The makuṭa (Sanskrit: मुकुट), variously known in several languages as makuta, mahkota, magaik, mokot, mongkut or chada is a type of headdress used as crowns in the Southeast Asian monarchies of today's Cambodia and Thailand, and historically in Java and Bali (Indonesia), Malaysia, Laos and Myanmar.
court dances Cambodia, Indonesia, Malaysia and Thailand; khol, khon, lakhon dance
They feature a tall pointed shape, are made of gold or a substitute, and are usually decorated with gemstones. As a symbol of kingship, they are featured in the royal regalia of both Cambodia and Thailand.
wayang wong
The crown in its various forms originated as headdresses symbolizing jaṭāmakuṭa, the matted hair of an ascetic formed into the shape of a crown, often found in the iconography of Shiva and Avalokiteśvara.
By the turn of the 1st millennia, Hindu-Buddhists of Dharmic civilization emanating from the Indian subcontinent were absorbed and adopted by Indianized Kingdoms in Southeast Asia; from Mekong delta to coastal central Vietnam, from Java to Sumatra and Malay peninsula. Subsequently, the Sanskritization took place in Southeast Asia, hand in hand with the adoption of the Hindu-Buddhist concept of kingship.
Numbers of Sanskrit terms find their way into local languages in the region. The Pali/ Sanskrit word makuṭa was faithfully adopted as makuta within Javanese and Balinese language to describe royal crown, and rendered as Jawi: مهکوتا and mahkota in Malay and Indonesian. The Khmer mokot (មកុដ), Burmese magaik (မကိုဋ်) and Thai mongkut (มงกุฎ) are derived from the same word too. While the Thai chada (ชฎา) is derived from Pali/Sanskrit jaṭā.
There are many types of mokot used in Cambodian tradition throughout its history. Most of mokot used for the Hindu deities and kings who embraced Hinduism represented Mount Meru or Prang whereas for Buddhists, mokot is taller with single-spire presenting chedi (Buddhist stupa). In Royal Ballet of Cambodia, the crown worn by a male royal character of the highest rank is called a mokot ksat and a mokot ksatrey for female characters.
Indonesia
Indonesia, especially Sumatra, Java, and Bali has adopted the Hindu-Buddhist concept of kingship as early as the 4th century CE. Thus the term makuta is loaned into Kawi language or Old Javanese that subsequently become the ancestor of modern Javanese and Balinese languages. In Sumatra, the Old Malay term also adopted makuta and in turn render to mahkota in modern Malay and Indonesian languages. The typical classical Javanese Hindu-Buddhist jatamakuta is evident in numbers of statues and bas-reliefs of 9th century candis in Java, such as Mendut, Borobudur and Prambanan. The Javanese makuta model is more faithfully modeled after the classic Indian crown, which consists of jamang or siger diadem or tiara worn on the forehead encircling the head, while the hair is arranged in a high bun, decorated with a golden ring securing the hair bun, and several golden ornaments.
The Javanese makuta crown is now used in traditional Wayang wong dance-drama performance. Balinese crown was also modeled after the crown of the Javanese style. The Makuta Binokasih Sanghyang Pake is the golden crown of classic Javanese makuta style, originally the crown of Sunda Kingdom and has become the regalia of Sumedang Larang kingdom. The royal crown of Kutai Kartanegara Sultanate was designed in the classical Javanese style, which resembles a king's crown in the Wayang wong (Wayang orang) performance in Java.
2.3 Malaysia[edit]
In Malaysia, the makuta crown is used in traditional Menora dance-drama, which is performed mainly in the northern states of Malaysia. The main Menora character, also known as the Menora, wore a makuta, a kind of high crown made of soft metal. In Malay, this kind of crown is called kecopong instead of the usual Malay word for crowns, mahkota. This makuta has 16 vertically rounded corners, with pom-poms, as well as pointed ears and decorative earrings.[3]
In pre-colonial Burmese kingdoms, the magaik was one of the five articles of regalia used during coronation ceremonies. The magaik also crowns prominent images of the Buddha. The magaik form of the hti, an umbrella that crowns Burmese pagodas, has nine tiers.[4] In modern-day Myanmar, the magaik is worn by dancers when performing classical forms of Burmese dance.
2.5 Thailand[edit]
In Thailand, the headdress is known by two names: chada and mongkut, and feature a distinctive tall, pointed shape, which was probably acquired from the lomphok, a pointed cloth headdress of Persian origin, during the Ayutthaya period.[5] In the Thai classical dance traditions of khon and the various forms of lakhon, the chada is worn by male characters of royal status, while the mongkut is worn by females. There are many variants of chada and mongkut, reflecting the status of the wearer as well as the occasion. As a symbol of divinity, the mongkut often appears in the iconography of the Buddha and in artistic depictions of devata (divine beings). As a symbol of kingship, the Great Crown of Victory (Phra Maha Phichai Mongkut) forms part of the Regalia of Thailand.
2.6 Other traditions[edit]
Similar crowns are occasionally worn in the Vietnamese Hát tuồng and Hát Chèo theatrical traditions, and are occasionally worn as part of festival garb.
- Holt, John Clifford (1991).Buddha in the crown: Avalokitesvara in the Buddhist traditions of Sri Lanka. New York: Oxford University Press. p. 42. ISBN 9780195362466.
Sada, Nobuhiko Obayashi, the former experimental filmmaker and ad man turned mainstream director whose eccentric, colorful style was a shot in the arm for the Japanese film industry in the late 1970s and ‘80s, has died. Obayashi had been battling lung cancer for years, far outliving his initial life expectancy—in August 2016, he was told he had three months to live—and he died at home in Tokyo yesterday, according to
Obayashi got his start in Tokyo’s vibrant experimental filmmaking scene in the late ‘50s and ‘60s, learning as he went alongside artists like Yoko Ono and filmmakers like Takahiko Iimura, with whom he founded the Film Independent collective in 1964. Obayashi’s radical politics and free-thinking explorations of the global cultural youthquake led to innovative 8mm and 16mm shorts like The Man Who Ate (1963) and Emotion (1966), films the director once estimated screened at 60 percent of Japanese colleges in the late ‘60s.
Among his innovations as a commercial director was helping to popularize the practice of hiring Western movie stars for Japanese TV commercials, a much beloved (and lampooned) tradition that continues to this day. Perhaps the most famous of Obayashi’s ad works is his series of Mandom cologne ads starring Charles Bronson, which frequently feature on found-footage compilations and Alamo Drafthouse theater pre-shows.
After the box-office success of Hausu in Japan, Obayashi became an in-demand director for teen-oriented vehicles for contemporary pop stars. He broke into the mainstream with 1981's School In The Crosshairs, starring teen idol Hiroko Yakushimaru. But although they were aimed at adolescents, these films were fueled by the same anarchic energy as his experimental works: School In The Crosshairs, about a psychic teenager defending her school from fascist aliens, opens with a mind-bending psychedelic sequence and features some delightfully bizarre practical effects designed by the director himself.
Another notable ‘80s hit, 1987's The Drifting Classroom, was based on a manga by Kazuo Umezu, the godfather of Japanese horror manga and an ideal match for Obayashi’s style. And perhaps because of his surrealist bent, the influence of Obayashi’s ‘80s films continues to echo through Japanese animation. 1983's The Girl Who Leapt Through Time, from the novel by Yasutaka Tsutsui, was also adapted by anime legend Mamoru Hosoda in 2006, and 1982's Exchange Student has the same setup as the 2016 anime hit Your Name.
But although he’s best known for his horror, sci-fi, and fantasy work, Obayashi directed films in every genre—all filtered through Obayashi’s unique sensibility, of course. His 1998 film Sada reimagines the story of Sada Abe, the geisha whose murder of her lover by erotic asphyxiation also inspired In The Realm Of The Senses, as a gauzy Hollywood Technicolor romance, the same approach he took to telling the story of cynical postwar Japanese youth in Hanatagami (2017). His final film, Labyrinth Of Cinema, was originally scheduled to be released this weekend in Japan, before it was delayed by COVID-19.
Obayashi was feted by the Tokyo Film Festival with a retrospective in 2019, for which he wrote in a statement:
“Live freely. That’s the mark of peace,” said my father.
He gave me an 8mm camera as if it were his memento when I moved to Tokyo at 18. I screened my first 8mm film in one corner of a Ginza art gallery, which earned international recognition and was acclaimed as the birth of a new film artist.
Since then, I have been making personal films with funds earned by creating TV commercials for 60 years. Invited by the major studio Toho, despite being an outsider, I shot House, which allowed me to recognize that even an aesthetic literary work could be adapted to the commercial film genre.
Although I had the experience of being a naively patriotic supporter of Japan during World War II, I have continued to create films in a variety of genres that imply an antiwar stance. It has been 61 years since my wife, Kyoko Obayashi, prepared herself to become “the wife of a struggling auteur.”
I have worked hard to create films even today with Kyoko, who has supported my films by connecting them with the world, saying “I’m your first audience.”
We have also had the support of our daughter Chigumi, who was one of the original writers of House at the age of 11, her husband and manga artist Takehito Moriizumi, and close friends from the older and newer generations. It was difficult to select the titles for this TIFF tribute, but I hope you will watch my rarely screened films. As the years roll by, there are many more personal films being made, as I always hoped. I hope the audience will enjoy both the signs of freedom and of restricted freedoms in my work. It would be fun if my true character is revealed.
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The Prado Museum La Gioconda
Alabaman ghetto
Elves, leprous internet trolls, Dark Web moles all about profiteroles, keeping Servers company around the clock shifts, high in Pussy, France at top of Crans Montana, yodeling Tirol bandeau echoes whose echolaliac replies play Telephone Games in the skies.
Similar lyrics to "Unintentional or nonfunctional echolalia shows similarities to imitation behavior seen after disinhibition of the frontal network is most...":
Transmitting little reliability, message received, having given it patiently, I wait for it to from cloud to amanuensis, transcription to translation--of a sort, through whistling, cracking report of God-clause exemption, insurance companies won't be paying tofamily or Olympic Committee, no matter how high Llloyd's policy.
Instance of AVALANCHE statistical probability of "Buying the Vineyard," calculated, crunching, amortized:
how likely skiers going after gold medals throw caution to wind, precipitous, cold, ill-advised, risk reward practice off-off course, a 90 degree vertical pitch, accessible by helicopter, should foolishly inclined of a whim, or a binge, an Adrenalin rush, to push-off pinnacle, summit so high, such fine powder, white, pristine, the last time it was skied was 1917.
Lorsque le chien de Jean-Paul Luc Napoleon Belmondo arrive, regardez dans la gueule du chien pour une salive importante dans la gueule du chien.
Son maître a nommé noblement son chien du nom de Danois Remy Cuorvosier, le chien dont l'âge en années-chien dépasse de sept ans l'âge d'un humain.
Le seul chien octogénaire du village de Pussy, France de l'Alpie Village de Crans.
Et le seul chien vivant actuellement à avoir vu le célèbre film classique de Bunuel, Un Chien Andalou, dont la célèbre scène où l'œil d'un animal est tranché avec un rasoir conçu et filmé par l'artiste moderne Salvador Dali.
Lui et Gala et le chien ont assisté à la seule Grande Première au nord de Cannes.
Ces yeux de chien qui ont vu Un Chien Andalou, sont les mêmes yeux que nous avons après avoir vu l'horreur dans des films comme Psycho et Jaws.
Le chien souffre tout le temps de la même condition que les soldats sont diagnostiqués. Il est le seul chien des Alpes à recevoir chaque mois un chèque de la Banque nationale de France, signé par le ministre des Finances, en compensation de son état de stress post-traumatique.
Hiding outside plein at Ricky Nelson Garden Party in Bob Dylan's The Garden, waiting for the man.
We know he chose EndNote odds picked to finish one of one intuitive crew's intuition, neither stable boy, nor local money man, repair, corner man fixer.
picture postcards from all over, shy-boast peaty beds near bogs, Australopithecus loves, the pike's peaked pallor peaks through glass panes, interpreting Limousin d'abattoirs trash - la rouge de la puta.
One wonders just how and with what he could chase all year round, diminutive decadence never achieved from Gnomish to relatable cousins, fairies, elves, Alabaman Leprechauns, noshing profiteroles, outdoor plotzing.
Ricky Nelson and Bob Dylan sang Waiting For My Man, picked by intuitively by members, paid corner fixers, unassailable fixers, kid stays in the picture-- frostily maintained, leans Australopithecina, exhumed, thawed, disinterred, observed for pain Limousin Abattoir -- one man's carcass, as it were, so to speak ... La Gioconda
BLACKPINK is Dead by my Dead Saesang Son: It Is My Duty to Kill Him. I Must Do My Duty
BLACKPINK and Dead Blink Saesang: 4 Adventures of Lalisa, Sawyer, and Strong Desire — Wise Action [1] [2] [3]
“... stirring hair framed by [4] silk bodices , half-tied décollet décolleté, the pouting sisterlings fledged and weaned since the age of 13--together. . ...
YG [5] 'sEntertainment's hothouse light offered some unintended [6] . .tendencies ... — mrjyn (@mrjyn) 2021Lalisa2021 년 9월 13일 Lalisa is in a droning threnody to sleep in my room.
Lalisa is in a droning threnody to sleep in my room.
If one moved, the other moved.
But they moved only in a circle.
They remained face to face and eye to eye.
BLACKPINK LACKPINK came home late.
BLACKPINK [7] hurried to do Lisa's share of the evening work.
Turtle [8] Rabbit Kim's brother TEDDY had already finished Lisa's share.
TEDDY was a [9] quiet oppa, who had no adventures and also no troubles. While Lisa sat eating, Lisa's Unnie Non-mon Polystan asked questions.
She hoped to learn about Lisa's [10] afternoon.
“Lisa, was it a [11] warm gig? ”
“Yes, Unnie Non-mon Polystan. ”
“Did you wish to go [12] swimming, Lisa? ”
Lisa began to feel [13] afraid.
What did she know about Lisa's [14] afternoon?
“No, Unnie Non-mon Polystan. Not very much. ”
She touched Lisa's [15] shirt.
It was dry.
But Lisa knew what she would touch next.
BLACKPINK said [16] quickly,
“Some of us put [17] [18] iced coffee on our heads because we were hot.
My [19] hair is not dry yet.
He watched her face.
Yes, she believed BLACKPINK was safe.
And Unnie Non-mon Polystan was glad to believe that she had been good.
The [20] 'sPINK's summer evenings were long.
Lisa walked along the street, Lisa's ting like a bird.
Then she stopped wrting.
BLACKPINK met a strange oppa, a little larger than Blinks.
The [21] 's Pink's oppa’s wardrobe was new and good, and they were wearing Hightops.
Lisa would wear Chuck's and wardrobe like these only to gigs, or on Sunday.
Lisa looked and looked.
The oppa’s wardrobe seemed to become 2 X Lisa's better and better, and times Lisa's, better and better.
And Lisa's own wardrobe seemed to grow poorer.
If one moved, then the other moved.
But they moved only to the side, in a circle.
They remained face to face and eye to eye. “Lisa ! No answer. Lalalalisa! No answer. Lalalalisa ! No answer. !”
No answer.
“Lalalalisa!”
No answer.
“Lalalalisa!”
No answer.
The [22] 'sPINK's oldPINK stan looked around the room.
“When I find you, I ... I,”, I. . I, She did not finish.
With her head down, she was looking under the bed.
Only the [23] cat came out.
She went to the open door and looked toward the garden.
No Lisa was there.
Then Lisa said :
“I can [24] beat you ! ”
“Try. ”
“I can. ”
“No, you can’t ” “Yes, I can. ”
“No, you can’t ” “I can. ”
“You can’t ” “Can ! ”
“Can’t ”
A moment of [25] quiet. hen Then, then Lisa said :
“I could [26] beat you with one hand. ”
“Do it. You say you can do it. ”
Then he said to Lisa : “I can [27] beat you ! ”
“Try. ”
“I can. ”
“No, you can’t. ”
“Yes, I can. ”
“No, you can’t. ”
“I can. ”
“You can’t. ”
“Can ! ”
“Can’t. ”
A moment of [28] quiet.
Then Lisa said :
“I could [29] beat you with one hand. ”
“Do it.
You say you can do it. ”
“That [30] hat!”
“ Hit [31] it off my head if you can. ”
“I will. You are [32] . I am not [33] . You are. I am not. You are. ”
“You are afraid.”
“I am not afraid.”
“You are.”
“I am not.”
“You are.”
But as soon as Lisa turned, the new“I will. You are [34] . I am not [35] . You are. I am not. You are. ”
“You are afraid.”
“I am not afraid.”
“You are.”
“I am not.”
“You are.”
Moving in a circle. Now they were shoulder to shoulder, each trying to make the other fall back.
Suddenly [36] they were both rolling in the [37] dust. Each pulled the other’s [38] hair, and each [39] hit the other’s [40] nose.
And now through the [41] dust Chaelisa appeared, sitting on the new oppa who was [42] beating Chaelisa with a hard, closed hand.
“Have you had enough?” said Chaelisa?
PINK [43] oppa tried to get free.
BLACKPINK was weeping with [44] anger.
“Have you had enough? ”
Twain said, “Enough ! ”
Chaelisa stood up and [45] danced away.
The saesang threw a stone, [46] hitting back. herefore Therefore, Lisa followed ChaelisaCHAELisa’s back.
Chaelisa, and waited.The PINK's he [47] 's oppas
PINK [48] oppa did not come out again.
Turtle [49] Rabbit Kim's motherKim came and said that Lisa was a bad child.
She told Chaelisa to go home.
It was late when Chaestliisa got there.
Very [50] quietly and carefully, she entered through a window.
But Chaelisa's saesang was waiting for her.
She had learned from TEDDY about Lisa’s [51] afternoon.
Now she saw Lisa's wardrobe, and she knew that she had been [52] dancing.
She knew what she must do.
Lisa would work all day Saturday.
SATURDAY MORNING CAME.
\ALL THE SUMMER WORLD WAS BRIGHT and .
ALL THE SUMMER full of life, fresh and full.
Lisa appeared in front of the house with Chuck's and ain her [53] purple Chuck Taylor Hightop Classic Converse Tennis [54] Shoes, holding four big Macaroon.BLACKPINK LACKPINKs.
She turned and saw mall oppa stop Chaelisa before from escaping.
“What were you doing in your area? ”
“Nothing. ”
“Nothing! What is that on your hands and face? ”
“I do not know, Unnie Non-mon Polystan. ”
“I know. You have been eating Kim Chi. I have told you twain not to eat those Kim Chi. ”
Her hand was raised in the air—it started down—it was very near— .
“Hold up, bro. ”
Look behind you, Unnie ! ”
The old Stan turned.
The Pink oppa ran.
In a moment he was up on the high board [55] fence.
Then he was on the far side of it.
Turtle [56] Rabbit Kim's Unnie Non-mon Polystan was surprised.
Then she laughed a little.
“That oppa, I never know what he will do next.
And he knows that I do not want to [57] hit him.
But I should. And if he does not gig Lisa, I must make Chaelisa work [58] tomorrow.
Especially [59] on Saturday when there is no gig.
All the other oppas will be playing,
“BLACKPINK is Dead by my dead Saesang son, and itSon. It is my dutyDuty to Kill Him.
I must do my duty. ”
Lisa did not gig, and he had a very happy [60] afternoon.
CHOREA CHICKS CHESHIR
BLACKPINK looked at the choreochorea, and all joy left all but Lisa.
A deep [61] sadness settled upon all but Lisa's heart.
The choreoa was long and hard.
BLACKPINK rehearsed the choreography and moved along onto the top board.
BLACKPINK did it again, and did it again.
BLACKPINK looked at what they had done.
The painted part was very, very small.The he whole [62] fence wasstage was very, very [63] tall, and very large.
BLACKPINK sat down.
BLACKPINK felt that he their oppa could not continue as working for who worked for the YG Family, as they came through the gate.
BLACKPINK was going to get [64] [65] iced coffee, and the minder was singing happily.
Lisa said,
“Oppa minderMinder, I will get the [66] [67] iced coffee, if you will [68] dance. ”
Minder said,
“No. I must get the [69] [70] iced coffee.
“Are you [71] afraid of Unnie Non-mon Polystan?
She won’t [72] hurt you.
She talks about it, but talk never [73] hurts.
It never [74] hurts except when she weeps, also.You should not be [75] afraid of minders, minder.
“Minder, I will give you one of my play thingamajigs. And I will show you my [76] foot.
I will show you where I [77] hurt it. ”“
BLACKPINK took the plaything and puthead 5 twain herdown to look at the [78] foot.
In another moment she was running down the street.
Lisa was, [79] dancing as fast as possible.
And Unnie Non-mon Polystan was returning to K-House.
But Lisa began to think of the pleasure planned for Lisa day.
Turtle [80] Rabbit Kim's hands moved [81] slowly.
Soon the other oppas would come and laugh at Chaelisa for working.
From Lisa's [82] pocket she took everything that she owned.
BLACKPINK looked at it.
There was nothing of real value.
It was not enough to buy another oppa’s help.
At Lisa's dark moment, a wonderful idea came.
It was like a great, bright light.
Saesang took Lisa's [83] brush and went [84] quietly to work.
Lisa had been [85] [86] especially afraid of Saesang’s laugh.
Saesang was eating an [87] apple.
Also as he walked, he was making [88] noise like a big boats.
BLACKPINK would [89] shout.
BLACKPINK [90] [91] shouted loudly.
Then they would say,
Ddu du ddu du du Ddu du ddu du du,
“Ddu du ddu du du
Ddu du ddu du du,”
like aDdu du ddu dingin ' Ddu du ddu [92] bell.
Then they would sing again, Ddu du ddu du du Ddu du ddu du du Ddu du ddu du du Ddu du ddu du du Ddu du ddu du du / Ddu du ddu du du / Ddu du ddu du du /
Ddu du ddu du du / Badda bing / Ddu du ddu
Bekuh Ddu du ddu Boom !
BLACKPINK was in the boat. ...
A boat.
Lisa was the captain, and Turtle [93] Rabbit Kim was the ringer of the boat [94] bell.
“Turning her!”
"Lisa exhorted Turtle [95] Rabbit Jisoo Kim. Slow [96] her Stop.”
Lisa made a [97] slow, careful turn, came close beside Lisa, and stopped.
Lisa continued painting BLACKPINK, and did not look at boys.
L. [98] Cat, mewed, [99]
“Hello! You are in trouble. ”
No answer.
Lisa moved the L. [100] cats gently, and looked at the result.
It came nearer.
Lisa wished for an [101] apple, but did not turn from her work.
Yang Hyun-Suk : [102]
“Hello, you must work, must you? ”
Lisa turned [103] suddenly.
“Oh, is it you? I did not see you. ”
“I am going [104]
swimming, I am.
Do you wish you could go come back home with me to SEO Taiji Pool in Gangnam Arboretum?
Or would you rather twoirk? ”
Lisa said,
“What do you mean? WoTwirk? ”
“That isTwirk IS work. ”
Lisa returned to a Lisa painting.
“ItTwirk may be work and it may not be.
 |
| cover photo from Korean Girl Groups Instagram |
after how many years / prev. solo releases (still not covering the entire QUARTET! NOT OCTET, NOT SEXTET--QUAR--4--TET--one left), as if issued shellacked off the lathe AND biked over from the Occupied Police State of the DMZ, where Teddy Park, sweating mightily holding Master ... nope. You time travelin', boy. Ain't no master here ... cept dat ... nevermind--just to say, this could'a come from the same era as other unfortunate incidents of repressive, protected quantum-leaps of reversible ignorance and possibility--forgivable in one instance only--E=Mc2; but Gregorian consciousness shared now for some, not a few decades past--not shared for others--whose unfortunate affairs we now ship together in global appreciation, occidentally on purpose, whose day of Robert Johnson, if we should be stanning his K-Hellhound, would be in receipt of it--if everything is correct in lyrics to (I'd Like to Get You on A) Slow Boat to China -- whose authors were hoping for a breakdown in modern transportation, and the eventuality of the cultural inhibitions whose Titanic implications cross Time, but which at Light Speed, where in the time period in which I have consumed the original product, and since humanly possible to do so, have seen a sampling of memes, as well as fifteen-thousand fan-edits in the first hour of release, have wanted nothing so much as a High Speed TVA Train to Seoul, in order that I might politely bang on the doors of YG International House of KCamp Rations Hideaway, to tell the powers that be, that this ain't M.A.S.H., and they ain't Hawkeye--and Radar needs more records to play for Hotlips Houlihan and Frank to make-out to at next weekend's Cocktail Party Dance.
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