davidanugraha/M4-RAG huggingface dataset:
Gymnastics Federation of India

The Gymnastics Federation of India (GFI) is the governing and controlling body of gymnastics in India. It was established on 17 February 1951. It is registered under the Societies Registration Act, 1860, and is affiliated to the International Gymnastics Federation. GFI organised the first national gymnastics championship in 1952 in Madras. Each year, they hold national championships in the following categories: Senior Artistic, Junior Artistic, Sub Junior Artistic, Rhythmic & Aerobic, and Acrobatics & Tumbling. Sudhir Mital serves as the current president of GFI.
Ringmaster (circus)

A ringmaster or ringmistress, or sometimes a ringleader, is a significant performer in many circuses. Most often seen in traditional circuses, the ringmaster is a master of ceremonies that introduces the circus acts to the audience. In smaller circuses, the ringmaster is often the owner and artistic director of the circus.
A ringmaster introduces the various acts in a circus show and guides the audience through the experience, directing their attention to the various areas of the circus arena and helping to link the acts together while equipment is brought into and removed from the circus ring. A ringmaster may interact with some acts, especially the clown acts, to make the various acts part of a seamless circus performance. Ringmasters have become an integral part of the many circus shows and sometimes will be involved in elements of some of the acts performances.
It is traditionally the ringmaster's job to use hyperbole whenever possible while introducing the acts to enhance the expectations of the audience. Declarations of the "biggest", "most dangerous", "amazing", "spectacular" and similar expressions are common.
The traditional ringmaster costume consists of a black top hat, a bright tailcoat which is often red with gold trim, a waistcoat over a white shirt, breeches, and riding boots; occasionally with a bow tie, cravat, or stock tie. The outfit is designed to look as a riding habit from the 18th and early 19th centuries, and often includes a whip, a relic of when the ringmaster directed the performance; not as an announcer and host, but as director of the many equestrian acts. It is generally accepted that this costume was first adopted by George Claude Lockhart on the orders of Bertram Mills in 1928, when Lockhart worked as ringmaster for his circus at Olympia, London. A female circus leader is known as a ringmistress, and often wears a black skirt or leggings with knee-high black boots, and either the same style topcoat and tails as a ringmaster or a red blouse.
In non-English speaking countries, the ring master is known by different titles. In France, he is called "Monsieur Loyal" after the Anselme-Pierre Loyal (1753–1826), one of the first renowned circus personalities.
The main function of a ringmaster was to direct the attention of the audience. In the days before modern lighting equipment and amplification, most acts performed mute, accompanied only by the circus' in house brass band. It was the ringmaster's loud voice that was necessary to cut through the noise, get the audiences attention and announce the next act.
Norman Barrett has been noted by Guinness World Records as holding the Guinness world record for the 'longest career as a ringmaster'.
Bundeli Utsav

Bundeli Utsav (Bundeli Festival) is a cultural festival to promote the Bundeli (Bundelkhandi) folk arts, held in village Basari, tehsil Rajnagar, District Chhatarpur, Madhya Pradesh, India, every year during the spring season for seven days starting from Basant Panchmi. It is organized by Bundeli Vikas Sansthan, an NGO with a mission to performs various social activities and promote Bundeli culture, with the help of Government of Madhya Pradesh’s Department of Culture and Madhya Pradesh State Tourism Development Corporation. Various competitions on folk arts, folk dances, folk songs, food festival, traditional games and archery events are organized during this festival. A large number of participants from eight districts of Madhya Pradesh (Chhatarpur, Datia, Damoh, Katni, Narsinghpur, Panna, Sagar, Shivpuri and Tikamgarh) and five districts of Uttar Pradesh (Banda, Hamirpur, Jalaun, Jhansi and Lalitpur) [Mahoba] take part in these competitions.
A few of the most famous folk arts showcased by Bundeli Utsav are described below.
Faezeh Jalali

Faezeh Jalali (born 1980) is an Indian–Iranian actress, director, writer, producer and activist. She is known for Slumdog Millionaire (2008), Shaitan (2011) and the play Jaal (2012).
She is a fourth generation Iranian born in 1980 to an Iranian Muslim family residing in India and grew up in Mumbai. After schooling at JB Petit High School, she attended Beloit College in Wisconsin, USA, where she studied theatre arts and also took pre-medical background classes for dental school. Jalali joined the theatre and went on to obtain a Master of Fine Arts at the University of Tennessee and Clarence Brown Theatre at Knoxville.
Jalali's theatre acting performances include, Mira Nair's stage musical Monsoon Wedding, I Don’t Like It, As You Like It and other productions such as Jatinga, The Djinns of Eidgah, Thook, A Midsummer Night’s Dream, Arms and the Man, The Trestle at Popelick Creek. She also directed her own plays such as 07/07/07 and Shikhandi- The Story of the In-betweens, which won the Best Ensemble Cast at the Mahindra Excellence in Theatre Awards (META) 2016 and 2018 for which Jalali was also nominated for the Best Director.
She also played roles in movies such as Slumdog Millionaire and kurbaan and was part of the Indian action-thriller television series 24.
Jalali is a trained acrobatic aerialist. She represented Iran at the 1st Mallakhamb World Championships which was held at Mumbai in 2019. She participated in the rope category.
Her work as an actress includes films such as:
Director:
पटौला साड़ी

पटौला साड़ी, हथकरघे से बनी एक प्रकार की साड़ी है जो गुजरात के पाटण में बनायी जाती है। यह प्रायः रेशम की बनती है। 'पटोला' शब्द बहुवचन का शब्द है जिसका एकवचन 'पटोलू' है। पटोला साड़ियाँ बहुत कीमती होतीं हैं। किसी समय ये वस्त्र राजघराने या धनाढ्य लोग ही पहनने की क्षमता रखते थे।
इसे दोनों तरफ से बनाया जाता है। यह काफी महीन काम है। पूरी तरह सिल्क से बनी इस साड़ी को वेजिटेबल डाई या फिर कलर डाई किया जाता है। यह काम करीब सात सौ साल पुराना है। हथकरघे से बनी इस साड़ी को बनाने में करीब एक साल लग जाता है। यह साड़ी मार्केट में भी नहीं मिलती।
पटोला साड़ियां बनाने के लिए रेशम के धागों पर डिजाइन के मुताबिक वेजीटेबल और केमिकल कलर से रंगाई की जाती है। फिर हैंडलूम पर बुनाई का काम होता है। पूरी साड़ी की बुनाई में एक धागा डिजाइन के अनुसार विभिन्न रंगों के रूप में पिरोया जाता है। यही कला क्रास धागे में भी अपनाई जाती है। इस कार्य में ज्यादा मेहनत की जरूरत होती है। अलग-अलग रेज की साड़ियों को दो बुनकर कम से कम 15 से 20 दिन और अधिकतम एक वर्ष में पूरा कर पाते है। इन साड़ियों की कीमत भी बुनकरों के परिश्रम व माल की लागत के हिसाब से पांच हजार रुपये से लेकर दो लाख रुपये तक होती है।
सस्ती साड़ियों में केवल एक साइड के बाने में बुनाई की जाती है, जबकि महंगी साड़ी के ताने-बाने में दोनों तरफ के धागों पर डिजाइन कर बुनाई की जाती है। दोनों साइड वाली महंगी साड़ियां 80 हजार रुपये से दो लाख रुपये तक की लागत में तैयार हो पाती है। डबल इकत पटौला साड़ी के रूप में जानी जाने वाली यह बुनकरी कला अब लुप्त होने के कगार पर है। मुगल काल के समय गुजरात में इस कला को लगभग 250 परिवारों ने अपनाया था। लागत के हिसाब से बाजार में कीमत न मिल पाना इस कला के सिमटने का प्रमुख कारण है।
बालूचरी साड़ी

बालूचरी साड़ियां पश्चिम बंगाल के विष्णुपुर व मुर्शिदाबाद में बनती हैं। सन् १९६५ से बनारस में भी बालूचरी साड़ियों का निर्माण होने लगा। ये भारत ही नहीं बल्कि पूरे विश्व में मशहूर हैं। इन साड़ियों पर महाभारत व रामायण के दृश्यों के अलावा कई अन्य दृश्य कढ़ाई के जरिए उकेरे जाते हैं। देश ही नहीं बल्कि विदेशों में भी इन साड़ियों ने अपनी अलग पहचान कायम की है। एक बालूचरी साड़ी बनाने में कम से कम एक सप्ताह का वक्त लगता है। दो लोग मिल कर इसे बनाते हैं।
पश्चिम बंगाल के मुर्शिदाबाद जिले के बालूचर गाँव में शुरूआत करने वाली बालूचरी साड़ियों ने बीती दो सदियों के दौरान एक लंबा सफर तय किया है। नवाब मुर्शीद अली खान 18वीं सदी में बालूचरी साड़ी की कला को ढाका से मुर्शिदाबाद ले आए थे। उन्होंने इसे काफी बढ़ावा दिया। बाद में गंगा नदी की बाढ़ में बालूचर गाँव के डूब जाने के बाद यह कला बांकुड़ा जिले के विष्णुपुर पहुँची। अब विष्णुपुर व बालूचरी एक-दूसरे के पर्याय बन गए हैं। पहले विष्णुपुर में मल्ल राजाओं का शासन था। उस दौरान यह कला अपने निखार पर थी। मल्ल राजाओं ने इलाके में टेराकोटा कला को काफी बढ़ावा दिया था। वहाँ टेराकोटा के मंदिर हर गली में बिखरे पड़े हैं। बालूचरी साड़ियों पर भी इन मंदिरों का असर साफ नजर आता है। इन साड़ियों की खासियत यह है कि इन पर पौराणिक गाथाएं बुनी होती हैं। कहीं द्रौपदी के विवाह का प्रसंग है तो कहीं राधा-कृष्ण के प्रेम का। महाभारत के युध्द के दौरान अर्जुन को गीता का उपदेश देते हुए भगवान कृष्ण की तस्वीर भी इन साड़ियों पर नजर आती है। पूर्व में मुगल व युरोपियन पल्लू (आँचल) में चौंहसिया (चौकोर) व बीच में कलगा लगाकर सजाया जाता था। इस साड़ी की बुनाई में कम से कम तीन व्यक्तियों को लगना पड़ता था क्योंकि इसमें तीन तरह के डिज़ाइन बेल, बादशाह, बूटा एक साथ चलते हैं तथा इस साड़ी को तैयार होने में लगभग एक महीना लग जाता है।
लेकिन रेशम के बारीक धागों से इन कहानियों को साड़ी पर उकेरना कोई आसान नहीं है। दो मजदूर मिल कर एक सप्ताह में एक साड़ी तैयार करते हैं। काम की बारीकी के हिसाब से उस साड़ी की कीमत एक से दस हजार रुपए तक होती है। लेकिन बुनकरों या कलाकारों को इसका फायदा नहीं मिल पाता।
बुनाई के बाद साड़ियों पर चमक लाने के लिए उनकी पालिश की जाती है। किसी जमाने में यह साड़ियां बंगाल के रईस या जमीदार घरानों की महिलाएं ही पहनतीं थी। अब भी शादी-ब्याह के मौकों पर यह साड़ी पहनी जाती है।
विष्णुपुर में अगस्त में एक साँप उत्सव भी आयोजित किया जाता है। कोलकाता से विष्णुपुर पहुँचने के लिए कई ट्रेनें और बसें चलती हैं जो लगभग चार घंटे में पर्यटकों को यहाँ पहुँचा देती हैं। विष्णुपुर मेले के दौरान पाँच दिनों तक सांस्कृतिक कार्यक्रम भी आयोजित किए जाते हैं। यहाँ मेले के प्रति पर्यटकों की बढ़ती दिलचस्पी को ध्यान में रखते हुए कई नए होटल बन गए हैं। इसलिए रहने की कोई दिक्कत नहीं है।
भारतीय परिधान का इतिहास

भारत में वस्त्र का प्रचलन अति प्राचीन काल से है। सिन्धु घाटी की सभ्यता की खुदाई में प्राप्त मूर्तियाँ अलंकृत वस्त्रों से सज्जित हैं। भारतीय लोग मुख्यतः कपास से बने वस्त्र पहनते थे जो स्थानीय कपास से बनाए जाते थे। भारत उन गिनी-चुनी संस्कृतियों में से है जहाँ २५०० ईसापूर्व और शायद उससे पहले भी कपास की खेती की जाती थी।
प्राचीन भारतीय परिधान के अवशेष सिन्धु घाटी की सभ्यता के स्थानों से प्राप्त हुए हैं, शिलाओं पर काटकर बनाई गयी मूर्तियों पर हैं, गुफाओं में बने चित्रों में हैं, तथा मन्दिरों उर अन्य स्मारकों में निर्मित मानव चित्रकलाओं में भी हैं। इनमें ऐसे वस्त्र देखने को मिलते हैं जिन्हें शरीर पर लपेटा जा सकता है। साड़ी, धोती, पगड़ी आदि का उदाहरण लिया जाय तो लगता है कि पारम्परिक भारतीय परिधान अधिकांशतः शरीर पर लपेटे या बांधे जाते थे।
धोती

धोती मुख्य पारंपरिक भारतीय परिधान है जो अब गांवों में तथा शादी-विवाह तथा अन्य अनुष्ठानों में ही दिखता है। यह सम्पूर्ण हिन्दू समुदाय में अपने विभिन्न नामों तथा पहनने के ढंग के कारण काफी व्यापक है। उदाहरणार्थ तमिलनाडु और बिहार के पहनने की शैली भिन्न है।
हिन्दी तथा कुछ अन्य उत्तर भारतीय भाषाओं में इसे धोती के अलावा बांग्ला में धुती (ধুতী), तमिल में वेष्टी (வேஷ்டீ), मलयालम में मुण्डु (മുണ്ഡു) तथा तेलगु में पंचा (పంచా) और कन्नड़ में पंचे (ಪಂಚೇ) भी कहते हैं (बांग्ला छोडकर अन्य अहिन्दी भाषाओं की वर्तनी अशुद्ध हो सकती है।)
दुपट्टा

भारतीय परिधान सलवार कुरता का एक अभिन्न अंग है। सलवार कुर्ते के तीसरे वस्त्र को दुपट्टा कहा जाता है। दुपट्टे को 'चुन्नी', 'ओढ़नी', 'शाल' एवं अन्य नामों से भी जाना जाता है। दुपट्टे का प्रयोग प्राचीन काल से घाघरे, साड़ी अथवा सलवार सूट के साथ किया जाता रहा है। ग्रामीण भारतीय महिलाएं दुपट्टे को सर पर इस तरह से ढकती हैं ताकि उनके सर व चेहरे का अधिकतर भाग दुपट्टे से ढका रहे। यह प्रथा भारत के उत्तरी हिस्सों में खास तौर पर देखने को मिलती है।
नए ज़माने में दुपट्टे ने अलग रूप ले लिया है और बहुत से फैशन डिज़ाइनर दुपट्टे को परिवर्तित करके अंतर्राष्ट्रीय फैशन में इसे वरीयता दिला चुके हैं। दुपट्टा भारतीय एवं पाकिस्तानी फैशन में स्त्री एवं पुरुष दोनों के बीच लोकप्रिय है। हिन्दू और मुस्लिम विवाह में जहाँ एक और दुल्हन दुपट्टे से अपना सर ढकती है वहीँ दूसरी ओर दूल्हा दुपट्टे का प्रयोग शेरवानी के साथ करता है।
Lehenga-style sari

A lehenga-style sari is a modern garment introduced in India that blends elements of the traditional sari and lehenga choli. A lehenga-style sari is normally 4.5 metres (5 yards) to 5.5 metres (6 yards) long. To wear one, unlike a sari, one does not have to form pleats but may simply tuck and drape.
Like that of a traditional sari, the lehenga-style sari is worn over a petticoat (inskirt; pavadai or langa in the south, and shaya in eastern India, Lehenga in western India), along with a blouse called the choli, which is the upper garment. The style of choli mostly resembles that of the choli of a conventional lehenga or ghagra choli. Sometimes conventional blouses are also matched with lehenga-style sari. The choli is mostly of a halter neck style, deep neck, or backless style. As with choli worn with the sari, these cholis are also embellished with kundan, beads, mirrors, etc.
Various types of embroidery patterns are used for a lehenga-style sari. Bagh, chikan, kashida, kasuti, kantha, sozni, shisha, and zardozi are some of the commonly practiced types of embroidery in the lehenga-style sari.
Bagh is a special kind of embroidery done by women in Punjab to be worn during festivals and weddings. Bagh embroidery completely hides the base fabric and is a very heavy kind of embroidery. Kashida is a Kashmiri embroidery type. This is very colorful and depicts Kashmir in its patterns. The other most famous embroidery on lehenga-style saris is the kantha work and kasuti work of Bangalore.
Embellishments used in lehenga-style saris' patterns include silver embroidery, golden embroidery, metal beads, real pearls, wood beads, glass beads, mirror work, lace work, Kundan, sequins, glittering stones, and zardozi. Mostly rich fabrics like silk, georgette, brasso, brocade, chiffon, crepe, etc., are used in the making of a lehenga-style sari.
Compared with traditional saris, the method of draping a lehenga style is relatively simple and hassle-free. The plain end of the sari is tucked into the petticoat/inskirt and wrapped once completely around the waist, similar to wearing a regular sari. Whereas pleats would be formed in a traditional sari, at this point with the lehenga style one continues to tuck in the drape without making any pleats. (In a lehenga-style sari, pleats are replaced with embellished gotas or panels at the front, which imparts a flared silhouette that is characteristic of a lehenga-style sari.) Finally, the pallu is draped over the shoulder like a regular sari.
The only difference between a lehenga-style sari and a regular sari is that the lehenga-style sari does not require pleats to be formed at the front. A few lehenga-style saris come with side hooks to fit the sari snugly around the waist.
Telangana Thalli

The Telangana Thalli (lit. 'Mother Telangana') statue, was unveiled on December 9, 2024, by Chief Minister Anumula Revanth Reddy in the Dr. B.R. Ambedkar Telangana State Secretariat, representing the cultural identity, self-respect, and aspirations of the people of Telangana. Designed as a tribute to the state's heritage and struggles for statehood, it reflects the everyday woman of Telangana and serves as a unifying symbol of pride for the youngest state in India.
The concept of Telangana Thalli emerged during the Telangana statehood movement as a counterpart to "Telugu Thalli" in united Andhra Pradesh. It was intended to become a rallying symbol for statehood aspirations. Since then, the Telangana Thalli statue has gone through various changes over a period of time by various political factions of Telangana statehood movement.
Before 2014, under BRS (then TRS) party's leadership a statue was unveiled by changing the Telugu Thalli statue, by replacing Purnakalasham with Bathukamma pot. However, it was not officially notified nor universally accepted due to resemblance with Telugu Thalli and feudal charactaristics of the statue. Different political parties had given different imagery to the Mother Telangana concept.
After the Congress government assumed leadership of the Telangana Government on December 7 2023, the new Chief Minister Anumula Revanth Reddy envisaged the idea of having an official Telangana Thalli statue, that represents the wishes of revolutionaries and martyrs of separate Telangana statehood movement. He began public and political consultations towards the process of unveiling the statue on December 9, a significant date in the history of the state, as it was announced by then Home Minister P. Chidambaram, on this date that a separate Telangana state would be created by the Government of India.
The statue of Telangana Thalli portrays a woman dressed in a green saree, symbolizing prosperity and the agricultural abundance of Telangana. She is shown holding a sheaf of harvested crops on one hand, representing the state’s agrarian roots and fertile lands, while her posture exudes confidence and hope. She shows Abhaya Mudra with another hand, blessing the state's people with prosperity. Her saree is tied near the waist reflecting a woman adjusting her saree to get ready to work or fight. Adorned with traditional jewelry, the Telangana Thalli statue reflects the rich cultural heritage of Telangana, and emphasizes the nurturing identity of a mother figure.
Designed to reflect the appearance of a woman, a mother from Telangana, the statue stands 20 feet tall and embodies the state’s cultural essence. The government emphasized that the statue’s design aims to preserve and celebrate Telangana’s cultural heritage.
Further, the statue represents:
The statue was sculpted by Architect Ramana Reddy and conceptualised by CM Revanth Reddy and Professor Gangadhar, JNAFAU.
The Telangana government issued orders (GO Ms. No. 1946) recognizing Telangana Thalli statue as official symbol of Telangana, establishing the following:
Panapanahon sa Bibliya

Ang mga panapanahon sa Bibliya ay ang mga petsa, kaarawan, panahon, o nasasakop na kapanahunang itinakda - nakaugalian man, pagtataya, o tiyakang matutukoy - para sa mga pangyayaring naganap o nabanggit sa Bibliya. Kaugnay ng mga pagkakasunud-sunod ng mga kaganapan noong pinakamaagang mga panahon, partikular na ang nasa Lumang Tipan ng Bibliya, maaari lamang makapagbigay ng mga tinatayang petsang nakapaloob sa isang piniling daantaon. Hinggil sa mas huling bahagi ng ikalawang milenyong BK (bago dumating si Kristo), may tiyakang makapagtatakda ng kaarawang nasa loob ng piniling dekada, dahil ito sa mga natuklasang mga mas nakapagpapatibay na mga tala. Samantalang nakapagtakda naman ng petsang nasa loob ng piniling taon ang mga nangyari sa huling mga libong taon BK, bagaman may mga pagkakaiba-iba ang mga pagtataya ayon sa ginagamit na kalendaryo. May gumagamit ng kalendaryong lunar (ayon sa galaw ng buwan) at mayroong gumagamit ng solar (ayon sa galaw ng araw). Para sa kapanahunan ng Bagong Tipan ng Bibliya, mas lubos ang katiyakan ng pagtatakda ng mga pagkakasunud-sunod ng mga panahon ng mga pangyayari bagaman may mga petsang hindi talaga malalaman ng may katiyakan, katulad ng kapanganakan ni Hesus at ng kaniyang pagkakapako sa krus.
Narito ang isang payak na paglalarawan ng mga pagkakasunud-sunod o kronolohiya ng mga kaganapan sa Bibliya:
Canaan (ng Bibliya)

Ang Canaan o Canan (kasalukuyang Palestina) ay isang pook na nabanggit sa Bibliya. Ito ang lupaing ipinangako ng Diyos na ibibigay niya sa Israel. Matatagpuan ito sa silanganing dulo ng Dagat Mediteraneo kung saan nagtatagpo ang Asya, Europa, at Aprika. Tinatawag na mga Cananeo o mga Canaanita ang mga mamamayan ng Canaan, o mga taga-Canaan. Batay sa Aklat ng Henesis na nasa Lumang Tipan ng Bibliya, isang "lahing sinumpa ng Diyos" ang mga Cananeo.
Ang lathalaing ito na tungkol sa Heograpiya at Bibliya ay isang usbong. Makatutulong ka sa Wikipedia sa pagpapalawig nito.
Seksuwalidad sa Bibliya

Nagaganap ang Seksuwalidad sa Bibliya, partikular itong madalas na matutunghayan sa Bibliyang Hebreo na mayroong malawig na mga batas na tumataban sa paksang ito.
Kasama seksuwalidad na nabanggit sa Bibliya ang sumusunod na mga talataan o halimbawa:
Christ's Entry into Jerusalem (Haydon)

Christ's Entry into Jerusalem is an 1820 oil painting by English painter Benjamin Haydon, located in the Athenaeum of Ohio which is in Cincinnati, Ohio, United States. It depicts Jesus entering Jerusalem as described in the Gospels, the event celebrated on Palm Sunday. The painting features William Wordsworth, William Hazlitt and John Keats along with Isaac Newton and Voltaire, as faces in the crowd looking upon Jesus.
The painting depicts the entry of Jesus into Jerusalem on Palm Sunday on a massive scale typical of both Haydon's work and wider Regency era English paintings of the Romantic art school.
Following the 1814 completion and exhibition of his rendition of the Judgement of Solomon, Haydon began working on another grandiose biblical subject, Christ's entry into Jerusalem before his crucifixion. By December of 1817, Haydon had completed enough of the work to unveil it at his home to an audience of guests including William Wordsworth and John Keats, who were also meeting each other for the first time. Twenty years later, Haydon described the supper as "indeed an immortal evening."
In March of 1820, Haydon began advertising the commercial premiere of the work to be hosted at Egyptian Hall, after failing to find a commission for the painting. This exhibition was Haydon's first major endeavor as a commercial artist, and he borrowed the approach of street painters in nearby Leicester Square by selling programs with a key to understand the important portions of the work. However, wanting to preserve the upper-class nature of his work, Haydon first sent invitations to the members of the Royal Academy of Arts. This self-promotion caused Haydon to become the subject of mockery in the English art world, laughed at in caricatures in the newspapers of London. The biblical painting was also upstaged by the premiere of The Raft of the Medusa by Théodore Géricault, which was being shown next door to Haydon's work at the same time. Despite positive reviews, the painting failed to be purchased and Haydon re-entered it in the annual exhibition of the Royal Society of British Artists.
As a result of Haydon's ongoing financial troubles, the painting was sold to the firm of Childs and Inman in Philadelphia in 1831. For a time it formed the nucleus of the American Gallery of Painting, erected by his cousin John Haviland of Philadelphia. After being cut from its frame and dragged "like a wet blanket" from the building it was displayed in to save the painting from a fire in 1846, the painting came into the possession of Archbishop James Wood. Wood, in turn, gave it to bishop John Baptist Purcell of Cincinnati. It hung in the Cathedral Basilica of St. Peter in Chains and then was sent to the seminary of the Archdiocese of Cincinnati, Mt. St. Mary's of the West in 1929. It received a restoration by personnel of the Cincinnati Art Museum in 1941. In 1961, it was installed in the atrium of Saint Gregory Seminary, and remained there after Mt. St. Mary transferred its operations there.
Entry of Christ into Jerusalem (van Dyck)

Entry of Christ into Jerusalem is a 1617 oil painting by Flemish artist Anthony van Dyck, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It depicts Jesus entering Jerusalem as described in the Gospels, the event celebrated on Palm Sunday.
Van Dyck's presentation of Jesus' entry into Jerusalem is quite consistent with the biblical accounts. The ass foal he rides is almost entirely enveloped by his robes of rich blue and crimson. He is surrounded by his disciples on foot, and jubilantly welcomed by a crowd of locals who lay branches in his path. It is a very youthful, vigorous work, full of bright colors and slashing brushstrokes. The restlessness and muscularity of the figures are very Baroque. The naturalism and large size of figures gives them tremendous immediacy, lending drama to the narrative.
Painted when van Dyck was only about 18, Entry of Christ into Jerusalem demonstrates his early mastery of the medium. He was already Peter Paul Rubens' principal assistant. While already working on developing his own, more robust style, van Dyck was heavily influenced by Rubens, as can be seen in the vibrant colors, dynamic composition, and grand scale.
From November 2012 to March 2013, this painting was on display at the Prado as part of an exhibit called "The Young van Dyck." Covering his output from ages 16 to 22, this exhibit collected some 90 artworks from when he resided in Antwerp. This tally included 30 large, ambitious artworks like Entry of Christ into Jerusalem. This particular work, though, was noted as one of his most experimental, as the young artist sought to heighten the visual impact of his works.
Entry of Christ into Jerusalem was purchased by Mr. and Mrs. Herman C. Krannert in 1958 as a gift for the Herron School of Art, which later evolved, in part, into the IMA. It is currently on view in the William C. Griffith Jr. and Carolyn C. Griffith Gallery and has the accession number 58.3.
List of English Bible translations

The Bible has been translated into many languages from the biblical languages of Aramaic, Greek, and Hebrew. The Latin Vulgate translation was dominant in Western Christianity through the Middle Ages. Since then, the Bible has been translated into many more languages. English Bible translations also have a rich and varied history of more than a millennium.
Included when possible are dates and the source language(s) and, for incomplete translations, what portion of the text has been translated. Certain terms that occur in many entries are linked at the bottom of the page.
Because various biblical canons are not identical, the "incomplete translations" section includes only translations seen by their translators as incomplete, such as Christian translations of the New Testament alone. Translations comprising only part of certain canons are considered "complete" if they comprise the translators' complete canon, e.g. Jewish versions of the Tanakh.
Translations from Syriac to English include:
This list does not include adaptations of such as the Hebraic Roots Version by James Trimm (2001) which are adaptations from the JPS New Testament (translated directly from Greek into Hebrew), not the Peshitta.
Buenavista (estación)

Buenavista es una de las estaciones que forman parte del Metro de la Ciudad de México, es la terminal poniente de la Línea B. Se ubica en el centro de la Ciudad de México, en la alcaldía Cuauhtémoc.
El nombre de la estación se debe a la cercana Estación de Ferrocarriles Buenavista por lo que la imagen de la estación es la parte de enfrente de una locomotora que hace referencia a la terminal que se encuentra en esa zona y que actualmente es la terminal del Tren Suburbano.
En su correspondencia con la línea B el número total de usuarios para 2014 fue de 6,635,446 usuarios,​ el número de usuarios promedio para el mismo año fue el siguiente:
La siguiente tabla muestra la afluencia de la estación en los últimos 10 años:
En 2021, Buenavista se convirtió en la 9° estación más utilizada de la red, al registrar una afluencia de 33,190 pasajeros que utilizaron esta estación a diario.​
Existen conexiones con las estaciones y paradas de diversos sistemas de transporte:
Kiosco de la ex oficina Salitrera Iris

El Kiosco de la ex oficina Salitrera Iris se encuentra en la Salitrera iris que está ubicada en el Cantón de Lagunas, a 80 kilómetros al sur de Pozo Almonte, en la región de Tarapacá y estuvo operativa entre los años 1914 y 1955. El Kiosco en sí se encuentra en la parte central de la Salitrera Iris.
El 8 de octubre de 1990, fue declarado Monumento Histórico por el decreto N° 706.​
Entre las décadas de 1880 y 1920 Chile pasó por el ciclo salitrero, donde la región de Tarapacá vivió una época de auge, debido al gran crecimiento de la industria salitrera.
Los asentamientos de la industria fueron denominados oficinas, donde existieron muchos campamentos en plena pampa entre la Región de Tarapacá y Antofagasta. Estos lugares eran completos, tenían instalaciones destinadas para la vivienda del obrero, policlino, escuela, pulpería, zonas de tratamiento minero y más dependiendo de que tan grande era la oficina.​
La oficina Iris se conforma con los edificios tradicionales de una oficina salitrera, el área residencial está en el sur del campamento, los equipamientos en el lado norte, excepto la iglesia y mercado y en el espacio central más cercano a las viviendas, se encuentra el Kiosco de música de la plaza, el cual fue el centro de la vida social de la oficina, este lugar se desarrollaron las distintas actividades de carácter público.​
La Compañía Astoreca y Quiroga fue la primera propietaria de la oficina, luego pasó a las manos de la sociedad Astoreca y Urruticoechea, hasta su clausura, que ocurrió en 1957, no obstante, en la década de los años 90 fue comprada por la empresa holandesa DSM y más tarde por Soquimich, empresa que conserva su propiedad hasta la actualidad.
Soquimich ha alterado algunas condiciones originales de la oficina Salitrera iris,​ siendo algunas de ellas de carácter leve hasta modificaciones más severas, pero de la oficina original, se han conservado en excelente estado la Casa de la Administración, la capilla y el Kiosco.
El 8 de octubre de 1990, estos inmuebles de la Ex Oficina Salitrera Iris fueron declarados Monumento Histórico, por su valor patrimonial y por ser testimonio de la vida en la pampa salitrera a comienzos del siglo XX.
Plaza Juárez (Cananea)

La Plaza Juárez o Benito Juárez se ubica en la ciudad de Cananea, al norte del estado de Sonora, México. Es catalogada como sitio histórico de la ciudad debido a su antigüedad. Fue inaugurada el 5 de mayo de 1905, mandada a construir por la señora Mery de Greene, importante ciudadana de esa época, quién donó también el terreno donde se construyó.​ Una característica de la plaza, es que es de las pocas que tienen un barandal o cerco en su perímetro.​ El lugar está catalogado por el Instituto Nacional de Antropología e Historia (INAH) como un Conjunto Arquitectónico, esto para su preservación.​
Los trabajos de construcción de la plaza iniciaron en el año de 1904, todo gestionado por Mery de Greene y el entonces presidente municipal Eduardo R. Arnold, la señora donó 2 hectáreas para situar la plaza frente al palacio municipal de la ciudad, con una inversión de 25 mil pesos. El kiosco hecho de hierro, un busto en memoria del expresidente de México Benito Juárez García, el cerco y las banquetas, fueron finalizadas el 7 de julio de 1907. El 15 de septiembre de ese mismo año, se realizó una ceremonia para inaugurar su kiosco.​ Actualmente, el sitio se usa para la recreación social, para eventos culturales y cívicos.
Kiosco policial

El kiosco de policía es un kiosco o casilla de vigilancia policial que se encuentran distribuidas en distintos lugares de Uruguay, y principalmente en la ciudad de Montevideo. Estas tenían como función contribuir a la seguridad pública y servir de comisarías de cercanía.
Los kioscos de policía comenzaron a aparecer en la ciudad de Montevideo en los años cuarenta, principalmente durante el gobierno de Alfredo Baldomir. Estas construcciones, de estilo art deco coronadas por el Escudo Nacional en su centro, cuentan con servicios higiénicos, una pequeña celda en su interior y el puesto de vigilancia utilizado por el efectivo de policía designado, quien además tenían la obligación de tener el pabellón patrio durante las horas estipuladas. Las mismas fueron proyectadas por el arquitecto Juan Carlos Costa.​
Tales construcciones son en su mayoría parte del mobiliario urbano de la ciudad de Montevideo y gozan de un amplio interés arquitectónico y patrimonial, estando presentes en diversas plazas, parques y ramblas de la ciudad homónima.
Debido a los cambios en materia de seguridad pública estás construcciones dejaron de ser utilizadas para su principal función, encontrándose algunas en abandono.
Distintas instituciones gubernamentales y civiles han presentado diversos proyectos para la utilización de estos espacios.​
En 2020, una iniciativa presentada por el alcalde del Municipio CH, Andrés Abt y el Ministro del Interior,Jorge Larrañaga pretendía convertir y destinar estos espacios a proyectos solidarios. Tal proyecto se haría realidad en 2021 con la firma de un convenio entre el Ministerio del Interior, el Municipio CH, la Agencia Nacional de Desarrollo y la Universidad Católica del Uruguay quienes llamaron a concurso a diversos proyectos sociales para la utilización de dichas construcciones. Dicho proyecto recibió la denominación de “Garitas para emprendedores, Andrés Abt”, en honor a su impulsor, fallecido a consecuencia del virus SARS-CoV-2. Finalmente en 2022 se restauro y reciclo el primer kiosco policial para ser convertido en una librería solidaria, la cual se compromete a que por cada libro vendido donará otro a una escuela pública.​ Posteriormente se inauguraron otros emprendimientos.​
Los municipios E y F de Montevideo anunciaron que llevarían dicho proyecto a sus territorios. Se estima que en la ciudad de Montevideo hay un total de 34 kioskos policiales.
Kiosco Mundial

El Kiosco Mundial (conocido popularmente como el Mundial o también el Chiringuito) fue un popular quiosco de Palma (Islas Baleares, España) de notable valor artístico y arquitectónico. Estuvo situado en los actuales Jardines de Joan Alcover, en la Plaza de la Reina de la ciudad. Tuvo sus orígenes a principios del siglo XX, ampliado en 1914 y construido definitivamente en 1924. Fue derribado en 1949.​
A principios del siglo XX ya existía un quiosco de madera y pequeñas dimensiones en la Plaza de la Reina de Palma (entonces llamada de la Libertad) dedicado a la venta de refrescos, como muchos otros en cualquier parte de la ciudad. En 1905 obtuvo la concesión Bernat Cortés Fuster, pequeño empresario responsable de que el pequeño establecimiento fuese creciendo a lo largo de los años.​
Hacia junio de 1914 Cortés levantó un nuevo quiosco, coincidiendo con la inauguración por parte del Ayuntamiento de Palma del nuevo ajardinamiento de la zona. Éste era más capaz e incorporaba terraza exterior; pero estéticamente todavía no tenía una apariencia singular ni valor arquitectónico significativo, ni el nombre con el que fue bautizado posteriormente.​
A principios de 1924 Bernat Cortés propuso al Ayuntamiento levantar un nuevo edificio. Estuvo terminado a mediados de año y fue un destacado exponente de la arquitectura del hierro: constaba de planta octogonal irregular (más bien cuadrada, con las escuadras recortadas) con planta y piso, estructura de hierro forjado, amplios ventanales y estética cercana al Modernismo, con una apariencia híbrida entre templete e invernadero. En la planta baja el edificio mantuvo la función de quiosco de refrescos y en la planta superior añadió una librería, con sala de lectura y venta de prensa extranjera. Fue entonces cuando el local fue bautizado con el nombre de Mundial.​
Esta última construcción fue la definitiva y la que se convirtió en más popular, llegando a ser uno de los principales puntos de encuentro y de tertulias locales en la ciudad. Apareció en numerosas tarjetas postales de la época como uno de los elementos arquitectónicos más vistosos de la ciudad, dada su estratégica ubicación en pleno centro urbano y cercano a elementos clave de la ciudad como el Paseo del Borne, la Almudaina, el Círculo Mallorquín (actual Parlamento Balear) o los desaparecidos Teatro Lírico y Hotel Alhambra (actuales Jardines de s'Hort del Rei), además de encontrarse encarado hacia el Puerto, entonces principal punto de llegada a la ciudad.​
Con el tiempo fueron colocados varios paneles publicitarios en su fachada, lo que perjudicó su valor artístico y visual, y el edificio fue degradándose. También su ubicación hizo que fuera visto como un estorbo para ampliar los Jardines de Joan Alcover. En 1933 Bernat Cortés dejó la concesión del local a otros, que sucesivamente no mejorarían la situación del edificio. La opinión pública fue crecientemente adversa y el quiosco fue derribado a mediados de 1949, una vez caducada la concesión municipal y con la excusa de ejecutar la reforma urbanística de la zona.​
House of Vans (Ciudad de México)

House of Vans (Ciudad de México) un es un recinto cultural que se encuentra ubicado en el barrio de Mixcoac de la Ciudad de México.​ Este espacio es el tercer y último recinto inaugurado a nivel mundial, los otros dos se encuentran en Londres y Chicago.​
La propiedad en la que se encuentra establecido es conocida como la Casa Serralde o Casa Morisca, que perteneció a la familia Serralde Acosta. Fue diseñada por el ingeniero Enrique Olaeta, cuñado de Francisco Serralde, quien había viajado al Medio Oriente y construida entre 1893 y 1903. La casa destacó por su estilo moderno, funcional y elegante, que combinaba elementos de la arquitectura historicista islámica. Tras la reconstrucción de la casa, realizada por el arquitecto Ricardo Rodríguez Romero, el Instituto Nacional de Bellas Artes clasificó la propiedad como un inmueble de valor artístico en 1997.​
En un principio, la casa abarcaba un terreno de diez mil metros cuadrados. Incluía caballerizas, cancha de frontenis, sala de cine, plaza de toros y zoológico particular con diversas especies de aves exóticas y monos; un puente salvaba el río que atravesaba jardín adornado en su centro por un pequeño kiosco morisco.​ Su fachada que, anteriormente era de color blanco, luce cargada de arabescos, arcos de herradura enmarcan los ventanales que permitían la entrada de luz natural en las diferentes áreas de la casa, al tiempo que un hermoso minarete se levantaba sobre el inmueble.​
El interior de la casa tenía amplios espacios, los cuales combinaban el uso de materiales como la madera y el concreto, además de detalles decorativos que resaltaban su diseño. En ella destacaban el uso de columnas y vigas, así como la presencia de escaleras y pasillos que conectaban las diferentes áreas de la casa, como la sala de estar, la biblioteca y la cocina.
A lo largo de los años la propiedad ha sufrido una serie de cambios que ha transformado de manera drástica la apariencia que tenía durante su apogeo. En los años 1940, con la ampliación de la avenida Revolución diez metros de uno de los costados de su construcción fueron destruidos para dar paso a los carriles asfaltados. Tras el deceso de Don Francisco, el terreno fue fraccionado y vendido en partes para que la familia pudiera sustentarse.​
Luego del fallecimiento del último descendiente de la familia Serralde Acosta y de ser reconstruida y catalogada por el INBA como un inmueble de valor artístico, la casa fue vendida a un grupo de gallegos. En marzo del 2000, el inmueble pasó a convertirse en el centro de espectáculos Bulldog Café, donde se presentaban bandas y cantantes de rock. El 16 de febrero del 2023 la Casa Serralde se convirtió en un espacio de la marca Vans.​
Dentro del establecimiento se desarrollan actividades deportivas y culturales como skateboard, conciertos, arte urbano y diseño.​ Durante su inauguración, en febrero de 2023, se presentó el dúo de rock experimental Orange Country y las bandas Miami y The Garden.
Cuenta con un skatepark, bowl en el patio y en la azotea del recinto.
Morisco Kiosk

The Morisco Kiosk (Local: Kiosco Morisco, English: Moorish Kiosk) is a kiosk structure in Colonia Santa María la Ribera in Mexico City, Mexico. It is situated in the Alameda Park in the center of the Colonia neighborhood, at the intersection of Dr. Atl and Salvador Miron Streets, near Metro Buenavista. The kiosk is built in the neo-Mudejar architectural style that was prevailing in Spain in the 19th century. It is completely made of wrought iron with a glass cupola dome at the top. The kiosk is made of panels that can be disassembled and moved if needed.
The Morisco Kiosk was built by José Ramón Ibarrola as the Mexico Pavilion at the 1884 World’s Fair in New Orleans. It was then used for the Saint Louis Exposition in 1902. The Kiosk was brought back to Mexico after the events, and first installed on the south side of the Alameda Central in Mexico City. During the Centennial of the Mexican War of Independence it was decided to be moved to make way for the Benito Juárez Monument. Colonia residents petitioned for it to be moved to its present location.
The kiosk is built in the neo-Mudejar architectural style which was popular in Spain when this Kiosk was designed in the 19th century. Its neo-Mudejar style is a revival of the older Moorish influenced Mudejar architectural style. The Kiosk made of wrought iron with a glass cupola dome at top. The kiosk is designed for disassembling and moving when needed.
19°26′58.8″N 99°9′24.7″W﻿ / ﻿19.449667°N 99.156861°W﻿ / 19.449667; -99.156861
Neo-Mudéjar

Neo-Mudéjar is a type of Moorish Revival architecture practised in the Iberian Peninsula and to a far lesser extent in Ibero-America. This architectural movement emerged as a revival of Mudéjar style. It was an architectural trend of the late 19th and early 20th centuries that began in Madrid and Barcelona and quickly spread to other regions in Spain and Portugal. It used Mudéjar style elements such as the horseshoe arch, arabesque tiling, and abstract shaped brick ornamentations for the façades of modern buildings.
The first examples of Neo-Mudéjar buildings were the Aguirre School designed by Rodríguez Ayuso, the Plaza de Toros in Madrid built in 1874 (now demolished), and the Casa Vicens by Antoni Gaudí i Cornet. The style then became almost "compulsory" for the construction of bullfight rings all around Spain, Portugal and the Hispanoamerican countries. In Madrid it became one of its most representative styles of the period, not only for public buildings, like the Aguirre School or the bullring of Las Ventas, but also for housing. The use of cheap materials, mainly brick for exteriors, made it a popular style in new neighborhoods.
Neo-Mudéjar was often combined with Neo-Gothic by architects such as Francisco de Cubas, Antonio María Repullés y Vargas and Francisco Jareño. After the Ibero-American Exposition of 1929 in Seville, another stream of Neo-Mudéjar features appeared known as Andalusian Architectural Regionalism. The Plaza de España (Seville) or the ABC newspaper headquarters (Madrid) are examples of this new style that combined traditional Andalusian architecture with Mudéjar features.
Kasbah Mosque, Tangier

The Kasbah Mosque (Arabic: جامع القصبة) is a mosque in Tangier, Morocco, and the main mosque (Friday mosque) of the historic royal citadel (kasbah) in the old city (medina) of Tangier. It dates to the late 17th century.
The kasbah (citadel) of Tangier was built right after the city was evacuated by the English in 1684 and reclaimed by Morocco. The sultan of Morocco, Moulay Ismail, supported the city's resettlement and commissioned its reconstruction, overseen by its new governor, Ali ibn Abdallah Errifi. As the English blew up the city's fortifications before leaving, the city's defenses had to be almost entirely rebuilt. One part of this reconstruction involved establishing the Moroccan government's seat of power in the city within a self-contained fortified district, the kasbah (much as in other traditional Moroccan cities). This district had its own walls and included the Kasbah Palace with the governor's residence, a treasury, a courthouse, prisons, stables, residential quarters for the military, a parade ground or mechouar, and the mosque.
The mosque of the kasbah of Tangier was thus built by Ali Errifi, under Moulay Ismail's reign in the late 17th century. Errifi was also responsible for rebuilding the city's Grand Mosque further south. The mosque was expanded by Errifi's grandson, Ahmed, who added its minaret and ornate entrance. Its prayer hall was expanded under Sultan Muhammad ibn Abd al-Rahman (Mohammed IV), who ruled between 1859 and 1873. It was restored around 1889 for the visit of Sultan Moulay Hassan I. In 1921, the official in charge of religious foundations (habous) in the region restored the mosque but covered up much of its original decoration in the process, using new colors. Some of this cover-up has been cleared in recent years during renovations that finished around 2015.
The mosque is adjacent to the palace complex of the kasbah (now a museum), directly to its south. The mosque's interior is relatively plain, with white walls and rows of white Moorish arches (like many Moroccan mosques). It has a nearly plain mihrab (niche or arched alcove symbolizing the direction of prayer), and its small rectangular courtyard is not open to the sky but is roofed over. Its most distinguished elements are on the exterior. The entrance is on Ibn Abbou Street (an alley near the entrance to the museum/palace), sheltered under a small arched passageway covering the street at this point. The doorway, also shaped like a Moorish arch, is decorated with typical radiating geometric motifs whose empty spaces are filled with colorful zellij tilework. The minaret, rising above the entrance, is notable for having an octagonal shaft (instead of a square shaft like most Moroccan minarets) and for its decoration. Its facades are decorated with ornate blind arches, filled again with multicolored zellij tilework, and panels of sebka geometric motifs.
Patricia Riggen

Patricia Riggen (Guadalajara, Jalisco, 2 de junio de 1970) es una directora de cine mexicana, más conocida por dirigir las películas La misma luna (2007) y Lemonade Mouth (2011), original de Disney Channel.
Nació en Guadalajara, Jalisco.​ En su país de origen adquirió experiencia en el periodismo y escribió para documentales. Más tarde se mudó a la ciudad de Nueva York, donde recibió su máster en dirección y escritura de guiones por la Universidad de Columbia.​ Mientras asistía a Columbia, dirigió dos cortometrajes: The Cornfield (2002) y el documental Family Portrait (2004). El primero de ellos ganó varios premios en festivales de cine.​
En 2007 se estrenó La misma luna, su primera película importante, protagonizada por Kate del Castillo y América Ferrera.​
En 2010 fue elegida para dirigir Lemonade Mouth, película original de Disney Channel.​ También dirigió otros dos largometrajes: Revolución (2010) y Girl in Progress (originalmente titulado Ansiedad),​ protagonizado por Eva Mendes y Patricia Arquette, que se estrenó en 2012.
Su siguiente película fue Los 33, basada en el derrumbe de la mina San José.​​ La película fue lanzada en Chile en agosto de 2015.​
En 2016 completó la película Miracles from Heaven (Milagros del cielo) con Jennifer Garner, Queen Latifah y Eugenio Derbez, una historia cristiana contemporánea basada en el libro del mismo título, que narra la enfermedad y la recuperación milagrosa de una niña en Texas.
Actualmente vive en Los Ángeles.
Topo Gigio

Topo Gigio (Italian pronunciation: [ˈtɔːpo ˈdʒiːdʒo]) is a fictional anthropomorphic mouse, originally the lead character of a children's puppet show on Italian television in the early 1960s. The character, created in 1958 by artist Maria Perego, her husband Federico Caldura and fellow artist Guido Stagnaro, debuted on RAI in 1959 and has been customarily voiced by actor Giuseppe "Peppino" Mazzullo and later Davide Garbolino. His name literally translates to 'Louie Mouse', as topo is the Italian word for 'mouse' and Gigio is a nickname for Luigi ('Louis').
Topo Gigio was popular in Italy for many years: not only on TV, but also in comics, such as the classical Corriere dei Piccoli, cartoons, merchandising and films. The character's popularity spread around the world after being featured on The Ed Sullivan Show in the U.S. in 1963.
Today, Topo Gigio still has fans and has become an icon of Italian pop culture. He performs regularly at Zecchino d'Oro festival and other programs created by Antoniano and RAI. The character also spawned two feature-length films, The Magic World of Topo Gigio (1965) and Topo Gigio and the Missile War (1967), and two animated TV series that first aired in 1988 and 2020, respectively.
The puppet has made appearances and has a fan base in many other countries—including Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Dominican Republic, El Salvador, Ecuador, Guatemala, Japan, Mexico, Nicaragua, Honduras, Panama, Paraguay, Peru, Portugal, Puerto Rico, Romania, Spain, Uruguay, Venezuela and the former Yugoslavia.
The character has starred in several feature films, including: