Arrangement Plan of Inner Mongolia Buddhist Temple

Since BC, the construction of cities has been started in the Mongolian Plateau with the establishment of dynasties, but many were turned into ruins. However, the Tibetan Buddhist temples built after the 16th century, which are an indispensable element in the process of settling the Mongolians from nomadic life, have been relatively well preserved in Inner Mongolia. These temples have been thought to be the epitome of the Mongolian economy, culture, art, and construction technology. Therefore, it has a great significance to research them systematically. Interestingly, these temples in Mongolia were originated from Inner Mongolia, which is located on the south side of Mongolia. The architectural design of these temples has been primarily influenced by Chinese and Tibetan temple architecture, suggesting that the temples appear to be considered a vital sample for studying temple architecture in Mongolia or East Asia. So far, there is still no study systematically on temple architecture in Inner Mongolia. Therefore, this research aims to study the arrangement plan of Inner Mongolian Tibetan Buddhist temples, which is the most important factor to consider in the first stage of temple construction.

Apropiaciones artísticas del espacio público: del graffiti, artivismo urbano y arte relacional, a la ocupación simbólica cibernética

The configuration of cities is a reflection of the society that inhabits them and of those that once occupied that space. Urban planning also has the capacity to condition the lives of its inhabitants, which is why it has been a connatural concern of human beings since they left nomadic life behind. Rationalist urban planning and architecture, imposed since the end of the 19th century and especially in the 20th century, have given rise to serious problems that are reflected in intellectual, social and artistic movements that have demanded a more human and habitable urban space. Thus, the approaches that have emerged from the very heart of the street are fundamental: the hermetic occupation of space by graffiti; the proposals of urban art and its link with Situationism; artivism and the proposals of relational art that actively involve communities. However, in recent years and above all since the confinements produced by the COVID 19 pandemic in 2020, the virtualisation of the urban is generating new conceptual approaches that will be dealt with in this text, taking as the main example the work of the artist from Jaén, Nati Rodríguez. La configuración de las ciudades es reflejo de la sociedad que la habita y de aquellas que algún día ocuparon ese espacio, pero también el urbanismo tiene la capacidad de condicionar la vida de sus habitantes, por lo que es una preocupación connatural al ser humano desde que dejó la vida nómada. El urbanismo y la arquitectura racionalista, impuesta desde finales del siglo XIX y muy especialmente en el siglo XX, han dado lugar a serios problemas que se reflejan en movimientos intelectuales, sociales y artísticos que han reivindicado un espacio urbano más humano y habitable. Así, son fundamentales los planteamientos surgidos en el propio seno de la calle, desde la ocupación del espacio de manera hermética por parte del graffiti, a las propuestas del arte urbano y su vinculación con el Situacionismo, pasando por el artivismo y las propuestas de arte relacional que implican de forma activa a las comunidades. Sin embargo, en los últimos años y sobre todo desde los confinamientos por la pandemia de COVID 19 acaecidos en 2020, la virtualización de lo urbano está generando nuevos planteamientos conceptuales que serán abordados en el este texto, tomando como principal ejemplo la obra de la giennense Nati Rodríguez.

The excavation of tomb M1 in Quangou cemetery, Wulan County, Qinghai

Tomb M1 at Quangou cemetery in Wulan, Qinghai, is the only Tubo-period tomb with mural paintings discovered thus far on the Qinghai-Xizang Plateau. The tomb includes a tomb entry ramp leading to a rectangular multi-chambered structure built from bricks and timber. The walls of the antechamber and burial chamber are all painted with various images heavily influenced by typical Tang painting techniques, displaying Tang-period stylistic influence, although painted subjects present characteristic scenes of nomadic life on the Qinghai-Xizang Plateau. The color-painted lacquered coffins in the tomb are the first of their kind found in the region, indicating that the tomb occupant must have been of high social status. There is a secret compartment behind the tomb’s burial chamber, where a wooden chest was found containing a luxuriously decorated gilt silver crown and a turquoise-inlaid gold cup. The findings suggest that the tomb occupant was probably closely related to the local royal family under Tubo’s sovereignty.

Past Emerging Viruses

This chapter focuses on past emerging viruses. For our ancestors, it was their change in lifestyle from hunter-gatherer to farmer some 10,000 years ago that triggered an onslaught of new, emerging infectious diseases. The switch from the nomadic life to living in fixed communities, along with the change from hunting animals to their domestication, encouraged spillover of new viruses as well as other types of microbes. As such, the early farmers’ emerging viruses jumped from the animals they domesticated, while the cramped conditions of life in villages, and later towns, gave these viruses the opportunity to thrive in their new human host. This was the beginning of many of our acute childhood infections, so-called crowd diseases. The chapter looks at how these ancient afflictions have evolved over the intervening 10,000 years with a view to understanding how diseases like COVID-19 might evolve over time. It considers smallpox and measles, which are both highly infectious, lethal, airborne viruses, as well as polio, which is spread by faecal–oral contamination.

SACRED CONCEPTS CONCERNING COWS IN KAZAKH FOLKLORE

From ancient times our people, who grazed four food animals, believed that they had an owner. The owners of the four food animals were considered to be their "ancestors" or "peers". That is why he gave them a mythical character. He leaned on his holy ancestors and asked them to help him. He wished them well and wished them well. He thought that only then he could have cattle. That is why various rituals and ceremonies have come to everyone. Currently in the country spread a lot of myths, indicating that the cow was the cow skorlupok animal. Special attention was paid to cattle, including bull. Even the purpose of the human earth that applies to spelled. He was known in myths as the blue bull, sometimes the blue bull, which was known in folklore with special vividness. This is mostly associated with myths about the injury of the earth. In the mythology of the peoples of the world say that the earth put on, fish, elephant (for the concept of the ancient Indians), snake Cotes, the myth, widespread among the peoples of Turkic origin, including among Kazakh people put on the surface of the blue ox, and sometimes on a blue bull to pick it up. He draws attention to the myths of the bull or bull and one case depends on the blue bull. In General, the blue color has a special property, for example, "blue Bor", "blue bull", etc. "Blue" is formed from mythical concepts: " blue sky","bull of the blue God". In this regard, it should be noted that in nomadic life, it became the first cargo transport.

Virali and Artistic Background Change

Humans carried the ideas that came to their minds to the people through the arts. Artists are those who have the power to express the arts to others through their culture. The role of such artists in the Sangam era was of great importance. Ninga had a place in the kingdom and in the battlefields. In Sangam songs, the words for the artist were Panar, Porunar, Kuiluvar, Vayiriyar, Viraliyar, Kuttar, Kannular and Patiniyar. Although all of these are generic, there is a subtle difference between the names in terms of musical instruments' playing, dancing, and singing skills. Of these, Viraliyar is a feminist and singer. Virali is a performer who leads a nomadic life. Virali, who excelled in receiving gifts, exemplified the success of kings through their arts. The literature shows that they received valuables gifts like mountain, country, gold, jewelers when they sang songs in praise of the kings. In perumpanatrupadaiviralis beauty was lauded from head to toe. The detailed description is present inkesathipatha. From these descriptions we can get to understand their significance. Such a beautiful and elegantviralis transferred intoparaththiyarover a period of time.

Сolor and Space in the Traditional Сulture of the Оirats of Мongolia and the Kalmyks of Russia

The traditional culture of homo mobilis has been the subject matter of research both in Russia and abroad. It is the nomadic way of life, largely of the past, that has come into the focus of scholars. This applies, in particular, to Kalmyks, the heirs of the Oirats, who came in the 17th century from Western Mongolia to the steppes of the Northern Caspian region. Nomadic herders explored and developed a vast area resorting to the traditional form of farming. Thousands of years in the constant movement of nomadic life and close linkages with the natural environment affected not only their way of living, but also their cosmovisions, i. e. perceptions of the world. From the point of view of nomads, the “middle world” (the world of people) exists in close contact with heaven and earth. Heaven is the founding father, the creator of all things, the source of everything that happens on earth. This image of the world is associated with a dialectical idea of the mutually exclusive and complementary phenomena of arga and bilig. The philosophical teaching of the Mongols, arga-bilig, extends to the traditional symbolism of color, which expresses ideas about interrelation between the Universe and a Man. The artistic embodiment of religious and philosophical ideas, developed in detail within the worldview of the Oirats of Mongolia, has been further elaborated in the cross-border culture of the Kalmyks of Russia. They preserved and transformed the traditional symbolism of color and space. Comparative analysis of artistic traditions accompanied by the usage of methodologies of history, ethnocultural studies, art history and philosophy enables one to identify the common and different between the cultures of the Oirats of Mongolia and the Kalmyks of Russia.

Under nutrition among Chepang children of Chitwan, Nepal

Background and Objectives: Under nutrition, which includes wasting (low weight-for-height), stunting (low height-for-age) and underweight (low weight-for-age) makes children in particular much more vulnerable to disease and death. This research analyzes the nutrition status of the Chepang children (an indigenous Tibeto-Burman ethnic group of the Mahabharat mountain range of central Nepal living semi-nomadic life) and the associated demographic factors affecting it. Material and Methods: This study is carried out in children of chepang community living in Kalika municipality, Chitwan, Nepal. The children were interviewed together with their parents/ teachers after which their anthropometric measurements were taken. Information regarding socio – demographic information, physical activities and diet intake were recorded. Food frequency questionnaire was utilized to know the frequency of food per week. Face-to-face interview technique with a structured questionnaire was used to collect data from the respondents. Results: Out of the 145 children, 72.3% of children were found to be underweight and 86.9% stunted whereas comparatively lower amount of children were found to be wasted (6.2%). Nearly half of the children (43.5%) under 5 years of age were found to be at a risk for acute malnutrition. Conclusions: Majority of the children were underweight. More than half of the total children were found to be stunted and underweight where as few numbers of the children were found to be wasted.

Nomadic life archiving across platforms: Hyperlinked storage and compartmentalized sharing

People are today located in media ecosystems in which a variety of ICT devices and platforms coexist and complement each other to fulfil users’ heterogeneous requirements. These multi-media affordances promote a highly hyperlinked and nomadic habit of digital data management which blurs the long-standing boundaries between information storage, sharing and exchange. Specifically, during the pervasive sharing and browsing of fragmentary digital information (e.g. photos, videos, online diaries, news articles) across various platforms, life experiences and knowledge involved are meanwhile classified and stored for future retrieval and collective memory construction. For international migrants who straddle different geographical and cultural contexts, management of various digital materials is particularly complicated as they have to be familiar with and appropriately navigate technological infrastructures of both home and host countries. Drawing on ethnographic observations of 40 Chinese migrant mothers in Singapore, this article delves into their quotidian routines of acquiring, storing, sharing and exchanging digital information across a range of ICT devices and platforms, as well as cultural and emotional implications of these mediated behaviours for their everyday life experiences. A multi-layer and multi-sited repertoire of ‘life archiving’ was identified among these migrant mothers in which they leave footprints of everyday life through a tactical combination of interactive sharing, pervasive tagging and backup storage of diverse digital content.

Gonzalo Núñez, Rubén Darío y el manuscrito Los arcanos de la música

We examine the history and circumstance in the life of Puerto Rican composer Gonzalo Núñez (1850-1915) during the period from 1900 to 1903. During his second sojourn in Paris he maintained a close personal relationship with Rubén Darío and Amado Nervo, joined by other poets, writers and artists. An extensive on-site research work, conducted in various European, North American and Caribbean libraries and archives, permitted us to gather documentation about the nomadic life of the musician in Cuba, Mexico, Puerto Rico, Europe and North America. We show that Núñez’s unpublished manuscript Los arcanos de la música, housed in the Archive of Music and Sound of Puerto Rico, is the main source of two important articles by Rubén Darío.