davidanugraha/M4-RAG huggingface dataset:
Spoon (musical instrument)

Spoons can be played as a makeshift percussion instrument, or more specifically, an idiophone related to the castanets. They are played by hitting one spoon against the other.
In the United States, spoons as instrument are associated with American folk music, minstrelsy, and jug and spasm bands. These musical genres make use of other everyday objects as instruments, such as the washboard and the jug. In addition to common tableware, spoons that are joined at the handle are available from musical instrument suppliers.
As percussion, spoons accompany fiddle playing and other folk sets. An example is seen in Midsomer Murders Series 6, episode 2, where Detective Sergeant Gavin Troy plays the spoons at a house party joining a fiddle player who is entertaining the guests. He uses the first technique. The guests also contribute percussion by hand clapping in time with the music.
The song "This Old Man" refers to a related concept, except with sheep bones (hence paddywhack) instead of spoons.
In Canada, the spoons accompany fiddle playing in Québecois and Acadian music. Also, Newfoundland and the Atlantic provinces popularly play the spoons at family gatherings. Playing the spoons in Western Canada is closely related to the Métis culture.
In Greece, spoons as a percussion instrument are known as koutalakia (Greek: κουταλάκια 'little spoons'). Dancers accompany their dancing with rhythms tapped out on the spoons. Many of them are sculpted or painted. The specific tradition is not common in the music of mainland Greece, but used to be popular among Anatolian Greeks.
Spoons are often used in ethnic Russian music and are known as lozhki (Russian: Ло́жки [plural]; Pronunciation: Ложка [singular]). The use of spoons for music dating at least from the 18th century (and probably older). Typically, three or more wooden spoons are used. The convex surfaces of the bowls are struck together in different ways. For example, two spoons are held by their handles in the left hand, and the third, held in the right hand, is used to hit the two spoons in the left hand. The hit, in a sliding motion, produces a typical sound. One can also hold three spoons in the left hand and put a fourth into the bot or the pocket. A fifth spoon is then held in the right hand and used to hit the other four. Finally, one can hold the bowl of a single spoon in the left hand and hit it with another spoon. In this style, different sounds can be emitted by holding the bowl more or less tightly.
These wooden spoons are commonly used in performances of Russian folk music and sometimes even in Russian orchestras. A video of a choir performing a Russian folk song with spoon and balalaika accompaniment can be found below.
Turkish spoons Turkish: kaşıklar are a Turkish and Uzbek percussion instrument. Kaşıklar made from boxwood are particularly favoured. There are also different holding styles.
Cathedral (Castanets album)

Cathedral is an album by Castanets, released on October 19, 2004 through Asthmatic Kitty. Part of the album was recorded live and includes a dozen local musicians. Led by Raymond Raposa, this is the band's first foray into studio recording, which he described as 'a really protracted, uncomfortable process'. The release features guest-vocals by Brigit DeCook and Liz Janes. The material was partly recorded in a remote cabin in Northern California. Raposa had planned to publish a novel to accompany the album, which failed to surface.
Amanda Petrusich of Pitchfork.com compared Raposa's writing on Cathedral to that of the poet Seamus Heaney. She described the album as a collection of 'deep gothic ballads' of 'country music [that] should sound like death, and more specifically, death-by-murky-submersion'. Heather Phares of allmusic.com referred to the religious overtones of the album, describing it as 'spiritual searching' and as having 'a certain dark theatricality'. Justin Cober-Lake at popmatters.com described Cathedral as having 'lo-fi production [which] helps develop the darkness of Castanets’ music. [It] sounds as if it was recorded in the desert at night, which suits the pre-technology fears of the album'. Jon Pit from Dusted Magazine called it 'another welcome installment in the folk renaissance' although he described Raposa's vocals as 'lacklustre'. In December 2004, American webzine Somewhere Cold ranked Cathedral No. 8 on their 2004 Somewhere Cold Awards Hall of Fame list.
In 2005, Stylus Magazine's Andrew Gaerig reflected that Cathedral "was Americana in the most literal sense. Though certainly not without precedent, Cathedral owed no major debt to Americana’s touchstones: blues, country, and folk". He further named it "a finding-America story that shedded wide-eyed mythology in favor of swampy hymns and boisterous noise workouts. Cathedral had all of the dressings of a straight-from-the-womb, fully formed indie rock classic—shrugging off considerable baggage, sidestepping genre pigeonholes—but the album’s relentless heavy heart was a downer, and it didn’t help that Raposa's scratchy folk whisper had trouble teasing the melody out of his compositions."
The album lists individuals as performers and cryptic descriptions of their parts, these include:
Claves

Claves (/ˈklɑːveɪz, kleɪvz/; Spanish: [ˈklaβes]) are a percussion instrument consisting of a pair of short, wooden sticks about 20–25 centimeters (8–10 inches) long and about 2.5 centimeters (1 inch) in diameter. Although traditionally made of wood (typically rosewood, ebony or grenadilla) many modern manufacturers offer claves made of fiberglass or plastic.
When struck, claves produce a bright, penetrating clicking noise. This makes them useful when playing in large dance bands. Claves are sometimes hollow and carved in the middle to amplify the sound.
Claves have been very important in the development of Afro-Cuban music, such as the son and guaguancó.They are also often used in Samba music. They are often used to play an ostinato, or repeating rhythmic figure, throughout a piece known as the clave.
Many examples of clave-like instruments can be found around the world.
The basic principle when playing claves is to allow at least one of them to resonate. The usual technique is to hold one lightly with the thumb and fingertips of the non-dominant hand, with the palm up. This forms the hand into a resonating chamber for the clave. Holding the clave on top of fingernails makes the sound clearer. The other is held by the dominant hand at one end with a firmer grip, much like how one normally holds a drumstick. With the end of this clave, the player strikes the resting clave in the center.
Traditionally, the striking clave is called el macho ("the male") and the resting clave is called la hembra ("the female"). This terminology is used even when the claves are identical.
A roll can be achieved on the claves by holding one clave between the thumb and first two fingers, and then alternating pressure between the two fingers to move the clave back and forth. This clave is placed against the resonating clave to produce a roll.
Some salsa singers play this percussion while singing.
Among the bands to have used claves are the Beatles in their recordings "Don't Bother Me", "And I Love Her" and The Who in their song "Magic Bus".
Claves are also utilized in the interstitial spaces of the Night Court theme.
Many composers looking to emulate Afro-Cuban music will often use claves such as Arturo Márquez with Danzón No. 2 or George Gershwin with his Cuban Overture.
Steve Reich's Music for Pieces of Wood is written for five pairs of claves.
Khartal

Khartal is an ancient instrument mainly used in devotional / folk songs. It has derived its name from Sanskrit words ‘kara’ meaning hand and ‘tala’ meaning clapping. This wooden clapper is a Ghana Vadya which has discs or plates that produce a clinking sound when clapped together. It falls under the class of idiophones of self-sounding instruments that combine properties of vibrator and resonator.
Usually made of wood or metal, a khartal player will hold one ‘male’ and ‘female’ khartal in each hand. The ‘male’ khartal is usually thicker and is held with the thumb while the ‘female’ khartal is usually thinner and is mainly balanced on the ring finger, which represents the fire element. It is associated with the sun and the root chakra. Its force is associated with staying power, stamina, and the power to be assertive.
A pair of wooden castanets with bells attached to them was the earliest form of the khartal. These pieces of wood are not connected in any way. They can be clapped together at high speeds to make rapid, complex rhythms. Aside from being an excellent accompaniment instrument, the khartal is valued for being a highly portable percussion instrument.
1. Kartals (blocks). It consists of a pair of wooden blocks with jingles or crotales (kartals mean crotales). One pair is used in one hand of the musician. These pieces can be clapped together at high speeds to make fast complex beats.
2. Kartals (small sheets). It consists of a pair of thin, hard wooden pieces similar to the percussion bones (instrument). These are used in Rajasthan.
3. Kartals (cymbals). The karatalas are small cymbals, also known as manjeera. These are used in devotional chants.
In Maharashtra Kartals are better known as Chipaḷyā (Marathi: चिपळ्या). It is commonly used in religious song like Kirtans and Bhajans.
In Bangladesh and West Bengal, kartals (Bengali: খরতাল) are commonly used in religious song like Kirtans and Bhajans.
In Odisha, they are better known as dāsåkāṭhi (Odia: ଦାସକାଠି), which is an almost similar instrument. It is most notably employed in a folk theatre form that derives its name from the instrument itself, dāsåkāṭhiā (Odia: ଦାସକାଠିଆ). The Rāmåtāḷi (Odia: ରାମତାଳି) is a larger variant that is associated with the Ramayana, according to a traditional Odia legend.
The Bhojpuri Folk genre Biraha uses a version of Kartal which consists of two pair of tapered metal rods, each approximately nine inches in length. This version of Kartal was invented by Biraha singer Bihari Lal Yadav and only used while singing Biraha. The singer holds the pair in his hands and strike them to produce music while singing.
In Telugu language, the word Karatāḷa Dhvani is most commonly used for sound produced from clapping hands.
Subli

The sublî is a religious folk dance mostly practiced in Batangas in the Philippines, originating in Bauan and Alitagtag, Batangas, and practiced in other parts of that province in the southwestern part of Luzon. It is a Catholic devotional practice (often described as a "prayer") honouring the Holy Cross of Alitagtag (Tagalog: Mahál na Poóng Santa Krus), traditionally done during the Feast of the Mahal na Poon on May 3. It is also done during any other auspicious events like birthdays, graduation ceremonies, and healing rituals on any day of the year except during Lent, generally to fulfill a panata (sacred negotiation).
The name sublî is a portmanteau of the Tagalog words subsób ("bent", "stooped", also "fall on the face") and balî (also "bent" or "broken"), referring to the posture adopted by male dancers. Both men and women dancers—called manunublî (meaning "person that does sublî")—perform in pairs and various formations.
The birth of the dance is interwined with the discovery of the Cross of Alitagtag. In Bauan was a couple; the abusive, alcoholic husband that loves to gamble came home one night to find no food nor water, and angrily demanded his wife to a distant well to draw water. When she successfully returned rather suspiciously quickly, he ordered her to retrieve water again while subsequently following her in secret, and finally discovers she was drawing from another spring from a dark, cross-shaped tree. Suddenly, a blinding light emanating from the tree flooded the area, and the awestruck husband repented of his sinful ways.
The women's costume includes a straw hat adorned with ribbons, which are waved about, removed, tipped in salute to a copy of the Cross set on an altar, or used to make other graceful gestures.
Traditionally, a chant to the Holy Cross is sometimes intoned at the beginning of the sublî, typically sung by women narrating the retrieval of the cross by the manunubli in Bauan in a dense, archaic, metaphorical language (talinghaga). The song attributes the manunubli to various ritual paraphernelia while describing their aspirations to find the Cross:
Another song emphasizes the magnanimity of the transfer of the cross to Alitagtag by metaphorically attributing to various forms of transformations undergone by natural flora.
The accompanying music follows only by the constant beating of drums, punctuated by the clacking of wooden castanets (kalaste) played by the men. The frenetic rhythm of the drums is also seen as proof of the custom's prehispanic origins, in line with the theory that it is a Christianised version of much older, animist rites. The rhythmic mode done in Sinala, Bauan, considered the original, is identical to the tagunggo mode and was perhaps either influenced by or related to it. Theatrical versions (often performed in secular settings, outside of a devotional context) are set to a rondalla ensemble playing a tune by Juan P. Silos.
The Wooden Prince

The Wooden Prince (Hungarian: A fából faragott királyfi), Op. 13, Sz. 60, is a one-act pantomime ballet composed by Béla Bartók in 1914–1916 (orchestrated 1916–1917) to a scenario by Béla Balázs. It was first performed at the Budapest Opera on 12 May 1917 under the conductor Egisto Tango.
The Wooden Prince has never achieved the fame of Bartók's other ballet, The Miraculous Mandarin (1926) but it was enough of a success at its premiere to prompt the Opera House to stage Bartók's opera, Bluebeard's Castle (which had not been performed since 1911) in the following year. Like Bluebeard, The Wooden Prince uses a huge orchestra (it even includes saxophones), though the critic Paul Griffiths believes it sounds like an earlier work in style (Griffiths p. 71). The music shows the influence of Debussy and Richard Strauss, as well as Wagner (the introduction echoes the prelude of Das Rheingold). Bartók used a scenario by the poet Béla Balázs, which had appeared in the influential literary journal Nyugat in 1912.
This work contains the largest orchestration which Bartók ever scored for:
A prince falls in love with a princess, but is stopped from reaching her by a fairy who makes a forest and a stream rise against him. To attract the princess' attention, the prince hangs his cloak on a staff and fixes a crown and locks of his hair to it. The princess catches sight of this "wooden prince" and comes to dance with it. The fairy brings the wooden prince to life and the princess goes away with that instead of the real prince, who falls into despair. The fairy takes pity on him as he sleeps, dresses him in finery and reduces the wooden prince to lifelessness again. The princess returns and is finally united with the human prince.
Krakeb

Qraqeb or garagab (Arabic: قراقب), in English often transliterated as krakeb, are a large iron castanet-like musical instrument primarily used as the rhythmic aspect of Gnawa music. Gnawa today is part of the North African culture and is inherent in the Maghrebi soundscape. The word qraqeb is a plural form (with the singular being qarqab), with an unclear etymology, as the word does not occur in Standard Arabic with this meaning.
Gnawa music is a spiritual music representing the history of sub-Saharan West African people who were sold as slaves in present-day Algeria, Morocco, Libya and Tunisia or Greater Maghreb. "...stories are told to those who are connected with their history by the very sound of the krakebs – they represent the sound of horses hooves hitting the ground as their people were carried away in grain sacks, and the rattling of shackles that used to hold their people captive.". They are also said to represent shackles which slaves removed when they became free men. Several specific rhythms played by Gnawa musicians on Qarqabat (often accompanied by hajhuj or sintir) symbolise this freedom.
Krakeb are similar to large iron castanets in that they are handheld cymbal-type instruments which are handmade from iron or steel. They are idiophones, meaning that their sound comes from the vibration of the instrument's body. The body is four cymbals (two on each side) attached by a string. Since they are played with one hand, the musician usually holds one in each to play simultaneously.
In the Gnawa style, krakeb stay closed between hits so that the instrument clanging shut is the most prominent sound. In Tunisia, they are hit and pulled back apart quickly so that the ringing of the instrument is the most prominent sound. Generally, there is one sintir (guimbri) and up to 20 krakeb players per Gnawa ensemble. Curtis Blues shows examples of these playings, as well as other cultural significances of this instrument in the following video: https://www.youtube.com/watch?v=eO-9nzR79pc
Video with musicians playing krakeb castanets.
Music of the Canary Islands

The music of the Canary Islands reflects its cultural heritage. The islands used to be inhabited by the Guanches which are related to Berbers; they mixed with Spaniards, who live on the islands now. A variant of Jota is popular, as is Latin music, which has left its mark in the form of the timple guitar. There has been a strong connection with Cuban music, Venezuelan, Puerto Rican, and other Caribbean countries both through commerce and migration.
Popular dances from the Canary Islands include:
Of these, the Isas, a local variation of Jota, are the best-known and most characteristic of the Canary Islands. They are graceful music, with much variation between islands. In some places, a captain leads the dance and organizes others in a chain as the dance grows more and more complex.
Rondalla arrangements are very common. Instruments include charangas, timples (similar to a cavaquinho / ukulele), castanets, panderetas, lauds and guitars. A peculiar ensemble in El Hierro island is made of pito herreño players (a wooden transverse flute) and drums. Some ritual dances in Tenerife island are led by a tabor pipe player. Joyful music for carnival lies to a big extent on brass bands and Latin American patterns.
The chácaras are a type of castanets used in the Canary Islands of La Gomera and El Hierro.
Pandanggo

Pandanggo is a Philippine folk dance which has become popular in the rural areas of the Philippines. The dance evolved from Fandango, a Spanish folk dance, which arrived in the Philippines during the Hispanic period. The dance is accompanied by castanets. This dance, together with the Jota, became popular among the illustrados or the upper class and later adapted among the local communities. In the early 18th century, any dance that is considered jovial and lively was called Pandanggo.
There are many versions of this dance, and each locality has its own version. Local dancers have many ways of doing the Pandanggo, but there is one thing in common between different versions: they have gay and sprightly figures. It may be danced at any social gathering and is usually accompanied by clapping. In some places, the musicians do not stop playing until four to five couples have danced, one after the other. When one couple tires, another takes its place until there are no more people to dance. The musicians play faster and faster after each repetition until the dancers are exhausted.
Two of the most popular versions of Pandanggo, as a performing art, are the Pandanggo sa Ilaw (fandango with lights) from Mindoro and Oasioas. Pandanggo sa Ilaw, which originated in Lubang Island, Mindoro, involves the dancers performing while balancing lights. Another Philippine folk dance, Cariñosa, has Pandanggo as its base dance. Pandanggo is still danced by many people but mostly in religious rituals and processions such as the Pandangguhan sa Pasig, during the procession of St. Martha, and the Sayaw sa Obando which has a pandanggo for childless couples. While Fandango in Spain was superseded by its modern version, the Flamenco, it has evolved into a popular folk dance, and as a ritual dance in many religious processions in the Philippines.
Liosta ceimiceán a bhíonn ar fáil go coitianta

Bíonn a lán ceimiceán ar fáil go coitianta i bhfoirm íon. Bíonn cinn eile ar fáil mar imoibrithe - neamhchostasach, foinsí áisiúla ceimiceán a theastaíonn beagán phróiseáil. Tá sé seo áisiúil le haghaidh an cheimiceora amaitéarach agus ghairmiúil araon. San áireamh, bíonn na himoibrithe coitianta seo a leanas;
Is féidir sonraí faoi na comh-ceimiceáin éagsúla i dtáirgí tí, a fháil ar an U.S. Department of Health and Human Services Household Products Index.
Conamara

Conamara a thugtar ar cheantar in iarthar Chontae na Gaillimhe in iarthar na hÉireann. Tagann an t-ainm as Conmhaicne Mara, ceann de líon Conmhaicne sa tír, tailte a bhain le clann áirithe, agus bhí an ceann seo buailte leis an muir. Inniu deirtear amanta go gclúdaíonn sé an tír ó chathair na Gaillimhe siar go dtí an Chlochán. Ach is Cois Fharraige a thugtar i gceart ar an gceantar siar as Gaillimh, agus tosaíonn Conamara i gceart siar-aduaidh uaidh sin.
Is é an Clochán an baile is mó atá i gConamara. Tá an talamh garbh, ach tá meas ag go leor ar an taobh sin tíre mar go bhfuil sé fáiltiúil, go bhfuil radharcanna áille ar thír agus ar fharraige, agus go labhraítear roinnt Gaeilge fós ann. Ó dheas, tá oileáin i gCuan Chill Chiaráin ar chuid de Chonamara iad, m.sh. Garumna, Leitir Móir agus Leitir Mealláin. Tá Carna anseo freisin.
Lastuaidh ón gceantar tá Loch Coiribe, Loch Measca agus na Beanna Beola, sléibhte a shroicheann tuairim 730 méadar ar airde. Ó dheas, tá cuan na Gaillimhe agus Oileáin Árann agus siar agus ó dheas tá an Aigéan Atlantach.
Tugtar Dúiche Sheoigheach go minic ar an gceantar i dTuaisceart Chonamara ina bhfuil An Sraith Saileach(Recess) ,An Teach Dóite (Maam Cross), An Mám (Maam), Corr na Móna (Cornamona) agus An Fhairche (Clonbur).
Bíonn rásaí currachaí ar siúl i gCeantar Chonamara gach Samhradh. Ina theannta sin, tagann na mílte scoláirí anseo gach Samhradh le freastal a dhéanamh ar Cursaí Samhradh ar nós Spleodar agus Coláiste na bhfiann. Tá na cúrsaí seo á reáchtáil i gCamus, Ros Muc, Corr na Móna, Leitir Meallain agus i Leitir Móir.
Taj Connemara

Is óstán suite i Chennai, san India, é Taj Connemara.
Tógadh agus osclaíodh an foirgneamh faoin ainm The Imperial Hotel sa bhliain 1854 faoi úinéireacht Triplicane Rathinavelu Mudaliar, athbhaisteadh é mar an Albany i 1886 faoi bheirt eile de na deatháireacha Mudaliar, agus athbhunaíodh é mar The Connemara i 1890. Roghnaíodh an t-ainm le honóir a thabhairt do Robert Bourke, barún of Chonamara, i gContae na Gaillimhe. Áirítear an Taj Connemara mar an t-óstán is sine i Chennai agus mar óstán oidhreachta na hIndia.
Connemara Community Radio

Is é Connemara Community Radio stáisiún raidió ag craoladh ar feadh 10 n-uair sa lá i gConamara Thiar-Thuaidh in Éirinn. Thosaigh sé ag craoladh ar dtús i mí Mheán Fómhair 1988 go Oíche Chinn Bliana 1988 mar raidió bradach. I 1995 bhí ceadúnas raidió pobail eisithe agus thosaigh an stáisiún ag craoladh ar an 1 Iúil 1995.
Lochanna Chonamara (amhrán)

I Nollaig 1981 chuir an Francach Michel Sardou amhrán ar an margadh dar teideal Les Lacs du Connemara nó Lochanna Chonamara. Díoladh na milliúin cóip den amhrán ó shin agus scaip cáil Sardou taobh amuigh den Fhrainc.
Ní raibh Sardou i gConamara ariamh roimhe sin agus b’amhlaidh cás ag a leathbhádóir cumadóireachta, Pierre Delanoe. Ar Albain a bhí a gcuid peann dírithe acu ach d’éirigh leo bileog eolais turasóireachta a fháil ina raibh cuntas ar lochanna Chonamara. Leag siad ar an dúch.
Tá an t-amhrán i mbéal go leor de mhuintir na Fraince i gcónaí. Castar an t-amhrán ag cóisirí agus ag chuile chineál ócáide, go háirithe má bhíonn sórt fiántas ar bith ag baint leis. Bheadh sé ar comhchéim leis na ‘Fields of Athenry’, nó níos treise ná sin, mar amhrán pobail sa bhFrainc.
Deirtear gur chuidigh an t-amhrán go suntasach leis an turasóireacht as an bhFrainc go Conamara in imeacht na mblianta. Thug Cumann Tráchtála Chonamara ‘saoirse’ an cheantair do Sardou sa bhliain 2011, cleas margaíochta par excellence.
Máirín agus Seán atá i scéal an amhráin. Phósadar beirt agus síos leo go Luimneach le haghaidh na bainise. Chuaigh gach a raibh ann ar an ‘téar’. Cois níor fhan fúthu.
Tá 88 milliún amharc (i mí Lúnasa 2024) ag an amhrán a chuir an banna ceoil Kids United, cúigear páistí as an bhFrainc, ar a leathanach YouTube in 2018. Tá an cúigear le feiceáil san fhíseán nua agus iad ag canadh faoi lochanna Chonamara agus áilleacht an cheantair, agus grúpa damhsóirí agus ceoltóirí Gaelacha in éineacht leo.
Níl leagan Gaelach le fáil (in 2024) fós.
Bina McLoughlin

Feirmeoir caorach agus cardálaí as Conamara ab ea Bina McLoughlin (1929–2001). Baisteadh “the Queen of Connemara” uirthi i ndeireadh a saoil.
Rugadh agus tógadh le Gaeilge i nGleann na nGeimhleach í, i ngar don Líonán i dtuaisceart Chonamara. Ba iad Peadar Mac Lochlainn agus Áine Seoighe a tuismitheoirí.
Chaith sí an chuid is mó dá saol fásta ina cónaí ina haonar ar fheirm i gCoilleach Bheag, achar gairid ón Líonán, áit a raibh tréad caorach ar chnoc aici.
Nuair a rinneadh an scannán The Field sa cheantar i ndeireadh na 1980idí, tugadh ról beag di. Bhí sí in ann a feisteas féin ar fad a chaitheamh as an mbailiúchán de sheanbhalcaisí a bhí aici..
Thacaigh sí go láidir le Fianna Fáil, go háirithe le hÉamon Ó Cuív, agus théadh sí amach ag stocaireacht ar a shon sna 1980idí agus sna 1990idí. Nuair a fuair sí bás i 2001, d'fhág sí a feirm agus a talamh, arbh fhiú thart ar mhilliún punt iad, le huacht ag Ó Cuív. Dhiúltaigh sé an tiomnacht, agus fágadh an talamh ag deirfiúracha McLoughlin a bhí ina gcónaí i Sasana.
Rinneadh gearrscannán faoina saol i 2018 dar teideal The Queen of Connemara: The Extraordinary Life of Bina McLoughlin.
Nan Tom Teaimín

Is amhránaí ar an sean-nós agus moltóir le hOireachtas na Gaeilge í Nan Tom Teaimín (nó Nan Tom Taimín de Búrca). Buaiteoir ar Chorn Uí Riada, Corn na mBan faoi dhó ba í (1998 agus 2000) . D’fhreastail sí ar a céad Oireachtas nuair a bhí sí ocht mbliana d’aois mar a dúirt Nan Tom Teaimín sa chlár seo ó TG4 ar YouTube. Is léir gur spreag an tOireachtas a suim sa sean-nós agus í ina cailín óg. Is moltóir le hOireachtas na Gaeilge le fada í.
Thar na blianta, tháinig Nan Tom Teaimín ar mhórán cláir teilifíse mar aoi-amhránaí Tá Nan Tom Teaimín le feiceáil, mar shampla, sa tsraith TG4,
Ba é an chéad dlúthdhiosca ó Nan Tom Teaimín. Dar le Cló Iar-Chonnachta, “is léir ón dlúthdhiosca seo go luíonn dúchas an cheoil agus na n-amhrán go domhain i Nan”. Tá deich rianta in iomlán ar an albam seo, ocht n-amhrán ar an sean nós agus dhá bhailéad Béarla. (Tagairt: CICD 149)
(Tagairt: NTTCD003)
(Tagairt NTTCD004 )
Capaillín Chonamara

Is cineál capaill é Capaillín Chonamara (Pónaí Chonamara nó Capall Chonamara a thugtar orthu uaireanta) de bhunadh na hÉireann. Is i gceantar Chonamara a tháinig an cineál stuama seo capaill chun cinn.
Tá cáil ar leith orthu a bheith sách beag agus lán fuinnimh. Tá eolas ar thréithe agus ar ábaltacht chapaillíní Chonamara ar fud an domhain anois.
Capaillíní de mhianach Chonamara – agus Chaladh Mhaínse – ba mhó a bhí ar na foirne idirnáisiúnta a bhuaigh craobhacha léimní na hEorpa sna 2020idí.
Bhí na capaillíní ann leis na céadta bliain. Ach i dtús an 20ú haois, bhí capaillíní go leor de phór measctha ann.
Aithnítear Micheál Ó Máille go forleathan mar cheannródaí, ag obair chun an pór a chaomhnú. Scríobh sé litreacha chuig na nuachtáin agus é sna 1910idí ag iarraidh aird a tharraingt ar an gcontúirt, dar leis, a bhí ann go n-imeodh mianach chapaillíní Chonamara i léig uilig mura gcuirfí ord agus eagar orthu. Thug sé féin, agus Pádraig Breathnach as Ros Muc a chúnamh dó, péire capaillíní de mhianach Chonamara chuig an Seó idirnáisiúnta i Londain in 1912 agus thug léargas ansin ar mhianach agus ar ábaltacht na gcapaillíní.
Bunaíodh Chumann Lucht Chapaillíní Chonamara (CLCC) i 1923 i Ros Muc. Bhí an Máilleach ag iarraidh an Cumann a bhunú chomh fada siar le 1911. Ach bhí corraíl sa tír agus sa domhan sna blianta sin. Choinnigh an Máilleach leis an iarracht nó go raibh am níos tráthúla ann i 1923.
Anord Chonamara

Is réigiúin de thalamh anordúil é Anord Chonamara (Béarla: Conamara Chaos) ar Europa, gealach de chuid Iúpatair. Baisteadh an áit seo as ceantar Chonamara in Éirinn.
Is tírdhreach é Anord Chonamara ar chruthaigh réabadh de screamh oighreata Europa é. Is éard atá ann sa gceantar seo raftaí oighir a corraíodh thart agus a rothlaíodh.
Connemara marble

Connemara marble or "Irish green" is a rare variety of green marble from Connemara, Ireland. It is used as a decoration and building material. Its colour causes it to often be associated with the Irish identity, and for this reason it has been named the national gemstone of Ireland. It strongly resembles the verd antique, a green serpentinite breccia found in the Mediterranean. It is named after the region in which it is found (including Lissoughter in Recess, County Galway, and in Clifden). The marble was deposited as a limestone mud during the neoproterozoic.
Connemara marble occurs as layers within the Connemara Marble Formation from the lower Dalradian Appin Group, part of the Connemara Metamorphic Complex. The parent rock was an impure siliceous dolomitic limestone deposited in a shelf environment on the continental margin of Laurentia. In the Grampian Orogeny it underwent silimanite grade metamorphism. Minerals formed at this stage were a variety of calc-silicates, including diopside, forsterite, tremolite, together with talc and chlorite. Subsequent metasomatism, probably associated with hydrothermal fluids from the late Caledonian Galway granites, altered the calc-silicates to minerals of the serpentine subgroup. The layers of marble are interbedded with schists and quartzites.
As a marble, the most important mineral components are dolomite and calcite, supplemented with variable amounts of diopside, serpentine, tremolite, forsterite, clinochlore, phlogopite, omphacite and talc. The colour is determined by the coloured mineral content, with serpentine responsible for the characteristic green colouration.
Connemara marble differs from the verd antiques in that it is an actual marble, rather than a serpentinite breccia, despite also having a very high serpentine content.
Connemara marble is used in souvenirs, jewellery and home decoration. It is not suitable for usage in outside construction as it rapidly loses its colouration due to weathering. It has been quarried since the 1700s, and has been exported throughout Europe and America to make columns, floors and other decorations.
In the Galway quarry, there is a pocket of a rare Connemara marble called Irish Jade. The walls and door frames of the Senate Chamber of the Capitol Building in Harrisburg, Pennsylvania are done in a variety of Irish Jade marble. It was installed in 1901.
Connemara Airport

Connemara Airport (Irish: Aerphort Chonamara) or Connemara Regional Airport (Aerfort Réigiúnach Chonamara) (IATA: NNR, ICAO: EICA) is located at Inverin in the Connemara region of Ireland, 15 nautical miles (28 km; 17 mi) west of the city of Galway. It is also known as Spiddal Airport, Inverin Airport, or Minna Airport (Aerfort na Minne), a name also used by Minna Airport in Minna, Nigeria.
The airport was constructed in 1992, partly funded by Údarás na Gaeltachta (the development agency for the Gaeltacht) to help ensure the viability of the Aran Islands communities.
Aer Arann Islands operates Britten-Norman Islander aircraft to the Aran Islands of Inisheer (Irish: Inis Oírr), Inishmaan (Irish: Inis Meáin) and Inishmore (Irish: Inis Mór) off the coast of County Galway in Ireland.
Works of Herbert Maryon

The works of Herbert Maryon (1874–1965) were made in a variety of mediums. They were intended to be decorative, functional, or commemorative, and were primarily made during the first four decades of the twentieth century, a span that marked the first half of Maryon's career. In addition to being a sculptor and a goldsmith, Maryon was also an archaeologist, conservator, author, and authority on ancient metalwork—he saw his career as an artist carry him through the Second World War; a second career as a conservator at the British Museum brought him note for his work on the finds from the Sutton Hoo ship-burial.
Maryon designed, executed, and exhibited works while an art student, and as an art teacher. In 1899, while still in school—an education that included studies at the Polytechnic (probably Regent Street), The Slade, Saint Martin's School of Art, and the Central School of Arts and Crafts—Maryon used the Arts and Crafts Exhibition Society's event at the New Gallery to exhibit some of his earliest works: a shield of arms with silver cloisonné, and a silver cup that was designed by William Lethaby, who taught Maryon at the Central School. The following year Maryon became the first director of the Arts and Crafts-inspired Keswick School of Industrial Art, and until his departure in 1904 his work primarily consisted of designs and executions for the school. Maryon's pieces for the school ranged from individual commissions to utilitarian tableware; particularly with more functional designs, multiple examples were sometimes executed.
Maryon's career became more academic following his departure from Keswick. During his time teaching sculpture and other forms of art, however—from 1907 until 1927 at the University of Reading, and from 1927 until 1939 at Durham University's Armstrong College—he continued taking commissions. These included the designs for a statue, memorial plaques, and at least three war memorials: including the University of Reading War Memorial, where Maryon worked.
The following is a substantially incomplete list of the works of Herbert Maryon.
Connemara Station

25°41′51″S 146°51′21″E﻿ / ﻿25.69763°S 146.8557°E﻿ / -25.69763; 146.8557﻿ (Connemara)
Connemara Station, also often spelled as Connemarra Station, is a pastoral lease that currently operates as a cattle station in Queensland.
The property is situated approximately 95 kilometres west of Stonehenge. The ephemeral Farrar's Creek runs through the property.
The lease was first taken up by pioneer and pastoralist John Costello in the late 1860s. By 1877 Connemara was owned by De Burgh Persee, who was running cattle. In 1881 Connemara sold for £21,000 and was stocked with 3,000 head of cattle.
Acquired in the 1880s by Vincent James Dowling, James Cox and Septimus Stephen, the property was stocked with 25,000 head of cattle and occupied an area of 3,000 square miles (7,770 km).
In 1933 the homestead was completely destroyed by fire. The manager, S. G. Kerr, lost everything in the fire. At this time Connemarra was owned by Allison and Wigan. When put up for auction in 1937 while stocked with 9,235 head of cattle, the property attracted no bids and was passed in. The trustees of the estate of J. B. Allison sold the station in 1938 to B. K. Reid. At the time it was stocked with 8,500 shorthorn cattle and 100 horses and encompassed an area of 1,906 square miles (4,937 km).
The North Australian Pastoral Company acquired the property in 1986 and sold it in 2007.
普陀山

普陀山，是中华人民共和国浙江省舟山群岛中的一个岛屿，也是中国四大佛教名山之一，是观音菩萨的道场，被誉为“海天佛国”、“南海圣境”。普陀山原名梅岑山，后改以观音菩萨在南印度海边的应化道场“补怛洛伽山（Potalaka）”之名相称，又作“普陀落伽”，是中国四大佛教名山中唯一坐落于海上的佛教圣地。普陀山建有普陀山南海观音立像、不肯去观音院，以及普济禅寺、法雨禅寺、慧济禅寺等数十所禅寺和禅院。
普陀山位于杭州湾出口以东约100海里处，全岛面积仅12.5平方公里（其中陆地面积11.85平方公里，余为潮间带），呈狭长形。最高处为佛顶山，海拔约300米。岛上设舟山市普陀山镇，并设直属于舟山市政府的普陀山管理局。
华东师范大学在此设有普陀山森林生态系统定位观测研究站，开展岛屿生态系统的长期定位观测和研究。普陀山上有全世界唯一一棵野生普陀鹅耳枥。
傳說普陀山曾被秦始皇認定爲蓬萊山，來此求長生不老藥，此山也因為被稱為“海上仙山”，歷史上有諸多道士慕名前來，著名道士梅福（字子真）也在其列。相傳梅福漢平帝元始年間來此隱居修仙，故此山自西漢至宋代時叫梅岑山。唐朝时期，公元847年，也有梵僧（天竺國僧人）來山上的潮音洞邊焚指供佛，引起觀世音菩薩現身授宝，後來潮音洞旁常有信士來此效仿焚指，引起僧團和官府的禁止，告誡禁止燃指的石碑至今仍在。故此山古來已是佛道信仰的聖地。
傳說，公元858年，唐朝大中十二年，日本臨濟宗高僧慧锷参访五臺山，并请得一尊观音菩萨像准备回国，行至现在的舟山群島普陀山要坐船離島，突然海上狂風起，巨浪沖天，慧锷法師只好停下待風浪平息再出發。翌日，慧锷準備再度啟程，豈料海上忽然又升起白霧，擋住前行視線，他左右繞道避開霧氣，卻鬼使神差又繞回島上。第三日，終於天氣晴朗，慧锷又要出發，可是烏雲忽然蔽日，眼看又要風浪大作，慧锷心想不宜久留，強行出海，可是越往前風浪越大，驀然海上升起諸多鐵蓮花圍住行船，慧锷大驚，請出觀音菩薩像祈告指明前路，此時，海中鉆出一頭鐵牛，吞掉鐵蓮花，一條海路出現在慧锷的眼前。慧锷的船一路跟隨，駛進普陀山。此後，慧锷感歎“觀音菩薩不肯離去此地”，便在普陀山建起不肯去觀音院，此山也被視作觀音菩薩的道場而開始流行。
宋代時，人們見此山光明清淨，多有小白花，符合《華嚴經》上對觀音菩薩道場普陀洛迦山（補怛洛伽山）的描述，且傳說此地多有觀音菩薩顯聖的瑞相，便認定此山就是普陀洛迦山，也就漸漸改名為普陀洛迦山。再後來，當地又將這裡兩座大山分別叫做普陀山和珞珈山（洛伽山），導致普陀洛迦山變成由兩座山峰構成，但一般仍稱為普陀山作為簡稱。
文化大革命时期（1966-1976年），普陀山各寺庙遭到严重破坏，佛像盡遭毀壞、僧眾被迫還俗，其中普陀山三大寺之一的慧济寺，文革期间被拆去禅堂700余平方米，殿宇荒芜，佛像被毁，寺庙由部队进驻。文学翻译家钱春绮曾作游《普陀山》一诗：“七八十座寺庙，一百多座茅篷/佛教四大名山之一的普陀山/你忍受了时代给予你的摧残/带着遍体鳞伤。躺在大海之中/海水冲洗不掉创口上的血脓/从前寺到后寺，又登上佛顶山/我惊叹这一场大动乱的灾难/僧徒俱已星散，庙宇洗劫一空。”
普陀山上的观音铜像为世界上最大的铜製观音塑像，高33米，重达70馀吨，由海内外华人信众筹资建造，落成後於1997年10月30日举行开光仪式。是普陀山景区的象徵性景点。
据传说，1994年10月，当时的全山方丈释妙善长老看到观音菩萨显圣，身形高大，站立在海边，金光闪闪。他感念到菩薩的指示，遂發心在所見的站立處塑立一座相同模样的觀音造像，即日後的南海觀音像。開光儀式上，當主持方丈釋妙善說出「典禮開始」的刹那，觀音像的頭上雲層驟開，投下一道金光，空中顯現出清晰的觀音立像。此瑞相被在場五千人悉數目睹，且留有影像資料，觀音菩薩顯聖一事遂傳為一段佳話。
现有二十多座寺庵，其中最大的是普济禅寺、法雨禅寺、慧济禅寺三大寺。中國佛學院在普陀山設普陀山分院。
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舟山普陀山国际机场

舟山普陀山国际机场（IATA代码：HSN；ICAO代码：ZSZS），旧称舟山普陀山机场，是位于中华人民共和国浙江省舟山市朱家尖岛的一座民航机场。
1988年3月，经中国国务院、中共中央军委批准，舟山市政府决定在朱家尖岛曙光农场新建地方民航机场，并命名为“舟山朱家尖机场”。机场于1995年1月开工建设，于1997年3月底全部竣工，总投资约3.8亿元。1997年7月28日机场举行首航典礼，8月8日正式通航，首批开通了舟山至上海、厦门两条航线。机场总占地面积约3,004亩，标高海拔1.8米，PCN值53，飞行区跑道长2,500米，停机坪总面积为5.2万平方米，候机楼面积6,400平方米。1998年4月，“舟山朱家尖机场”正式更名为“舟山普陀山机场”，1998年7月机场飞行区等级从3C升为4C，1999年12月又从4C升为4D。
2012年11月，中国民用航空局华东管理局批复《舟山普陀山机场总体规划》。根据规划，舟山普陀山机场近远期飞行区指标为4D，适合波音767、空客300等大型飞机起降。近期到2020年，按满足年旅客吞吐量200万人次、货邮吞吐量10,000吨、年起降25,419架次规划，航站楼建筑面积3,000平方米，机位数12个；远期到2040年，按满足年旅客吞吐量500万人次、货邮吞吐量28,000吨、年起降56,692架次规划，航站楼建筑面积扩建至52,500平方米，机位数22个。
2014年12月2日，普陀山机场年客流突破50万人次，迈入民航中型机场行列。截止2014年11月，舟山机场共通航11个城市、拥有12条直航运输航线。
2017年3月12日，舟山航空產業園建設指揮部相關負責人在位於朱家尖的普陀山機場改擴建和舟山航空產業園建設現場介紹，舟山航空產業園將分為「一園兩區」。飛機製造園區位於朱家尖，零部件製造園區位於舟山島北部的舟山經濟開發區。
其中，朱家尖的飛機製造園區規畫面積為7.88平方公里，將分為幹線飛機製造區、通用飛機製造區、航空配套區、空港保稅區等多個區域。波音廠就座落在其中的幹線飛機製造區，將主要有兩部分組成：由波音公司與中國商飛合資的737完工中心，以及地處相同位置、由波音公司獨資的737交付中心。
根據計畫，合資公司將開展737MAX系列飛機內飾安裝、塗裝、維修和交付支援及其他服務。實現完全產能時，一年可交付100架飛機，並將創造2000個就業機會。
2018年12月15日，美国波音公司与中国商飞公司共同设立的波音舟山737完工和交付中心正式交付首架飞机，中国国际航空公司接收了这架飞机。
2023年，普陀山机场年旅客吞吐量首次突破200万人次，并完成改扩建工程。同年10月，机场对外开放通过国家验收组验收，具备国际航运功能。2024年3月7日，经中国民用航空局批准，舟山普陀山机场更名为舟山普陀山国际机场。更名后，普陀山机场计划先期开通香港航线。
塔台：118.05MHz（124.35MHz）
普陀山南海观音立像

普陀山南海观音立像是位于浙江省舟山市普陀山的标志性建筑，为世界上最大的铜製观音塑像，高33米，重达70馀吨，由海内外华人信众筹资建造，落成後於1997年10月30日举行开光仪式。
据传说，1994年10月，当时的全山方丈释妙善长老看到观世音菩萨显圣，身形高大，站立在海边，金光闪闪。他感念到菩薩的指示，遂發心在所見的站立處塑立一座相同模样的觀音造像，即現在的南海觀音像。開光儀式上，當妙善方丈說出「典禮開始」的一刹那，觀音像的頭上雲層驟開，投下一道金光，空中顯現出清晰的觀音立像，此瑞相被在場五千人悉數目睹，且留有影像資料，觀世音菩薩顯聖一事遂成為一段佳話。
補怛洛伽山

8°43′N 77°22′E﻿ / ﻿8.717°N 77.367°E﻿ / 8.717; 77.367
補怛洛伽山（梵語：पोतलक Potalaka），其名又譯作布呾落迦、補陀落伽、普陀洛迦（“洛”和“落”、“伽”與“迦”常通用）、普陀珞珈、逋多羅、布达拉等，一般簡稱爲普陀、普陀落、補陀洛（“落”、“洛”通用），意譯為光明山、海島山、小花樹山、小白花樹山；為現今南印度帕帕纳萨姆山，位於蒂魯內爾維利縣境。大乘佛教傳說爲觀世音菩薩的道場，後中國浙江舟山上一座海島因“不肯去觀音”的典故，也更名爲普陀洛迦山，作為觀音菩薩的應化道場。
大乘佛教《華（花）嚴經》上授記此山爲觀世音菩薩和多羅菩薩常住之地。經上言此山清淨，花、果、樹林遍佈，溪流、池沼眾多，善財童子就在此山請教過觀音菩薩。
印度曾有好幾座山都有普陀洛迦山之傳說。據考察，一般公認位於今南印度泰米爾納德邦提納弗利（Tirunelveli/Tinnevery）縣境內的，秣剌耶山以东的帕帕纳萨姆（Papanasam；又譯巴波那桑）山即普陀洛迦山。
中國浙江舟山的普陀山由此得名。
傳說普陀山曾被秦始皇認定爲蓬萊山，來此求長生不老藥，此山也因為被稱為“海上仙山”，歷史上有諸多道士慕名前來，著名道士梅福（字子真）也在其列。相傳梅福漢平帝元始年間到此山隱居，故此山自西漢至宋代時叫梅岑山。唐代時，也有梵僧（天竺國僧人）來山上的潮音洞邊焚指供佛，引起觀世音菩薩現身，後來潮音洞旁常有信士來此效仿焚指，引起僧團和官府的禁止，告誡禁止燃指的石碑至今仍在。故此山古來已是佛道信仰的聖地。
傳說，公元858年，唐朝大中十二年，日本臨濟宗高僧慧锷参访五台山，并请得一尊观音菩萨像准备回国，行至现在的舟山群島普陀山要坐船離島，突然海上狂風起，巨浪沖天，慧锷法師只好停下待風浪平息再出發。翌日，慧锷準備再度啟程，豈料海上忽然又升起白霧，擋住前行視線，他左右繞道避開霧氣，卻鬼使神差又繞回了島上。第三日，終而天氣晴朗，慧锷又要出發，可是烏雲忽然蔽日，眼看又要風浪大作，慧锷心想不宜久留，強行出海，可是越往前風浪越大，驀然海上升起諸多鐵蓮花圍住行船，慧锷大驚，清楚觀音菩薩像祈告指明前路，此時，海中鉆出一頭鐵牛，吞掉鐵蓮花，一條海路出現在慧锷的眼前。慧锷的船一路跟隨，駛進了普陀山。此後，慧锷感歎“觀音菩薩不肯離去此地”，便在普陀山建起不肯去觀音院，此山也被視作觀音菩薩的道場而流行起來。
宋代時，人們見此山光明清淨，多有小白花，符合《華嚴經》上對觀音菩薩道場普陀洛迦山的描述，且傳說此地多有觀音菩薩顯聖的瑞相，便認定此山就是普陀洛迦山，也就漸漸改名喚作普陀洛迦山。再後來，當地又將這裡兩座大山分別叫做普陀山和珞珈山（洛伽山），從而普陀洛迦山變成了由兩座山峰構成，但一般仍喚作普陀山作為簡稱。
西藏拉薩的布達拉宮始建於581年，名中的“布達拉”即“補陀洛”的異譯。此處亦是觀音菩薩的應化道場，被稱作“第二普陀山”。
另有多個以普陀洛迦為名的地點或建築，如日本紀伊半島的補陀洛山寺等等。
南普陀寺

南普陀寺是一座有千余年历史的佛教寺庙，位于中国福建省厦门市东南五老峰下，面临海灣，歷史和规模在廈門市佛寺中僅次于同安梵天禪寺居第二位。因其供奉观世音菩萨，与浙江普陀山观音道场类似，又在普陀山以南而得名。是一间在闽南和东南亚有相当影响力的佛寺，位于厦门市思明区思明南路515号。
南普陀寺始建于唐代末期，当时称为泗洲寺。北宋时由僧人文翠改建，称为无尽岩。元代时被废寺，于明代重建，改称为普照寺，并迁建于今址。清代初期又因战乱废寺，后于康熙22年（1684年）得靖海侯施琅捐资修复并扩建，因增建大悲阁供奉观世音菩萨与浙江普陀山观音道场类似，遂更名为南普陀寺。到民国初年，南普陀寺已成为闽南香火鼎盛的佛教寺庙。
文化大革命中，南普陀寺曾遭红卫兵砸毁，在寺东成立五金电器厂，寺西开辟演武小学和瓜田。文化大革命后于1976年，成立“南普陀寺管理处”，尔后在寺庙临时主持人妙湛法师的努力下逐步恢复寺院。直至1989年恢复推举方丈的制度，并于次年撤销“南普陀寺管理委员会”，成立以方丈、堂主、监院等组成的“寺务管理委员会”。
南普陀寺历史上属于临济宗喝云派裔，民国13年（1924年）由住持转逢和尚改为十方丛林迎纳各方高僧大德，并于次年开办闽南佛学院。民国17年（1928年），当时的方丈太虚和尚赴欧美讲学，成为中国首个赴欧美宣传佛教的和尚。弘一法师曾在1928年至1942年期间多次驻南普陀寺协助闽南佛学院整顿僧才教育，并于1934年与和今法师一同创办佛教养正院。
性愿法师、块然法师、会觉法师、慈舟法师、二埋法师等高僧曾先后代理南普陀寺方丈一职。
南普陀寺占地3万多平方米，格局为三殿七堂，坐北朝南，依山面海，建筑具有独特的闽南风格。中轴线上的主体建筑由南往北依次为天王殿、大雄宝殿、大悲殿和藏经阁。中轴两侧则有左右厢房、钟楼鼓楼、罗汉堂、功德楼、海会楼、普照楼、太虚图书馆、佛学院教舍等。天王殿前有广场，广场前为长宽均约30米的正方形放生池，和约百米长七八十米宽的莲花池。莲花池外围盖有琉璃瓦顶的矮墙，东西设对称重檐牌坊式山门，题额为“鹭岛名山”，系中国佛教学会会长赵朴初所题。
24°26′35″N 118°05′30″E﻿ / ﻿24.44310°N 118.09161°E﻿ / 24.44310; 118.09161
千手觀音

千手觀音（梵語：सहस्रभुज，羅馬化：sahasrabhuja），全称千手千眼觀世音菩薩，又稱普眼觀音，漢傳佛教中常被供奉的觀世音菩薩之一，是觀世音菩薩的其中一個化現。為六觀音之一，六觀音即：慈航觀音（救拔餓鬼道）、千手觀音（救拔地獄道）、馬頭觀音（救拔畜生道）、十一面觀音（救拔修羅道）、準提觀音（救拔人道）、如意輪觀音（救拔天道）。有一千隻手，每手心上各有一眼，故稱。一般塑像或者繪畫上，大都以四十手、三十六手、二十四手、十八手為代表。
菩薩千手千眼形象之來源，於《大悲心陀羅尼經》中記載：「世尊！我念過去無量億劫，有佛出世，名曰『千光王靜住如來』。彼佛世尊憐念我故，及為一切諸眾生故，說此『廣大圓滿無礙大悲心陀羅尼』。以金色手摩我頂上作如是言：『善男子！汝當持此心呪，普為未來惡世一切眾生，作大利樂。』我於是時，始住初地，一聞此呪故，超第八地。我時心歡喜故，即發誓言：『若我當來，堪能利益、安樂一切眾生者，令我即時，身生千手、千眼具足。』發是願已，應時身上，千手千眼，悉皆具足。」此經文可知，菩薩千手千眼之形象，係因菩薩發願利樂有情之後而具足千手千眼。
千手千眼觀世音菩薩頭上有二十八法相，代表二十八天護法，流通於禪宗與淨土宗。
藏傳佛教中較為普遍的是十一面觀音像。
除了《大悲心陀羅尼經》以外，亦有《千手千眼觀世音菩薩姥陀羅尼身經》有千手千眼觀世音菩薩的記載。
以下神佛因其造像与千手观音相似，常常会被人误认：
准提菩萨

準提菩薩（梵語：चुन्दा，羅馬化：cundā），为佛教中顯教、密教所共尊的大菩萨；準提意思是「清淨」，因為音譯或用字不同，又作「準提佛母」、「準胝菩薩」、「尊那菩薩」、「宗達天女」、「純陀天女」等，密宗稱之「莲花部诸尊之母」、「七俱胝佛母」，密号「最胜金刚」、「清淨金剛」。
部分佛教宗派認為準提菩薩是觀世音菩薩的化身，又称準提觀音、天人丈夫观音，歸入六观音之一，主救度「人道」。六觀音即：聖觀音（救拔餓鬼道）、千手觀音（救拔地獄道）、馬頭觀音（救拔畜生道）、十一面觀音（救拔修羅道）、準提觀音（救拔人道）、如意輪觀音（救拔天道）。
因菩薩具有十八隻手，故又俗稱為「十八手觀音」，其造像常讓人誤以為是「千手觀音」。
漢傳佛教的準提菩薩為天女像，有十八臂各執法器，依照《佛說七俱胝佛母准提大明陀羅尼經》的記載為：「其像作黃白色。種種莊嚴其身。腰下著白衣。衣上有花。又身著輕羅綽袖天衣。以綬帶繫腰。朝霞絡身。其手腕以白螺為釧。其臂上釧七寶莊嚴。一一手上著指環。都十八臂面有三目。上二手作說法相。右第二手施無畏。第三手把劍。第四手把數珠。第五手把微若布羅迦果（漢言：「子滿果」，此間無，惟西國有。）第六手把越斧。第七手把鉤。第八手把跋折羅。第九手把寶鬘。左第二手把如意寶幢。第三手把蓮花。第四手把澡灌。第五手把索。第六手把輪。第七手把螺。第八手把賢瓶。第九手把般若波羅蜜經夾。菩薩下作水池。池中安蓮花。難陀拔難陀二龍王共扶蓮花莖。於蓮花上安准提菩薩。其像周圓安明光焰。其像作憐愍眼看行者在下坐。手執香鑪。面向上看菩薩。於菩薩上畫二淨居天。」
藏傳佛教覺囊派所傳為三面、二十六臂之相。格魯派祈竹仁波切則從劄什倫布寺方丈卡青洛桑素巴大師（Kachen Losang Sopa），得到過四臂準提隨許傳承及口傳傳承。
準提佛母菩薩的準提咒法也是唐密漢傳獨部密法中的四大法之一。
部分宗派準提菩薩即是觀音菩薩之化身，部分宗派則認為準提菩薩是大日如來的化身，如東密廣澤流認為準提佛母應屬於「佛部」，不應屬於「觀音部」；小野流則認為此菩薩應屬「觀音部」，認為坊間所謂「十八手觀音」就是「準提觀音」。
準提菩薩聖誕為農曆三月六日或三月十六日，現代佛教團體普遍在三月十六日舉行聖誕法會等，三月十六日一說，可見於民間流傳之農民曆所附神佛聖誕表中，以及部份傾向傳統或宗教團體印刷之日、月曆等；古代記載卻是三月初六日。
其偈曰： 稽首皈依蘇悉帝。頭面頂禮七俱胝。我今稱讚大準提。惟願慈悲垂加護。
準提菩薩居中，脅侍為難陀龍王與跋難陀龍王。在準提佛母菩薩的塑、畫像中，二神位於菩薩身側，形象有作二名神龍相，亦有作二名長者相。淨居天亦護持準提菩薩。
在民間信仰，準提佛母菩薩是滿願的大菩薩，有時也稱為母娘，為靈山派歸入「五母信仰」中。五母之組合各有說法，總歸為五位母性形相之神祇或菩薩。
在藏密有一種說法，準提佛母是普賢王如來的化現，法身準提佛母，報身觀世音菩薩，化身綠度母。準提佛母的不共功德是『事業』，所相應的淨土是『極樂世界』 。
在漢傳佛教或唐密、日本真言宗都以十八臂準提佛母為本尊；在藏傳佛教很少見到以十八臂準提為本尊(多以四臂、二十六臂為本尊)，藏傳準提法唯有以頂果欽哲法王所傳承的十八臂準提法 。
十八臂準提佛母胸前的手結印契，以總持印與說法印最為常見。
馬來西亞古來普陀村：供奉東南亞最大室內準提菩薩像，平均每天3000人次參觀
十一面觀音

十一面觀音（梵語：Ekādaśamukha Avalokiteśvara)，又稱十一面菩薩、大光普照觀音。是觀世音菩薩的化身之一，是六觀音之一。六觀音即：聖觀音（救拔餓鬼道）、千手觀音（救拔地獄道）、馬頭觀音（救拔畜生道）、十一面觀音（救拔修羅道）、準提觀音（救拔人道）、如意輪觀音（救拔天道）。有十一個顏面，十一面之寓義，普遍說法表示「十地」，最頂一面，表示十地之上的阿耨多羅三藐三菩提。
此菩薩遍傳中國、日本等地。其有十一面二臂或四臂的形象，真言宗认为此菩薩主要度脫六道中的阿修羅眾生。真言為十一面觀音陀羅尼（俗稱藏密大悲咒）。
唐代時，長安薦福寺方丈泗州僧伽大師，被時人視為是十一面觀音化身。
佛像

佛像，是佛、菩萨的塑像和画像的统稱。通常形相皆以世尊為主體，所以佛像有三十二相、八十種好的理想特徵。佛像的形體、容貌和姿儀通常追求祥和、寧靜、端祥、莊嚴。
佛像必须为完整的全身像（法语：Portrait en pied），半身像或只有头部会被认为是不恭敬且不完整。
雖然某些傳世佛經宣稱釋迦牟尼在世時已有佛像，但學者一般認為，早期的印度佛教，不雕刻或繪畫釋迦牟尼的面容；佛陀是用符號來象徵的，如法輪象徵佛的「說法」、菩提樹則是代表「成道佛」、足跡則象徵「遊行佛」。佛教在印度時本來沒有藉由偶像或圖影表示釋尊；直至犍陀羅時期，大乘佛教開始流行，才有佛像的形成。
關於西元前二世紀為何沒有佛像的造作，谷響認為因佛陀相好莊嚴，不應以尋常人的型態看待；且《阿育王傳》卷2記載，弗那槃達（Puṇḍavardhana）尼乾陀（耆那教）弟子畫佛陀像令禮拜尼乾陀像，阿育王聞之大怒，於是將所有尼乾陀捕捉，加以屠殺，佛像也許因而被禁。
中國未經歷印度的造形像與否的衝突，直接接受釋迦牟尼畫作與塑像。《高僧傳》記載，東漢蔡愔攜西域釋迦像來中國，到洛陽後，漢明帝令畫工描繪。但此說經梁啟超等人考證，認為不可信。劉屹認為漢明帝時不可能有佛像傳入；漢桓帝時民間雖已有佛像出現，但宮廷祭祀應仍是保持無佛像的傳統。中原本土建造佛像的最早記載是《三國志》笮融挪用所掌糧道大立佛寺，大造佛像，以浴佛施食招徠信徒。而根據考古，2021年，陕西省考古研究院在咸阳市渭城区发掘了一处东汉晚期延熹元年（158年）墓地，墓室内出土两尊金铜佛像，是截至2021年中國出土時間最早的金铜佛像。
根據《增一阿含經》卷二十八及《大唐西域記》卷五，記載跋蹉國優塡王（或譯作鄔陀衍那主， Udayana-vatsa）因思念佛陀，於是以栴檀木雕塑一尊五尺的佛陀形像，這是佛教雕塑佛像起源的傳說。
藏传佛教中有流傳《造像量度經》，是清乾隆七年（1742年）工布查布在北京從藏文譯本重譯為漢文，有關製造佛像度量的經典。
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肉身佛

肉身佛，佛教用語，是佛教高僧大德成就的一種境界，死亡後肉身仍然可以不腐壞；如中国唐代時期的禅宗高僧惠能大师。其不腐坏的肉身称作全身舍利、不腐肉身、肉身菩薩、金刚不坏之身等，若塑成佛像奉祀者，稱為真身塑像；日本將肉身不腐等同於即身成佛，故也稱為即身佛（日语：即身仏）。
肉身佛，是指高僧大德成就者在死亡後，在没有外力的影响下，遗体不会自然地腐化，而是呈现木乃伊化，或不作任何变化就像人生前的模样，甚至会呈现金光色，被称作紫磨金身，此是佛、菩萨、阿罗汉圣人的境界。惠能是中國佛教歷史上第一個肉身不腐的高僧，被稱為“肉身菩薩”。
中國佛教中，以禪宗以及在九華山中較多出現肉身不腐的高僧。禪宗主張即身成佛，肉身不腐可以作為成道的表現；九華山則是有缸葬傳統，僧人圓寂後，葬入大缸中，稱為坐缸，不腐化者則作為肉身菩薩供奉。
同樣的現象在道教則稱為仙蛻，道教認為靈魂得道後離開身體，遺體如同蟬蛻一般可以保存。
肉身不腐的境界在中國等漢傳佛教地區，尤其日本，引起了一些不健康的效仿。有些宗派的僧人在預感不久將要離世時，會先以打坐的姿勢坐下，戒除吃米、麥、豆類等高澱粉食品，限制自己只可以吃果仁、野果超過一千天，然后以樹皮、樹葉为食一千天，目的是慢慢把僧人的脂肪和水份減少，以減慢死後屍身腐爛的速度。同时僧人也服用有毒的油桐树的樹汁制成的茶，进一步催吐，排除体液，并且进一步防腐。經過幾年的折磨，僧人會以打坐方式住在地底，透過伸出地上的竹筒呼吸，僧人手握鈴，以鈴聲告訴別人他還活著，並且念佛誦經，然後斷水絕食，將自己活活餓死。當地面上的弟子們聽不到鈴聲，便會把竹筒取走，封好墓穴，三年後把遺體作成木乃伊，就是「即身成佛」。雖然不少僧人嘗試此法「成佛」，但不少還是失敗，屍身腐壞、要經過防腐儀式再安葬。能夠保存遺體，避免腐壞的「即身成佛」是極少數。
這一方法的存在被許多唯物論者作為否認所有肉身佛的證據。
《壇經·大師事略》說，劉宋三藏法師求那跋陀羅懸記禪宗六祖惠能大師為“肉身菩薩”。惠能入灭後果然肉身不腐，成爲一道奇观，是謂“中國歷史上首尊肉身菩萨”。從此，但凡成就肉身不腐者，多稱爲“肉身菩薩”。惠能肉身的奇跡，引得信徒争先礼拜，传说还有新罗僧人欲夺走惠能肉身。在“文化大革命”中，其肉身遭到红卫兵的破坏，据野史披露，红卫兵砸破了惠能肉身，见到其中內臟骨頭完好不腐。
中國佛教史上著名的肉身菩薩，近代以前除了六祖惠能，還有石頭希遷、九華山金喬覺、海玉法師、无瑕和尚、憨山德清禪師等等，近代則有慈明僧、仁義師太、釋海慶、釋隱蓮、釋大興、釋妙智、釋明淨、釋普文、永慈法师、釋海賢以及香港的道榮禪師和月溪法師、臺灣新北市汐止區的慈航法師、新店區碧潭海藏寺住持釋清嚴、臺北市北投區安國寺瀛妙和尚、雲林縣大埤鄉大埤北極殿柯象帝爺公、高雄市燕巣三洽共成堂普照法師、新北市中和區貢噶精舍的貢噶老人、基隆市慈安宮得修禪師、仁德元天宮明潔上人、苗栗銅鑼九華山救世師父、高雄龍發堂創辦人釋開豐、桃園市龜山區兎坑村靈雲寺謝石德師父、屏東縣內埔鄉德修堂徐桂妹居士等例子。而日本山形縣及新潟縣不少寺廟中都有被供奉的肉身菩薩，主要是因為位於這兩縣境內的出羽三山是著名的修練場，日本全國的肉身菩薩詳盡名單如下：
此外，在南傳上座部佛教也有不少肉身不腐的高僧，如缅甸高僧宣隆·西亞多（U Sunlun Sayadaw），公认的阿罗汉成就者，於1952年入滅而肉身不腐。另外，在藏傳佛教也存在肉身不腐的現象，如俄羅斯布里亞特自治共和國的藏传佛教喇嘛依提基诺夫（Dashi-Dorzho Itigilov）以及一則2015年的新聞報道稱，蒙古乌兰巴托發現一具200年前的僧人的不腐遺體，但信徒指他可能還活著，只是進入了冥想狀態。
2015年3月在匈牙利博物馆展出一尊由荷蘭收藏家奧斯卡擁有的千年佛像，因佛像内藏有一名高僧的遗骸而受关注。肉身坐佛展出后引发争议，福建省文物部门经初步确认，认为这尊“肉身坐佛”应是福建省大田县吴山乡阳春村1995年被盗的章公祖师像。福建省最高人民法院在2022年如7月作出判決，裁定要奧斯卡歸還佛像。
龙华寺 (上海)

龙华寺（上海话拼音：lhonghhoshi，发音：[lòŋɦőzɿ᷆]）是座落于中国上海市徐匯區的一座佛教寺庙。历经战乱，重建修复，今龙华寺的建筑建于清朝光绪年间。上海四大佛寺之一。
始建于三国吴大帝赤烏年间，为孫權孝敬其母而建造，唐时被毁，北宋初吴越王重建。北宋治平元年改名空相寺。在元末明初寺院再次被摧毁。明朝永乐年间重建，称龙华寺；嘉靖三十二年赐名万寿慈华禅寺；万历年间赐毗卢遮那佛像、金印等。
清朝顺治年间，临济宗第三十二世韬明禅师任寺院住持，清朝咸丰、同治年间又遭兵焚，经过僧俗的募捐修复，从清朝光绪元年至二十五年间修复寺院。
文化大革命时期，被誉为“龙华三宝”之一的毗卢佛以及莲花座下配配有的千佛被红卫兵用棍棒敲成碎片，而弥勒殿供奉的弥勒佛化身布袋和尚坐像被砍下了头颅，红卫兵还将庙内宗教藏品集中焚烧了3天。1977年，入选上海市文物保护单位。
31°10′22″N 121°27′05″E﻿ / ﻿31.172658°N 121.451261°E﻿ / 31.172658; 121.451261