davidanugraha/M4-RAG huggingface dataset:
Astri Andresen

Astri Andresen (født 3. juli 1955) er en norsk historiker. Hun er professor i historie ved Institutt for arkeologi, historie, kultur- og religionsvitenskap ved Universitetet i Bergen og er tilknyttet Rokkansenteret.
Andresen avla i 1983 hovedfag i historie ved Universitetet i Tromsø. I 1991 avla hun doktorgraden samme sted med en avhandling om nomadisk reindrift i Torne lappmark og Troms 1840–1920. I sin forskning har Andresen vært opptatt av minoritetshistorie, særlig samisk historie, helse- og medisinhistorie og barnehistorie. Andresen er leder av et nordisk forskernettverket i medisinhistorie. Hun er medlem av Advisory Board ved Centre for the Social History of Health and Health Care, Glasgow Caledonian University, og ved Centre for Health, Medicine and Society, Oxford Brookes University.
Andresen ble, som en del av Sigmund Grønmos rektorlag, i april 2009 utnevnt til viserektor for internasjonale relasjoner ved Universitetet i Bergen. I 2012 ble hun valgt inn i Det Norske Videnskaps-Akademi i gruppe for historie.
Rune Arnesen

Rune Arnesen (født 1965) er en norsk musiker og trommeslager. Siden slutten av 1980-årene har han spilt med artister som Nils Petter Molvær, Lars Fredrik Beckstrøm, Ketil Bjørnstad, Steinar Albrigtsen, Grethe Svensen, Jonas Fjeld, Rick Danko, Eric Andersen, Elisabeth Andreassen, Frode Alnæs og Åse Kleveland.
Tore Johnsen

Tore Johnsen (født 28. januar 1969 i Østfold) er en norsk teolog og prest. Han er aktiv innenfor samisk kirkeliv.
Johnsen har arbeidet som generalsekretær i Samisk kirkeråd for Den norske kirke (2009–2016) og var rådets valgte leder samtidig som har arbeidet som stiftskapellan for samer i Nord-Hålogaland bispedømme (2007–2009). Tidligere har han arbeidet som forkynner i Norges Samemisjon (1988–1990), konsulent i Samisk Kirkeråd (1994–1995) og sokneprest i Tana og Nesseby prestegjeld / Deanu ja Unjárgga báhppasuohkan (1998–2005). Han var sentral i utarbeidelsen av en ny nordsamisk salmebok (Sálbmagirjii II) og Strategiplan for samisk kirkeliv vedtatt av Kirkemøtet 2011. samt sogneprest i samekommunene Tana og Nesseby.
Johnsen har samisk grunnfag fra Universitetet i Tromsø (1992). Han er utdannet teolog (cand.theol.) med praktisk-teologisk eksamen fra Det teologiske menighetsfakultet (1997/1998). Johnsen hadde et studieopphold ved det teologiske urfolkssenteret Dr. Jessie Saulteaux Resource Centre, United Church of Canada i 1997 og har siden studietiden arbeidet teologisk med samiske og urfolksrelaterte temaer.
Johnsen er PhD student i World Christianity ved University of Edinburgh (2016–) og leder Kirkenes Verdensråds referansegruppe for urfolk (2015–).
I 2005 fikk Johnsen Olavsstipendet som dette året var utlyst som en idékonkurranse om å skrive en moderne katekisme. Stipendet resulterte i boka Jordens barn, Solens barn, Vindens barn. Kristen tro i et samisk landskap som kan beskrives som en kontekstuell katekisme som reflekterer over kristen tro i dialog med temaer fra samisk kultur, tradisjon og histore. Boka, som henvender seg til unge voksne og voksne, ble utgitt på nordsamisk i 2011 (Eatnama mánát, Beaivváža mánát, Biekka mánát. Kristtalaš osku sámi kultuvrras)
Ernst Manker

Ernst Mauritz Manker (opprinnelig Olsson, født 20. mars 1893 i Tjörn kommune, død 1. februar 1972 i Stockholm) var en svensk sameforsker og etnograf.
Faren var sjøkaptein og senere bonde. Ernst begynte først å abeide som bonde, men ønsket å studere. Han tok studentexamen som privatist i Lund 1921 og ble deretter fil.kand. fra Göteborgs högskola i 1924 med etnografi som hovedfag. Hans første jobb var ved Etnografiska museet i Stockholm, hvor han studerte afrikanske kulturer med vekt på Kongo. Dette ledet til boka Kristallbergens folk i 1929.
Studiereiser i samiske områder i 1920-årene – særlig en vandring i 1926, og de personlige kontaktene der, førte til at samene og samisk historie ble hovedevne i hans virksomhet. Da en særskilt samisk avdeling ble etablert på Nordiska museet i 1939 ble han sjef der. På den tiden hadde var han allerede godt i gang med sitt hovedverk: Die lappische Zaubertrommel (2 bind, 1938 og 1950). I tillegg til et populærfaglig forfatterskap utga han også bøker som The nornadism of the Swedish mountain Lapps (1953), Lapparnas heliga ställen (1957) og Fångstgropar och stalotomter (1960). Ved siden av samiske emner studerte og skrev han også om hjembygda Tjörn.
Manker var formann i Svenska fjällklubben 1949–1958, korresponderende medlem av Finsk-ugriska sällskapet fra 1942, æresmedlem av Royal Anthropological Institute 1947, æresdoktor ved Stockholms universitet 1953, og medlem av Skytteanska samfundet fra 1956.
Manker var ridder av Vasaordenen og offiser av den nederlandske Oranje-Nassau-ordenen.
Samefolket

Samefolket er et svensk samisk tidsskrift, som ble etablert i 1918 av juristen og redaktøren Torkel Tomasson. Det ble etablert under navnet Samefolkets egen tidning, og skiftet navn til Samefolket i 1960. Bladet er en videreføring av Lappernas egen tidning som Tomasson utga med 5 nummer i 1904–05 før det gikk inn.
Språket i tidsskriftet er i hovedsak svensk, men fra 2006 er 25 % av stoffet på samisk, som regel både nordsamisk, lulesamisk og sørsamisk i hvert nummer.
Luhkka

The luhkka (North Sami luhkka) is an article of winter clothing that covers the top half of a person's body. It is a poncho-like hooded cape with the hem coming down to the wearer's elbow or wrist. Luhkka are made from thick wadmal. It is used by the Sami of northern Scandinavia and Finland and is traditionally worn on top of the Sami gákti or fur coat (beaska).
Jokkmokk

Jokkmokk (Swedish: [ˈjɔ̌kːmɔk]) is a locality and the seat of Jokkmokk Municipality in Norrbotten County, province of Lapland, Sweden, with 2,786 inhabitants in 2010. The Lule Sámi name of the place (composed of the individual words jåhkå and måhkke) means "River's Curve," due to the meandering river that runs through it. As in other towns in Lapland, the Swedish language is dominant at an official level in Jokkmokk in modern times. The settlement is just north of the Arctic Circle. Talvatissjön is located at the southern part of Jokkmokk.
Jokkmokk is an important locality for the Sámi people and the location of several institutions related to them, including an education centre, the Ájtte museum, and an office of the Sámi Parliament of Sweden.
Jokkmokk was a transit center for Sámi refugees from Norway during World War II, in addition to the centre in Kjesäter.
Jokkmokk Market has been taking place since 1605. On the first Thursday in February every year, thousands of people gather in the town for concerts, exhibitions and trade in one of the most important social events for the Sámi people in Sápmi. Temperatures during the festival can drop as low as −40 °C (−40 °F).
Influenced by its inland and northerly position, Jokkmokk's variety of a subarctic climate (Dfc) is very cold by Swedish standards. Summers are normally relatively mild, with midnight sun, and the dark winters are long and cold, although polar night is not quite observed with a sun angle of 0.4° at the winter solstice. Combining an elevation of 250 metres (820 ft) with being at the foot of the Scandinavian Mountains, Jokkmokk is both cooled down during the day and experiences temperature inversion during night. This combination makes it the coldest municipal seat in Sweden in terms of winter temperatures, although some rural localities in Lapland are even colder.
Four Winds hat

The Four Winds hat (in Northern Sami čiehgahpir) is one version of traditional man's hat of the Sami. The basis is a simple blue cylinder, decorated with a band with braid patterns, but the top is a large, four-cornered star, colored bright blue with parts bright red and yellow. The decoration in an actual Sami hat is, like the rest of the Sami garb, indicative of the person's place of origin or even his clan or marital status, a little like the Scottish tartan.
The hat is four-cornered to represent the four corners of the earth, which the early Sámi believed to be square. Traditionally, the hat was blue to represent the sky and had white, yellow, or red trim. The corners were stuffed with down for warmth and to allow the hat to keep its shape. Small items could also be stored in the corners of the hat.
The hat was originally not based on a Russian pattern, because Russians never had such a pattern, so the Sámi could not have had learned in contact with Russians on the coast of the Barents Sea, but they were and are the most traditional Polish cap, symbol of honour and resistance, worn by Polish insurgents exiled to the Kola Peninsula in times when Syberia was not yet used as a place of exile. The top of the Sámi hat was a bit exaggerated and the hat decorated with the traditional bright-colored embroidery to produce the Four Winds hat.
Today, the hat is a common souvenir for visitor to the Laplands, which scholar Maaria Niskala cites as an example of how Sáminess is 'othered' in promotional tourism materials.
Sámi Conference

The first international Sámi Conference was officially opened in Jokkmokk, Sweden on August 31, 1953 and closed four days later on September 3. Since then, the Sámi conferences have come to be important venues for the Sámi across Norway, Sweden, Finland and Russia to come together and discuss critical Sámi issues. Delegates have used the conferences as a forum to approve cultural symbols such as the Sami flag, the Sámi anthem Sámi soga lávlla, and Sami National Day.
Goahti

A goahti (Northern Sámi), goahte (Lule Sámi), gåhte (Pite Sámi), gåhtie (Ume Sámi) or gåetie (Southern Sámi), (also gábma), (Norwegian: gamme, Finnish: kota, Swedish: kåta), is a Sami hut or tent of three types of covering: fabric, peat moss or timber. The fabric-covered goahti looks very similar to a Sami lavvu, but often constructed slightly larger. In its tent version the goahti is also called a 'curved pole' lavvu, or a 'bread box' lavvu as the shape is more elongated while the lavvu is in a circular shape.
The interior construction of the poles is thus: 1) four poles curved at one end (8–12 feet (2.4–3.7 m) long), 2) one straight horizontal center pole (5–8 feet (1.5–2.4 m) long), and 3) approximately a dozen straight wall-poles (10–15 feet (3.0–4.6 m) long). All the pole sizes can vary considerably.
The four curved poles curve to about a 130° angle. Two of these poles have a hole drilled into them at one end, with those ends being joined together by the long horizontal center pole that is inserted by the described poles. The other two curved poles are also joined at the other end of the long pole. When this structure is set up, a four-legged stand is formed with the long pole at the top and center of the structure. With the four-legged structure standing up to about five to eight feet in height, approximately ten or twelve straight "wall-poles" are laid up against the structure. The goahti covering, today made usually of canvas, is laid up against the structure and tied down. There can be more than one covering that covers the structure.
The differences between the goahti and the lavvu can be seen when looking at the top of structures. A lavvu will have its poles coming together, while the goahti will have its poles separate and not coming together.
The turf version of the goahti will have the canvas replaced with wood resting on the structure covered with birch bark then peat to provide a durable construction.
Traditionally, the Sami transported the whole disassembled structure by having their domesticated reindeer being used as a pack animal to carry or drag the poles while following their reindeer herd. Today, because of the awkward size of the curved poles, this structure is used less often by the Sami as a transportable shelter. When following their cultural tradition, the Sami more often use the Sami lavvu for their camping structure.
In the coastal areas the more resident coastal Sami used the peat goahti as a combined human living and livestock building until the Second World War.
Outi Pieski

Outi Pieski (born 1973) is a Sámi visual artist from Finland whose paintings, collages and installations employ traditional handicrafts such as the tassels of Sámi shawls to depict the light and landscapes of the far north. In 2017, she was honoured with the Fine Arts Academy of Finland Award.
Born in Helsinki in 1973, Outi Pieski is the daughter of a Sámi father and a Finnish mother. She was raised in Helsinki where she attended the Visual Arts School and the Academy of Fine Arts where she graduated in 2000. She also studied at the Sámi Education Institute in Inari.
Her paintings are frequently framed with the tassels of traditional Sámi shawls. She has also employed yarn, branches and ornamental quilts to enhance her works. She has recently sought to emphasize light and nature in the Arctic areas of the North, enhancing the cultural environment.
Pieski has exhibited widely with solo exhibitions in London's Southbank Centre (2017), at the Espoo Museum of Modern Art (2018) and at the Oulu Museum of Art (2019). Internationally, her works have been included in group exhibitions at Scandinavia House in New York, the Phillips Collection Museum in Washington, D.C. and at the Felleshus, Berlin.
Alebrijes Águila o Sol

Alebrijes Águila o Sol es un programa de televisión mexicano producido por Televisa que se enfoca en los sucesos de la economía mexicana.
En este espacio de opinión y análisis se da a conocer la situación económica de México, desde un punto de vista crítico y sencillo.
Dentro del programa se habla sobre las declaraciones referentes a la economía que dará un personaje público, además de desglosar aquellos términos económicos de difícil comprensión para el público general.
La conducción está a cargo de Maricármen Cortés, José Yuste y Marco Antonio Mares. Se emitió en domingo por 4TV en 2005 y el lunes por El Canal de las Estrellas en México los días lunes a las 11:30 p. m. hora de México (0230 UTC), y en la señal internacional de la misma emisora los martes a las 5:00 a. m. hora de México (0800 UTC).
Billie Tsien

Billie Tsien (Ithaca, Nueva York, 1949) es una arquitecta estadounidense. En 1986 fundó el estudio Tod Williams Billie Tsien Architects junto a su esposo Tod Williams, especializándose en la creación de escuelas, museos y otro tipo de organizaciones sin ánimo de lucro. En 2007 ambos fueron elegidos como miembros de la Academia de Artes y Ciencias de Estados Unidos por su contribución a la arquitectura.​
Tsien obtuvo una Licenciatura en Artes en la Universidad de Yale y el título de arquitecta en la UCLA en 1977. En la década de 1970 dictó clases en la Escuela de Diseño de Parsons, en el Instituto de Arquitectura del Sur de California, en la Escuela de Diseño de Harvard y en las universidades de Texas, Yale y Virginia. Junto a su esposo Tod Williams compartió la Cátedra Jane y Bruce Graham en la Universidad de Pensilvania en 1998, al igual que la de Eliel Saarinen en la Universidad de Míchigan en 2001 y 2002.​
Su estudio ha desarrollado reconocidos proyectos arquitectónicos como el natatorio de la Escuela de Cranbrook, la residencia Rifkind y el Instituto de Neurociencias en La Jolla, California, entre algunos otros.​ La obra más reconocida del estudio es el American Folk Art Museum de Nueva York, proyecto que recibió el premio Arup World Architecture Award al Mejor Edificio del Mundo, además de otras diez condecoraciones. La propiedad fue adquirida por el Museo de Arte Moderno de Nueva York y fue demolida en 2014.​
Tsien forma parte del consejo asesor de la Escuela de Arquitectura de Yale y fue una de las fundadoras de la Lower Manhattan Development Corporation, institución creada para la reconstrucción de la zona luego del ataque a las Torres Gemelas.​
Cultura popular (álbum de Siniestro Total)

Cultura popular es el título del segundo álbum en directo grabado por el grupo gallego Siniestro Total. Fue lanzado al mercado en 1997 por Virgin. Las canciones del álbum se grabaron en vivo en los conciertos que el grupo ofreció los días 9 y 10 de octubre de 1996 en el Palacio de Congresos y Exposiciones de Santiago de Compostela con motivo de la apertura del curso académico universitario 1996/97, para el que Mikel Clemente había preparado un espectáculo audiovisual protagonizado por el grupo y denominado Cultura popular. Los temas interpretados son versiones de grupos españoles de entre los sesenta y los noventa.
Navarra. Temas de Cultura Popular

Navarra. Temas de Cultura Popular fue una colección editada por la Dirección de Turismo, Bibliotecas y Cultura Popular de la Diputación Foral de Navarra, que llegó a unos 400 números sobre temas diversos, pero principalmente de carácter histórico, cultural y etnográfico. Se inició en 1967 a instancias del entonces máximo responsable, Jaime del Burgo Torres. Hacia finales del siglo XX se realizaron las últimas publicaciones.
Los números 368-369-370 presentan en un volumen un índice temático de todos los números anteriores.​ Sin embargo, posteriormente, aún se publicaron 30 números más por lo que estrictamente hablando son 397 títulos que abordan diferentes campos temáticos como historia y arte, heráldica municipal, geografía y naturaleza, literatura, biografías, música (especialmente la jota navarra), costumbres, vestimenta y tradiciones folklóricas (sanfermines, ermitas, romerías y devociones marianas), gastronomía y vino, deportes (pelota, caza, pesca), aspectos turísticos de varias localidades (eventos como el Misterio de Obanos, etc), el Camino de Santiago, etc.​
La relación de autores que participaron en esta colección supera el centenar (128). Del total, tan sólo 5 escritoras. Sin embargo, hay algo más de la mitad (52) repiten en algún número. Con todo, es una veintena de autores la más prolífica (239 números). A saber:
Centro de la Cultura Popular Canaria

El Centro de la Cultura Popular Canaria - CCPC nace en junio de 1977 en San Cristóbal de La Laguna (Tenerife) con el objetivo de la potenciar y difundir la cultura en todo el archipiélago canario y el desarrollo, conservación y difusión de la propia cultura canaria.
El CCPC cuenta con un proyecto editorial dedicado a la publicación de libros y enciclopedias de temas canarios (historia; literatura; poesía; política; denuncia social;...); el portal de internet Revista Digital San Borondón​ y la emisora de radio Radio San Borondón. También organizan eventos culturales de acceso libre y gratuito (presentaciones; conciertos; tertulias/debates; proyecciones de cine;...) en la propia Sala San Borondón, así como el Concierto de Reyes que se celebra en Las Palmas de Gran Canaria de la mano del grupo musical Non Trubada o el Festival Sabandeño en La Laguna que gira alrededor del grupo Los Sabandeños. El CCPC cuenta además con una recién creada agencia de noticias San Borondón Noticias.
El Centro de la Cultura Popular Canaria cuenta con un portal dedicado a la actualidad sociopolítica-medioambiental del archipiélago canario bajo el nombre de Revista Digital San Borondón.
Este portal de información fue lanzado a la red en el año 2007 y sus contenidos giran principalmente en torno a la actualidad sociopolítica-medioambiental, principalmente dando prioridad a aquellas noticias que no son del todo cubiertas por los medios de comunicación tradicionales (televisión; prensa; radio). También presta especial atención a la actualidad cultural de Canarias y al movimiento ciudadano.
El portal de la Revista San Borondón, también promueve los actos culturales de acceso gratuito que se celebran en la propia Sala San Borondón y da acceso a las emisiones en línea de Radio San Borondón.
La Revista San Borondón es la versión escrita de Radio San Borondón.
El CCPC cuenta con una colección de cientos de títulos editados en disco, entre cuyas temáticas cabe destacar: antologías poéticas; recuperación de la música tradicional canaria (Valentina la de Sabinosa); folclore/música raíz y la nueva canción canaria.
El CCPC ha editado hasta la fecha unos seiscientos títulos; es una de las editoriales canarias que más publican en la actualidad, tratando temas relacionados con Canarias.​
Amadeo o cómo salir del paso

Amadeo o cómo salir del paso (Amédée ou Comment s'en débarrasser) es una obra de teatro del escritor francés de origen rumano Eugène Ionesco. La obra se estrenó en 1954 y posteriormente fue publicada en 1962, en una colección de seis relatos por la editorial Gallimard con el título "La foto del coronel".; en la colección la obra lleva por título Oriflama.​
Los relatos que componen "La foto del coronel" son:
Amadeo y Magdalena son un matrimonio que no sale de su casa por una extraña razón: Ha aparecido un cadáver en la habitación donde duermen, que no para de crecer. Magdalena intenta mantener la calma, pero el cadáver llega hasta las puertas de la habitación. Entonces comienzan a tener extrañas visitas, que los hacen impacientarse aún más, es un cadáver venenoso y que crece, que no es más que la materialización de la muerte del amor entre ellos. La situación va tomando dimensiones desconocidas, desembocando la obra en una reunión de personajes en torno al bar del pueblo en el que se ponen de manifiesto las terribles consecuencias de la muerte del amor entre ellos.​
Personajes
Ionesco consideraba "Amadeo o cómo salir del paso" como una de sus obras irrepresentables. La obra habla de la incomunicación. Amadeo y Magdalena llevan años juntos, muere el amor y el autor lo escenifica como un cuerpo en descomposición que crece sin control en su habitación.​
En España se han hecho dos traducciones con títulos diferentes; literalmente se puede traducir por "Amadeo o cómo deshacerse de él" y las editoriales en español lo han titulado: "cómo salir del paso" (Losada) y "cómo librarse de él" (Alianza)
Alebrijes de Oaxaca

Alebrijes de Oaxaca Fútbol Club is a Mexican football team based in the city of Oaxaca, state of Oaxaca. They play in the second tier of Mexican football league, Liga de Expansión MX. The team was created when the Tecamachalco franchise won the Segunda División title and earned the promotion to the Ascenso MX. Due to poor infrastructure they were unable to participate, which led to the formation of the new Oaxaca franchise.
In the team's search for a new venue, the owners of the Tecamachalco franchise received support from the Oaxacan state government. They also received support from a group of businessmen led by Carlos Ojeda of Laredo, who wanted to bring professional football back to the state of Oaxaca.
On December 10, 2012, the president of the Liga MX, Ascenso MX, and Decio de María made the official announcement at the state capital building of the start of a new football club. The name of the club was changed to "Alebrijes" following a vote by the public. The new name refers to the colorful folk sculptures made in the state.
On July 20, 2013, they played their first Ascenso MX game, drawing 2–2 with Atlético San Luis. On April 9, 2014, Alebrijes lost the Clausura 2014 Copa MX finals against Tigres UANL by 3–0 at the Estadio Universitario.
On December 2, 2017, Oaxaca defeated FC Juárez on penalties to win the Apertura 2017 Ascenso MX tournament.
On May 28, 2019, Oaxaca had an administrative change, and the franchise belonging to Grupo Tecamachalco was paused for a year so that its owners could find a new city and remodel the administration of the club. Meanwhile, the franchise belonging to Zacatepec Siglo XXI (on hiatus between 2017 and 2019) was transferred to Oaxaca to ensure the continuity of Alebrijes in Ascenso MX. In the first tournament with the new board, the team won the championship by defeating Atlético Zacatepec with an aggregate score of 5–3, with this, the team won the second league title in its history, also being the last trophy awarded in the history of Ascenso MX.
Alebrijes de Oaxaca play their home matches at the Estadio Tecnológico de Oaxaca in Oaxaca City, Oaxaca. The stadium capacity is 14,950 people. Its surface is covered by natural grass.
Note: Flags indicate national team as defined under FIFA eligibility rules; some limited exceptions apply. Players may hold more than one non-FIFA nationality.
Goal Scoring Champions
Pedro Linares

Pedro Linares López (29 June 1906 – 25 January 1992) was a Mexican artist born in Mexico City known for coining the word and the concept Alebrije and its plural form Alebrijes that are zoomorphic Cartonería figures.
Pedro Linares began his career as a maker of the effigies known as Judas figures, traditionally made of carton during the Catholic Easter season in Mexico, and by making figurines for Diego Rivera, Frida Kahlo and other artists from the Academia de San Carlos School of Fine Arts in Mexico City. The "Alebrije" were created by Linares when he was 30 years old at 1936, allegedly after he suffered high fever and unconsciousness caused by peritonitis. During his convalescence in 1936, Pedro Linares López experienced a lucid dream that transported him to an unusual forest. In this dream, he encountered fantastic, polychrome creatures that proclaimed the word “alebrijes.” Among these dream figures were a winged donkey, a lion with a dog's head, and a rooster with bull's horns.
After peritonitis subsided, Linares began to materialize his vision and the art of making alebrijes was born. He wanted his family and others to know about the animals he dreamt of by taking a piece of paper and molding the figures from his memory and then painting them as he saw them in his dream.
Pedro Linares gained national and international attention following the 1975 documentary Linares: Artesano de Cartón from Judith Bronowski. Part of a documentary series on Mexican folk craft, it resulted in traveling workshops from the films' subjects. Among them was Manuel Jiménez Ramírez, a wood sculptor who took the concept of alebrijes from Linares and began producing wooden "Oaxacan alebrijes". Besides the material, Oaxacan alebrijes differ in being more realistic representations of animals and incorporating ideas of the nahual.
In 1990, Linares was awarded the National Prize for Arts and Sciences (Premio Nacional de Ciencias y Artes) in the Popular Arts and Traditions category, the highest decoration to artisans granted by the federal government of Mexico.
The work done by Linares for Diego Rivera is now displayed at the Anahuacalli Museum in Mexico City.
In the United States, exhibitions of his work were held at the Smithsonian Institution, The Children's Museum of Indianapolis, the Craft Contemporary, the Museum of Us and the Fullerton Museum Center.
Linares died at the age of 85 in 1992.
His three children and later grandchildren helped preserve Linares' name with the refined art of cartonería. Alebrijes continue to be produced by the Linares family and in other workshops across Mexico.
Museum of International Folk Art

The Museum of International Folk Art is a state-run institution in Santa Fe, New Mexico, United States. It is one of many cultural institutions operated by the New Mexico Department of Cultural Affairs.
The museum was founded by Florence Dibell Bartlett and opened to the public in 1953 and has gained national and international recognition as the home to the world’s largest collection of international folk art. The collection of more than 135,000 artifacts forms the basis for exhibitions in four distinct wings: Bartlett, Girard, Hispanic Heritage, and Neutrogena. The original building, a gift to the state from Bartlett, was designed by famed New Mexico architect John Gaw Meem.
The Girard Wing, with its popular exhibition, Multiple Visions: A Common Bond, showcases folk art, popular art, toys and textiles from more than 100 nations. The exhibition is unique in that it was designed by the donor, Alexander Girard, a leading architect and designer. The collection includes toys and dolls, costumes, masks, textiles of all kinds, religious folk art, paintings, beadwork, and more. More than a million visitors have passed through the doors into the special world of Girard since the exhibition opened in 1982. Popular with children and the young at heart, the exhibit attracts visitors back into the museum to find an old favorite, or discover a new treasure in the gallery. Multiple Visions: A Common Bond displays approximately 10% of the collection, the exhibit and collection serve as an inspiration and resource for scholars, artists and educators from around the world, from preschool to college level.
The Museum’s Neutrogena Collection — donated by former Neutrogena CEO Lloyd Cotsen in 1995 — comprises more than 2,500 textiles, ceramics and carvings from all over the world. The Hispanic Heritage Wing opened in 1988 and, at that time, was the only designated space for Spanish/Hispanic art in the state. This wing underwent renovation and reopened in the fall of 2009, continuing its spotlight on Hispanic folk art from New Mexico and beyond.
The Bartlett Wing, named in honor of museum founder Florence Dibell Bartlett, offers rotating exhibitions based on the museum collections and on field studies of specific cultures or art forms. Exhibition in this wing have ranged from Turkish, Tibetan and Swedish traditions to New Deal era art in New Mexico, recycled objects, mayólica, ¡CARNAVAL! and Dancing Shadows, Epic Tales: Wayang Kulit of Indonesia [4] and Macedonian Embroidered Dress [5] The museum is on Museum Hill in Santa Fe, and is home to the International Folk Art Market Santa Fe every July. The Museum of International Folk Art shares Milner Plaza with another state-run institution, the Museum of Indian Arts and Culture/Laboratory of Anthropology. Adjacent to both of these are the private Wheelwright Museum of the American Indian and Museum of Spanish Colonial Art and the Santa Fe Botanical Garden.
35°39′51″N 105°55′34″W﻿ / ﻿35.66406°N 105.92618°W﻿ / 35.66406; -105.92618
महाबलिपुरम के तट मन्दिर

तट मंदिर (ल. 725 ई.) विभिन्न मंदिरों और का परिसर है, जो बंगाल की खाड़ी के तट पर स्थित हैं। इस मंदिर को दक्षिण भारत के सबसे प्राचीन मंदिरों में माना जाता है जिसका संबंध आठवीं शताब्दी से है। यह मंदिर द्रविड वास्तुकला का बेहतरीन नमूना है। यहां तीन मंदिर हैं। बीच में भगवान विष्णु का मंदिर है जिसके दोनों तरफ से शिव मंदिर हैं। मंदिर से टकराती सागर की लहरें एक अनोखा दृश्य उपस्थित करती हैं।
महाबलीपुरम का तटीय मंदिर
पट्टदकल्लु मन्दिर परिसर

पट्टदकल्लु भारत के कर्नाटक राज्य में एक पट्टदकल्लु नामक कस्बे में स्थित एक मन्दिर परिसर है जिसमें ७वीं-८वीं शताब्दी में निर्मित कई हिन्दू एवं जैन मन्दिर हैं। यह युनेस्को विश्व धरोहर स्थल है अपने पुरातात्विक महत्व के कारण प्रसिद्ध है। चालुक्य वंश के राजाओं ने सातवीं और आठवीं शताब्दी में यहाँ कई मंदिर बनवाए। एहोल को स्थापत्यकला का विद्यालय माना जाता है, बादामी को महाविद्यालय तो पट्टदकल्लु को विश्वविद्यालय कहा जाता है। यहाँ कुल दस मंदिर हैं, जिनमें एक जैन धर्मशाला भी शामिल है। इन्हें घेरे हुए ढेरों चैत्य, पूजा स्थल एवं कई अपूर्ण आधारशिलाएं हैं। यहाँ चार मंदिर द्रविड़ शैली के हैं, चार नागर शैली के हैं एवं पापनाथ मंदिर मिश्रित शैली का है। पट्टदकल्लु को १९८७ में युनेस्को द्वारा विश्व धरोहर स्थल घोषित किया गया था।
विरुपाक्ष मंदिर यहाँ का सर्वश्रेष्ठ मंदिर है। इसे महाराज विक्रमादित्य द्वितीय की पत्नी लोकमहादेवी ने ७४५ ई. में अपने पति की कांची के पल्लव वंश पर विजय के स्मारक रूप में बनवाया था। यह मंदिर कांची के कैलाशनाथ मंदिर से बहुत मिलता जुलता है। वही मंदिर इस मंदिर की प्रेरणा है। यही विरुपाक्ष मंदिर एल्लोरा में राष्ट्रकूट वंश द्वारा बनवाये गये कैलाशनाथ मंदिर की प्रेरणा बना। इस मंदिर की शिल्पाकृतियों में कुछ प्रमुख हैं लिंगोद्भव, नटराज, रावाणानुग्रह, उग्रनृसिंह, आदि।
इसके अलावा संगमेश्वर मंदिर भी काफी आकर्षक है। यह मंदिर अधूरा है। इसे महाराज विजयादित्य सत्याश्रय ने बनवाया था। यहाँ के काशी विश्वनाथ मंदिर को राष्ट्रकूट वंश ने आठवीं शताब्दी में बनवाया था। निकटस्थ ही मल्लिकार्जुन मंदिर है। इसे विक्रमादित्य की द्वितीय रानी त्रिलोकमहादेवी द्वारा ७४५ ई. में बनवाया गया था। यह विरुपाक्ष मंदिर का एक छोटा प्रतिरूप है। गल्गनाथ मंदिर में भगवान शिव को अंधकासुर का मर्दन करते हुए दिखाया गया है। कदासिद्धेश्वर मंदिर में शिव की त्रिशूल धारी मूर्ति है। जम्बुलिंग मंदिर में शिवलिंग स्थापित है। ये सभी नागर शैली में निर्मित हैं।
यहां के जैन मंदिर पट्टदकल्लु-बादामी मार्ग पर स्थित है। ये मयनाखेत के राष्ट्रकूटों द्वारा द्रविड़ शैली में निर्मित हैं। यहां नौवीं शताब्दी के कुछ बहुत ही सुंदर शिल्प के नमूने हैं। इन्हे अमोघवर्षा प्रथम या उसके पुत्र कृष्ण द्वितीय ने बनवाया था। यहां का पापनाथ मंदिर वेसारा शैली में निर्मित है। ६८० ई. में निर्मित यह मंदिर पहले नागर शैली में आरम्भ हुआ था, पर बाद में द्रविड़ शैली में बदला गया। यहां के शिल्प रामायण एवं महाभारत की घटनाओं के बारे में बताते हैं। इस मंदिर में आलमपुर, आंध्र प्रदेश के नवब्रह्म मंदिर की झलक दिखाई देती है। यह मंदिर भी इसी वंश ने बनवाया था।
यहाँ के बहुत से शिल्प अवशेष यहाँ बने प्लेन्स के संग्रहालय तथा शिल्प दीर्घा में सुरक्षित रखे हैं। इन संग्रहालयों का अनुरक्षण भारतीय पुरातत्व सर्वेक्षण विभाग करता है। ये भूतनाथ मंदिर मार्ग पर स्थित हैं। इनके अलावा अन्य महत्त्वपूर्ण स्मारकों में, अखण्ड एकाश्म स्तंभ, नागनाथ मंदिर, चंद्रशेखर मंदिर एवं महाकुटेश्वर मंदिर भी हैं, जिनमें अनेक शिलालेख हैं।
निर्देशांक: 15°56′45″N 75°49′00″E﻿ / ﻿15.94583°N 75.81667°E﻿ / 15.94583; 75.81667
द्रविड़ भाषा-परिवार

द्रविड़ भाषा-परिवार दक्षिण भारत की कई सम्बन्धित भाषाओं का समूह है। यह भारत- यूरोपीय भाषा परिवार की एक शाखा है।
इसमें मुख्यतः तमिल, तेलुगु, कन्नड़, मलयालम और तुलू भाषाएँ आती हैं। उत्तर और पूर्व भारत की कुछ भाषाएँ जैसे ब्राहुई, गोंडी, कुड़ुख द्रविड़ भाषा-परिवार से सम्बंधित हैं। ये सभी भाषाएँ अश्लिष्ट-योगात्मक (Agglutinating languages) हैं और इनमें संस्कृत से कई शब्द भी हैं। इनमें से तमिल सबसे पुरानी है और उसे शास्त्रीय भाषा माना जाता है। इन भाषाओं कि लिपि ब्राह्मी लिपि से ही उत्पन्न हुई है। इन भाषाओं में ट, ण, ळ, ड़ (ड, ठ, ड) आदि ध्वनियाँ बहुत अधिक पायी जाती हैं।
द्रविड़ मुन्नेत्र कड़गम

द्रविड़ मुनेत्र कड़गम (शाब्दिक अर्थ - "द्रविड़ प्रगति संघ") जिसे द्रमुक नाम से भी जाना जाता है, तमिलनाडु की एक प्रमुख राजनीतिक पार्टी है। इसका निर्माण जस्टिस पार्टी तथा द्रविड़ कड़गम से पेरियार से मतभेद के कारण हुआ था। इसके गठन की घोषणा 1949 में हुई थी। इसका प्रमुख मुद्दा समाजिक समानता, खासकर हिन्दू जाति प्रथा के सन्दर्भ में, तथा द्रविड़ लोगो का प्रतिनिधित्व करना है।
हिन्दी विरोधी आन्दोलन में महत्वपूर्ण एवं प्रभावी भूमिका निभाने के कारण द्रविड़ मुन्नेत्र कड़गम का कद बढ़ता गया। भारत की स्वतन्त्रता के पश्चात तमिलनाडु में कांग्रेस की स्थिति मजबूत थी, परन्तु बाद में द्रविड़ मुनेत्र कड़गम के उभरने के कारण कांग्रेस कमजोर होती गई एवं द्रविड़ मुनेत्र कड़गम बढ़ती गई।2019 के चुनाव मे पार्टी ने 39 मे से 38 सीटे जीती और 2021 विधानसभा मे पार्टी के गंठबंधन ने 159 सीटे जीती। पार्टी ने चुनाव मे शानदार प्रदर्शन किया और इसके नेता एम के स्टालिन ने मुख्यमंत्री पद की शपथ ली DMK तमिलनाडु की सबसे बड़ी पार्टी है इस पार्टी की विचारधारा सबसे सबसे भिन्न है
Ardchros Chionn Eitigh

Ardchros agus Séadchomhartha Náisiúnta atá suite in aice le Cionn Eitigh, Contae Uíbh Fhailí, Éire is ea Ardchros Chionn Eitigh.
Tá Crois Chionn Eitigh ar thailte Chaisleán Chion Eitigh, a tógadh ar bhruach thiar Abhainn na Camchuairte, timpeall 1.5 km (1 mhíle) soir ó shráidbhaile Cionn Eitigh.
Thóg Naomh Finnian ó Chluain Ioraird (470–549) mainistir ar an suíomh, agus tá baint ag an ardchros leis an mhainistir seo.
Maíonn an finscéal áitiúil gur thóg Naomh Colmán an chros mar chomóradh ar thiontú a athar, Óengus mac Nad Froích (430–489), ag Naomh Pádraig. Clúdaíodh an chros le snoíodóireacht sa 9ú haois ag Máel Sechnaill mac Máele Ruanaid (b. 862), Ardrí na hÉireann.
Tá an chros déanta de ghaineamhchloch (ní de bhunús áitiúil) agus tá sí 2.4 m (7.9 tr) ar airde.
Ardchros an Fhásaigh Rua

Ardchros agus Séadchomhartha Náisiúnta atá suite in aice le Bré, Contae Chill Mhantáin, Éire, is ea Ardchros an Fhásaigh Rua, ar a dtugtar Crois Naomh Valery freisin.
Tá Ardchros an Fhásaigh Rua suite siar ó Bhré, díreach in aice le timpeallán Lána Berryfield, 0.5 km siar ó thuaidh ó Abhainn Bhré.
Bhí an chros ag Baile Maine ar dtús (thart ar 1.6km (0.99 mhíle) ón suíomh reatha), agus creidtear gur snoíodh é go déanach san 12ú haois. Tá crosa eile cosúil léi i gceantar Ráth an Dúin suite ag Ráth Michíl, Cill Gharraí agus Seanchill, agus tugtar “Crosa an Fhásaigh Rua” orthu le chéile; is dócha gur shnoigh an saor cloiche céanna iad.
Dar leis an scríbhneoir Sasanach Anne Plumptre (1760–1818), a d’fhan leis an teaghlach Walker ag St. Valery in 1814–15, tugadh an chros ó ghleann go dtí an Fásach Rua, agus sheas é ar dtús i lár banraí bige. Thaistealaíodh oilithrigh ó na mílte timpeall agus chaith siad go leor cosán síos go dtí an chros.
Tá an chros déanta as eibhear le banda grianchloch agus seasann sí 1.42 m (4.7 tr) ar airde agus tá sé 16 cm (6.3 orlach) ar leithead.
Tá íomhá de chéasadh Íosa ar an aghaidh thiar, agus tá dhá cheann daonna an-chaite ar an aghaidh thoir, an dá cheann le féasóg agus ceann b’fhéidir ag caitheamh mítéir. Tá dhá cheann eile ar an gcros: ceann ag sní isteach ó imeall theas an fháinne agus ceann eile suite ar an taobh thoir thuaidh den bhun.
Art mac Coinn

I Miotaseolaíocht na nGael, Ard Rí seanscéalach na hÉireann ab ea Art Mac Coinn (Sean-Ghaeilge Art mac Cuinn), aitheanta chomh maith mar Art Aonfhear (Art Óenfer).
De réir an seanscéil Echtra Condla, bhí deartháir aige darbh ainm Connla Dearg, a thit i ngrá le bansidhe agus chuaigh in éineacht léi go Mag Mell, never to be seen arís. Bhí Art ina aonar as sin amach, agus dá bharr a bhua- ainm Aonfhear. Deir Seathrún Céitinn ámh go raibh beirt deartháireacha aige, Connla agus Crionna, a mharaigh a n-uncail Eochaid Finn iad.
Thit Bé Chuille na dTuath Dé Danann i ngrá le hArt, ach ghéill sí a athair Conn a phósadh ina ionad nuair a fuair sí an t-eolas gur bhaintreach fir é, ar an mbonn go ndíbreofaí Art as Teamhair ar feadh bliana. Chuir an éagóir seo gorta ar fud na hÉireann, go dtí gur chuir Art iachall ar Bhé Chuille imeacht, tar éis di cluiche fichille a chailleadh.
I leagan eile den scéal, chuir Bé Chuille geis ar Art, tar éis dó féin cluiche fichille a chailleadh, faoinar éigean dó Éire a fhágaint go dtí go dtarrthála sé Dealbhchaomh (Delbchaem), bruinneall. Thug Art cuairt ar Thír na nIontas, ag tabhairt faoi bhaoil as cuimse. Bhí air máthair Dhealbhchaoimhe a mharú - pearsa osnádúrtha scanrúil a bhí inti, a thug na draoithe tuar di go maródh suiríoch a hiníne í. Nuair a d'fhill Art agus Dealbhchaomh go Teamhraigh, chuir Dealbhchaomh ar dhíbirt í Bé Chuille, agus tháinig torthúlacht na hithreach ar ais.
Tháinig Art i gcoróin i ndiaidh bás a dhearthár chéile Conaire Cóem, maraithe ag Nemed mac Sroibcenn sa Chath Gruitine.
I rith a réime, bhain mic Chonaire díoltas as Nemed agusa chomhghuaillí, mic Aillealla Auloim, sa Chath Cennfebrat i Mumhain. Gortaíodh mac altrama Ailealla Lugaid mac Con sa cheathrúin i rith an chatha, agus díbríodh é ó Éirinn. Rinne sé comhaontas le Benne Brit, mac rí na Breataine, bhailigh arm gallóglach, agus d'fhill ar Éirinn. Chloígh agus mharaigh sé Art i rith Cath Maigh Mucruimhe i gConnacht. Bhí sé i réim ar feadh fiche nó tríocha bliain.
De réir an tseanscéil, thug Olc Acha, gabha áitiúil, fáilte roimh Art an oíche roimh Chath Maigh Mucruimhe. Tugadh tuar d'Olc go dtiocfadh gradam mór dá shliocht, agus thug sé a iníon Achtan chun luí le hArt. Gineadh Cormac mac Airt an oíche úd. De réir Céitinn ámh, bean choibhche oifigiúil Airt ab ea Achtan, a thug sé spré bólachta di; ba í Medb Lethderg a bhean chéile agus máthair a pháistí eile.
Abhean

I Miotaseolaíocht na nGael, file na dTuatha Dé Danann, agus go háirithe Lugh, ba ea Abhean mac Bec-Felmas. Maraíodh Aonghas os comhair Mhidhreach, de réir Flann Mainistreach i Leabhar Gabhála na hÉireann.
D'fhéadfadh é go bhfuil an t-ainm fréamhaithe ón bPrótai-Cheiltis *Ad-bej-ānos, le brí litriúil ag-bualadh-fear nó b'fhéidir an smaoineamh cláirseach-greadadh.
Anu

I Miotaseolaíocht na nGael, ba bhandia í Ana (Sean-Ghaeilge Anu, gin. Anann). B'fhéidir gur bhandia í as a thoil féin, nó ainm eile don bhandia Dana. I Leabhar Gabhála na hÉireann, tugtar “Anand” mar ainm eile don bhandia Mór-Ríoghain. Óir go gcomhceanglaítear go minic a hainm le bandéithe eile, níl sé i gcónaí soiléir cé acu as comhthéacs atá i gceist.
In áiteanna sa Breatain, tá pearsa ann a luaitear mar “Gentle Annie”, ag iarraidh gan í a mhaslú. Déantar a mhacasamháil nuair a luaitear na sidhe mar “Na Daoine Maithe”.
D' fhéadfadh é go bhfuil an t-ainm Ana fréamhaithe ón ainm dé Prótai-Cheiltis *Φanon-.
Tá gaol ar leith ag Ana le Mumhain. Deirtear go bhfuil an dá chnoc aitheanta mar Dá Chích Anann, i gContae Chiarraí ainmnithe aisti.
Tá fianaise ann gurb ionann Ana agus Dana nuair a insítear i Sanas Cormaic: “Ana .i. máthair na ndéithe Gaelacha. Go maith do chothaigh sí na déithe.”
Maoin (Cill Dara)

Sráidbhaile beag i ndeisceart Chontae Chill Dara is ea Maoin (nó Maoin Cholm Cille). Tá sé ar an seanbhóthar N9 (ar sheachbhóthar anois) thart ar 80 km ó dheas ó Bhaile Átha Cliath. Níl ach cúpla céad duine ina gcónaí ann, séipéal, scoil náisiúnta, siopa amháin, agus ionad pobail beag. Tá teach tábhairne ann freisin, a dtugtar Moone High Cross Inn air.
Tá ardchros chloiche thart ar chiliméadar amháin ó Mhaoin ar an mbóthar go dtí Baile Átha Í. Tógadh san ochtú haois í, agus is í an sainchomhartha is suntasaí sa cheantar. Seasann sé i bhfothrach seanmhainistreach a bhfuil baint aici le Colm Cille. Creidtear gur thóg na Proinsiasaigh an eaglais in ómós Cholm Cille timpeall na bliana 1300.
Dáirine

Lucht ceannais próta-stairiúil na Mumhan roimh éirí na n-Eóganachta sa 7ú haois ab ea na Dáirine, aitheanta níos deireanaí go ríoraíoch mar Corcu Loígde. Is amhlaidh gur thángthas iad óna Darini de réir Tolamaes, agus gaolta leis na hUlaid agus Dál Riata as cúige Uladh agus Albain. Faightear a shinsearacht go minic sa Rúraíocht, aitheanta mar Chlanna Dedad, agus marfoirí Chú Chulainn. Meastar gurbh Érainn iad cách (féach freisin samhail stairiúil Uí O'Raithille). Sa ré stairiúil, léiríodh na Dáirine leis an Corcu Loígde, agus is dócha le muintire Uí Fidgenti agus Uí Liatháin agus roinnt clann stairiúil eile as Mumha agus Ulaidh araon. Sa seanghinealaigh, ba chuid de mhuintir Dáirine iad Dál Fiatach stairiúil na nUlad.
Tugtar scaití an t-ainm Dáirine do mhuintir Érann mar chúinne iomlán.
Dúradh gur shliocht iad Dáirine na Mumhan de phearsa darbh ainm Dáire (*Dārios), nó Dáire Doimthech, sinsear Corcu Loígde', agus/nó Dáire mac Dedad, athair Chú Raoi. Is dócha é gurb ionann iad an bheirt acu. Bhí na ginealeolaithe meánaoiseacha ar an eolas faoin mearbhall agus thug faoi ndeara é i Rawlinson B 502. Tá an Chlann Dedad ainmnithe as seanathair Chú Raoi, Deda mac Sin.
Is suntasach é go raibh clú agus cáil ag na Dáirine mar shainaicme mhíleata, os coinne a gcomharbaí talmhaíocha síochánta. De réir an scéil Táin Bó Flidais, ar cheann desna trí laoch-aicme na hÉireann ab ea Clanna Dedad (agus na cinn eile Clanna Rudraige, a gcolanna ceathrar Ulad, agus na Gamanrad as Irrus Domnann), a raibh gaol acu leis na Laigin.
Tá cáil ag na Dáirine sna seanscéalta as a réim géar crua fuilteach, i roinnt scéalta uafásach millteanach, ach d'fhéadfadh gur chumadóireacht staraithe agus scéalaithe é seo.
I measc na clanna ríoga ar marthain i gCúige Mumhan tá muintire Uí Eidirsceoil, Uí Laoghaire, Uí Chofaigh, Uí Aonghusa agus Uí Fhloinn, go léir de shliocht Lughaí Mhic Con. I gcúige Uladh, is iad na clanna Dál Fiatach ná mhuintir Uí Eachaidh agus Uí Dhuinnshléibhe.
D'fhéadfadh gurbh as clanna imeallacha na nDáirine ba ea semi-historical Mongfind agus Crimthann mac Fidaig leathstairiúil, ach ní féidir é seo a cruthú.
I measc pearsana seanscéalacha de mhuintir Dáirine, de shliocht Dáire mhic Dedad / Dáire Doimthigh, faightear:
An Riaisc

Láthair mhainistreach, nach bhfuil ann anois ach fothrach, is ea An Riasc, atá suite i gCorca Dhuibhne,1 km soir ó Bhaile an Fheirtéaraigh. Cuimsíonn an séadchomhartha seo fothraigh de shéipéal cloiche, gallán, agus bailiúchán de bhotháin chloiche nó clocháin, agus iad ar fad laistigh d'imfhalú cloiche singil. Gearrann balla cloiche inmheánach tríd an suíomh agus breathnaíonn sé gur roinn sé an suíomh idir an t-aireagal agus an reilig agus na spásanna cónaitheacha. Le linn tochailtí sna 1970dí fuarthas fianaise go bhféadfadh go raibh séipéal adhmaid ar an láthair sular tógadh an séipéal cloiche ann. Níl ann ach an bunsraith sa lá atá inniu ann. Tá roinnt leaca crosghearrtha ar an suíomh. Is í an ceann is suntasaí ná an gallán atá maisithe le cros Mháltach, bíseanna, ciorcail, agus móitíf de phéacóg. Ar an suíomh freisin tá bunsraitheanna de shraith bothán cloiche nó clocháin. Tá roinnt acu sin nasctha lena chéile. Nuair a bhí siad sin tógtha bhí siad an-chosúil leis na botháin 'choirceoige' den stíl thraidisiúnta tógála a bhí coitianta ar shuíomhanna eile ar Corca Dhuibhne.
Mainistir Thír Dhá Ghlas

Bhí Mainistir Thír Dhá Ghlas le fáil san áit a bhfuil sráidbhaile Thír Dhá Ghlas anois i gContae Thiobraid Árann, ar bhruach thoir thuaidh Locha Dheirg, mar a dtagann an tSionainn isteach.
Bhunaigh Colm Cille Thír Dhá Ghlas (a fuair bás ar an 13 Nollaig 552) an mhainistir in 549. Ba é mac Choilm mhic Chriomhthainn (Colum mac Crimthainn) é agus b’apstal é d’Fhionán, naomh a bhunaigh Mainistir Chluain Ioraird. Ba dhuine é de Dháréag Apstal na hÉireann.
Rinneadh ionad mór léinn den mhainistir. Is ann a scríobhadh an Leabhar Laighneach timpeall na bliana 1160, leabhar atá i dtaisce anois i gColáiste na Tríonóide. Díolaim mhór é de stair, de scéalta agus de dhánta i Meán-Ghaeilge, agus is dócha gurbh iad Áed Ua Crimthainn, ab de chuid an 12ú haois, agus cuid dá dhaltaí a rinne é.
Deir na hannnála gur tharla dóiteán in 801: “Tír Da Ghlas do losccadh”.
In 843, mar a deir na hannála, d’ionsaigh na Lochlannaigh (na “Gaill”) Tír Dhá Ghlas dhá uair.
Agus arís:
In 1164 dódh an mhainistir arís. Áitítear gur atógadh í agus gur dócha go bhfuair Canónaigh Rialta Agaistín seilbh uirthi.
Seo liosta as na hannála d’abaí agus d’eagnaithe a bhain le Mainistir Thír Dhá Ghlas:
Ardboe High Cross

Ardboe High Cross (Irish: Seanchrois Ard Bó) is a high cross and national monument dating from the tenth century located in Ardboe, County Tyrone, Northern Ireland.
The cross stands at the entrance to a cemetery and a monastery and a church from the seventeenth century which was founded in 590 by Saint Colman. The monastery was destroyed by fire in the twelfth century. It is believed to have been erected in either the ninth or the tenth century. The name "Ard Boe" means "hill of the cow" it comes from a legend that the monastery of Ardboe was built from the milk of a magic cow out of Lough Neagh. and forms the only remaining part of an early monastery on the site.
At around 18.5 feet (5.6 m), Ardboe High Cross is Northern Ireland's tallest cross. Although the head of the cross is damaged, it seems to be the only such cross in Northern Ireland to remain largely complete and original.
Around 590 AD, St Colman founded an abbey or monastery at Ardboe, on an elevated site overlooking Lough Neagh.
This cross is about 18.5 feet (5.6 m) high and 3.5 feet (1.1 m) wide. It depicts twenty two panels of Old and New Testament scenes.
The east face of the cross depicts the Old Testament scenes in particular which deals with Adam and Eve, the Sacrifice of Isaac, Daniel in the lions' den and the Three Hebrews in the Fiery Furnace. Two scenes are from the Genesis. The east face of the head of the cross depicts scenes: Christ's Second Coming and the Last Judgement.
The south side represents Cain murdering Abel, David (or Samson) and the lion, the fight of David and Goliath and the Desert Saints Paul and Anthony, fed by the raven.
The north side portrays the early life of Christ, including in his baptism at the bottom. The west face describes the Adoration of the Magi, the Miracle at Cana, the Multiplication of the Loaves and Fishes and Christ's entry into Jerusalem. The west face of the head of the cross is carved with scenes from the Passion of Christ and the Crucifixion.
St Mullin's Monastic Site

The monastic site in St Mullin's, County Carlow, Ireland, is an early medieval ecclesiastical site.
St Mullin's is located on the banks of the River Barrow, at the point where its tributary, the River Aughavaud meets it. The monastic site was found by Saint Moling at some point in the 7th century. It was renowned as a place of pilgrimage potentially since the pre-Christian period, when people may have traveled to the site to celebrate Lughnasadh. St Mullin's is traditionally associated with the Book of Mulling. In the early ninth century the monastery was plundered by vikings. In 1158, St Mullin's was granted to Ferns Abbey, part of the Augustinian order. In 1880, the ruins of the monastic site entered state care.
A disused Anglican church is the northernmost building on the grounds, and was built in 1811. Across the water is located St. Moling's well. The well is a rectangular stone house through which water passes.
52°29′19″N 6°55′39″W﻿ / ﻿52.4887°N 6.9276°W﻿ / 52.4887; -6.9276