Gebruiker:Heinonlein/Koelkast
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Zie ook bewerken
Aliyah Bet bewerken
Moby-Dick (boek) bewerken
Verwijzingen bewerken
- Moby Dick (beloega), een beloega die in 1966 naar Bonn zwom.
- Moby Dick (Led Zeppelin)
Volgens John Bonhams vrouw Pat vroeg hun zoon Jason aan zijn vader om "the long song" te spelen. Toen John vroeg waarom, zei Jason "It's big like Moby".[1]
De skink heeft net als de witte potvis geen achterpoten en geen pigment.[2]
- Moby Dick (restaurant) (en)
- Porsche 935/78 (en)
- Moby-Duck (en)
Martin Linnartz bewerken
| Martin Linnartz | ||||
|---|---|---|---|---|
| Persoonsgegevens | ||||
| Volledige naam | Martinus Johannes Linnartz | |||
| Geboren | Brunssum, 27 mei 1929 | |||
| Overleden | 9 augustus 2012[3] | |||
| Geboorteland |  Nederland
| |||
| Beroep(en) | Glasschilder, illustrator, mozaïekkunstenaar, kunstschilder | |||
| Oriënterende gegevens | ||||
| Leermeester | Jaap Min, Albert Troost | |||
| Jaren actief | 1944-1992 | |||
| RKD-profiel | ||||
| ||||
mythologie, marine, landschap, boerderijstilleven, boerengenre
sgraffito, intarsia
Prijzen bewerken
Prijs van de stad Maastricht in 1961 Henriëtte Hustinxprijs in 1962
https://martinlinnartz.exto.nl
https://www.galeries.nl/kunstenaar.asp?artistnr=10874&galnr=164&nvg=&bond=
Koreaanse schilderkunst (Korean painting) bewerken
De Koreaanse schilderkunst is voor een groot deel beïnvloed door de Chinese en Japanse schilderkunst. Desondanks heeft het diverse kenmerkende eigenschappen. Ze onderscheid zich vooral door haar naturalistische afbeeldingen zonder onnodig vertoon van artistieke vaardigheden. De kunstenaar accepteert de natuur zoals hij die aantreft. Hij gebruikt geen objecten om lege ruimtes te vullen, waardoor een Koreaans schilderwerk vaak veel wit vertoont. De nadruk ligt niet op beweging of ritme, maar op een stille innerlijke harmonie.
Geschiedenis bewerken
Goguryeo art, preserved largely in tomb paintings, is noted for the vigour of its imagery. Finely detailed art can be seen in Goguryeo tombs and other murals. Many of the art pieces has an original style of painting.
Goguryeo tomb murals date from around AD 500 during the Goguryeo period, 37 BC-AD 668. These magnificent, still strongly colored murals show daily life and Korean mythologies of the time. By 2005, 70 murals had been found, mostly in the Taedong river basin near Pyongyang, the Anak area in South Hwanghae Province.
De Chinese invloed deed zich reeds in de Koreaanse prehistorie sporadisch gelden, maar nam in 108 v.Chr. significant toe toen de Han-dynastie delen van Noordwest-Korea koloniseerde. Ook Koreaanse kunstwerken uit latere periodes tonen Chinese invloeden. Zo vertonen de vloeiende lijnen en felle kleuren op muurschilderingen uit het koninkrijk Koguryo (37 v.Chr.–668) veel gelijkenis met de taoïstische kunst uit de periode van de Zes Dynastieën.
Tijdens de Goryeo-dynastie (918–1392) onderhield Korea hechte culturele banden met China en werd de schilderkunst beïnvloed door de verfijnde en decadente academische stijl van de Song-dynastie. Tot het einde van de 16e eeuw werd de Koreaanse schilderkunst gedomineerd door hofschilders. Zij schilderden voornamelijk landschappen in de noordelijke landschapsstijl en andere stromingen binnen de Noordelijke School, zoals de Ma-Xia-school en de Zhe-school. De yangban, de Koreaanse tegenhanger van de literati, wijdden zich veeleer aan het schilderen van de Vier Edellieden en vogel- en bloemmotieven. Vanaf het begin van de 17e eeuw werden zij ook beïnvloed door landschapsmeesters van de Zuidelijke School, zoals Mi Fu, Ni Zan, Huang Gongwang, Shen Zhou en Wen Zhengming.
Na invasies van de Mantsjoes en Qing-China kreeg de schilderkunst van de yangban een uitgesprokener Koreaans karakter. Zij legden hun focus op het landschap en het dagelijks leven van hun land. De hofschilders volgden de academische stijl van het Qing-hof. De expressieve kunst van de Chinese individualisten vond derhalve weinig navolging in Korea. Vanaf de 19e eeuw kwam de Koreaanse schilderkunst steeds meer onder invloed van westerse stijlen en technieken, net als het geval was in China.
Goryeo Dynasty bewerken
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During the Goryeo dynasty exceptionally beautiful paintings were produced in the service of Buddhism; paintings of the bodhisattva Avalokiteshvara (Korean: Gwaneum Bosal) are especially noted for their elegance and spirituality.[4] The patronage of the Goryeo's leading families resulted in the production of the high quality Buddhist paintings like refined and detailed paintings of Buddhist saints or monks.
Yi Nyeong, a court painter, and Yi Je-hyeon, a scholar-painter, are considered significant Goryeo artists outside of the Buddhist tradition.
! bewerken
Joseon Dynasty bewerken
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The influence of Confucianism superseded that of Buddhism in this period, however Buddhist elements remained and it is not true that Buddhist art declined, it continued, and was encouraged but not by the royal centres of art, or the accepted taste of the Joseon Dynasty publicly; however in private homes, and indeed in the summer palaces of the Joseon Dynasty kings, the simplicity of Buddhist art was given great appreciation – but it was not seen as citified art.
During the transitional period leading into the Joseon dynasty some Korean buddhist painters left for Japan. Yi Su-mun (1400?–1450?) who is considered the founder of Soga school of Japan,[5] was a boat-companion of the older priest-painter, Shubun of Shokokuji when he returned from Korea to Japan in 1424. Japanese tradition declared that Yi was so skilled after his "Catfish and Gourd" painting that Shogun Yoshimochi claimed him to be a son of the legendary Josetsu, as an adoptive honorific. Yi painted alongside and influenced the originals of Japanese zen art; and was known in Japan by his Japanese name Ri Shubun or the Korean Shubun. The entire tradition of needle points in Japanese art began with Yi, and continued through his students, known as the Soga School, a more natural group of artists than the courtly school patronized by the Ashikaga shoguns.
While the Joseon Dynasty began under military auspices, Goryeo styles were let to evolve, and Buddhist iconography (bamboo, orchid, plum and chrysanthemum; and the familiar knotted goodluck symbols) were still a part of genre paintings. Neither colours nor forms had any real change, and rulers stood aside from edicts on art. Ming ideals and imported techniques continued in early dynasty idealized works.
Fhfhgj tibetan be personage van pppppl
- An Gyeon, 15th century painter
Mid-dynasty painting styles moved towards increased realism. A national painting style of landscapes called "true view" began – moving from the traditional Chinese style of idealized general landscapes to particular locations exactly rendered. While not photographic, the style was academic enough to become established and supported as a standardized style in Korean painting.
- Hwang Jipjung (born 1533)
The mid to late Joseon dynasty is considered the golden age of Korean painting. It coincides with the shock of the collapse of Ming dynasty links with the Manchu emperors accession in China, and the forcing of Korean artists to build new artistic models based on nationalism and an inner search for particular Korean subjects. At this time China ceased to have pre-eminent influence, Korean art took its own course, and became increasingly distinctive.
The list of major painters is long, but the most notable names include:
- Jeong Seon (1676–1759), a literati painter influenced by the Wu school of the Ming dynasty in China; much taken by the Diamond mountain landscape.
- Yun Duseo (1668–1715), a portraitist.
- Kim Hong-do (1745–1806?) aka Danwon in his pen name, did highly coloured crowded scenes of common and working-class people in many natural work activities – his paintings have a post-card or photographic realism in a palette of whites, blues, and greens. There is little if any calligraphy in his works; but they have a sense of humour and variety of gestures and movement that make them highly imitated to this day.
- Shin Yun-bok (1758-?) aka Hyewon in his pen name, a court painter who did paintings often of the scholarly or yangban classes in motion through stylized natural settings; he is famous for his strong reds and blues, and grayish mountainscapes.
- Jang Seung-eop (1843–1897) aka Owon in his pen name, was a painter of the late Joseon Dynasty in Korea and one of three great wons of Joseon Korea.
What calligraphy used is often discreetly done.
Other important artists of the "literati school" include:
- Yi Kyong-yun
- Kang Se-hwang
Chaekgeori is a genre of still-life painting from the Joseon period of Korea that features books as the dominant subject.[6] Chaekgeori flourished from the second half of the 18th century to the first half of the 20th century and was enjoyed by all members of the population, from the king to the commoners, revealing the infatuation with books and learning in Korean culture.[7]
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Ahn Gyeon (?-?), Dream Journey to the Peach Blossom Land, 1447, Tenri University Central Library. -
Byeon Sangbyeok (1730~?), Gyeondo (painting of a dog). 18th century, Joseon Korea. -
Kim Hong-do (1745–1806?), Four Districts of Mount Geumgang, 1788, Landscape of Mt. Geumgang. -
Kim Hong-do, A Cat and a Butterfly, 18th century, Gansong Art Gallery. -
Shin Yun-bok (1758-?), A Boat Ride, 1805, Gansong Art Gallery. -
Jo Hee-ryong (1797–1859), A House amongst Apricot Trees, Gansong Art Gallery. -
Jang Seung-eop (1843–1897), Hochwido (painting of a hawk) -
Artists during the Japanese occupation bewerken
Korean artists from the middle 1880s until 1945 had a very difficult time when Korea was freed by the allies after the unconditional surrender of Japan.
From the 1880s onward, the emerging popularity of western art in Japan lead to a low opinion of traditional Korean art. Nevertheless, the formation of the Korean crafts museum in 1924 by Japanese philosopher Yanagi Sōetsu is a strong example of Japanese aesthetes who still appreciated Korean art.
Japan also held an exhibition of Korean art that produced many young Korean artists such as Park Su-geun. To this date there has not been a retrospective show of the hidden art under Japanese occupation, or a discussion of the conflicts between those who were forced into compromise under Japanese artistic demands. It is a sensitive issue, with artists who studied and worked in Japan and painted in the Japanese style forced into self-defense and justification of compromise without other alternatives.
Bridging the late Joseon dynasty and the Japanese occupation period were noteworthy artists such as:
- Chi Un-Yeong (1853–1936)
Major 20th-century Korean artists bewerken
- Kim Tschang-yeul
- Park Su-geun
- Nam June Paik
- Chang Ucchin
- Seund Ja Rhee
- Lee Ufan
- Kumja Paik Kim (2006). The art of Korea: highlights from the collection of San Francisco's Asian Art Museum. ISBN 978-0939117314.
- Arts of Korea. The Metropolitan Museum of Art, New York (1998). ISBN 978-0870998508.
- Pyongyang-painters.com is specialized on introducing North Korean painters
- General introduction
- Northeast Asia's intramural mural wars, 6th century Korean murals
- Painting by Chi Un-Yeong (1853–1936) of the famous 11th-century Chinese scholar-poet Su Dong-Po
- Online Collection of Modern and Contemporary Korean Paintings
Introduction bewerken
Generally the history of Korean painting is dated to approximately 108 AD, when it first appears as an independent form. Between that time and the paintings and frescoes that appear on the Goguryeo tombs, there has been little research. Until the Joseon dynasty the primary influence was Chinese painting though done with Korean landscapes, facial features, Buddhist topics, and an emphasis on celestial observation in keeping with the rapid development of Korean astronomy.
Throughout the history of Korean painting, there has been a constant separation of monochromatic works of black brushwork on very often mulberry paper or silk; and the colourful folk art or minhwa, ritual arts, tomb paintings, and festival arts which had extensive use of colour.
This distinction was often class-based: scholars, particularly in Confucian art felt that one could see colour in monochromatic paintings within the gradations and felt that the actual use of colour coarsened the paintings, and restricted the imagination. Korean folk art, and painting of architectural frames was seen as brightening certain outside wood frames, and again within the tradition of Chinese architecture, and the early Buddhist influences of profuse rich thalo and primary colours inspired by Indian art.
Korean painters in the post-1945 period have assimilated some of the approaches of the west. Certain European artists with thick impasto technique and foregrounded brushstrokes captured the Korean interest first. Such artists as Gauguin, Monticelli, Van Gogh, Cézanne, Pissarro, and Braque have been highly influential as they have been the most taught in art schools, with books both readily available and translated into Korean early. And from these have been drawn the tonal palettes of modern Korean artists: yellow ochre, cadmium yellow, Naples yellow, red earth, and sienna. All thickly painted, roughly stroked, and often showing heavily textured canvases or thick pebbled handmade papers.
Colour theory has been used over formal perspective, and there has yet to be an overlap between painterly art and pop-graphics, since the primary influence on painters is ceramics art.
Genre subjects bewerken
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The expected genres of Buddhist art showing the Buddha, or Buddhist monks, and Confucian art of scholars in repose, or studying in quiet often mountainous surroundings follows general East Asian art trends. Nimbus colours are not necessarily gold, and may be suggested by lighter colours. Faces tend to realism and show humanity and age. Drapery is done with some to great care. The face is generally two-dimensional, the drapery three-dimensional. As in medieval and renaissance western art, drapery and faces are done often by two or three artists who specialize in one particular painterly skill. Iconography follows Buddhist iconography.
Scholars tend to have the traditional stove-pipe hats, or other rank hats, and scholar's monochromatic robes. Typically they are at rest in teahouses near mountains or at mountain lodges, or will be pictured with their teachers or mentors.
Hunting scenes, familiar throughout the entire world, are often seen in Korean courtly art, and are reminiscent of Mongolian and Persian hunting scenes. Wild boar, deer, and stags, and Siberian tigers as well were hunted. Particularly lethal spears and spear-handled maces were used by horsemen within hunting grounds after archers on the ground led the initial provocation of the animals as beaters.
Buddhas tend to have Korean facial features, and are in easy resting positions.
Categories bewerken
Tao-Shamanist Paintings bewerken
- Longevity symbols: Pictures of the ten longevity symbol figure most prominently among folk paintings of this category.[8] The ten longevity symbols (Shipjangsaengdo), including the sun, clouds, mountains water, bamboo, pine, crane, deer, turtle and the mushroom of immortality are the often presented all together in a single picture.[8]
,_Choson_dynasty,_1842_or_1902._Pair_of_six-fold_screens,_ink,_color_and_gold_on_silk,_Honolulu_Academy_of_Arts.jpg)
- Tiger: The tiger was among the most popular motifs in Korea folk painting.[8] Likely originating from the mythical "White tiger" guardian spirit of the east, a notable characteristic about the tiger as featured in Korea folk traditions is how it is seldom portrayed as a ferocious beast but as a friendly and sometimes even funny and stupid animal.[8]
- The mountain spirit and dragon king: The popular mountain spirit and dragon king motifs have their origins in two famous figures in Korean history, Dangun and Munmu.[8] Dangun is the legendary progenitor of the Korean people who is said to have turned into a mountain spirit. The dragon king is usually depicted as a mighty animal flying amidst the clouds over a sea of high waves.[8]
Buddhist Paintings bewerken
Buddhist temples and hermitages across the country are rich archives of folk paintings, ranging from large icon images for ritual use to illustrations for sutras and anecdotes about famous monks and their portraits. These temple painting are noted for simple compositions and bright colors.[8]
Confucian Paintings bewerken
Folk paintings in this category included character designs of the popular themes of loyalty and filial piety, pictures depicting the life stories of renowned scholars and depictions of a carp jumping up from the river to transform into a dragon symbolizing the aspiration for distinguished academic achievement and a successful career in officialdom.[8]
Decorative Painting bewerken
The vast majority of ancient folk painting were used for decorative purposes. These paintings generally repeat popular motifs with relatively poor techniques, but attest to the nation's religious tradition harmonizing various faiths such as shamanism, Taoism, Buddhism and Confucianism.[8]
Bronnen, noten en/of referenties
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Sarracenia (en) bewerken
Bloeiwijze en zaden bewerken
The flowers of almost all species are scented. The scent varies, but is often strong and sometimes unpleasant. S. flava has an especially strong odor resembling cat urine.
Flowers generally last about two weeks. At the end of the flowering period, the petals drop and the ovary, if pollinated, begins to swell. The seed forms in five lobes, with one lobe producing significantly smaller numbers of seeds than the other lobes.[1] On average, 300–600 seed are produced,[1] depending on species and pollination success. Seed takes five months to mature, at which point the seed pod turns brown and splits open, scattering seed. The seeds are 1.5–2 mm in length and have a rough, waxy coat which makes it hydrophobic, possibly for seed dispersal by flowing water.[2] Sarracenia seed requires a stratification period to germinate in large numbers. Plants grown from seed start producing functioning traps almost immediately, although they differ in morphology from adult traps for the first year or so, being simpler in structure. Plants require 3–5 years to reach maturity from seed.
The genus has been found to have a Chromosome number of 2n=26, though some earlier studies had found that number to be 2n=24.[3][4]
Verspreidingsgebied bewerken
Sarracenia tend to inhabit permanently wet en:fens, swamps, and grassy plains. These habitats tend to be acidic (low pH) with soil made up of sand and Sphagnum moss. Frequently, the soil will be poor in nutrients, particularly nitrates, and often continuously leached by moving water or made unavailable to the plant roots by the low pH. The plants gain their advantage from their ability to extract nutrients from insect prey in this mineral-poor environment. The plants prefer strong, direct sunlight with no shade.
In several cases, carnivorous plant enthusiasts have introduced S. purpurea into suitable habitats outside of its natural range, where it has naturalized. verwilderde ... Some of these populations are decades old; the oldest known occurrence in the Swiss en:Jura mountains is around one hundred years old.[5] Besides Switzerland, such naturalized populations can be found in Ierland, Engeland (Lake District), Duitsland (Bavaria, en:Lusatia) and in en:Mendocino County along the California coast.
Sphagnum peat bog are always constantly wet, acidic, and low in nutrients.
Environmental status bewerken
Sarracenia are threatened in the wild by development and the drainage of their habitat. Estimates indicated that 97.5% of Sarracenia habitat has already been destroyed in the southeastern U.S.,[6] the home of all but one subspecies of Sarracenia. Currently the biggest threats to surviving populations are urban development, drainage of habitat for forestry, runoff of herbicides from agriculture, fire suppression, cut pitcher trade for floristry, and plant trade.[7] The latter two threaten survival of Sarracenia not only through depletion of healthy population, but also because of the damaging effects (soil compaction and altered moisture levels) of repeated foot and vehicular traffic that comes with harvesting. The Fish and Wildlife Service estimates that approximately 1.6 million pitchers were cut for the domestic market in 1991.[8]
Some protective legislation exists. Several southeastern states, such as Florida, Georgia, and South Carolina have conservation laws which protect Sarracenia. However, most of the remaining wetlands in the southeastern U.S. are privately owned. Plants on this land are not protected by state legislation. The key states of Alabama and Mississippi have no such legislation at all, so that even plants on public land have no protection.[6] Three Sarracenia have been listed as "Federally Endangered" under the USA Endangered Species Act (1973) – S. rubra subsp. alabamensis (S. alabamensis) in Alabama, S. rubra subsp. jonesii (S. jonesii) in North and South Carolina, and S. oreophila in Alabama, Georgia, and North Carolina. These taxa are also on CITES Appendix I, giving them international protection by making export of wild-collected plants illegal. The other species, while appearing on CITES Appendix II, have little federal protection.
Some efforts have been made to curb the existing threats to plants. In 2003 the International Carnivorous Plant Society ran a trial distribution program in which young S. rubra subsp. alabamanensis plants were grown from seed collected from 3 of the 12 known S. alabamanensis sites, and were distributed to members in an attempt to increase availability of this plant in cultivation, with the hopes of thereby decreasing the poaching that was endangering the survival of this taxon in the wild.[9]
In 1995, the non-profit organization Meadowview Biological Research Station was created to preserve and restore pitcher plant bogs and associated ecosystems in Maryland and Virginia.
In 2004, a number of concerned plant enthusiasts founded the North American Sarracenia Conservancy (NASC), which aims to "serve as a living record of the taxonomic, morphological and genetic diversity of the genus Sarracenia for purposes of conservation and cultivation." The NASC is a grassroots Nebraska nonprofit organization working to build a genetic Sarracenia bank by overseeing the maintenance of genetic strains from all remaining wild populations in cultivation, with the eventual aim of being able to supply these strains for re-introduction in suitable habitats. A similar but centralized collection exists in the UK, with 2000+ clones representing all species (many with location data) and numerous hybrids currently being housed by Sarracenia expert Mike King. This UK collection is part of the NCCPG National Plant Collection scheme. While none of these efforts curb the biggest threats – urban development and habitat destruction – they aim to help reduce plant poaching while at the same time making these plants available to future generations.
One of the biggest challenges of reintroducing plants back into the wild is the unintended introduction of unwanted species, such as pests, diseases, and invasive weeds. Often, it is human destruction of areas in which the Sarracenia thrive that is a major killer. Aside from determining what genetic material is appropriate for reintroduction (which is up for debate), plants must be semi-aseptic to keep the habitat pristine and sustainable in the long term. Another challenge is maintaining all of the introduced plant material and determining an optimal site to plant them in. A single hurricane or storm event can change the dynamics of a field. Even within a single bog, some areas may be waterlogged, while other areas may become very dry, so identifying the right location is critical. Short term results on private property indicate planting larger specimens into the field have a higher chance of long term survival compared to planting smaller seedlings.
Leefwijze bewerken
aided in at least one species by a narcotic drug lacing the nectar, causes insects to fall inside, Pitcher plants belong to several genera, one of the largest is Sarracenia, a North American variety. The pitcher of the Sarracenia is composed of the entire leaf, designed for prey capture, and features an operculum to manage the amount of rainwater that falls into the plant, whereas other genera’s pitchers are composed from different parts of the leaf or bud. Sarracenia, like many pitcher plants, have adapted to environments where there’s nutrient-poor soil, or highly acidic soil. To compensate for the lack of nutrients, the pitcher is adapted to capture and prevent the escape of prey such as insects[10]. The adaptions include waxy scales, downward facing hairs, bright visual lures, and nectar bribes[11]. In order to digest its prey, the plant either secretes enzymes or uses bacteria to break down its prey into amino acids, peptides, urea, phosphates, and ammonium[12].
Carnivorous mechanism bewerken
All Sarracenia trap insects and other prey without the use of moving parts. Their traps are static and are based on a combination of lures (including color, scent, and nectar) and inescapability – typically the entrances to the traps are one-way by virtue of the highly adapted features listed above.
Most species use a combination of scent, drugged nectar, waxy deposits (to clog insect feet) and gravity to topple insect prey into their pitcher. Coniine, an alkaloid drug narcotic to insects, has been discovered in the nectar-like secretions of at least S. flava. Once inside, the insect finds the footing very slippery with a waxy surface covering the walls of the pitcher. Further down the tube, downward-pointing hairs make retreat impossible, and in the lowest region of the tube, a pool of liquid containing digestive enzymes and wetting agents quickly drowns the prey and begins digestion. The exoskeletons are usually not digested, and over the course of the summer fill up the pitcher tube.
Only S. purpurea normally contains significant amounts of rainwater in its tubular pitchers. It is a myth that all species contain water. In fact, the hoods of the other species help to keep out rain water in addition to keeping flying prey from escaping.
S. psittacina, the parrot pitcher, uses a lobster-pot style trap that will admit prey (including tadpoles and small fish during floods) but not allow it to find its way out; and sharp inward-pointing hairs force the victim gradually down to the base of the pitcher where it is digested.
=== Carnivorous Mechanism === The mechanisms of digestion vary among different types of Sarracenia, as well as within a single plant[13]. As most leaves do their feeding within the first 30 days, the age of the leaves also impacts their ability to attract prey. In contrast, older plants can still be induced to produce digestive enzymes when prey is present[14]. Gallie and Chang ran an experiment in which they tested if the presence of prey induced enzyme activity, rather than constantly producing digestive enzymes as a means to reduce metabolic demand until prey was present. Gels were run regularly to test for the presence of enzymes, over the course of several days, during periods of no addition of prey and addition of prey to older pitchers. From there they found that enzyme activity, under the no prey condition, greatly decreased over time, while the addition of prey led to the induction of hydrolytic enzymes. The signal transduction mechanism behind this pathway is unknown, but it’s suggested to follow some uptake of the prey’s nutrients that leads eventually to the enzyme production.
While the mechanism of enzyme production is not entirely clear, it is known that glands that produce digestive enzymes are involved in perception of prey, secretion of enzymes, and then absorption of nutrients[15]. In addition, it is observed that when nitrogen is abundant in the soil, these glands reduce their activities as they do not require the pitcher to take up more nutrients; this also reduces the cost to the plant so that it does not waste its resources to gain nutrients. Additionally, the plants’ microstructures that aid in the capture and different functions of the plant, have been observed to vary among the zones of a single leaf, as well as vary between closely related species within Sarracenia[16]. The digestion mechanisms are still being actively research to further understand the dynamics that allow a plant to produce enough enzymes to digest insects without overproduction.
Growth cycle bewerken
Pitcher production begins at the end of the flowering period in spring, and lasts until late autumn. At the end of autumn, the pitchers begin to wither and the plants produce non-carnivorous leaves called phyllodia, which play a role in the economics of carnivory in these species. Since the supply of insects during winter is decreased, and the onset of cold weather slows plant metabolism and other processes, putting energy into producing carnivorous leaves would be uneconomical for the plant.
Taxonomie bewerken
The genus Sarracenia belongs to the family Sarraceniaceae, which also contain the closely allied genera Darlingtonia and Heliamphora. Under the Cronquist system, this family was put in the order Nepenthales along with Nepenthaceae and Droseraceae.[17] The APG II system, however, assigns Sarraceniaceae to the order Ericales and the other two families to the order Caryophyllales.[18]
Typically anywhere from 8 to 11 species of Sarracenia are generally recognized, depending on individual opinions on the biological species concept and which among many subspecies and varieties should be elevated to species status, a common lumping and splitting problem in demarcation.[19] Some authorities split the described subspecific taxa of S. rubra into 3 to 5 species. Similarly, S. rosea is not always recognized as a species distinct from S. purpurea. The most commonly recognized species include:
- Sarracenia alabamensis Case & R.B.Case
- Sarracenia alata (Alph.Wood) Alph.Wood
- Sarracenia flava L.: Gele trompetbekerplant
- Sarracenia jonesii Wherry
- Sarracenia leucophylla Raf.
- Sarracenia minor Walt.
- Sarracenia oreophila (Kearney) Wherry
- Sarracenia psittacina Michx.
- Sarracenia purpurea L.: Paarse trompetbekerplant
- Sarracenia rosea Naczi, Case & R.B.Case
- Sarracenia rubra Walt.
Currently, S. rubra can be described as having five subspecies, though it is sometimes argued that the subspecies should be elevated to species rank in recognition of the species complex that they are a part of. This division would yield S. alabamensis, S. gulfensis, S. jonesii, S. rubra sensu stricto, and S. wherryi. Others have argued that only some of these demand recognition at the species rank.[19][20]
McPherson & Schnell (2011) bewerken
Stewart McPherson and Donald Schnell carried out a comprehensive taxonomic revision of the genus in their 2011 monograph, Sarraceniaceae of North America. They recognized the following taxa:[21]
- Sarracenia alata
- S. alata var. alata(autonym)
- S. alata var. alata f. viridescensS.McPherson & D.E.Schnell{{Ref_label|A|nb a|none}}
- S. alata var. atrorubraS.McPherson & D.E.Schnell
- S. alata var. cupreaS.McPherson & D.E.Schnell
- S. alata var. nigropurpureaP.D'Amato ex S.McPherson & D.E.Schnell
- S. alata var. ornataS.McPherson & D.E.Schnell
- S. alata var. rubrioperculataS.McPherson & D.E.Schnell
- S. alata var. alata(autonym)
- Sarracenia flava
- S. flava var. flava(autonym)
- S. flava var. flava f. viridescensS.McPherson & D.E.Schnell{{Ref_label|A|nb a|none}}
- S. flava var. atropurpurea(Hort. W.Bull ex Mast.) Hort. W.Bull ex W.Robinson
- S. flava var. cupreaD.E.Schnell
- S. flava var. maximaHort. W.Bull ex Mast.
- S. flava var. ornataHort. Bull ex W.Robinson
- S. flava var. rubricorporaD.E.Schnell
- S. flava var. rugelii(Shuttlew. ex A.DC.) Mast.
- S. flava var. flava(autonym)
- Sarracenia leucophylla
- S. leucophylla var. leucophylla(autonym)
- S. leucophylla var. leucophylla f. viridescensS.McPherson & D.E.Schnell{{Ref_label|A|nb a|none}}
- S. leucophylla var. alba(Hort. T.Baines ex R.Hogg & T.Moore) J.Pietropaolo & P.Pietropaolo ex S.McPherson & D.E.Schnell
- S. leucophylla var. leucophylla(autonym)
- Sarracenia minor
- S. minor var. minor(autonym)
- S. minor var. minor f. viridescensS.McPherson & D.E.Schnell
- S. minor var. okefenokeensisD.E.Schnell
- S. minor var. minor(autonym)
- Sarracenia oreophila
- S. oreophila var. oreophila(autonym)
- S. oreophila var. ornataS.McPherson & D.E.Schnell
- Sarracenia psittacina
- S. psittacina var. psittacina(autonym)
- S. psittacina var. psittacina f. viridescensS.McPherson & D.E.Schnell
- S. psittacina var. okefenokeensisS.McPherson & D.E.Schnell
- S. psittacina var. okefenokeensis f. luteoviridisS.McPherson & D.E.Schnell
- S. psittacina var. psittacina(autonym)
- Sarracenia purpurea
- S. purpurea subsp. purpurea(autonym)
- S. purpurea subsp. purpurea f. heterophylla(Eaton) Fern.
- S. purpurea subsp. venosa(Raf.) Wherry
- S. purpurea subsp. venosa var. venosa(autonym)
- S. purpurea subsp. venosa var. venosa f. pallidifloraS.McPherson & D.E.Schnell
- S. purpurea subsp. venosa var. burkiiD.E.Schnell
- S. purpurea subsp. venosa var. burkii f. luteolaR.L.Hanrahan & J.Miller
- S. purpurea subsp. venosa var. montanaD.E.Schnell & R.O.Determann
- S. purpurea subsp. venosa var. venosa(autonym)
- S. purpurea subsp. purpurea(autonym)
- Sarracenia rubra
- S. rubra subsp. rubra(autonym)
- S. rubra subsp. alabamensis(Case & R.B.Case) S.McPherson & D.E.Schnell{{Ref_label|B|nb b|none}}
- S. rubra subsp. gulfensisD.E.Schnell
- S. rubra subsp. gulfensis f. luteoviridisS.McPherson & D.E.Schnell
- S. rubra subsp. jonesii(Wherry) Wherry
- S. rubra subsp. jonesii f. viridescensS.McPherson & D.E.Schnell
- S. rubra subsp. wherryi(Case & R.B.Case) D.E.Schnell
- S. rubra "Incompletely diagnosed taxon from Georgia and South Carolina"(undescribed)
Hybrids bewerken
Sarracenia species hybridize and produce fertile offspring freely, making proper classification difficult. Sarracenia hybrids are able to hybridize further, giving the possibility of hundreds of different hybrids that have multiple species in varying amounts in their ancestry. Since many species ranges overlap, natural hybrids are relatively common. As a result, initial classification included many of these hybrids as separate species. A recent census of the number of hybrids and cultivars of Sarracenia species revealed about 100 unique hybrids and cultivars in cultivation.[20] Many hybrids of Sarracenia are still commonly referred to by their obsolete species names, particularly in horticulture. These hybrids are all popularly cultivated by carnivorous plant enthusiasts, and there are consequently a huge number of hybrids and cultivars, most bred for showy pitchers.
Some of the more common named hybrids include:
- Sarracenia × catesbaei = S. flava × S. purpurea
- Sarracenia × moorei = S. flava × S. leucophylla
- Sarracenia × popei = S. flava × S. rubra
- Sarracenia × harperi = S. flava × S. minor
- Sarracenia × alava = S. flava × S. alata
- Sarracenia × mitchelliana = S. purpurea × S. leucophylla
- Sarracenia × exornata = S. purpurea × S. alata
- Sarracenia × chelsonii = S. purpurea × S. rubra
- Sarracenia × swaniana = S. purpurea × S. minor
- Sarracenia × courtii = S. purpurea × S. psittacina
- Sarracenia × pureophila = S. purpurea × S. oreophila
- Sarracenia × readii = S. leucophylla × S. rubra
- Sarracenia × farnhamii = S. leucophylla × S. rubra
- Sarracenia × excellens = S. leucophylla × S. minor
- Sarracenia × areolata = S. leucophylla × S. alata
- Sarracenia × wrigleyana = S. leucophylla × S. psittacina
- Sarracenia × ahlesii = S. alata × S. rubra
- Sarracenia × rehderi = S. rubra × S. minor
- Sarracenia × gilpini = S. rubra × S. psittacina
- Sarracenia × formosa = S. minor × S. psittacina
- Sarracenia × mineophila = S. minor × S. oreophila
- Sarracenia × psittata = S. psittacina × S. alata
Botanical history bewerken
Sarracenia were known to Europeans as early as the 16th century, within a century of Christopher Columbus' discovery of the New World. L'Obel included an illustration of S. minor in his Stirpium Adversaria Nova in 1576.[22] The first description and plate of a Sarracenia to show up in botanical literature was published by Carolus Clusius, who received a partial dried specimen of what was later determined to be S. purpurea subsp. purpurea, publishing it under the name Limonium peregrinum. The exact origins of this specimen remains unknown, as few explorers are known to have collected plant specimens from the range of this subspecies before that time. Cheek and Young suggest that the most likely source is Cartier's expeditions to what is now Quebec between 1534 and 1541.[22] The fragile flowerless specimen that made its way to Clusius 60 years later was enough to excite his interest, but not enough for him to place it among related plants; his closest guess was the wholly unrelated Sea Lavender genus.
The name Sarracenia was first employed by Michel Sarrazin, the Father of Canadian Botany who in the late 17th century sent live specimens of S. purpurea to the Parisian botanist Joseph Pitton de Tournefort, who thereupon described the species. Linnaeus adopted this name when he published his Species Plantarum (1753), using it for the two known species at the time: S. purpurea and S. flava. The first successful flowering in culture occurred in 1773. In 1793 William Bartram noted in his book about his travels in the southeast U.S. that numerous insects were caught in the pitchers of these plants, but doubted that any benefit could be derived from them.[23] It was not until 1887 that research by Dr. Joseph H. Mellichamp proved the carnivorous nature of this genus. This finding was supported by a study by J.S. Hepburn, E.Q. St. John and F.M. Jones in 1920.[24] Extended field surveys and laboratory studies by Dr. Edgar Wherry in the 1930s greatly increased the knowledge of this genus, which has further been extended by the more recent works of Dr. C. Ritchie Bell (1949–52), Dr. Donald E. Schnell (1970–2002) and Mr. Frederick W. Case (1970s and the treatment in Flora of North America to be published in 2008).{{update after|2008|12|31}}[23]
Kweek bewerken
Sarracenia are considered easy to grow and are widely propagated and cultivated by gardeners and carnivorous plant enthusiasts. Several hybrids between the very hardy S. purpurea and showy species like S. leucophylla are becoming common in garden centers in North America and Europe.
Sarracenia require constantly moist-wet, nutrient free acidic soil. This is most often achieved with a potting mix consisting of peat moss mixed with sand or perlite. As their roots are sensitive to nutrients and minerals, only pure water, such as distilled, rain, or reverse osmosis water, can be used to water them. Sarracenia prefer sunny conditions during their growing season but require a dormancy period, with decreased light and temperatures, of a few months in the winter.
Propagation bewerken
Sarracenia do not self-pollinate and therefore require hand pollination or access to natural pollinators such as bees. Sarracenia pollen remains potent for several weeks when refrigerated, and so is stored by cultivators and used to pollinate later-flowering species. Given that all Sarracenia hybrids are fertile and will hybridize further, this characteristic allows cultivators to produce a limitless number of variants through hybridization.
The copious seeds store well if kept dry. In climates or seasons that cannot provide the cold, damp period of stratification required by the seeds for germination, growers mimic this condition by placing the seeds in a refrigerator for 2–6 weeks, depending on species. The seeds are sown on the surface of their substrate and germinate when transferred to warmer, bright conditions. Sarracenia seedlings all look alike for the first two or three years; the plants reach maturity after four or five years. Regular fertilization (twice a month between April and September) with a balanced fertilizer at the rate of 1 teaspoon per gallon (using a 15-16-17 peat-lite or similar fertilizer) will speed their growth and time to maturity. It is advisable to leach regularly with pure water to prevent the buildup of solutes (fertilizer salts) in the soil. Deep water in a potted plant keeps the soil too waterlogged for proper root functioning.
Mature Sarracenia are commonly propagated by division. Their rhizomes extend and produce new crowns of pitchers over the course of a few growing seasons, and cultivators divide and separate the rhizomes during the plant's winter dormancy or early in the growing season. This technique is also used to separate sections of rhizomes which have no pitchers: when re-potted, the section usually generates a new crown of pitchers. A further technique is employed to encourage new crowns to appear which does not involve division of the rhizome: small notches up to 5 mm deep are cut into the top of the rhizome, whereupon a new crown frequently develops at the site of the notch.
Uitzoeken bewerken
- (en) Aaron M. Ellison, Lubomír Adamec (redactie), Carnivorous Plants: Physiology, Ecology, and evolution (2017, Oxford University Press)
- (en) R.L. Kitching, Food Webs and Container Habitats: The Natural History and Ecology of Phytotelmata (2000, Cambridge University Press)
- (en) Adrian Slack, Carnivorous Plants (2000, MIT Press)
- J. Brittnacher, Phylogeny and biogeography of the Sarraceniaceae
- Ellison AM ea Phylogeny and Biogeography of the Carnivorous Plant Family Sarraceniaceae
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Ye Xin (en) bewerken
[[Bestand:|miniatuur|']] ' ([] error: {{lang}}: no text (help); fl. ca. 1650–1680) was een Chinees kunstschilder en kalligraaf uit de xxx-periode. Zijn omgangsnaam was ' () en zijn artistieke namen ' (, ) en ' (, ).
wordt gerekend tot de 'Acht Meesters van Jinling'.[25]
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Zou Zhe (en) bewerken
[[Bestand:|miniatuur|']] ' ([] error: {{lang}}: no text (help); 1636–ca. 1708) was een Chinees kunstschilder en kalligraaf uit de xxx-periode. Zijn omgangsnaam was ' () en zijn artistieke namen ' (, ) en ' (, ).
wordt gerekend tot de 'Acht Meesters van Jinling'.[1]
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Hu Zao (en) bewerken
[[Bestand:|miniatuur|']] ' ([] error: {{lang}}: no text (help); fl. 1681) was een Chinees kunstschilder en kalligraaf uit de xxx-periode. Zijn omgangsnaam was ' () en zijn artistieke namen ' (, ) en ' (, ).
wordt gerekend tot de 'Acht Meesters van Jinling'.[1]
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Xie Sun (en) bewerken
[[Bestand:|miniatuur|']] ' ([] error: {{lang}}: no text (help); fl. 1679) was een Chinees kunstschilder en kalligraaf uit de xxx-periode. Zijn omgangsnaam was ' () en zijn artistieke namen ' (, ) en ' (, ).
wordt gerekend tot de 'Acht Meesters van Jinling'.[1]
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gevangenschap (de) bewerken
- [[Gevangenschap (dier)|gevangenschap]]
Risico's bewerken
Ontsnapte exoten, ongevallen
Vogelspinnen? Dierenpark De Oliemeulen?
Bokito (gorilla), en:Animal attacks
Geschiedenis bewerken
Throughout history not only domestic animals as pets and livestock were kept in captivity and under human care, but also wild animals. Some were failed domestication attempts. Also, in past times, primarily the wealthy, aristocrats and kings collected wild animals for various reasons. Contrary to domestication, the ferociousness and natural behaviour of the wild animals were preserved and exhibited. Today's zoos claim other reasons for keeping animals under human care: conservation, education and science.
Kunstformen der Natur bewerken
- Notodelphys ovifera (Weinland) = Gastrotheca ovifera (Lichtenstein & Weinland, 1854)
- Hyla meridionalis (Boulenger) = Hyla meridionalis Boettger, 1874
- Hyla tuberculosa (Boulenger) = Ecnomiohyla tuberculosa (Boulenger, 1882)
- Amphignathodon Güntheri (Boulenger) = Gastrotheca guentheri (Boulenger, 1882)
- Rhacophorus pardalis (Wallace) = Rhacophorus pardalis Günther, 1858
- Hylodes lineatus (Schneider) = Lithodytes lineatus (Schneider, 1799)
- Limnodytes erythraeus (Duméril) = Hylarana erythraea (Schlegel, 1837)
- Ceratobatrachus Güntheri (Boulenger) = Cornufer guentheri Boulenger, 1884
- Breviceps mossambicus (Peters) = Breviceps mossambicus Peters, 1854
- Lithobates pipiens (Linné) = Lithobates pipiens (Schreber, 1782)
Breviceps mossambicus (en) bewerken
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Hylarana erythraea (en) bewerken
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Ecnomiohyla tuberculosa (en) bewerken
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Goede Donderdag (Goede donderdag, Sweet Thursday)(en) bewerken
| Goede Donderdag | ||||
|---|---|---|---|---|
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Interieur van Ricketts' Pacific Biological Laboratories
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| (Boekomslag op en.wikipedia.org) | ||||
| Oorspronkelijke titel | Sweet Thursday | |||
| Auteur(s) | John Steinbeck | |||
| Land |  Verenigde Staten
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| Oorspronkelijke taal | Engels | |||
| Uitgever | Van Holkema & Warendorf | |||
| Oorspronkelijke uitgever | Viking Press | |||
| Uitgegeven | 1954 | |||
| Oorspronkelijk uitgegeven | 1954 | |||
| Voorloper | Een blik in Cannery Row | |||
| Vorige boek | Ten oosten van Eden | |||
| Volgende boek | De Korte Regering van Pepijn IV | |||
| ||||
Goede Donderdag (Engels: Sweet Thursday) is een roman van John Steinbeck, gepubliceerd in 1954. Het verhaal is een vervolg op Steinbecks Een blik in Cannery Row en speelt zich negen jaar later af, in de eerste jaren na de Tweede Wereldoorlog. Opnieuw speelt het grootste deel van het verhaal zich af in de straat Cannery Row.
Plot bewerken
In de periode tussen Een blik in Cannery Row en Goede donderdag heeft de Californische vissersplaats Monterey een aantal drastische veranderingen ondergaan. De vraag naar visproducten is aanzienlijk geslonken, waardoor veel conservenfabrieken hun deuren hebben moeten sluiten. Doc keert na zijn diensttijd terug naar zijn verwaarloosde laboratorium in Cannery Row, Wester Biologisch geheten.
Personages bewerken
Veel personages uit het eerste boek zijn vertrokken of gestorven, zoals de kruidenier Lee Chong en de Dora Flood, de eigenaresse van Restaurant De Berenvlag.[* 1]
hoerenmadam Fauna
Doc bewerken
Doc, de hoofdpersoon in het verhaal, is een maritieme bioloog met een laboratorium in Cannery Row, Wester Biologisch geheten. Hij wordt beschreven als een kleine, potige man die zich meestal goed weet te beheersen, ondanks zijn gepassioneerde aard. Hij draagt een baard, wat in die tijd nogal ongewoon was in Monterey. Hij is de wijste persoon in de buurt en staat altijd klaar om iemand met raad en daad te helpen. Dit levert hem respect op van zijn omgeving, maar desondanks is hij regelmatig zwaarmoedig en eenzaam.
Docs werk bestaat voornamelijk uit het bestuderen en conserveren van zeedieren, die hij dan verhandelt aan diverse universiteiten, laboratoria en musea in de Verenigde Staten. Regelmatig reist hij naar La Jolla of de Baai van Monterey om er zeedieren te verzamelen. In zijn laboratorium bewaart hij levende en gepreserveerde dieren, zoals ratelslangen, octopussen en zeesterren. Daarnaast beschikt hij over een uitgebreide bibliotheek en platencollectie. Soms neemt hij een vriendinnetje mee naar huis, dan draait hij zijn platen en leest hij haar gedichten voor.
Mack bewerken
Mack is een intelligente 48-jarige man, die zijn ondeugden als leugens en diefstal meestal goedpraat om een zuiver geweten te kunnen behouden. Hij wordt beschreven als de mentor van een kleine groep levensgenieters. Deze mannen hebben een aantal dingen gemeen: zij hebben allen geen familie, geen geld en geen ambities. Ze leiden een zwervend bestaan totdat Mack van Lee Chong een vervallen visopslagplaats koopt. De vrienden richten het gebouw in met gevonden en gestolen spullen en trekken er met hun pointer Darling in. Ze noemen dit nieuwe onderkomen hun 'Paleiskrot'.[* 2]
Hazel bewerken
Een van Macks huisgenoten is Hazel, een stille goedzak die met open mond naar andermans gesprekken luistert, al kan hij er meestal geen touw aan vastknopen. Hij was thuis het achtste kind en heeft zijn meisjesnaam te danken aan het feit dat zijn moeder na de bevalling zo moe was dat ze hem maar naar haar tante vernoemde. Toen zij erachter kwam dat ze het leven had geschonken aan een jongetje, was ze al zo gewend aan de naam dat ze het maar zo liet.
Eddie bewerken
Eddie is een andere bewoner van het Paleiskrot. Hij is een parttime barman in Café La Ida en verzamelt de inhoud van bijna legen glazen in een ton onder de bar. Wanneer deze vol is neemt hij de wonderlijke cocktail mee naar het Paleiskrot. Aan dit mengsel van bier, bourbon, wijn, rum, gin en andere sterkedrank dankt Eddie zijn populariteit onder zijn vrienden.
Het grootste deel van het verhaal speelt in en om Cannery Row, de straat waar de meeste personages wonen. Dit zijn bijvoorbeeld de kruidenier Lee Chong, de hoerenmadam Dora Flood, de werkloze Mack en zijn huisgenoten en de maritieme bioloog Doc, de hoofdpersoon. In het verhaal kom duidelijk Steinbecks liefde voor het land naar voren, evenals zijn sympathie voor de inwoners van Monterey, met name diegenen die leven aan de rand van de maatschappij.
NotenBronnen
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Categorie:Roman uit 1954 Categorie:Werk van John Steinbeck Categorie:Monterey County
Marien leven van Madagaskar bewerken
Het mariene leven van Madagaskar heeft dankzij de ligging van het eiland een grote biodiversiteit. Madagaskar wordt aan de westzijde geschieden van het vasteland van Afrika door de Straat Mozambique, aan de oostzijde bevindt zich de open zee van de Indische Oceaan.
Flora bewerken
Zie ook Flora van MadagaskarFauna bewerken
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Doornenkroon (Acanthaster planci) en diadeemzee-egel (Diadema setosum) -
Diadeemzee-egel (Diadema setosum) -
Diadeemzee-egel (Diadema setosum) -
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Zie ook Fauna van MadagaskarRelatie met de mens bewerken
Zie ook bewerken
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Amadou (en) bewerken
Amadou is a spongy, flammable substance prepared from bracket fungi. The species generally used is Fomes fomentarius (formerly Ungulina fomentaria or Polyporus fomentarius), which in English is also called "horse's hoof fungus" or "tinder fungus". The amadou layer can be found on top of the fungus just below the outer skin and above the pores.[1] It is traditionally used as tinder, and also, when smouldering, as a portable firelighter.
Before such uses, amadou needs to be prepared by being pounded flat, and boiled or soaked in a solution of nitre. One method of preparation starts by soaking a slice in washing soda for a week, beating it gently from time to time. After that it has to be dried; when dry it is initially hard and has to be pounded with a blunt object to soften it up and flatten it out.[1]
Amadou has great water-absorbing abilities. It is used in fly fishing for drying out dry flies that have become wet.[2][1] Another use is for forming a felt-like fabric used in the making of hats and other items[citation needed].
Amadou was a precious resource to ancient people, allowing them to start a fire by catching sparks from flint struck against iron pyrites. Remarkable evidence for this is provided by the discovery of the 5,000-year-old remains of "Ötzi the Iceman", who carried it on a cross-alpine excursion before his death and subsequent ice-entombment.
External links bewerken
- http://www.rogersmushrooms.com/gallery/DisplayBlock~bid~5928~gid~.asp
- http://www.bushcraftuk.com/content/articles.php?action=show&showarticle=175 [dead link]
- http://www.bushcraftuk.com/forum/content.php?r=307-Polypore-Fungi-in-Primitive-Fire-Making
- http://www.primitiveways.com/Amadou%20substitutes.html
- http://paulkirtley.co.uk/2011/easy-way-to-use-fomes-fomentarius-as-tinder/
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Categorie:Aansteker Categorie:Schimmelmorfologie
Echte vuurzwam (Phellinus igniarius) bewerken
| Echte vuurzwam | |||||||||||||
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| Phellinus igniarius (L.) Quél. (1886) | |||||||||||||
| Afbeeldingen op Wikimedia Commons
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Europese tjitjak bewerken
in Leviticus 11:29, 30