29.11.07

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The Beacon

And then... there were none.
We breathe
we scream
we hope
we dream sometimes
we find there's nothing left to hold...
on the empty spaces in the in-between
There is no shield the heart can prepare strong enough to guard against the hole...
that words can tear
we laugh
we cry
we lose,
we sigh,
we love,
we learn,
we crash,
we burn...
sometimes we find we're so afraid...
of running out of time that fear replaces hope and we're...
still standing here...
twisted up inside wasting life away
when we should take the final step to cross that line
and find our way frozen in a teardrop
waiting to be shed pent-up passion like unmoving lifeblood refusing...
to be bled Holding back,
when we should let go wasting time,
when we should let that person know...
That there is no time to save up for another day...
There is only now and i am here and for your love..
there is no price that i would not pay
what are you willing to forsake
what does your heart lead you to keep
if you should go ahead and take this risk anyway?
i'm awake for you although i sleep,
for in my dreams,
you bleed such perfect colors through my grey




may the force be with you
Copyright © Demetrios the Traveler

buzz it!

BOAT IN THE SKY - ΚΑΡΑΒΙ ΣΤΟΝ ΟΥΡΑΝΟ

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The Golden Boat
Clouds rumbling in the sky; teeming rain.
I sit on the river bank, sad and alone.
The sheaves lie gathered,harvest has ended,
The river is swollen and fierce in its flow.
As we cut the paddy it started to rain.
One small paddy-field, no one but me -
Flood-waters twisting and swirling everywhere.
Trees on the far bank;smear shadows like ink
On a village painted on deep morning grey.
On this side a paddy-field, no one but me.
Who is this, steering close to the shore
Singing? I feel that she is someone I know.
The sails are filled wide,she gazes ahead,
Waves break helplessly against the boat each side.
I watch and feel I have seen her face before.
Oh to what foreign land do you sail?
Come to the bank and moor your boat for a while.
Go where you want to,give where you care to,
But come to the bank a moment, show your smile -
Take away my golden paddy when you sail.
Take it, take as much as you can load.
Is there more? No, none, I have put it aboard.
My intense labour here by the river -
I have parted with it all, layer upon layer;
Now take me as well, be kind, take me aboard.
No room, no room, the boat is too small.
Loaded with my gold paddy, the boat is full.
Across the rain-sky clouds heave to and fro,
On the bare river-bank, I remain alone -
What had has gone: the golden boat took all.
~Rabindranath Tagore




may the force be with you
Copyright © Demetrios the Traveler

buzz it!

ΦΑΝΤΑΣΟΥ ΟΤΙ ΜΠΟΡΕΙ ΝΑ ΦΕΡΟΥΝ ΚΑΙ ΖΩΗ ΚΑΙ ΘΑΝΑΤΟ







may the force be with you
Copyright © Demetrios the Traveler

buzz it!

χειμερινο ηλιοστασιο, WINTER SOLSTICE, YULE, HANUKKAH, MAKAR SANKRANTI





ΑΣΤΡΟΝΟΜΙΚΟΣ ΠΡΟΣΔΙΟΡΙΣΜΟΣ

Ηλιοστάσιο ή Τροπή ονομάζονται τα δύο σημεία της εκλειπτικής στα οποία βρίσκεται ο Ήλιος στις 22 Ιουνίου (Θερινό Ηλιοστάσιο) και 22 Δεκεμβρίου (Χειμερινό Ηλιοστάσιο), στα οποία έχει τη μεγαλύτερη και τη μικρότερη απόκλιση του: 23 27' και -23 27', αντίστοιχα. Όταν ο Ήλιος βρίσκεται στα Ηλιοστάσια φαίνεται σα να έχει σταθερή θέση ως προς την απόκλισή του. Εκεί οφείλεται το όνομα "ηλιοστάσιο". Ενώ το όνομα "Τροπή" οφείλεται στο γεγονός ότι ο Ήλιος αλλάζει φορά κίνησης, διότι ενώ τις προηγούμενες μέρες πριν το θερινό ηλιοστάσιο, για παράδειγμα, έχει ανοδική πορεία, στις επόμενες του θερινού ηλιοστασίου έχει καθοδική. Η ευθεία που ενώνει τα δύο ηλιοστάσια λέγεται γραμμή των τροπών και είναι κάθετη στη γραμμή των ισημεριών.

ΔΩΔΕΚΑΘΕΙΣΤΕΣ


Η Εκκλησία των Ελλήνων στο θρήσκευμα αποστέλλει,
Θερμές Ευχές σε όλους τους Έλληνες απανταχού της Γης,
για ένα χαρούμενο εορτασμό του Χειμερινού Ηλιοστασίου,
του Τριεσπέρου και του ερχομού του Θεανθρώπου.

Υπενθυμίζουμε ότι ως Έλληνες εορτάζουμε κατά τα Πάτρια Ειωθότα,
το Χειμερινό Ηλιοστάσιο την 10η Φθίνοντος μηνός Ποσειδεώνος (21η Δεκεμβρίου).
Την 7η Φθίνοντος μηνός Ποσειδεώνος (25η Δεκεμβρίου) εορτάζουμε το Τριέσπερον,
προς τιμήν των Πυρφόρων και Ηλιακών Θεοτήτων Ηρακλέους και Ηλίου.

Ευδαιμονείτε και καλωσορίστε τον ερχομό του Θεανθρώπου μας Διονύσου,
που αυτές τις ημέρες έρχεται στον Κόσμο από την σεμνή Μητέρα Του Σεμέλη.

Έρρωσθε


ΠΑΓΑΝΙΣΤΕΣ

ΤΑ ΧΡΙΣΤΟΥΓΕΝΝΑ ΕΙΝΑΙ ΕΟΡΤΑΣΜΟΙ ΠΑΓΑΝΙΣΤΙΚΟΙ!


Η 25η Δεκεμβρίου συμπίπτει παραδοσιακά με το χειμερινό ηλιοστάσιο,
δηλαδή με τη νύχτα με τη μεγαλύτερη διάρκεια.
Η επόμενη νύχτα είναι θεωρητικά μικρότερη για κάποια δευτερόλεπτα,
καθώς ο ήλιος ανατέλλει νωρίτερα και δύει αργότερα, ενώ μέχρι την ημερομηνία αυτή συμβαίνει το αντίθετο (λόγω όμως των εκατοντάδων χρόνων που έχουν περάσει από την καθιέρωση της ημερομηνίας αυτής, αυτή δεν είναι πια σωστή, καθώς μετακινείται αργά ¾η ακριβής ημερομηνία του χειμερινού ηλιοστασίου του 1999 είναι το ξημέρωμα της 22ης Δεκεμβρίου).
Όλοι οι πολιτισμοί είχαν καθιερώσει γιορτές για αυτή την ημερομηνία, καθώς πίστευαν πως είναι η μέρα της ανάστασης του ηλιακού θεού.
Η αρχαιότερη απόδειξη της σημαντικότητας της ημερομηνίας αυτής, για τους αρχαίους λαούς, είναι το μεγαλιθικό μνημείο του Newgrange στην Ιρλανδία, το οποίο θεωρείται παλιότερο από τις πυραμίδες και είναι ένα κυκλικό πέτρινο κατασκεύασμα απίστευτης τεχνικής.
Φτιαγμένο, υποτίθεται, από πρωτόγονους, είναι παρόλα αυτά έτσι χτισμένο, που ο κεντρικός του θάλαμος φωτίζεται κάθε χειμερινό ηλιοστάσιο και μόνο. Η ακτίνα του ήλιου περνά μέσα από πολλά μέτρα πέτρας και φωτίζει μια λεκάνη στολισμένη με ηλιακά σύμβολα και σπείρες.
Σήμερα δε γνωρίζουμε ποιο σκοπό εξυπηρετούσε και τον τρόπο με τον οποίο κατασκευάστηκε. Οι Σουμέριοι και οι Μεσοποτάμιοι γιόρταζαν το ηλιοστάσιο σαν την ημέρα της μάχης του Μαρντούκ με τις δυνάμεις του Χάους. Επειδή, μάλιστα, η παράδοση απαιτούσε, την αυτοκτονία του βασιλιά τους για να «μεταφερθεί» στο πλευρό του Μαρντούκ και να τον βοηθήσει, ανακήρυτταν βασιλιά τους για την περίοδο του δωδεκαήμερου κάποιον τυχαίο
και αφού του πρόσφεραν βασιλικές τιμές, τον έσφαζαν τη δωδέκατη μέρα τελετουργικά.
Οι Βαβυλώνιοι και οι Πέρσες εκτελούσαν την ίδια περίοδο παρόμοιους εορτασμούς,
στους οποίους οι άρχοντες και οι δούλοι άλλαζαν τίτλους.
Οι Σκανδιναβοί, που αντιμετώπιζαν νύχτες μεγαλύτερες από 25 ώρες(!), γιόρταζαν το Yuletide, κατά το οποίο οι κυνηγοί έφευγαν στα ψηλά βουνά, για να δουν πρώτοι την επιστροφή του Ήλιου που είχε χαθεί για μεγάλο χρονικό διάστημα.
Ο πρώτος που θα την αντίκριζε έφερνε τα καλά νέα στους καταυλισμούς και ήταν επικεφαλής στο πλούσιο γλέντι που διοργανωνόταν στην επιστροφή του.
Στα ίδια μέρη του Βορρά, έδεναν μήλα στα κλαδιά των δέντρων για να υπενθυμίζουν πως η άνοιξη θα γυρίσει, ξεκινώντας ίσως έτσι την παράδοση του χριστουγεννιάτικου δέντρου.
Δεν ήταν μόνο ο Χριστός και ο Μίθρας ηλιακοί θεοί που λέγεται πως γεννήθηκαν τη μέρα αυτή, αλλά και ο Όσιρις, ο Ώρος, ο Διόνυσος, ο Άδωνις, ο Δίας και ο Jupiter, ο Tammuz, ο Ηρακλής και όλοι οι ηλιακοί ημίθεοι.
Η περσική μυστηριακή θρησκεία του Μίθρα, που μέχρι την επίσημη καθιέρωση του χριστιανισμού, ήταν η βασική θρησκεία των Ρωμαίων στρατιωτών, την ονόμαζε «Ημέρα της Γέννησης του Ήλιου».
Οι αρχαίοι Έλληνες και οι Ρωμαίοι γιόρταζαν την περίοδο αυτή τα Σατουρνάλια και τα Κρόνια, τις γιορτές που ήταν αφιερωμένες στο χθόνιο θεό της γης, τον Κρόνο.
Οι εορτάζοντες φώναζαν στους δρόμους «Ιώ Σατουρνάλια!», αντάλλασσαν δώρα και γλυκά και διοργάνωναν γλέντια με φαγητό.
Θεωρούσαν πως η εποχή της κυριαρχίας του Κρόνου ήταν η Χρυσή Εποχή της ζωής,
μια παραδείσια κατάσταση ευδαιμονίας, που την έκλεψε και τη σταμάτησε ο Δίας,
όταν μαχαίρωσε τον Κρόνο για να του αποσπάσει την εξουσία.
Σαν χθόνιος θεός, ο Κρόνος ήταν ταυτόχρονα και θεός του θανάτου και του σκότους.
Έτσι, οι εκδηλώσεις είχαν αρκετά σκοτεινά σημεία.
Σε συνδυασμό με τους εορτασμούς του Βάκχου Διόνυσου που γίνονταν την ίδια εποχή,
πολλοί «μετατρέπονταν» σε σάτυρους και κρατώντας τεράστιους φαλλούς, επιτίθονταν στους περαστικούς με σκοπό να τους τρομοκρατήσουν.
Η υποχρεωτική δωροδοκία ήταν ο κανόνας, για να τους αφήσουν τελικά στην ησυχία τους.
Ο σάτυρος, που μιμούνταν τον Βάκχο, υποδυόταν την εμφάνιση που σήμερα θεωρούμε μορφή του διαβόλου: φορούσε κέρατα, τριχωτά ενδύματα, προβιές και οπλές κατσίκας.
Η «τραγωδία», τα τραγούδια των τράγων δηλαδή, ήταν στην πρώτη τους μορφή μέρη των πρωτόγονων αυτών εορτασμών.
Αν νομίζετε πως τελικά εξαφανίστηκαν με την έλευση του χριστιανισμού,
έχετε μεγάλο λάθος!
Θα σας περιγράψω το τυπικό που ακολουθούσαν πχ. έξω από τη Θεσσαλονίκη, στα Κουφάλια μέχρι πρόσφατα, το 1950: Τις μέρες των Χριστουγέννων, τα παιδιά έπαιρναν ξύλα στα χέρια τους και έβγαιναν στους δρόμους φωνάζοντας «Κόλιεντα!» (Κόλεντα ή Κόλιεντα ονομάζονταν και οι σλάβικες τελετές προς τιμή του Τρίγκλαβ, που σημαίνει Τρικέφαλος). Μετά χτυπούσαν τις πόρτες των σπιτιών και απαιτούσαν φιλοδώρημα, απειλώντας τους σπιτονοικοκύρηδες με το ποιηματάκι αυτό: «Δώσε μπάμπω μια κουρούδα (μπισκότο ή κουλούρι ή γλύκισμα) μη σε βγάλ’ απ’ την καμινούδα (καμινάδα)», που φυσικά συσχετίζεται με την δοξασία πως η καμινάδα κρύβει μια μαγική είσοδο-έξοδο.
Μετά όμως οι μεγαλύτεροι σε ηλικία εκδικούνταν τα παιδιά, καθώς ντύνονταν «καμήλες», φορούσαν κακομούτσουνες στολές με δερμάτινες μάσκες και κουδούνια και τρομοκρατούσαν τα μικρά παιδιά, απαιτώντας χρήματα.
Παρόμοιες παραδόσεις κρατούσαν σε όλη την Ευρώπη σε κάθε τόπο, παραδόσεις που σταμάτησαν ξαφνικά καθώς τα Χριστούγεννα μετατράπηκαν στην αμερικανική έκδοσή τους, που είναι στο μεγαλύτερο μέρος της κατασκευασμένη για εμπορικούς σκοπούς.
Ο Μέγας Κωνσταντίνος, που επέβαλε το χριστιανισμό έχοντας μόνο πολιτικούς σκοπούς,
στην προσπάθειά του να σιγάσει τους εορτασμούς του Μίθρα που συνεχίζονταν κρυφά και μετά την επιβολή του χριστιανισμού, διέταξε το 336 μ.Χ. τον επίσκοπο της Ρώμης, Ιούλιο Α΄, να επιβάλει την 25η Δεκεμβρίου σαν τη μέρα των Χριστουγέννων.
Ο σκοπός του ήταν να «υπεξαιρέσει» τους εορτασμούς των Μιθραϊστών και των υπόλοιπων παγανιστών, επειδή δεν μπορούσε να τους σταματήσει με άλλο τρόπο.
Αν είστε φανατικός χριστιανός και βυθίζεστε κάθε χρόνο στον υπερβατικό εορτασμό της γέννησης του Χριστού, καλό είναι να διατηρείτε και ένα σεβασμό προς το παγανιστικό,
λλά απελευθερωτικό και ευφάνταστο παρελθόν αυτής της περιόδου που παλεύει για την επιβίωσή του και τα καταφέρνει εδώ και χιλιάδες χρόνια…




ΦΑΝΑΤΙΚΟΙ ΑΚΡΟΔΕΞΙΟΙ ΧΡΙΣΤΙΑΝΟΙ

"...Δεν νοιαζόμαστε για εμάς σ' αυτήν την αβεβαιότητα της αυγής , που το τσουχτερό κρύο παραλύει τα δάχτυλα, ώστε να εγκαταλείψουμε τον αγώνα ή να μετανιώσουμε. Νοιαζόμαστε, περισσότερο από ποτέ, να παραμείνουμε πιστοί σ' αυτό που υπήρξε το δίκαιο, και που συνεχίζει να παραμένει ακόμη.
Και το δίκαιο δεν βρίσκεται από την πλευρά των παλιών ψευδαισθήσεων της δημοκρατίας, της δεξιάς ή της αριστεράς, δεν βρίσκεται από την πλευρά του εγγλέζικου κεφαλαίου ή του σοβιετικού τρόμου: το δίκαιο βρίσκεται σ' αυτή την γηραιά γωνιά της Ευρώπης απ' όπου ξεκίνησε εδώ και χιλιάδες χρόνια, ο Λευκός πολιτισμός, κατοικεί στη θέληση ενός κόσμου στον οποίο το δίκαιο και η δύναμη θα βασιλέψουν, αδιαφιλονίκητα, το ένα δίπλα στον άλλο. Είναι στην επανάσταση του 20ου αιώνα". Rombert Brasillach - Χριστούγεννα του 1942 .
Περί την 21ην Δεκεμβρίου εκάστου έτους ζούμε την μεγαλύτερη νύκτα του χρόνου. Ζούμε την στιγμήν της "ΣΤΆΣΕΩΣ" και της τροπής του Ηλίου. Του Φωτοδότη Πατέρα της Λευκής Ράτσας, του Ζωοδότη Πατέρα των Ελλήνων, που λατρεύτηκε με πάθος μέσα στους αιώνες πότε σαν Απόλλωνας Μουσηγέτης, Αλεξίκακος και Εκδικητής και πότε σαν Άη-Γιώργης Τροπαιοφόρος και Δρακοκτόνος προστάτης του Πεζικού μας, κεντημένος με χρυσή κλωστή πάνω στις Τιμημένες Σημαίες των Συνταγμάτων Πεζικού, του Αιματοβαμμένου Πεζικού του Δοξασμένου Στρατού μας. Χειμερινό Ηλιοστάσιο, η ημέρα του Ανίκητου Ηλίου, ο Σωτήρας του κόσμου γεννιέται την στιγμή ακριβώς που στον σκοτεινό ορίζοντα εμφανίζεται το σημείο της Παρθένου.
Χειμερινό Ηλιοστάσιο, ο Σωτήρας του κόσμου, ο Αιώνιος Ήρωας γεννιέται. Το Φώς νικά το σκοτάδι, η ελπίδα ξαναγεννιέται στις καρδιές των ανθρώπων και μία νέα μάχη αρχίζει. Όλα αυτά αποκτούν στις ημέρες μας μια ιδιαίτερη σημασία. Αποκτά η ελπίδα του ήλιου, η ελπίδα της νίκης του φωτός κατά του σκότους μία ιδιαίτερη σημασία μέσα στην απόλυτα σκοτεινή εποχή μας. Στην εποχή μας, όπου ήρωες πια δεν υπάρχουν, όπου κάποιοι γκρίζοι και θλιβεροί τύποι, διακινώντας άχρηστα χαρτιά, που το μοναδικό τους αντίκρισμα είναι η χολή και το μίσος, εξουσιάζουν τους λαούς μας, σκυλεύουν τα ιδανικά μας, λεηλατούν τις ψυχές μας, ευτελίζουν τον πολιτισμό μας, βεβηλώνουν κάθε τι Ιερό και Άγιο αυτού του αιματοβαμμένου τόπου.
Ο τροχός του Ηλίου αρχίζει και πάλι να γυρνά φέρνοντας τον άνθρωπο πιο κοντά στη ζωή, παρά στον θάνατο. Το κακό εξορκίζεται και οι δαιμονικές μορφές απομακρύνονται μακριά από την οργή της ιεράς πυρράς, που καίει στην Εστία κάθε τιμημένης οικίας σε όλην την διάρκεια των Αγίων αυτών ημερών.
Γιορτάζουμε την ημέρα του Ανίκητου Ηλίου, γιορτάζουμε την νίκη του Φωτός κατά του σκότους και αν όλα γύρω μας φαντάζουν σκοτεινά, μια φλόγα καίει στις καρδιές μας και είναι αυτή η φλόγα η μοναδική ελπίδα για το "Αύριο", που έρχεται. Κάποτε θα επιστρέψουμε, θα επιστρέψουμε και η Γη θα τρέμει! "Εμπρός, πάντα εμπρός, μιας Νέας Δόξας ανατέλλει ο καιρός".



ΘΕΟΣΟΦΙΣΤΕΣ
Winter and the Tide of Water - midpoint Oimelc, Festival of Lights, Candlemas

The Winter Solstice represents the Midnight Sun and Solar Power communicating with the human spirit and its drawing in and concentration into the heart of each individual, the incarnation of the spirit, spiritual fire coming down and making intimate contact with the Earth.
The spiritual sub-plane of the Earth Mother is contacted at the Winter Solstice. This contact brings through the highest levels from which the Earth first drew her forces. They include the Logoidal powers which operate at Christmas and the great Pan force which operates at the Winter Solstice. The nativity of Mithra as well as of Jesus.
And with the passing of the Winter Solstice comes the great Cleansing or Water tide. The contact of the Water tide acts upon the emotional body of each one of us. Its action tends to eliminate all those things which prevent the intensity of the feelings, for the action of water may bring about a much wider, broader, comprehensive range of feeling, so that we may learn in time to feel with a blade of grass, with an angel, or with any of God's creatures. Anything that comes between ourselves and the way of personal destiny or service may be swept away by the Water Tide. And because it brings about a gradual expansion of feeling, a broadening of the range of sympathy, it has tended to become associated with emotional discomfort and pain, hence its former alternative title of the Tide of Destruction. It is in fact more a spring cleaning of the soul for the new life to come in at the Vernal Equinox, when a new cycle of life in the initiate's year can be started.
The half point is Oimelc, loosening of winter's grip, new lambs born, ewes in milk, the Feast of Brigit or St. Bride. A popular game played on a chequered board saw an old witch armed with a dragon and a lion doing battle with a fair maiden armed with a lamb and a hail storm, representatives of the Cailleach or Hag of Winter and Brigit the Spring Maiden, for which reason she was later credited with being foster mother of the Christ child. This time also marks the feast of the Purification of Blessed Virgin Mary or her Presentation at the Temple, which took the place of a very ancient Festival of Isis, when little boats bearing candles were set forth upon the waters.
In the Christian year the close of this Tide coincides with the period of Lent, a time of introspection, spiritual preparation, fasting and repentance. The element of renewal is also marked by the Feast of St Matthias on 24th February, who was the disciple elected to replace Judas amongst the twelve. All these teachings have application within the human soul, within ourselves, and so at this time we look to abandon all in which we have fallen short in the past and to take on the new as we seek to enter upon another new year in the cycle of the Elemental Tides.
As one of the inner plane adepti responsible for this teaching recorded: "We who are the Adepts of the Elements and know their actions and work with them, hope and strive to bring you all to a greater realisation and awareness of the action of the forces. So that by co-operating with them you can rejoice and be glad, even in the very midst of conflict and pain. It is a very necessary part of the Aquarian plan. It is not enough that you should accept the actions of the various phases, but you should be able to accept them with gladness and not sorrow. There is a very great deal of difference between acceptance with joy that comes of understanding and the ability to get behind the action, and the one who accepts in ignorance and is swept along blindly by the currents of the forces."



WICCAN & neo-PAGAN

History of Yule

A Festival of Light: Many cultures have winter festivals that are in fact celebrations of light. In addition to Christmas, there's Hannukah with its brightly lit menorahs, Kwanzaa candles, and any number of other holidays. The holiday called Yule takes place on the day of the winter solstice, around December 21. On that day (or close to it), an amazing thing happens in the sky. The earth's axis tilts away from the sun in the Northern Hemisphere, and the sun reaches at its greatest distance from the equatorial plane. As a festival of the Sun, the most important part of any Yule celebration is light -- candles, bonfires, and more.

Origins of Yule: In the Northern hemisphere, the winter solstice has been celebrated for millenia. The Norse peoples viewed it as a time for much feasting, merrymaking, and, if the Icelandic sagas are to be believed, a time of sacrifice as well. Traditional customs such as the Yule log, the decorated tree, and wassailing can all be traced back to Norse origins.

Celtic Celebrations of Winter: The Celts of the British Isles celebrated this midwinter holiday as well. Although little is known about the specifics of what they did, many traditions persist. According to the writings of Julius Caesar, this is the time of year in which Druid priests sacrificed a white bull and gathered mistletoe in celebration.
Roman Saturnalia: Few cultures knew how to party like the Romans. Saturnalia was a festival of general merrymaking and debauchery held around the time of the winter solstice. This week-long party was held in honor of the god Saturn, and involved sacrifices, gift-giving, special privileges for slaves, and a lot of feasting. Although this holiday was partly about giving presents, more importantly, it was to honor an agricultural god.

Welcoming the Sun Through the Ages: Four thousand years ago, the Ancient Egyptians took the time to celebrate the daily rebirth of Horus - the god of the Sun. As their culture flourished and spread throughout Mesopotamia, other civilizations decided to get in on the sun-welcoming action. They found that things went really well... until the weather got cooler, and crops began to die. Each year, this cycle of birth, death and rebirth took place, and they began to realize that every year after a period of cold and darkness, the Sun did indeed return.
Winter festivals were also common in Greece and Rome, as well as in the British Isles. When a new religion called Christianity popped up, the new hierarchy had trouble converting the Pagans, and as such, folks didn't want to give up their old holidays. Christian churches were built on old Pagan worship sites, and Pagan symbols were incorporated into the symbolism of Christianity. Within a few centuries, the Christians had everyone worshipping a new holiday celebrated on December 25.
In some traditions of Wicca and Paganism, the Yule celebration comes from the Celtic legend of the battle between the young Oak King and the Holly King. The Oak King, representing the light of the new year, tries each year to usurp the old Holly King, who is the symbol of darkness. Re-enactment of the battle is popular in some Wiccan rituals.


JEWISH
Hanukkah - Jewish Festival of Lights:
Hanukkah (Hanukah / Hanuka / Chanukah) is a festival of lights that is symbolized by the candelabrum known as a menorah. Hanukkah celebrates a lighting miracle when one night's worth of oil lit candles for 8 days. Special foods and gift-giving are also a part of Hanukkah.





Definition: Hanukkah is a Jewish holiday commemorating the re-dedication of the Temple in 164 B.C. The Seleucids came to control Judaea in the aftermath of the division of the empire of Alexander the Great. At first the Seleucids let the Jews practice their religion, but eventually a ruler, Antiochus IV, who came to the throne in 176 B.C., reversed the policy of tolerance, and polluted their Temple. Under the Maccabees (aka Hasmoneans), the Jews rebelled and won. They then had to re-consecrate their Temple. There wasn't enough oil to keep the candles lit throughout the night as was required, but by a miracle the oil that should have lasted one day lasted eight days, which was enough time to acquire a new supply, and so the holiday of Hanukkah commemorates this event.
zSB(3,3)
The Jewish holiday of Hanukkah is celebrated for eight days beginning with the 25th day of the Jewish month of Kislev.




ΖΩΡΟΑΣΤΡΙΣΤΕΣ

Dies Natalis Solis Invicti :
Mithras was an Iranian Zoroastrian god who was popular with Roman soldiers. Mithras was created by the chief deity, Ahura-Mazda, to save the world. The day of the virgin birth of Mithras was December 25 (the solstice) it was also referred to as Dies Natalis Solis Invicti, which means the birthday of the unconquered sun.




ΙΝΔΟΥΙΣΤΕΣ
MAKAR SANKRANTI
The great diversity of Indian religious beliefs is projected through the various festivals that are celebrated in our country. They arise from the innate desire of man to seek diversion from humdrum activities and they help in symbolising, reflecting and enriching social life in a specific cultural setting.
The festival of Makar Sankrant traditionally coincides with the beginning of the Sun's northward journey (the UTTARAYAN) when it enters the sign of Makar (the CAPRICORN). It falls on the 14th of January every year according to the Solar Calendar. This day has a very special significance because the day and night on Makar Sankrant are of exactly of equal hours. This day is celebrated as a festival right from the times of the Aryans and is looked upon as the most auspicious day by the Hindus.
The evidence of this festival being lucky is found in our great epic Mahabharat wherein it is told that the great warrior-hero, Bhishma Pitamaha even after being wounded and lying on the bed of arrows, lingered on till Uttarayan set in, to breathe his last. It is believed that the person who dies on this auspicious day of Sankrant escapes the cycle of birth and re-birth and that his soul mingles with the Almighty.
This festival is celebrated differently in different parts of the country yet the use of til that is sesame is found everywhere. Til or sesame seed contain lot of oil and they therefore have a quality of softness in them. Therefore, firstly the use of til in sweets is good for health and secondly being soft their exchange means exchange of love and tender feelings.
In Maharashtra on the Sankranti day people exchange multi-coloured tilguds made from til (sesame seeds) and sugar and til-laddus made from til and jaggery. Til-polis are offered for lunch and these are specialities of Maharashtra. Maharashtrian women are proud of their excellence in preparing these delicacies. While exchanging tilguls as tokens of goodwill people greet each other saying - "til-gul ghya, god god bola" meaning "accept these tilguls and speak sweet words". The under-lying thought in the exchange of tilguls is to forget the past ill-feelings and hostilities and resolve to speak sweetly and remain friends. This is a special day for the women in Maharashtra when married women are invited for a get-together called "Haldi-Kumkoo" and given gifts of any utensil, which the woman of the house purchases on that day.
In Gujarat Sankrant is observed more or less in the same manner as in Maharashtra but with a difference that in Gujarat there is a custom of giving gifts to relatives. The elders in the family give gifts to the younger members of the family. The Gujarati Pundits on this auspicious day grant scholarships to students for higher studies in astrology and philosophy. This festival thus help the maintenance of social relationships within the family, caste and community.
In Punjab where December and January are the coldest months of the year, huge bonfires are lit on the eve of Sankrant and which is celebrated as "LOHARI". Sweets, sugarcane and rice are thrown in the bonfires, around which friends and relatives gather together. The following day, which is Sankrant is celebrated as MAGHI. The Punjabi's dance their famous Bhangra dance till they get exhausted. Then they sit down and eat the samptions food that is specially prepared for the occasion.
In Bundelkhand and Madhya Pradesh this festival of Sankrant is known by the name "SUKARAT" or "SAKARAT" and is celebrated with great pomp merriment accompanied by lot of sweets.
In South Sankrant is known by the name of "PONGAL", which takes its name from the surging of rice boiled in a pot of milk, and this festival has more significance than even Diwali. It is very popular particularly amongst farmers. Rice and pulses cooked together in ghee and milk is offered to the family deity after the ritual worship. In essence in the South this Sankrant is a "Puja" (worship) for the Sun God.
In Uttar Pradesh, Sankrant is called "KICHERI". Having bath on this day is regarded as most important. A mass of humanity can be seen bathing in the Sangam at Prayagraj where the rivers Ganga, Jamuna and Saraswathi flow together. At the confluence of these holy rivers every year Kumbh Mela is held for full one month.
In Bengal every year a Mela is held at Ganga Sagar where the river Ganga is believed to have dived into the nether region and vivified the ashes of the sixty thousand ancestors of King Bhagirath. This mela is attended by a large number of pilgrims from East India.
The tribals in our country start their New Year from the day of Sankrant by lighting bonfires, dancing and eating their particular dishes sitting together. The Bhuya tribals of Orissa have their Maghyatra in which small home-made articles are put for sale.
There is also a fair in the Western Ghats at a place called Shabari Mala, where the temple of the Community Goddess is decorated with dazzling lights. The Goddess is worshipped by touchables and un-touchables both and the "bhog" to the Goddess is cooked in the touchables and un-touchables both. These tribals participate in the Mela and enjoy all together as if they belong to one single family. May be therefore, the experts pine that this festival of Makar Sankrant comes to us from those olden times when the caste system did not exist in India as it emphasises or communal harmony.
Thus we see that this festival occupies a significant place in the cultural history of our country and symbolises the victory of ORDER over CHAOS and of Love over Hate.


OI ΑΘΕΟΙ, ΟΙ ΑΓΝΩΣΤΙΚΙΣΤΕΣ ΚΑΙ ΟΙ ΓΝΩΣΤΙΚΟΙ.

THE SOLSTITIAL AND EQUINOCTIAL SEASONS
by Frank R. Zindlergraphics
by Ann E. Zindler
As astronomers reckon time, it happened over four and one-half eons ago. A cloud of cosmic proportions, composed of the dust and gases left over from the wreckage of early stars, condensed and coalesced to form a new star, with its retinue of planets, moons, and comets. That star was our sun, and one of those planets was the earth. As might be expected from a knowledge of its chaotic origin, the solar system that resulted from this reassembly of stardust intermixed with primal matter fell somewhat short of geometric perfection. When all the forces that shaped the early earth had been resolved, they left it spinning on an axis tilted 23.5 degrees away from the perpendicular. Although the points in space to which the north and south poles of that axis aim change slowly over a period of 26,000 years, Earth's orientation in space remains essentially unchanged as it completes any particular revolution about the sun. This means that as the earth orbits the sun , there is a point where its north axial pole is tilted maximally toward the sun (around June 21) and a point where that pole is tilted maximally away from the sun (around December 21).............


.................. At the winter solstice when the north pole is tipped 23.5 degrees away from the sun, an observer moving along with the Northern Hemisphere will spend more time in darkness than in light - for the simple reason that less than half of the Northern Hemisphere is illuminated. At the equinoxes , when the earth's axes are tilted neither toward nor away from the sun, observers all over the planet spend the same amount of time in darkness and in daylight.
Even though the solstices and equinoxes do not mark the motions of a god travelling across the heavens, they do mark the progress of the space-ship we call Earth in its passage through the void. They note the natural pulse of life as it has been evolved, sustained, and carried along the same celestial path for time out of mind. As we pass these four milestones on our annual journey about the life-sustaining fusion-fires of the sun - the only star known that heats the blood of self-conscious beings - we reflect upon our astronomical uniqueness. We appear to be alone, in a universe devoid of plan or purpose. There is no cosmic intelligence that counts how many rides we complete on the merry-go-round whose axle is the sun. Only we can do the counting.We only have each other. For this reason, it is the custom for many as they mark the passage of the solstices and equinoxes to pause for celebration: to celebrate and cherish their fellow travelers, to celebrate the wondrous fact that they are part of the human species - the only species known that can understand and appreciate the implausibility of its own existence.
ΘΑ ΜΠΟΡΟΥΣΑ ΝΑ ΠΑΡΑΘΕΣΩ ΚΑΙ ΑΛΛΕΣ ΔΟΞΑΣΙΕΣ ΚΑΙ ΔΟΓΜΑΤΑ ΣΤΑΜΑΤΑΩ ΕΔΩ ΚΑΙ ΠΕΡΙΜΕΝΩ ΤΑ ΣΧΟΛΙΑ ΣΑΣ
AWAITING YOUR COMMENTS





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24.11.07

OSIP EMILEVICH MANDELSTAM...Ο ποιητής με τα σκληρά παγωμένα μάτια..




ΠΩΣ Ο ΙΔΙΟΣ ΠΕΡΙΓΡΑΦΕΙ ΤΟΝ ΕΑΥΤΟ ΤΟΥ.


In the raised head, a hint of wing -
But the coat is flapping;
In the closed eyes, in the peace
of the arms: energy's pure hiding-place.


Here is a creature that can fly and sing,
The word malleable and flaming,
And congenital awkwardness is overcome
By inborn rhythm!





αυτοί οι στίχοι τον οδήγησαν στον θάνατο, μετά απο προδοσία ενός συγγραφέα του κύκλου Πάστερνακ...
αφιερωμένο στον μεγάλο πατερούλη, τον μεγάλο τιμονίερη, στο αστέρι της ΕΣΣΔ.


We live. We are not sure our land is under us. Ten feet away, no one hears us. But wherever there's even a half-conversation, we remember the Kremlin s mountaineer. His thick fingers are fat as worms, his words reliable as ten pound weights. His boot tops shine, his cockroach mustache is laughing. About him, the great, his thin-necked, drained advisors. He plays with them. He is happy with half-men around him. They make touching and funny animal sounds. He alone talks Russian. One after another, his sentences like horseshoes! He pounds them out. He always hits the nail, the balls. After each death, he is like a Georgian tribesman, putting a raspberry in his mouth.






Gulag "Archipelago" ΣΤΗΝ Vtoraia rechka, ΚΟΝΤΑ ΣΤΟ Vladivostok, 27 ΔΕΚΕΜΒΡΙΟΥ, 1938.


Ο ΌΣΙΜ δεν άντεχε άλλο. Η πείνα και οι αρρώστιες τον είχαν καταβάλει ψυχικά και σωματικά. Για να κάνει μερικά βήματα μέχρι το συσσίτιο ξεκίναγε το πρωί και έφτανε το απόγευμα.
Τα σκληρά παγωμένα ματιά του είδαν το λιγοστό μουχλιασμένο ψωμί και δεν το σκεφτήκαν για δεύτερη φορά. Το άρπαξαν και το έκαναν δυο μπουκιές……
Αυτή του η κίνηση του έδωσε τρεις νέες προοπτικές που από καιρό έψαχνε
1ον να φύγει από το στρατόπεδο ζήσει ελεύθερος
2ον να ζήσει πάλι με την αγαπημένη του γυναίκα Madezhda, και τους φίλους ποιητές τον Πάστερνακ και την Αχματόβα
Και
3ον να ξαναγράψει ποιήματα.
Και η ζωή έδειξε σε αυτόν, για τελευταία φορά την μεγαλοσύνη της!
Οι συγκρατούμενοι του τον έσπασαν κυριολεκτικά στο ξύλο, τον πέταξαν με τα ματωμένα κουρέλια και με τα σπασμένα του πόδια, έξω από το στρατόπεδο ….ΕΠΙΤΕΛΟΥΣ ΛΕΥΤΕΡΟΣ!!
Σύρθηκε στο παγωμένο χωράφι με τα λαχανά, που τον κράτησαν στην ζωή για μερικές μέρες στους -30 κελσίου της Σιβηρικής τούνδρας.
Και μέσα στο παραλήρημα του πυρετού του, συνάντησε την Madezhda, και τους φίλους ποιητές τον Πάστερνακ και την Αχματόβα, και έκανε έρωτα μετά από πολύ καιρό και ξαναμίλησε για ποίηση.
Όταν τον βρήκαν παγωμένο μετά από μερικές μέρες, τους έκαναν εντύπωση δυο πράγματα, τα παγωμένα σκληρά μάτια του και τα φύλλα λάχανου με τα ορνιθοσκαλίσματα από αίμα…..




ΒΙΟΓΡΑΦΙΑ 1


13 ΠΟΙΗΜΑΤΑ ΑΠΟ ΤΟΝ OSIP EMILEVICH MANDELSTAM


ΤΟ ΡΕΥΜΑ ACMEISM ΣΤΗΝ ΠΟΙΗΣΗ ΚΑΙ ΣΤΗΝ ΛΟΓΟΤΕΧΝΙΑ


ΑΡΘΡΟ ΤΟΥ ΠΕΡΙΟΔΙΚΟΥ ΤΙΜΕ


ΠΟΙΗΤΙΚΗ ΚΑΚΟΔΙΚΙΑ





ΚΑΙ ΛΙΓΑ ΛΟΓΙΑ ΓΙΑ ΤΗΝ ΗΡΩΙΚΗ ΓΥΝΑΙΚΑ ΤΟΥ






ΑΥΤΟ ΗΤΑΝ ΤΟ ΤΕΛΕΥΤΑΙΟ ΤΟΥ ΑΝΤΙΔΡΑΣΤΙΚΟ ΠΟΙΗΜΑ
"We live without sensing the country beneath us,
At ten paces, our speech has no sound
And when there's the will to half-open our mouths
The Kremlin crag-dweller bars the way.


"








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23.11.07

Carl Sagan ένας μεγάλος οραματιστής








Carl Edward Sagan (Νοεμβριος 9, 1934 - Δεκεμβριος 20, 1996) Αμερικανός αστρονόμος και ερευνητής. Πρωτοπόρος της Εξω-Βιολογίας, ίδρυσε το κεντρο αναζήτησης εξωγήϊνης νοημοσήνης(SETI). Εγινε γνωστός για τα βιβλία του εκλαϊκευμένης επιστήμης (popular science) και την τηλεοπτική σειρά ΚΟΣΜΟΣ (http://en.wikipedia.org/wiki/Cosmos:_A_Personal_Voyage), την οποία έγραφε και παρουσίαζε. Στα έργα του συνηγορεί υπέρ της αθείας και της επιστημονικής μεθόδου (http://en.wikipedia.org/wiki/Scientific_method).





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David Lorenz Winston's Winter




σχολια καλιτεχνη:

My imagery is about discovery.
It takes me to places I have
never been, places that free
me from the pressures of a
clock driven world, places
that heal. I'm most excited
when in tune with the
underlying flow and energy of
the ordinary. I seek to reveal
the essence of a moment or
place gone unnoticed. I love
showing things in new ways,
using the elements of
surprise, mystery and
playfulness, fused with design
and movement.






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ΓΙΑΤΙ ΡΕ ΣΕΙΣ ΚΟΨΑΤΕ ΤΟΝ ΜΠΟΜΠ ΣΦΟΥΓΓΑΡΑΚΗ;




Καλά πόσο μυαλό κουβαλάτε, στο ΕΣΡ;
Είστε με τα καλά σας;
Τον Μπομπ Σφουγγαρακη κόψατε ;
Γιατί δεν κόβατε τον άλλον τον μακρυμάλλη τον τσαχπίνη με το κουστούμι και την μαντήλα που οπού σταθεί και οπού βρεθεί την ζητά και την συζητάει;
Η τον άλλο τον σεναριογράφο ηθοποιό, που με διθυράμβους λούζετε τα τελευταία δυο χρόνια!!!
Άντε και αυτοί βγαίνουν αργά στην τηλεόραση!!!!
(Με όλα τα πρωινάδικα και μεσημεριανά σκουπίδια να τους επαναλαμβάνουν.)
Όλες τις αδελφές ψυχές που τσιρίζουν και ξεκατινιάζονται, από πρωίας μέχρι "βαθύτατης νυκτός", έχοντας γνώμη, άποψη και λόγο επί παντός και επί όλων !!!
Θα τις κόψετε;
Ή θα τις αφήσετε να ανθίσουν και άλλο;
Το GAY κατεστημένο εσείς το επιβάλατε στο ελληνικό σπίτι!
Και τώρα υποκριτές χτυπάτε για να χτυπήσετε, επειδή στην αντίπερα όχθη του Ατλαντικού ο Μπαμπ Σφουγγαράκης "εκρίθη ένοχος", -και δεν πήρε χάρη όπως η γαλοπούλα-, άντε να του την ρίξουμε και εμείς!
Τι προσπαθείτε να μας πείτε ότι κάνετε έργο και δικαιολογούνται, τα λεφτά που βγάζετε;
Χτυπάτε το GAY κατεστημένο;
Τώρα;
Μην είναι πάρα πολύ αργά;
Μια μικρή μειονότητα περίπου 0,4% του ενήλικου πληθυσμού είναι!!
Και με τις πράξεις σας την δυναμώνετε και την κάνετε να φαίνετε 10%!!!!
Μήπως, λέω μήπως είστε ενεργά μέλη της GLT κοινότητας;
Για πείτε μας;
Πάρτε θέση;
Δεν είστε;
Δεν είναι κακή ούτε κατακριτέα, η στάση του καθενός μας προς τον έρωτα!!!!
Είναι κατακριτέα η στάση η δίκια σας, προς εμάς όλους που θέλουμε να ΔΟΥΜΕ ποιοτική τηλεόραση!
ΑΝΤΕ ΓΕΙΑ ΛΟΙΠΟΝ,
ΑΝΤΕ ΓΕΙΑ






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ΕΠΙΤΕΛΟΥΣ !!!!

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22.11.07

ΤΕΛΙΚΑ ΔΕΝ ΕΙΜΑΣΤΕ ΟΛΟΙ ΙΔΙΟΙ......


New investigations into the code for life suggest the assumption that humans are genetically almost identical is wide of the mark, and the implications could be resounding.
Current thinking, inspired by the results five years ago from the Human Genome Project, is that the six billion humans alive today are 99.9 percent similar when it comes to genetic content and identity.
But major research work, published on Thursday, suggests we are genetically more diverse -- and the repercussions could be far-reaching for medical diagnosis, new drugs and the tale of human evolution itself.
Until now, analysis of the genome has focussed overwhelmingly on comparing flaws, or polymorphisms, in single "letters" in the chemical code for making and sustaining human life.
An international consortium of scientists has taken a different tack and believe they have uncovered a complex, higher-order variation in the code.
This better explains why some individuals are vulnerable to certain diseases and respond well to specific drugs, while counterparts swiftly fall sick or never respond to treatment, the authors believe.
Their focus has been to dig out deletions or duplications of code among relatively long sequences of individual DNA and then compare these so-called copy number variations (CNVs) across a range of volunteers of different ancestry.
The researchers were astonished to locate 1,447 CNVs in nearly 2,900 genes, or around one eighth of the human genetic code."Each one of us has a unique pattern of gains and losses of complete sections of DNA," said Matthew Hurles of Britain's Wellcome Trust Sanger Institute, one of the project's partners.
"One of the real surprises of these results was just how much of our DNA varies in copy number. We estimate this to be at least 12 percent of the genome."
"The copy number variation that researchers had seen before was simply the tip of the iceberg, while the bulk lay submerged, undetected. We now appreciate the immense contribution of this phenomenon to genetic differences between individuals.
"Some of the missing or duplicated stretches are very long, suggesting that, like backroom switches in a protein factory, CNVs must have a big impact on gene expression.
Nearly 16 percent of genes that are known to be related to disease have CNVs, the group found.
These include genes involved in rare genetic disorders such as DiGeorge, Williams-Beuren and Prader-Willi syndromes and those linked with schizophrenia, cataracts, spinal muscular atrophy and atherosclerosis.
But kidney disease, Parkinson's, Alzheimer's and vulnerability to malaria and the human immunodeficiency virus (HIV), which recent research has blamed on single-letter variations in the gene code, may also well be rooted in CNVs, the doctors believe.
"The stage is set for global studies to explore anew... the clinical significance of human variation," said Huntington Willard and Kevin Shianna of the Institute for Genome and Science Policy at Duke University in North Carolina, in a review of the research.
Evolution is another area that will come under new scrutiny.
The "Out of Africa" scenario, by which Homo sapiens emerged from east Africa and spread around the globe, will not be challenged, though.
Our origins are so recent that the vast majority of CNVs, around 89 percent, was found to be shared among the 269 people who volunteered blood as samples for the study.
These individuals included Japanese from Tokyo, Han Chinese from Beijing, Yoruba from Nigeria and Americans of Northern and Western European ancestry.
All the same, there are widespread differences in CNVs according to the three geographical origins of the samples.
This implies that, over the last 200,000 years or so, subtle variants have arisen in the genome to allow different populations of humans adapt to their different environments, Wellcome Trust Sanger said in a press release.
The research, which appears in the British journal Nature, is based on two technical breakthroughs, one in faster, accurate sequencing of DNA and the other in a powerful software programme to spot the CNVs.





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21.11.07

MILO MANARA more....EROTICUS














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15.11.07

τι σας φταινε τα παιδακια ανωμαλαρες!!!!!!


Create Your Own Graffiti


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14.11.07

free your mind



αλλο ενα καλο ποστ απο την ΤΜΤ

δυνατη μουσικη

&

μερικα απο τα πιο προχωρημενα ιστολογια στο διαδυκτιο




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13.11.07

50 χρονια ταξιδια στο διαστημα....


οχι αλλα ζωα, διαστημικοι ηρωες
αν θελετε πειραματα υπαρχουν ανθρωποι....
τα ζωα δεν σας πειραζουν!!!




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11.11.07

αξίζει μια επισκεψη






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marxismus, a fallen era?



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10.11.07

ΔΟΜIΝΙΚΟΣ ΘΕΟΤΟΚΟΠΟΥΛΟΣ




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El Greco















From Wikipedia, the free encyclopedia


















El Greco ("The Greek", 1541April 7, 1614) was a painter, sculptor, and architect of the Spanish Renaissance. He usually signed his paintings in Greek letters with his full name, Doménicos Theotokópoulos (Greek: Δομήνικος Θεοτοκόπουλος), underscoring his Greek origin.
El Greco was born in Crete, which was at that time part of the Republic of Venice, and the centre of Post-Byzantine art. He trained and became a master within that tradition before travelling at 26 to Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance. In 1577 he moved to Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his best known paintings.
El Greco's dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation in the 20th century. El Greco is regarded as a precursor of both Expressionism and Cubism, while his personality and works were a source of inspiration for poets and writers such as Rainer Maria Rilke and Nikos Kazantzakis. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western painting.
















Life
Early years and family
Born in 1541 in either the village of Fodele or Candia (the Venetian name of Chandax, present day Heraklion) in Crete, El Greco was descended from a prosperous urban family, which had probably been driven out of Chania to Candia after an uprising against the Venetians between 1526 and 1528. El Greco's father, Geórgios Theotocópoulos (d. 1556), was a merchant and tax collector. Nothing is known about his mother or his first wife, a Greek woman. El Greco's older brother, Manoússos Theotokópoulos (1531 – December 13, 1604), was a wealthy merchant and spent the last years of his life (1603–1604) in El Greco's Toledo home.
El Greco received his initial training as an icon painter of the Cretan school, the leading centre of post-Byzantine art. In addition to painting, he probably studied the classics of ancient Greece, and perhaps the Latin classics also; he left a "working library" of 130 books at his death, including the Bible in Greek and an annotated Vasari. Candia was a center for artistic activity where Eastern and Western cultures co-existed harmoniously, where around two hundred painters were active during the 16th century, and had organized a painters' guild, based on the Italian model. In 1563, at the age of twenty-two, El Greco was described in a document as a "master" ("maestro Domenigo"), meaning he was already a master of the guild and presumably operating his own workshop. Three years later, in June 1566, as a witness to a contract, he signed his name as Master Menégos Theotokópoulos, painter (μαΐστρος Μένεγος Θεοτοκόπουλος σγουράφος).
Most scholars believe that the Theotocópoulos "family was almost certainly Greek Orthodox", although some Catholic sources still claim him from birth. Like many Orthodox emigrants to Europe, he apparently transferred to Catholicism after his arrival, and certainly practiced as a Catholic in Spain, where he described himself as a "devout Catholic" in his will. The extensive archival research conducted since the early 1960s by scholars, such as Nikolaos Panayotakis, Pandelis Prevelakis and Maria Constantoudaki, indicates strongly that El Greco's family and ancestors were Greek Orthodox. One of his uncles was an Orthodox priest, and his name is not mentioned in the Catholic archival baptismal records on Crete. Prevelakis goes even further, expressing his doubt that El Greco was ever a practicing Roman Catholic.



Italy
Crete having been a possession of the Republic of Venice since 1211, it was natural for the young El Greco to pursue his career in Venice. Though the exact year is not clear, most scholars agree that El Greco went to Venice around 1567. Knowledge of El Greco's years in Italy is limited. He lived in Venice until 1570 and, according to a letter written by his much older friend, the greatest miniaturist of the age, the Croatian Giulio Clovio, was a "disciple" of Titian, who was by then in his eighties but still vigorous. This may mean he worked in Titian's large studio, or not. Clovio characterized El Greco as "a rare talent in painting".
In 1570 El Greco moved to Rome, where he executed a series of works strongly marked by his Venetian apprenticeship. It is unknown how long he remained in Rome, though he may have returned to Venice (c. 1575–1576) before he left for Spain. In Rome, El Greco was received as a guest at the Palazzo Farnese, which Cardinal Alessandro Farnese had made a centre of the artistic and intellectual life of the city. There he came into contact with the intellectual elite of the city, including the Roman scholar Fulvio Orsini, whose collection would later include seven paintings by the artist (View of Mt. Sinai and a portrait of Clovio are among them).
Unlike other Cretan artists who had moved to Venice, El Greco substantially altered his style and sought to distinguish himself by inventing new and unusual interpretations of traditional religious subject matter. His works painted in Italy were influenced by the Venetian Renaissance style of the period, with agile, elongated figures reminiscent of Tintoretto and a chromatic framework that connects him to Titian. The Venetian painters also taught him to organize his multi-figured compositions in landscapes vibrant with atmospheric light. Clovio reports visiting El Greco on a summer's day while the artist was still in Rome. El Greco was sitting in a darkened room, because he found the darkness more conducive to thought than the light of the day, which disturbed his "inner light". As a result of his stay in Rome, his works were enriched with elements such as violent perspective vanishing points or strange attitudes struck by the figures with their repeated twisting and turning and tempestuous gestures; all elements of Mannerism.
By the time El Greco arrived in Rome, Michelangelo and Raphael were dead, but their example continued to be paramount and left little room for different approaches. Although the artistic heritage of these great masters was overwhelming for young painters, El Greco was determined to make his own mark in Rome defending his personal artistic views, ideas and style. He singled out Correggio and Parmigianino for particular praise, but he did not hesitate to dismiss Michelangelo's Last Judgment in the Sistine Chapel; he extended an offer to Pope Pius V to paint over the whole work in accord with the new and stricter Catholic thinking. When he was later asked what he thought about Michelangelo, El Greco replied that "he was a good man, but he did not know how to paint". And thus we are confronted by a paradox: El Greco is said to have reacted most strongly or even condemned Michelangelo, but he had found it impossible to withstand his influence. Michelangelo's influence can be seen in later El Greco works such as the Allegory of the Holy League. By painting portraits of Michelangelo, Titian, Clovio and, presumably, Raphael in one of his works (The Purification of the Temple), El Greco not only expressed his gratitude but advanced the claim to rival these masters. As his own commentaries indicate, El Greco viewed Titian, Michelangelo and Raphael as models to emulate. In his 17th century Chronicles, Giulio Mancini included El Greco among the painters who had initiated, in various ways, a re-evaluation of Michelangelo's teachings.
Because of his unconventional artistic beliefs (such as his dismissal of Michelangelo's technique) and personality, El Greco soon acquired enemies in Rome. Architect and writer Pirro Ligorio called him a "foolish foreigner", and newly discovered archival material reveals a skirmish with Farnese, who obliged the young artist to leave his palace. On July 6, 1572, El Greco officially complained about this event. A few months later, on September 18, 1572, El Greco paid his dues to the Guild of Saint Luke in Rome as a miniature painter. At the end of that year, El Greco opened his own workshop and hired as assistants the painters Lattanzio Bonastri de Lucignano and Francisco Preboste.












Immigration to Toledo
In 1577, El Greco emigrated first to Madrid, then to Toledo, where he produced his mature works. At the time, Toledo was the religious capital of Spain and a populous city with "an illustrious past, a prosperous present and an uncertain future". In Rome, El Greco had earned the respect of some intellectuals, but was also facing the hostility of certain art critics. During the 1570s the huge monastery-palace of El Escorial was still under construction and Philip II of Spain was experiencing difficulties in finding good artists for the many large paintings required to decorate it. Titian was dead, and Tintoretto, Veronese and Anthonis Mor all refused to come to Spain. Philip had had to rely on the lesser talent of Juan Fernándes de Navarrete, whose gravedad y decoro ("seriousness and decorum") the king approved. However he had just died in 1579; the moment should have been ideal for El Greco. Through Clovio and Orsini, El Greco met Benito Arias Montano, a Spanish humanist and agent of Philip; Pedro Chacón, a clergyman; and Luis de Castilla, son of Diego de Castilla, the dean of the Cathedral of Toledo. El Greco's friendship with Castilla would secure his first large commissions in Toledo. He arrived in Toledo by July 1577, and signed contracts for a group of paintings that was to adorn the church of Santo Domingo el Antiguo in Toledo and for the renowned El Espolio. By September 1579 he had completed nine paintings for Santo Domingo, including The Trinity and The Assumption of the Virgin. These works would establish the painter's reputation in Toledo.
El Greco did not plan to settle permanently in Toledo, since his final aim was to win the favor of Philip and make his mark in his court. Indeed, he did manage to secure two important commissions from the monarch: Allegory of the Holy League and Martyrdrom of St. Maurice. However, the king did not like these works and placed the St Maurice altarpiece in the chapter-house rather than the intended chapel. He gave no further commissions to El Greco. The exact reasons for the king's dissatisfaction remain unclear. Some scholars have suggested that Philip did not like the inclusion of living persons in a religious scene; some others that El Greco's works violated a basic rule of the Counter-Reformation, namely that in the image the content was paramount rather than the style. Philip took a close interest in his artistic commissions, and had very decided tastes; a long sought-after sculpted Crucifixion by Benvenuto Cellini also failed to please when it arrived, and was likewise exiled to a less prominent place. Philip's next experiment, with Federigo Zuccaro was even less successful. In any case, Philip's dissatisfaction ended any hopes of royal patronage El Greco may have had.




Mature works and later years
The Burial of Count Orgaz (1586–1588, oil on canvas, 480 × 360 cm, Santo Tomé, Toledo), now El Greco's best known work, illustrates a popular local legend. An exceptionally large painting, it is very clearly divided into two zones: the heavenly above and the terrestrial below. However, there is little feeling of duality, and the upper and lower zones are brought together compositionally.
Lacking the favor of the king, El Greco was obliged to remain in Toledo, where he had been received in 1577 as a great painter. According to Hortensio Félix Paravicino, a 17th-century Spanish preacher and poet, "Crete gave him life and the painter’s craft, Toledo a better homeland, where through Death he began to achieve eternal life." In 1585, he appears to have hired an assistant, Italian painter Francisco Preboste, and to have established a workshop capable of producing altar frames and statues as well as paintings. On March 12, 1586 he obtained the commission for The Burial of the Count of Orgaz, now his best-known work. The decade 1597 to 1607 was a period of intense activity for El Greco. During these years he received several major commissions, and his workshop created pictorial and sculptural ensembles for a variety of religious institutions. Among his major commissions of this period were three altars for the Chapel of San José in Toledo (1597–1599); three paintings (1596–1600) for the Colegio de Doña María de Aragon, an Augustinian monastery in Madrid, and the high altar, four lateral altars, and the painting St. Ildefonso for the Capilla Mayor of the Hospital de la Caridad (Hospital of Charity) at Illescas (1603–1605). The minutes of the commission of The Virgin of the Immaculate Conception (1607–1613), which were composed by the personnel of the municipality, describe El Greco as "one of the greatest men in both this kingdom and outside it".
Between 1607 and 1608 El Greco was involved in a protracted legal dispute with the authorities of the Hospital of Charity at Illescas concerning payment for his work, which included painting, sculpture and architecture; this and other legal disputes contributed to the economic difficulties he experienced towards the end of his life. In 1608, he received his last major commission: for the Hospital of Saint John the Baptist in Toledo.
El Greco made Toledo his home. Surviving contracts mention him as the tenant from 1585 onwards of a complex consisting of three apartments and twenty-four rooms which belonged to the Marquis de Villena. It was in these apartments, which also served as his workshop, that he passed the rest of his life, painting and studying. He lived in considerable style, sometimes employing musicians to play whilst he dined. It is not confirmed whether he lived with his Spanish female companion, Jerónima de Las Cuevas, whom he probably never married. She was the mother of his only son, Jorge Manuel, born in 1578, who also became a painter, assisted his father, and continued to repeat his compositions for many years after he inherited the studio. In 1604, Jorge Manuel and Alfonsa de los Morales gave birth to El Greco's grandson, Gabriel, who was baptized by Gregorio Angulo, governor of Toledo and a personal friend of the artist.
During the course of the execution of a commission for the Hospital Tavera, El Greco fell seriously ill, and a month later, on April 7, 1614, he died. A few days earlier, on March 31, he had directed that his son should have the power to make his will. Two Greeks, friends of the painter, witnessed this last will and testament (El Greco never lost touch with his Greek origins). He was buried in the Church of Santo Domingo el Antigua.









Technique and style
The primacy of imagination and intuition over the subjective character of creation was a fundamental principle of El Greco's style. El Greco discarded classicist criteria such as measure and proportion. He believed that grace is the supreme quest of art, but the painter achieves grace only if he manages to solve the most complex problems with obvious ease.
El Greco regarded color as the most important and the most ungovernable element of painting, and declared that color had primacy over form. Francisco Pacheco, a painter and theoretician who visited El Greco in 1611, wrote that the painter liked "the colors crude and unmixed in great blots as a boastful display of his dexterity" and that "he believed in constant repainting and retouching in order to make the broad masses tell flat as in nature"
El Greco's altarpieces are renowned for their dynamic compositions and startling innovations.
Art historian Max Dvořák was the first scholar to connect El Greco's art with Mannerism and Antinaturalism.Modern scholars characterize El Greco's theory as "typically Mannerist" and pinpoint its sources in the Neo-Platonism of the Renaissance. Jonathan Brown believes that El Greco endeavored to create a sophisticated form of art; according to Nicholas Penny "once in Spain, El Greco was able to create a style of his own — one that disavowed most of the descriptive ambitions of painting".
In his mature works El Greco demonstrated a characteristic tendency to dramatize rather than to describe. The strong spiritual emotion transfers from painting directly to the audience. According to Pacheco, El Greco's perturbed, violent and at times seemingly careless-in-execution art was due to a studied effort to acquire a freedom of style. El Greco's preference for exceptionally tall and slender figures and elongated compositions, which served both his expressive purposes and aesthetic principles, led him to disregard the laws of nature and elongate his compositions to ever greater extents, particularly when they were destined for altarpieces. The anatomy of the human body becomes even more otherworldly in El Greco's mature works; for The Virgin of the Immaculate Conception El Greco asked to lengthen the altarpiece itself by another 1.5 feet "because in this way the form will be perfect and not reduced, which is the worst thing that can happen to a figure'". A significant innovation of El Greco's mature works is the interweaving between form and space; a reciprocal relationship is developed between the two which completely unifies the painting surface. This interweaving would re-emerge three centuries later in the works of Cézanne and Picasso.
Another characteristic of El Greco's mature style is the use of light. As Jonathan Brown notes, "each figure seems to carry its own light within or reflects the light that emanates from an unseen source". Fernando Marias and Agustín Bustamante García, the scholars who transcribed El Greco's handwritten notes, connect the power that the painter gives to light with the ideas underlying Christian Neo-Platonism.
Modern scholarly research emphasizes the importance of Toledo for the complete development of El Greco's mature style and stresses the painter's ability to adjust his style in accordance with his surroundings. Harold Wethey asserts that "although Greek by descent and Italian by artistic preparation, the artist became so immersed in the religious environment of Spain that he became the most vital visual representative of Spanish mysticism". He believes that in El Greco's mature works "the devotional intensity of mood reflects the religious spirit of Roman Catholic Spain in the period of the Counter-Reformation".
El Greco also excelled as a portraitist, able not only to record a sitter's features but also to convey their character. His portraits are fewer in number than his religious paintings, but are of equally high quality. Wethey says that "by such simple means, the artist created a memorable characterization that places him in the highest rank as a portraitist, along with Titian and Rembrandt".




Suggested Byzantine affinities
Since the beginning of the 20th century, scholars have debated whether El Greco's style had Byzantine origins. Certain art historians had asserted that El Greco's roots were firmly in the Byzantine tradition, and that his most individual characteristics derive directly from the art of his ancestors, while others had argued that Byzantine art could not be related to El Greco's later work.
The discovery of the Dormition of the Virgin on Syros, an authentic and signed work from the painter's Cretan period, and the extensive archival research in the early 1960s, contributed to the rekindling and reassessment of these theories. Although following many conventions of the Byzantine icon, aspects of the style certainly show Venetian influence, and the composition, showing the death of Mary, combines the different doctrines of the Orthodox Dormition of the Virgin and the Catholic Assumption of the Virgin. Significant scholarly works of the second half of the 20th century devoted to El Greco reappraise many of the interpretations of his work, including his supposed Byzantinism. Based on the notes written in El Greco's own hand, on his unique style, and on the fact that El Greco signed his name in Greek characters, they see an organic continuity between Byzantine painting and his art.According to Marina Lambraki-Plaka "far from the influence of Italy, in a neutral place which was intellectually similar to his birthplace, Candia, the Byzantine elements of his education emerged and played a catalytic role in the new conception of the image which is presented to us in his mature work". In making this judgement, Lambraki-Plaka disagrees with Oxford University professors Cyril Mango and Elizabeth Jeffreys, who assert that "despite claims to the contrary, the only Byzantine element of his famous paintings was his signature in Greek lettering".Nikos Hadjinikolaou states that from 1570 El Greco's painting is "neither Byzantine nor post-Byzantine but Western European. The works he produced in Italy belong to the history of the Italian art, and those he produced in Spain to the history of Spanish art"
The English art historian David Davies seeks the roots of El Greco's style in the intellectual sources of his Greek-Christian education and in the world of his recollections from the liturgical and ceremonial aspect of the Orthodox Church. Davies believes that the religious climate of the Counter-Reformation and the aesthetics of mannerism acted as catalysts to activate his individual technique. He asserts that the philosophies of Platonism and ancient Neo-Platonism, the works of Plotinus and Pseudo-Dionysius the Areopagite, the texts of the Church fathers and the liturgy offer the keys to the understanding of El Greco's style. Summarizing the ensuing scholarly debate on this issue, José Álvarez Lopera, curator at the Museo del Prado, Madrid, concludes that the presence of "Byzantine memories" is obvious in El Greco's mature works, though there are still some obscure issues concerning his Byzantine origins needing further illumination.
Architecture and sculpture
El Greco was highly esteemed as an architect and sculptor during his lifetime. He usually designed complete altar compositions, working as architect and sculptor as well as painter – at, for instance, the Hospital de la Caridad. There he decorated the chapel of the hospital, but the wooden altar and the sculptures he created have in all probability perished.For El Espolio the master designed the original altar of gilded wood which has been destroyed, but his small sculptured group of the Miracle of St. Ildefonso still survives on the lower centre of the frame.
His most important architectural achievement was the church and Monastery of Santo Domingo el Antiguo, for which he also executed sculptures and paintings. El Greco is regarded as a painter who incorporated architecture in his painting. He is also credited with the architectural frames to his own paintings in Toledo. Pacheco characterized him as "a writer of painting, sculpture and architecture".
In the marginalia that El Greco inscribed in his copy of Daniele Barbaro's translation of Vitruvius' De Architectura, he refuted Vitruvius' attachment to archaeological remains, canonical proportions, perspective and mathematics. He also saw Vitruvius's manner of distorting proportions in order to compensate for distance from the eye as responsible for creating monstrous forms. El Greco was averse to the very idea of rules in architecture; he believed above all in the freedom of invention and defended novelty, variety, and complexity. These ideas were, however, far too extreme for the architectural circles of his era and had no immediate resonance.
Posthumous critical reputation
El Greco was disdained by the immediate generations after his death because his work was opposed in many respects to the principles of the early baroque style which came to the fore near the beginning of the 17th century and soon supplanted the last surviving traits of the 16th-century Mannerism. El Greco was deemed incomprehensible and had no important followers. Only his son and a few unknown painters produced weak copies of his works. Late 17th- and early 18th-century Spanish commentators praised his skill but criticized his antinaturalistic style and his complex iconography. Some of these commentators, such as Acislo Antonio Palomino de Castro y Velasco and Juan Agustín Ceán Bermúdez, described his mature work as "contemptible", "ridiculous" and "worthy of scorn". The views of Palomino and Bermúdez were frequently repeated in Spanish historiography, adorned with terms such as "strange", "queer", "original", "eccentric" and "odd". The phrase "sunk in eccentricity", often encountered in such texts, in time developed into "madness".
With the arrival of Romantic sentiments in the late 18th century, El Greco's works were examined anew. To French writer Theophile Gautier, El Greco was the precursor of the European Romantic movement in all its craving for the strange and the extreme. Gautier regarded El Greco as the ideal romantic hero (the "gifted", the "misunderstood", the "mad"), and was the first who explicitly expressed his admiration for El Greco's later technique. French art critics Zacharie Astruc and Paul Lefort helped to promote a widespread revival of interest in his painting. In the 1890s, Spanish painters living in Paris adopted him as their guide and mentor.
In 1908, Spanish art historian Manuel Bartolomé Cossío published the first comprehensive catalogue of El Greco's works; in this book El Greco was presented as the founder of the Spanish School. The same year Julius Meier-Graefe, a scholar of French Impressionism, travelled in Spain and recorded his experiences in The Spanische Reise, the first book which established El Greco as a great painter of the past. In El Greco's work, Meier-Graefe found foreshadowing of modernity. These are the words Meier-Graefe used to describe El Greco's impact on the artistic movements of his time:
To the English artist and critic Roger Fry in 1920, El Greco was the archetypal genius who did as he thought best "with complete indifference to what effect the right expression might have on the public". Fry described El Greco as "an old master who is not merely modern, but actually appears a good many steps ahead of us, turning back to show us the way". During the same period, other researchers developed alternate, more radical theories. Doctors August Goldschmidt and Germán Beritens argued that El Greco painted such elongated human figures because he had vision problems (possibly progressive astigmatism or strabismus) that made him see bodies longer than they were, and at an angle to the perpendicular. English writer W. Somerset Maugham attributed El Greco's personal style to the artist's "latent homosexuality", and doctor Arturo Perera to the use of marijuana.
Michael Kimmelman, a reviewer for The New York Times, stated that "to Greeks [El Greco] became the quintessential Greek painter; to the Spanish, the quintessential Spaniard". As was proved by the campaign of the National Art Gallery in Athens to raise the funds for the purchase of Saint Peter in 1995, El Greco is loved not just by experts and art lovers but also by ordinary people; thanks to the donations mainly of individuals and public benefit foundations the National Art Gallery raised 1.2 million dollars and purchased the painting. Epitomizing the general consensus of El Greco's impact, Jimmy Carter, the 39th President of the United States, said in April 1980 that El Greco was "the most extraordinary painter that ever came along back then" and that he was "maybe three or four centuries ahead of his time".
Influence on other artists
El Greco's re-evaluation was not limited to scholars. According to Efi Foundoulaki, "painters and theoreticians from the beginning of the 20th century 'discovered' a new El Greco but in process they also discovered and revealed their own selves". His expressiveness and colors influenced Eugène Delacroix and Édouard Manet. To the Blaue Reiter group in Munich in 1912, El Greco typified that mystical inner construction that it was the task of their generation to rediscover. The first painter who appears to have noticed the structural code in the morphology of the mature El Greco was Paul Cézanne, one of the forerunners of cubism. Comparative morphological analyses of the two painters revealed their common elements, such as the distortion of the human body, the reddish and (in appearance only) unworked backgrounds and the similarities in the rendering of space.According to Brown, "Cézanne and El Greco are spiritual brothers despite the centuries which separate them". Fry observed that Cézanne drew from "his great discovery of the permeation of every part of the design with a uniform and continuous plastic theme".
The symbolists, and Pablo Picasso during his Blue Period, drew on the cold tonality of El Greco, utilizing the anatomy of his ascetic figures. While Picasso was working on Les Demoiselles d'Avignon, he visited his friend Ignacio Zuloaga in his studio in Paris and studied El Greco's Opening of the Fifth Seal (owned by Zuloaga since 1897). The relation between Les Demoiselles d'Avignon and the Opening of the Fifth Seal was pinpointed in the early 1980s, when the stylistic similarities and the relationship between the motifs of both works were analysed.
The early cubist explorations of Picasso were to uncover other aspects in the work of El Greco: structural analysis of his compositions, multi-faced refraction of form, interweaving of form and space, and special effects of highlights. Several traits of cubism, such as distortions and the materialistic rendering of time, have their analogies in El Greco's work. According to Picasso, El Greco's structure is cubist. On February 22, 1950, Picasso began his series of "paraphrases" of other painters' works with The Portrait of a Painter after El Greco. Foundoulaki asserts that Picasso "completed … the process for the activation of the painterly values of El Greco which had been started by Manet and carried on by Cézanne".
The expressionists focused on the expressive distortions of El Greco. According to Franz Marc, one of the principal painters of the German expressionist movement, "we refer with pleasure and with steadfastness to the case of El Greco, because the glory of this painter is closely tied to the evolution of our new perceptions on art".Jackson Pollock, a major force in the abstract expressionist movement, was also influenced by El Greco. By 1943, Pollock had completed sixty drawing compositions after El Greco and owned three books on the Cretan master.Contemporary painters are also inspired by El Greco's art. Kysa Johnson used El Greco's paintings of the Immaculate Conception as the compositional framework for some of her works, and the master's anatomical distortions are somewhat reflected in Fritz Chesnut's portraits.
El Greco's personality and work were a source of inspiration for poet Rainer Maria Rilke. One set of Rilke's poems (Himmelfahrt Mariae I.II., 1913) was based directly on El Greco's Immaculate Conception. Greek writer Nikos Kazantzakis, who felt a great spiritual affinity for El Greco, called his autobiography Report to Greco and wrote a tribute to the Cretan-born artist.
In 1998, the Greek electronic composer and artist Vangelis published El Greco, a symphonic album inspired by the artist. This album is an expansion of an earlier album by Vangelis, Foros Timis Ston Greco (A Tribute to El Greco, Φόρος Τιμής Στον Γκρέκο). The life of the Cretan-born artist is the subject of a recent Greek-Spanish film. Directed by Yannis Smaragdis, the film began shooting in October 2006 on the island of Crete and debuted on the screen one year later; British actor Nick Ashdon has been cast to play El Greco.
Debates on attribution
For more details on this topic, see Works of El Greco.
The exact number of El Greco's works has been a hotly contested issue. In 1937 a highly influential study by art historian Rodolfo Pallucchini had the effect of greatly increasing the number of works accepted to be by El Greco. Pallucchini attributed to El Greco a small triptych in the Galleria Estense at Modena on the basis of a signature on the painting on the back of the central panel on the Modena triptych ("Χείρ Δομήνιχου", Created by the hand of Doménikos). There was consensus that the triptych was indeed an early work of El Greco and, therefore, Pallucchini's publication became the yardstick for attributions to the artist.Nevertheless, Wethey denied that the Modena triptych had any connection at all with the artist and, in 1962, produced a reactive catalogue raisonné with a greatly reduced corpus of materials. Whereas art historian José Camón Aznar had attributed between 787 and 829 paintings to the Cretan master, Wethey reduced the number to 285 authentic works and Halldor Sœhner, a German researcher of Spanish art, recognized only 137. Wethey and other scholars rejected the notion that Crete took any part in his formation and supported the elimination of a series of works from El Greco's oeuvre.
Since 1962 the discovery of the Dormition and the extensive archival research has gradually convinced scholars that Wethey's assessments were not entirely correct, and that his catalogue decisions may have distorted the perception of the whole nature of El Greco's origins, development and oeuvre. The discovery of the Dormition led to the attribution of three other signed works of "Doménicos" to El Greco (Modena Triptych, St. Luke Painting the Virgin and Child, and The Adoration of the Magi) and then to the acceptance of more works as authentic – some signed, some not (such as The Passion of Christ (Pietà with Angels) painted in 1566), – which were brought into the group of early works of El Greco. El Greco is now seen as an artist with a formative training on Crete; a series of works illuminate the style of early El Greco, some painted while he was still in Crete, some from his period in Venice, and some from his subsequent stay in Rome. Even Wethey accepted that "he [El Greco] probably had painted the little and much disputed triptych in the Galleria Estense at Modena before he left Crete". Nevertheless, disputes over the exact number of El Greco's authentic works remain unresolved, and the status of Wethey's catalogue raisonné is at the centre of these disagreements.
A few sculptures, including Epimetheus and Pandora, have been attributed to El Greco. This doubtful attribution is based on the testimony of Pacheco (he saw in El Greco's studio a series of figurines, but these may have been merely models). There are also four drawings among the surviving works of El Greco; three of them are preparatory works for the altarpiece of Santo Domingo el Antiguo and the fourth is a study for one of his paintings, The Crucifixion.

References
El Greco
Printed sources (books and articles)
Acton, Mary (1991). Learning to Look at Paintings. Oxford University Press. ISBN 0-521-40107-0.
Allardyce, Isabel (2003). "Our Lady of Charity, at Illescas", Historic Shrines of Spain 1912. Kessinger Publishing. ISBN 0-7661-3621-3.
Álvarez Lopera, José (2005). "El Greco: From Crete to Toledo (translated in Greek by Sofia Giannetsou)", in M. Tazartes' "El Greco". Explorer. ISBN 960-7945-83-2.
Anstis, Stuart (2002). "Was El Greco Astigmatic". Leonardo 35 (No.2): 208.
Arslan, Edoardo (1964). "Cronisteria del Greco Madonnero". Commentari xv (No.5): 213–231.
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Further reading
Aznar, José Camón (1950). Dominico Greco. Madrid.
Davies, David (Editor), Elliott, John H. (Editor), Bray, Xavier (Contributor), Christiansen, Keith (Contributor), Finaldi, Gabriele (Contributor) (2006). El Greco (catalogue). National Gallery London. ISBN 1-85709-938-9.
Marias, Fernando (2005). El Greco in Toledo.Scala Publishers. ISBN 1-85759-210-7.
Pallucchini, Rodolfo (March 7, 1937). "II Polittico del Greco della R. Gallena Estense e la Formazione dell'Artista (in Italian)". Gazzetta dell' Emilia 13: 171–178.
Prevelakis, Pandelis (1942). Theotocópoulos—Biography (in Greek). Aetos.
Rice, Talbot (January 1937). "El Greco and Byzantium". The New York Review of Books 70 (No.406): 34+38–39. The Burlington Magazine Publications, Ltd..
External links
Biography and Tour. National Gallery of Art (USA). Retrieved on 2006-10-25.
El Greco: Biography and works. Retrieved on 2006-11-07.
El Greco. Olga's Gallery. Retrieved on 2007-02-26.
For the Vangelis album, see El Greco (album).
For 2007 film, see El Greco (2007 film).


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