corona Borealis (kawākib al-fakkah) is represented as a crescent moon, and this is most unusual, if not unique.

Cetus (al-qītus) is unusually ornate in its depiction.

Aquarius (sākib al-mā’) holds an unusual device from which he is pouring the water.

Andromeda (al-mar’ah al-musalsalah), however, is the most unusual figure on this globe. The fact that the figure is viewed from behind suggests some European influence in the iconography, for Islamic depictions, and all recorded Islamic globes, show the figure frontally. There is no indication of the chains which should bind her feet together. It is in fact not clear whether this is a male or female figure. It has been drawn to a larger size than it should be, extending a bit too far north and south, although the stars in it remain more-or-less properly positioned. As a result of this elongation, for example, the star rijl al-musalsalah (the foot of the chained woman) is placed at the back of the left knee rather than on the foot, as it is on other globes.

Moreover, the torso of Andromeda overlaps with the face of the northern fish of the constellation Pisces (al-samakatayn, al-ḥūt), whereas the fish should be just nestled up to the side of Andromeda.

The quality of workmanship displayed in this globe is of the highest quality. There are only two other recorded Safavid celestial globes that have a full set of constellation images, and these were both also made in Mashhad, by Muhammad Zamān in 1050 AH (1640-41 AD) and 1054 AH (1644-45 AD). The former is now in the V&A (inv. no. M. 827-1928) while the latter was last recorded as being in a private collection in Kuwait (photographs were available in 1980).

Although also made in Mashhad, the design of these globes by Muhammad Zamān, the depictions of the constellation images and the methods of engraving, are strikingly different from the Manuchihr globe. Consequently, we now have evidence of two major workshops of instrument-makers active in Mashhad in the first half of the 17th century.

About the Manuchihr globe Prof. Dr. Sonja Brentjes says:

“The re-surfacing of this splendid specimen of a celestial globe is a marvellous gift to all who are seriously interested in intellectual history of post-Mongol Islamicate societies and in particular of the Safavid dynasty. It illustrates that education, politics, art patronage, artisanal and artistic excellence had formed a strong bond. This unification of a broad range of cultural activities in the courtly spheres of the Ilkhanids, Timurids, Mughals, Ottomans, Safavids and other Muslim dynasties provided the context for the creation of a scholarly tradition of the mathematical sciences, astrology, philosophy, medicine and the so-called occult sciences that thrived as a program of elite education, luxurious display of power and wealth and as a culture of gift-giving and political rivalry. Claims to scientific excellence in this cultural function of the sciences serve for binding the sciences to the other mentioned expressions of excellence, but do not necessarily literally reflect a culture of scientific research practice as stated in the preface of Qa‘īnī’s Persian translation of ‘Abd al-Raḥmān al-Ṣūfī’s work on star constellations. Both the globe and the two illustrated manuscript copies of Qa‘īnī’s translation encourage us, however, to spend more time with them and investigate their claims, mastership and affiliations to earlier Ilkhanid and Timurid works of the same genre.

They also invite us to rethink the history of the sciences in the Safavid period and to dedicate the same kind of careful study to such specimens of scholarly knowledge and cultural practice as we have done so successfully in the last decades with regard to prime specimens of scientific innovation and excellence created in Islamicate societies of the classical period between India and the Iberian Peninsula. It would be wonderful if the private owners of such impressive pieces reflecting the rich cultural past of the sciences in Islamicate societies would support us in this task and share their collections generously with the academic world and the public.”

[gunvewor]

The untitled action bronson show livestream

There is also a tiny ant tattooed next to the scorpion. Tattoo: Below the rose tattoo is a tattoo of a large scorpion on his stomach. Tattoo: The middle of his chest and stomach is covered with a tattoo of a heart, surrounded by rose flowers and leaves. Tattoo: The right side of his chest contains a tattoo of a skull, wearing a spiked helmet, with a cigar in its mouth, riding downwards on a fighter jet. Meaning: Action explained that it is a tattoo design of a panther with a mind-control device on its head which he liked and decided to get on his body. Tattoo: Action’s left pec contains a tattoo of a beast with a strange-looking device on its head. Action is very private about his family and personal life and has never revealed most of the names of his family members. The initials might represent the initials of his family members. Meaning: “Arslani” represents the family name of the chef. The name, “ARSLANI” and “AL J E” are written inside the banner. Tattoo: There is a tattoo of a bird with two heads holding a banner with its claws. Meaning: The name Hannah is the first tattoo he ever got, and it represents the name of his girl. The middle of his chest contains the name, “Hannah” tattooed on it. Tattoo: The right collar bone of the rapper contains the name, “Elijah” tattooed on it. Meaning: Action got this tattoo as he thought the lone wolf represents his personality and how he lives. Tattoo: The right side of his head contains a tattoo of the face of a growling wolf, which he calls the lone wolf. He was raised with Muslim traditions just like his father. Meaning: The tattoo is a nod to his parent’s religion as he had a Muslim father and a Jewish mother. There are also little birds flying in the background and flowers tattooed on either sides of the shrine. Tattoo: The back of his head contains a large tattoo of a shrine done in vibrant colors with a crescent moon just above it. There are many tattoos of eagles on his body as you’ll soon find out. Meaning: While talking about the tattoo, action explained how the tattoo is a depiction of freedom as the eagle flies in the air freely. Tattoo: The left side of Action’s head contains a tattoo of a skull with an eagle emerging from behind it. Let us look at the ones he has and the meanings behind them. Just like his many talents, his body also adorns a number of tattoos which include special ones and the ones he liked as pieces of art. Cole, Kendrick Lamar, Eminem, and 360 on tours of Australia, New Zealand, and South Africa. He has also accompanied artists such as J. He has also released a number of mixtapes and albums such as Rare Chandeliers, Dr. In 2017, Action published his first cookbook under the same-titled as his travel program. He is best known as the host of his show, “The Untitled Action Bronson Show” and his travel program, “Fuck, That’s Delicious”. Ariyan Arslani, known popularly by his stage name, Action Bronson is an American chef, rapper, writer, and television presenter.

[bidandhammer]

VERILY GOD IS BEAUTIFUL & HE LOVES BEAUTY - . . . Husain's iconic depiction of the Muslim faith Islam is portrayed in this monumental painting with the prominent incorporation of the holy verses ‘Inalaho Jameelo ya Hubul Jamal’ This work is a landmark in Islamic arts heritage, comprising many cultural motifs - camels, palm trees, Arabic architecture - and filled with religious iconography; Buraq, the female-headed mythological horse known for ascending with the Prophet Mohammed to heaven in ‘Mairaj’, in 7th century, Jerusalem. Mystical verses ‘Kaaf’ and ‘Swaad’ are also depicted and balance the vivid composition. The extraordinaire night journey is depicted in the symbolic colours; blue, grey (most notably the dome of the ‘Mosque at Medina’ and the ‘Star & Crescent’), dark yellow (mustard), green and the shattered, split moon ‘Al-Shaqqul Qamar’. Hint of the Prophet Mohammed is suggested in a preaching pose, on the left side, in his signature black attire, with his finger of ‘Kalema-e-Shadah’ raised. The Judgment Day book of records called ‘Al-Loh-al-Mchfooz’ is depicted on the top right. . . . . Lot 6: M F HUSAIN (1915 - 2011) Islam Acrylic on Canvas Signed & dated '89 top right; Dimension: 30 x 60 in . . . . To acquire this important painting from a prominent international collection, register to bid at our upcoming AUCTION OF THE WEEK on 30TH MARCH 2022, Online - 3:00 - 6:00PM IST . . . . For more details, visit our website www.bidandhammer.com . . #bidandhammerauction #islamicart #indianartist #indianarts #theorama #islam #islamicquotes #progressiveartistsgroup #mfhusain #maqboolfidahusain #auctionalert #bidandhammer #buraq #kaaf #swaad #starandcrescent #acrylicpainting (at Medina) https://www.instagram.com/p/CbjmUJ2rD5v/?utm_medium=tumblr

[nuttydefendoryouth]

What is a Ramadan crescent moon tree?

One particular decor element that has taken root – and is quickly gaining ground in the region this year – is the crescent tree.

Chances are you’ve come across it yourself: the artificial tree comes in a number of sizes and colours, with its defining feature being its distinct crescent moon shape.

With its Instagram-friendly appearance, it has blown up online under different names – moon tree, green ramadan eid crecsent moon tree, Ramadan tree and even Eid tree – as more families take to them. A search for #RamadanTree on Instagram turns up more than 1,000 posts, while one for #EidTree yields over 1,500; impressive since three years ago, they didn’t really exist.

So how did it all begin? It all seems to have started in Michigan, in the US, where resident Samar Baydoun Bazzi decided to mark the holy month with some festive cheer. As a mother, she wanted to create a special experience for her daughter, so she began incorporating Islamic-themed art into the home. When that wasn’t enough, she tried a Christmas tree, but that only confused her child further, she told local media.

That is how Bazzi ended up taking things into her own hands – by creating Ramadan trees in the shape of a crescent moon as a tribute to Islam. As the pictures of the trees circulated online, she started getting orders and the trend just picked up from there.

How did trend reach the UAE?

The crescent-shaped tree is making its way across to the UAE, too. Zahirah Marty, founder of brand development agency Think Liquorice, purchased one in 2020 through Amazon, but she found it quite difficult to source one at the time, and options were limited.

Today, however, it's easier, as a number of brands have starting selling them.

Crate & Barrel, which introduced the tree in 2020, saw sales of the crescent tree soar this year. The hugely popular item can be bought item both online and in-store, for Dh400.

Why get a crescent tree?

UAE resident and mum-of-four Taghred Chandab, who bought one before Ramadan from Kibsons, says it worked as a great way to start a conversation with little ones about Islam and Ramadan.

“We like to decorate for Ramadan and Eid, to give the children a sense of excitement around both the holy month and Eid. My youngest is 5 and she has asked over the years if we could have a Christmas tree at Christmas, but as Muslims we didn't feel this was appropriate as it didn't reflect our beliefs.

"She was really excited when the white ramadan eid crecsent moon tree arrived and we explained to her why the moon was important in Islam, particularly around Ramadan and Eid. She feels the spirit now. Sometimes kids need visual aids to understand."

When Marty posted a picture of her tree on social media last year, she received many queries from other parents, also looking for a way to “bring the month to life for their children and make it something tangible and memorable”.

"Growing up, we didn't have anything like this," she tells The National. "There weren't decorations and lights. At best we shared plates of food or dates with neighbours and family and waited for Eid; for a day of family and food. We did a little less that month, and besides the wave of energy at iftar, it was a pretty non-eventful month from a child's perspective.

“I want Ramadan to be a month-long celebration of who we are, and time at home together, and most importantly I want to create new traditions for my family based on our diversity and mixed cultural background, because that’s a part of our identity.

"It is a month to reflect, and reconnect with ourselves, our home, our family, our creator and I want that to be done in a lively and festive space. Having that centrepiece is a symbolic display of that for me."

Marty says she makes setting up the tree an educational and fun experience for her son Noah, who loves it, too. “While we decorate it, we chat about why it’s a moon and not a tree, why we have it out, what fasting means and how he has so much to look forward to with Eid.

“I want Noah to fall in love with his faith, and all that it comes with. We live in a very challenging world, and children today won’t accept things ‘because we say so’. I want my son to view religion as the beautiful part of his world it is from a young age, and creating reasons to celebrate, decorate and bring joy is how I choose to do it. Everything else will follow."

A response to criticism

Despite its popularity, the trend is not without its criticism. A cursory search online will find comments about it copying western traditions, while others believe it can be ostentatious.

“In any area of life there will always be critics, and I respect that as humans we will differ in our opinions," says Marty. "I prefer to focus on my intention to create happy, celebratory moments for my family as a medium of education, and a way of carving out our space with our circumstances.

“If a decorated moon sparks joy in my toddler to look forward to the month of Ramadan, ask me questions, and open his mind and heart to the lessons, stories and memories, then I’ve achieved my goal.”

How to decorate a Ramadan tree:

Some trees come pre-decorated, but if you prefer to decorate the gold ramadan eid crecsent moon tree together with your family, there are options in the UAE.

Marty recommends Daiso as a place where one can get a range of lights in the shapes of mosques, stars and moons. She drapes her family Ramadan tree with lights, camels and even baubles.

“I grew up with a childhood tradition of new Eid pyjamas and either money or gifts. I keep that tradition in our home. The silver ramadan eid crecsent moon tree is a place we have all this sitting until the night before Eid, which adds to the excitement of Eid day,” she says.

Other places where one can get Eid and Ramadan decorations, as well as trees, include Amazon, Kibsons and noon.com.

DEARBORN — Celebrating Ramadan in the U.S. doesn’t come as naturally as it does in Muslim-majority countries. From fasting during long summer days to lackluster holiday cheer and enduring anti-Muslim sentiments, Muslim Americans have to try just a little harder throughout Islam’s holiest month.

Samar Baydoun Bazzi, a 29-year-old Dearborn resident and nursing student, knows that all too well and is trying to change that— one crecsent tree decorations at a time.

Bazzi told The AANews she remembers feeling like the “odd one out” growing up as a Muslim in Michigan, especially after she began wearing the hijab. During Muslim holidays, she rarely would feel any enthusiasm as gatherings were mostly isolated to family and close friends. Her home would only light up with decorations during Christmas.

Although simple Ramadan-related decorations adorn some properties in Dearborn, Bazzi said she wants to bring a little extra Ramadan spirit to a city that’s home to one of the most concentrated Arab and Muslim American communities and one of the largest mosques in the nation.

“People can get more creative,” she said.

The project, now in its fourth year and selling nationwide, began when Bazzi’s daughter, 4-years-old at the time, thought it was Christmas when she put up a tree along with other banners and crafts, in preperation for Ramadan.

That same day, Bazzi said she took the tree apart and rearranged it in the shape of a crescent moon, a widely-recognized symbol in Islam.

“I wanted her to be excited about her own religion and holiday,” she said about her daughter.

Bazzi, who crafts the trees by hand in her basement, said she quickly learned that many Muslim households face the same obstacles and people wished they’d had such trees in their childhoods.

“The parents want their kids to feel like their own holiday is the most amazing time of the year,” Bazzi said. “It’s a time when they’re supposed to be closer to God, to pray and fast; we want them to fall in the love with the whole process.”

Bazzi said her intention was not to blend Anglo-Christian and Pagan traditions with Islamic ones by using a Christmas tree and that she initially only used a tree because that’s what she had available.

“It really makes no difference to me,” she said. “It doesn’t look like a Christmas tree anymore.”

At a time when political tensions are high and bigoted rhetoric is rampant, Bazzi said her goal is to ensure Muslim Americans, especially the youth, can be unabashedly proud and more openly celebrate their faith.

It takes her about five hours to make each tree. The six-foot-and-eight-inch-tall trees are available in white and green and include lights and a hanging star. They’re being sold nationwide, with requests for them coming from around the world.

Bazzi said the Ramadan Trees have garnered enough interest for a wait list to fill up, forcing her to stop accepting orders this year.

She said she hopes to partner with a manufacturer and expand the project into a large-scale business.

For Samar Baydoun Bazzi, the Ramadan Tree grew out of a desire to mark the Islamic holy month with festive cheer.

Growing up as a Muslim in the U.S., Baydoun Bazzi, 29, of Dearborn said she noticed a lack of decorations during the month-long holiday, which Muslims observe by fasting from sunrise to sundown to commemorate the revelation of the Quran to the prophet Muhammad.

“Obviously, Ramadan’s important,” Baydoun Bazzi said. “You gotta pray and fast, and you want to become closer to your creator. But I never as a kid felt like there was any decorations or like a celebration. I wanted something exciting.”

When she became a mother, she decided to take matters into her own hands and create the kind of Ramadan experience she wished for as a child.

She began by decorating her west Dearborn home with Islamic-themed art, like acrylic paintings of Arabic calligraphy and a cardboard model of a mosque.

It wasn’t enough.

So in 2014, she said, she decided to put up a Christmas tree.

It didn't last long.

“Oh, Christmas!” Baydoun Bazzi remembers her daughter Zahraa, then 4 years old, shouting.

“I knew that it was a mistake,” Baydoun Bazzi said of her decision. “So I looked at my tree and decided to take it apart.”

That’s when the Ramadan Tree first took root.

[beauvvrv203]

Mini International Flags, Nation Flags For Youths

Before the Court are a number of motions arising out of this Brobdingnagian copyright infringement litigation. The defendants have additionally requested this Court to enter summary judgment on their behalf. This preliminary injunction shall remain in pressure till such time as the problem is resolved on its merits. For the reasons set forth in detail above, the Court GRANTS plaintiff's prayer for preliminary injunctive reduction. As of the date of the hearing before this Court, June 19, 1989, defendants are ordered to cease selling the eight banner designs detailed herein. Said ban on gross sales extends to all business settings, including however not restricted to craft fairs, outlets and mail order.

Which country have most beautiful flag?

Below is the list of 12 most beautiful national flags around the world in 2021.Kiribati.

European Union.

Portugal.

Brazil.

Malaysia.

Mexico.

Australia.

Spain.

See Concrete Machinery Co., 843 F.second at 611 (defendant may attempt to show that allegedly infringing statuary was created independently from a non-infringing source). Miller, Federal Practice and Procedure § 2961 (1973 & Supp.1989). Finally, the Court has before it plaintiff's movement for an expedited order compelling discovery. In essence, the plaintiff argues that the defendants have failed to provide a whole class of materials, and in any other case acted in an obstreperous and delaying manner. Once once more, this motion is hotly disputed by the defendants. In turn, the plaintiff, aggrieved by the defendants' litigatory stance, asks this Court to impose Rule 11 sanctions against the defendants and their counsel for bringing what the plaintiff considers to be unwarranted and groundless motions.

Flying Game Cards

I was inspired to write down this blog as I’ve seen my justifiable share of flags around the globe in my journey and have all the time been fascinated within the history for his or her particular person designs. For those of you who are fans of the Big Bang Theory TV present, you may snort at the topic material of this text, but I promise you this text is so much less tacky than Sheldon’s YouTube videos. The colors on the German flag are harking again to the medieval banner of the Holy Roman Empire. The banner had a two-headed black eagle with red claws and beak on a golden field.

This means main distributors assist or have committed to supporting these flags.

“There’s no purpose why different international locations can’t do this; it’d be good for branding,” says Guenter.

FP was the recipient of a 2003 National Magazine Award for General Excellence, and publishes editions in Arabic, Greek, Italian, Spanish, and Turkish. [newline]While Texans have been proud to have the shuttle fly over our state, we have been disappointed to see the Texas flag flown upside down.

Many different banners were raised in revolt towards Mexico, largely flags of particular person navy units.

On this page there are the flags of all sovereign nations of Europe.

The Flag is all the time connected on the spearhead end of the staff, and the heading must be made of fabric strong enough to guard the Colors. U.S. flag either to the observer’s extreme left or the best point within the grouping of flags adopted by the flag or flags of different nations in alphabetical order. Show satisfaction in your country with our customizable nation flag stickers. You can personalize your sticker or flag decals by adding textual content or your personal clip art and selecting a most well-liked size – in distinction to many sticker or decal websites, you can order customized dimension decals and stickers. Our stickers are made with top quality, premium vinyl that can final for years without fading or turning into damaged – even in brutal weather situations. These hyperlinks, and subsequent links found on these net pages, describe the efforts of the us federal authorities within the space of export control through Project Shield America.

As will turn out to be obvious later on this opinion, the defendants do not really challenge the Court's view of the regulation, but rather the Court's software of the legislation to the defendants' works. Having reviewed each Concrete Machinery and its own earlier opinion, the Court is satisfied that its analysis was and is substantially right. The Court begins with a evaluation of the law of copyright in the First Circuit, consisting primarily of the choice by the Court of Appeals in Concrete Machinery Co. v. Classic Lawn Ornaments Inc., 843 F.2d 600 (1st Cir.1988). This slightly expanded reappraisal initially discusses the First Circuit's test used to discover out if copying occurred, after which turns to the possible protection of impartial creation. The burden of proof that circumstances have modified sufficiently to help a motion to dissolve an injunction is on the movant. 897 (D.Ala.1979), citing United States v. Harrison County, Miss., 463 F.second 1328, 1330 (5th Cir.1972).

Small Plastic Flags Of All Nations Flags

Accordingly, this Court is bound to consider its ruling on the likelihood of success in balance of harms between the events. In this particular case, the Court has little difficulty concluding that the stability of harms cascades in the plaintiff's favor. First, in gentle of the restricted number of designs challenged by the plaintiff presently, the defendants' complete business just isn't wiped out. Second, as the plaintiff demonstrated via the expert testimony of different banner makers, it is attainable to use fabric currently slated for one design in other merchandise . Third, the plaintiff additionally convincingly demonstrated, via introduction of the designs of Debbie Rickless, that it's potential for a banner maker to take the identical idea as Stewart and give it a totally totally different, non-infringing expression. Many international locations have variations to their national flag which have been authorized for particular use.

While the crescent and star symbols signify the country’s dominant faith, Islam, the colour yellow is the nation's traditional royal shade. The blue rectangle, originally adopted from the Union Flag since erstwhile Malaya was a British colony, now means unity of the folks of the nation. The colors and symbols featured in the flags of all nations propagate a particular philosophical, historic or some other specific that means that holds greater value for the nation. Thus, one should be utmost cautious while raising and reducing down the nationwide flag as a end result of it is thought of to be a fantastic disrespect to the nation. At Countryflags.com you'll find all nation flags displayed clearly.

In Ireland, a pink and yellow flag signifies that it is safe to swim; a purple flag that it's unsafe; and no flag indicates that there aren't any lifeguards on responsibility. Blue flags may also be used away from the yellow-red lifesaver area to designate a zone for surfboarding and different small, non-motorized watercraft. In addition, fans of just about all sports wave flags in the stands to point their help for the individuals. Many sports groups have their very own flags, and, within the case of worldwide games just like the Olympics, fans will indicate their help for a participant by waving the flag of his or her house country. Large variations of the warfare flag flown on the warships of nations' navies are known as battle ensigns.

The blue represents the negative cosmic forces, and the red, optimistic cosmic forces. The four black trigrams collectively characterize motion and harmony. Each trigram symbolises one of many four classical elements, heaven, solar, moon, and earth. Known as the “tiranga,” which means “tricolor,” the Indian flag initially was meant to characterize the two major religious teams of the nation — the saffron denoting the Hindus, and the green denoting the Muslims. The white stripe was to indicate the peace desired between the 2 communities. The saffron now signifies braveness and sacrifice, the white represents truth and purity, and the green symbolizes faith, fertility and chivalry.

[literarysencha]

The Battle of Karbala

A Marthiyaa of Anis, translated into English verse by David Matthews, Rupa Co.

The sun had run his journey o'er the night;

Unveiled, the Dawn revealed her glorious face.

The King who rides the heavens saw her light

And called his brave companions to their place.

'The time has come at last; to God give praise;

Arise! In fitting prayer your voices raise.

Brave hearts! For strife and slaughter dawns this day;

Here the blood of Muhammad's race will flow.'

Zahra's darling, honoured, seeks the fray;

The night of parting fades 'neath union's glow.

'We are those for whom the angels weep;

To live this day we sacrificed our sleep.

This morning brings an evening ever blessed;

We who depart for Paradise will slake

Our thirst by Kawthar's spring, and there find rest.

May God exalt our names for honour's sake.'

Unequalled, each of them to joy gave birth.

'Let martyrs rise in glory from this earth.'

At this the faithful friends rose from their beds,

And donning glorious raiment combed their hair;

Then tying turbans on their noble heads,

They faced the peerless Lord and gathered there.

Wrapped in coloured cloaks, their fear grew less;

Rose perfume, musk and civet filled their dress.

Brave warriors dwarfing heaven with their height,

In battle Solomons, in Sheba lions;

The bravest fighters bowed before their might;

No pangs of hunger pained these stalwart scions.

For their great hearts the world was less than nought;

To the vastness of the sea they gave scant thought.

Their dry lips sang the praise of God; and light

Shone on their faces; fear was put aside.

No grief or panic clouded o'er their sight;

They joked and laughed and shared their skills with pride.

Their charming accents gladdened every ear;

Each word they uttered was a joy to hear.

Beyond compare the figures of their speeches;

Each point they made with rare magnificence.

Their rhetoric the art that knowledge teaches;

Their dry tongues shed the honey of eloquence.

Arabian poets marvelled at their art.

Lips like pistachios gently prized apart.

Laughing voices, faces like the rose,

Their bodies smelt as sweet as Joseph's cloak;

Devout, abstemious; their saintly pose

In Heaven's slaves would servitude provoke.

Such rubies are not found, such pearls are rare.

'They are angels', cried the Houris, 'born of air.'

There was no water for the heavenly crowd;

Before the prayers they washed in shining sand.

Their faces gleamed like sunrays through a cloud.

Sons of the Father of the Dust, this band

Became as radiant as the silver moon;

Their faces mirrors in a hazy noon.

The kinsmen of the King stepped from their tent,

Fatima's darlings all of beauteous face;

Qasim the fair and Akbar heaven-sent,

Aqil and Muslim, Ja'far's valiant race.

Their countenances lit the sky around.

The flower of eighteen suns stood on the ground.

That morning 'neath the shadow of the stars!

If Moses, who called God on Sinai,

Had seen their light that with the vision jars,

He would have swooned. Celestial majesty

Was echoed by the birds' song in the bowers

Of the desert valley filled with fragrant flowers.

That dancing brilliance wafted by the breeze!

The russet satin sky was put to shame.

Rosy dew-drops hung on swaying trees;

Diamonds were abashed and pearls found blame.

Each bush was crowned by glittering diadems;

The leaves of every tree wore precious gems.

How fine the art of the Creator's pen!

On every leaf embellishment was shown;

A skill beyond accomplished poets' ken,

Which to the simpler mind remained unknown.

All stood in awe of the Lord of Servants' craft;

Enamelled richness o'er the valley laughed.

The light, the fresh, cold desert and the sky!

The pheasant, quail and peacock made their call;

The sweet-voiced birds intoned their plaintive cry;

The morning breeze brought coolness to the soul.

Red petals clothed the trees and sought their arms

Then gathered in the- ditches round the palms.

The desert and the morning breeze that blew

Amid the branches swaying in the bowers,

Scattering on the blooms rare drops of dew;

One nightingale addressed a thousand flowers.

The primroses of Zahra's garden drank

The dew, collected on the rosy bank.

The ring-doves gathered round the cypress tall;

The pigeons cooed: 'The Lord alone holds sway!'

Then came the cry: 'Our God is blessed by all.'

The birds pursued their worship in their way.

Not only flowers sang their adulation;

The tongues of thorns gave praise in exultation.

Lifting up its hand, the ant cried out:

'Oh Cherisher of the weak, who rule our fate!'

'Eternal One! Almighty!', came the shout,

'There is one God, and He alone is great.'

The deer called in the woods, the birds in the air;

The jungle lions roared within their lair.

And here amid the thorns the Prophet's flowers

Imparted fragrance to the desert lands;

The house of Fatima faced its last hours

In the garden planted by Muhammad's hands

This garden cut down in those ten sad days,

By traitors wasted, cruelly set ablaze.

Ah God! The autumn and the flowers of spring!

Muhammad's sons could scarcely hold their breath.

Like bridegrooms they had dreamed of joy to sing;

But their red garlands were the blooms of death.

Awake all night, their eyes were drunk with sleep.

Their perfumed smiles caused closed bud's' hearts to leap.

The glory of that russet-coloured tent!

A fresh sky o'er the earth had been unfurled.

To the canopy no pole's support was lent;

This ancient house! Faith's pivot in the world.

For Allah's loved-ones dwelt beneath this sky

Like stars in the empyrean on high.

The desert land smiled mocking at the skies;

The seventh heaven thought it dwelt above.

Its curtains were the veils of beauties' eyes,

And heaven plucked its stars from it with love.

The morning thought the sun a wretched sight

When it compared it to that desert's light.

Then suddenly the dawn's white light came in;

To lead the prayer the King came from his throne.

All stood behind the Lord of Men and Jinn;

Ali Akbar called the prayer in Hasan's tone.

The eyes of everyone were filled with tears.

As if the Prophet's voice fell on their ears.

The birds fell silent; trees in ecstasy

Rocked to an' fro; their buds and fruit sang praise.

The towns and deserts joined in harmony,

And ocean-beasts emerged to hear their lays.

The darling of Shabbir to all lent weight;

O'er land and sea they cried: 'Our God is great!'

The women of the King wept hitter tears;

While Bano of renown stood silently,

Zainab repeated blessings with her prayers:

'My muezzin, I give thy life to thee!

They call in praise of God; oh, hear their joy!

As beautiful as Joseph is my boy.

He reads from the Quran; what majesty!

His grandsire once for speaking held the prize.

Ah, may his voice remain eternally!

The strains of David, who was called The Wise!

Those melodies like petals of a flower!

A nightingale chirps in the Prophet's bower.

Let someone take these blessings on my part;

May God protect him from the evil eye!

His eloquence would capture any heart,

Although for two long days his throat is dry.

In foreign lands misfortune strikes Husain.

Three days of hunger torment him with pain.'

'Make ready for your worship!', came the cry.

'The King of all Creation leaves his seat.

In ranks of light the Leader passes by;

Salvation's path bows down to touch his feet.

His radiance in the highest heaven will reign.'

The Quran became a prayer-mat for Husain.

The company's prayers were verses from that age;

Like bismillah the King stood at their head;

The ranks were lines of writing on the page,

And proudly stood behind the one who led.

The dawn blinked at the whiteness shown between

The rows of words that Ali once had seen.

They magnified the Lord in glorious tune;

All heaven's angels blessed them for their sake.

In faith their faces shone bright as the moon;

In fear of God their limbs began to quake.

Their necks were bowed in humble adulation.

Like the crescent moon they folded in prostration.

Haidar's scions, Muhammad's noble kin,

Eighteen brave young men stood in one place;

All peerless, righteous, humble, free of sin,

The friends of the Imam in wisdom's grace.

Theirs the praise of God in all directions.

Theirs the beads that told their benedictions.

They stood, then bowed; their prayers flew to the sky;

To the One Existing Lord they showed devotion.

Prostrate upon the ground, their time passed by;

Their hands, their arms, their feet betrayed no motion.

But of their own dire plight. they made no word.

They prayed beneath the shadow of the sword.

They raised their heads and pointed to the air;

The gates of heaven received their adulation.

Their hands, the pinions of the bird of prayer,

To the trembling sky sped on their supplication.

In humble pose they fell upon the ground;

In Gabriel's domain their words passed round.

The prayer of the King of Men was now complete;

His thirsty friends came forth to shake his hand.

One kissed his cheek, another touched his feet;

What stalwart spirits had this hungry band!

His soldiers pledged their faith with every breath;

Embracing on the feast-day of their death.

Here one fell upon the ground in thanks;

Here the Quran was read in doleful strains.

Praise of the Prophet echoed in their ranks;

Here power to the Almighty 'mid their pains.

Husain cried out: 'Have pity on our plight;

On us who thirst and hunger in our flight!'

Here sad laments and pleading supplication;

But there oppression, cruelty, wicked deeds.

Umar, son of Sa'ad cried, 'Keep your station!

Watch the river, guard the banks and meads !

Husain is without water for two days.

Let him not drink a drop until he pays.'

The Celestial King gave orders from his place,

When arrows suddenly began to fall.

Towards the evil foe he turned his face.

Weighing his sword Abbas obeyed his call.

Like moths around the torch of the Imam,

They rallied to protect Husain from harm.

To Ali Akbar he made this behest:

'On treachery our evil foe is bent.

[continued at https://www.al-islam.org/articles/battle-karbala-marthiyaa-anis]