This is the hillfort of Castromao (Celanova, #Galicia), the former Coeliobriga (celt., 'The fort of the Bold'). An object found here is key to understanding the politics of the hillforts. Other... is just the cutest thing you will see today on twitter. Go!👇 #HillfortsWednesday

1/ Jassa Singh Ahluwalia & his role in the history of Shri Harmandir Sahib (A Thread)

2/ Jassa Singh was born in 1720/21 at a village called Ahlu in the Lahore District of Punjab.

3/ Jassa Singh was educated in Delhi, in Persian, Arabic & more, under the care & supervision of Mata Sundari Ji.

Mata Sundari Gurdwara in Delhi.

4/ In 1733, Jassa Singh's mama, Thag Singh (ਤਾਗ ਸਿੰਘ), requested Mata Sundari Ji's permission to take Jassa Singh back to Punjab.

5/ At first Mata Ji refused but eventually gave permission for Jassa Singh to go with his mama, giving Jassa Singh a blessing and weapons, informing him, it was now the right time to take up arms.

1) The Temple of the Divine Claudius was a vast temple complex on Rome's Caelian Hill, overlooking the valley that would later be occupied by the Colosseum. Though almost nothing now remains of the structure, its scale and grandeur once rivalled anything in the city.. #LostRome

2) The 'Claudium' was intended as a sacred complex to revere Claudius and the imperial cult. Construction began soon after the death and deification of the emperor in 54 AD, initiated by his widow Agrippina who was likely responsible for his supposed death by poisoning. #LostRome

3) The sprawling temple complex sat on a gigantic podium that spread across the Caelian Hill, measuring 180 x 200 metres; with towering retaining walls of travertine that raised the structure 20 metres above the valley below. #LostRome

4) The elevated sacred area was likely entered by steps facing the temple on the west side. The temple itself had a projecting hexastyle porch and was surrounded by gardens and a grand portico, probably the 'porticus Claudia' mentioned in Martial's 'On the Spectacles'. #LostRome

5) Statues of both Agrippina and Claudius’ ill-fated young son Britannicus, sculpted in sumptuous dark Egyptian greywacke, were discovered among the ruins on the Caelian Hill in 1651 – and had almost certainly been displayed in the temple precinct. #LostRome

Bharat: Advancement of earth’s earliest civilization

Glorious Vedic Architecture and Temple

Architecture in India was an extremely rich form of expression and highly developed science, with a deep heritage of spirituality in it. #FreeHinduTemple

The centre of all architectural development was the temple and temple or Mandir was the earthly home of God, and like the launching pad for the devotee’s consciousness to soar toward the Divine and the spiritual world.

The murti or deity of the Divine would be placed in the temple sanctum, around which all temple activity would revolve.

Such buildings were often elaborately decorated with stone, wood, plaster, etc. and carved or cut to depict the stories from the Puranas or other sacred texts

Temples were always the centre of religious, social and educational activities, practically more so in
ancient times than today.

During a span of more than two thousand years, various dynasties were known for constructing glorious temples,

some of which include the Mauryan, Ashoka, Gupta, Satavahana, Chedi, Chandella, Chalukya, Solanki, Pallava, Shola, Hoysala, Vijayanagar, and others.

Many of these temples remain beautiful architectural wonders today.

We will likely never be able to establish with certainty the identity of the two Black men painted by Rembrandt. There are no documents found, linking the painting to individuals. But we can make a reasoned guess. #BlackHistoryMonth #day20 #rembrandt #identification

First there is the problem of the date. The inventory with a reference to 'two Moors in one painting' was drawn up in 1656 in what is now the @Rembrandthuis; however, the painting that hangs in the @Mauritshuis bears not only Rembrandt’s signature but also the year 1661.

Was the painting made in 1656 while Rembrandt was still living and working in Jodenbreestraat, and not signed and sold until 1661, when he had moved to the Jordaan district? The 1656 estate inventory suggests this.

On the other hand, it is of course possible that Rembrandt painted several pictures featuring two black men. Nevertheless, supposing that it is one and the same
painting, then we can assume that the two men
were in the studio in Jodenbreestraat to be portrayed in or before 1656.

Of course there still are dozens of candidates, since there was a small Black community in the area. However, it is striking, and exceptional, that two men are portrayed instead of one, as was customary in this genre.

I am for Afrakan-centered unity, not "Black" unity. People often assume that they are the same thing.

Black unity is the concept that people unify with anybody who has Black skin; as a result, they often find themselves uniting with people who are Eurasian Supremacists (since 95% of Black people are devout Eurasian supremacists) and if you unify with them they will only lead…

…you to their Eurasian master. Most activist in the Black population only preach Black unity, which is why we are not able to develop anything.

This was the same problem with Nkrumah's Pan-African unity.

It resulted in exploitation of the concept by Arabs, Asiatic "Berbers," Chinese and Indians, and even Europoids.

Afrakan-centered unity is distinct from Black unity because it requires the Black person to be Afrakan-centered.

This safeguards the unity because they don't just have skin in common, but common understanding. This is essential because in order to build something we have to have a common understanding of what we are building, why, and for whom.