winged disc

4 YEARS OF BTS AWARDS:

BTS who are celebrating their 4th anniversary today (June 13), came a long way since their debut on 2013. This post intends to show you not only their great achievements through the years but also how it took them 2 years (half of their career so far) before getting any recognition and how their hard work and perseverance payed off.

2013: THE BEGGINING

  • Melon Music Awards New Artist of the Year 

2014: THE HARDEST YEAR

Originally posted by berry852

  • Golden Disc Awards  Newcomer Award
  • Gaon Chart Music Awards New Artist of the Year (Male Group)
  • YinYueTai Rookie Award
  • Seoul Music Awards  New Artist Award
  • Arirang TV Pops in Seoul Awards  Rising Star Award

2015: THE TEARS OF THEIR FIRST WINS

Originally posted by vjin

  • Melon Music Awards  Best Male Dance “I Need U”
  • Melon Popularity Award “Run”  Weekly Popularity Award (December 7)
  • Mnet Asian Music Awards  Best World Performer
  • Golden Disc Awards “Dark & Wild” Disk Bonsang
  • Seoul Music Awards  Bonsang Award
  • Gaon Chart Music Awards  World Rookie Award
  • MBC Music Show Champion “Run” Best Performance Male Group
  • Cable TV Broadcast Awards Hallyu Star Popularity Award 
  • MTV Europe Music Awards Best Korean Act 
  • Japan Gold Disc Awards Best New Artist (Asia) 
  • Japan Gold Disc Awards Best 3 New Artists Award (Asia) 
  • Arirang TV Simply K-Pop Awards Best Performance Boy Group

2016: THE MIRACLE

Originally posted by artcyj

  • Melon Music Awards  Album of the Year
  • Melon Music Awards  Top 10 Artists
  • Melon Popularity Award “ Blood Sweat & Tears”  Weekly Popularity Award (Ocrober 17 - October 24)
  • Mnet Asian Music Awards Best Dance Performance - Male Group
    Mnet Asian Music Awards HotelsCombined Artist of the Year
  • Golden Disc Awards “ The Most Beautiful Moment In Life, Part 1 ” Disk Bonsang 
  • Seoul Music Awards Bonsang Award
  • Gaon Chart Music Awards  K-Pop World Hallyu Star Award
  • Korean Popular Culture & Arts Awards Cultural Minister Award
  • Asia Artist Awards Best Icon Award, Singer
  • Asia Artist Awards Best Artist Award, Male Singer    
  • Hanteo Awards Wings Album Award
  • CJ E&M America Awards Best Male Idol
  • KBS MV Bank MV Best 5 “Fire”  Best Music Video Boy Group
  • KBS MV Bank MV Best 5 “Blood Sweat & Tears” Best Music Video Boy Group  
  • KBS World Radio Best Boy Group
  • KBS World Radio “Fire” Best Song

2017: THE DREAM COME TRUE

Originally posted by jeonheart

  • Seoul Music Awards Wings Album of the Year
  • Billboard Music Awards Top Social Artist
  • Melon Popularity Award “Spring Day" Weekly Popularity Award (February 20)
  • Golden Disc Awards Wings Disk Bonsang
  • Golden Disc Awards Global K-Pop Artist Award 
  • Seoul Music Awards Bonsang Award
  • Seoul Music Awards Best Male Dance Performance Award 
  • Seoul Music Awards “Blood Sweat & Tears” Best Music Video Award
  • Gaon Chart Music Awards  Album of the Year – 4th Quarter
  • Gaon Chart Music Awards V Live Global Popularity Award 
  • YinYueTai Best Stage Performance Award
  • Japan Gold Disc Awards Best 3 Albums
  • Shorty Awards Best in Music
  • Global V Live Awards Global Artist Top 10

KOREAN MUSIC PROGRAMS:

2013 - 2014: NOTHING BUT HOPE 

After 2 years of not getting any win, they started to tell each other “Let’s just not expect anything” but deep inside they all dreamed of a win, as V says “To be honest, just because you say “don’t expect anything” doesn’t mean we expect nothing” It was a hard time for both BTS and the fans. 

2015: FINALLY FIRST PLACE

Originally posted by ohoseoks

  • 2015 The Show May 5 “I Need U”
  • 2015 The Show May 12 “I Need U” 
  • 2015 The Show December 8 “Run”
  • 2015 M Countdown May 7 “I Need U”
  • 2015 Music Bank May 8 “I Need U”
  • 2015 Music Bank December 11 “Run”
  • 2015 Show Champion May 13 “I Need U” 
  • 2015 Show Champion December 9 “Run”
  • 2015 Show Champion December 16 “Run”

2016: BTS IS NOT A ONE-HIT WONDER

Originally posted by bangthebae

  • 2016 The Show October 25 “Blood Sweat & Tears”
  • 2016 M countdown May 12"Fire"
  • 2016 M countdown October 20"Blood Sweat & Tears
  • 2016 Music Bank January 8 “Run”
  • 2016 Music Bank May 13"Fire"
  • 2016 Music Bank  October 21 “Blood Sweat & Tears”
  • 2016 Music Bank October 28 “Blood Sweat & Tears”    
  • 2016 Show Champion October 19 
  • 2016 Show Champion February 22"Spring Day"
  • 2016 Inkigayo May 15"Fire"
  • 2016 Inkigayo October 23"Blood Sweat & Tears"

2017: RECORD BREAKERS

Originally posted by park-jimothy

  • 2017 M countdown February 23 “Spring Day”
  • 2017 Music Bank February 24"Spring Day"
  • 2017 Show Champion  February 22"Spring Day"
  • 2017 Inkigayo February 26 “Spring Day”

If you have been with Bangtan since the start or just joined the fandom a month ago, It doesn’t matter because greater achievements and memories are yet to be made. Happy 4th BTS anniversary everyone. Let’s reach even higher from now on ^^.
By @mimibtsghost

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ok, consider this: izumi’s daughter and wei beifong

i know bryke wanted to pair her with mako, and i like the ship, but what if she met wei and they end up falling in love? i love the twins, especially wei, and i love izumi’s daughter - even though we don’t know anything about her. i think i love the idea of her character. 

i have this headcanon where ursa (that’s my name for her) is opal’s best friend. it works for both ways, if she dates mako or wei - with mako they would hang out all the time cause opal dates bolin, and they are brothers. in wei’s case opal would be the one to introduce them. i like to think that she invites ursa to go to zaofu with her, and when they get there, wei is playing power disc with wing. ursa is like all impressed and wei is embarrased cause he’s very sweaty

they spend a lot of time together during the time she stays in zaofu, it’s kinda hard when she needs to leave. wei talks to opal, he ask her to bring ursa more often, and then she realizes they like each other. opal starts to ursa about wei, and to wei about ursa. opal’s is their angel and she’s SO happy when they finally announce they’re together

su and izumi think their relationship is the cutest thing. iroh, opal, wing and huan went out to dinner with ursa and wei to celebrate it. and of course it would be sooo cute to see toph teasing zuko about those two. in my head zuko is very protective over his grandchildren - his whole family, actually - and he gets kinda………hm okay……. when ursa tells him about wei. toph loves it. in the end, zuko ends up loving wei, he thinks he’s such a good boy

so that’s it! i still like ursa x mako, but ursa x wei is so cute. love my little headcanon that brings together my two favorite families from tlok <3

Faravahar - a Zoroastrian symbol during the last days of the Median Empire.

Qyzqapan is a tomb located in the mountains in Syromedia, and is the last resting place of Cyaxares the Great…

The construction of the tomb, begun after the death of Cyaxares the Great in 585 BC. The tomb contains Zoroastrian symbols, since the Medes had an ancient religion (a form of pre-Zoroastrian Mazdaism or Mithra worshipping) with a priesthood named as “Magi”. Later and during the reigns of last Median kings the reforms of Zarathustra spread in northwestern Iran.

  • Me: I will never improve on my art it looks like shit I hate it so much why the hell am I even drawing?!
  • Also me: *Proceeds to draw more art for my pent up frustration*
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GundamInfo recently posted the first three episodes of the Gundam Wing HD remaster on YouTube. High-def version is on the top (with assorted caveats for PC monitor capture quality); 1999 DVD-quality version is on the bottom.

I’ve never been one to chitter over pixel resolution or color depth, but I suppose there’s some value in getting something sharper than 1995-program quality – and yeah, Gundam Wing really is that old.

Gundam Wing comes to Blu-ray Disc (U.S.) in December 2017 ($269.99). I won’t be lining up to purchase the darn thing … but it’s good to see western distribution groups thinking about the most-recent, elder generation of anime fans, and throwing us a bone every once in a while.

The Seal of Darius the Great

Achaemenid Agate Cylinder Seal, Persian, 5th-4th century BC

This agate cylinder seal is engraved with a scene showing the Persian king standing in a chariot and shooting arrows at lions. The scene is framed by date palms and above the king’s head floats a figure in a winged disc, who is usually thought to be the Persian god Ahura-Mazda, but who may represent the spirit of the dead king or divine glory (khvarneh or farr) that was bestowed on the living ruler.

The cuneiform inscription written along one side is in three languages: Old Persian, Elamite and Babylonian, and translates ‘Darius the great king’. This is presumably Darius I (reigned 521-486 BC) who reorganized the administration of the Persian Empire and was the first Persian king to mint coins. He also introduced cuneiform for recording inscriptions in Old Persian and built a canal linking the Nile with the Red Sea.

During Darius’ reign, Egypt was part of the Persian Empire with its former capital at Memphis now a seat of Persian administration. This seal is said to have been found in a tomb at Thebes which was the cemetery of Memphis. It is the most famous Persian-period object found in Egypt.

Architecture (Part 8): Greco-Roman Temples

A Hellenistic Macedonian family ruled Egypt during the Ptolemaic Dynasty (305-30 BC).  Under their rule, a revival of Egyptian traditions & forms occurred, but with a change – instead of the temples’ previous “public majesty”, they were now darkened and mysterious.  Large building projects were carried out, temples were rebuilt or enlarged, and Egyptian religious beliefs were preserved by the foreigners.

The basic elements of temple construction & room arrangement were still used, with the pronaos and a free-standing central sanctuary (instead of against the back wall) added to them.  Under the later kings of this dynasty, the temples still provided a strong social function, serving as the town’s focus, and giving it administrative & economic value as well as spiritual value.

The Temple of Edfu was built from sandstone on the Nile’s west bank in Edfu, over a period of 180 years.  Its layout was complex, but streamlined.

Temple of Edfu.

Statues of Horus outside the entrance (close-up).

Stairways inside the pylons led to the roof.  The entrance led to a large courtyard, after which was the pronaos, hypostyle hall, small antechamber, and finally a free-standing sanctuary, surrounded by a corridor.

Decorative hieroglyphic texts state that the temple was built according to the ancient ideal, which re-emphasized its dedication to the cult.

Edfu was dedicated to Horus (the falcon god), and displays all the typical major temple elements: broken-lintel doorway (two partial lintels reach only a short way, with a large gap in the middle); elaborate column capitals; a screen wall across the hypostyle hall; and the roof was used for ritual.

A winged sun-disc over the pylon entrance represented Behdet, the creator & protector of the world.  The courtyard is flanked by colonnaded porticoes.  It gave an impressive public aspect to the temple, with elaborate, brightly-decorated capitals, and the large statue of Horus as a falcon at the back.

Courtyard (looking back to the pylons).

The pronaos was also called the Hall before the Great Seat”. This is the temple’s fore-hall (i.e. before the hypostyle hall).  It has three rows of six columns each.  The only light came in through a square aperture in the roof, thus emphasizing the transition between the physical & spiritual worlds.

Behind the first row of columns is a screen wall, to restrict the amount of light entering the pronaos.  This created an environment for cleansing before approaching the sanctuary.  The screen wall is made of thin stone, and is highly-decorated with images of the king & queen, cult themes, and mythological motifs, thus emphasizing the cult of the pharaoh.

In the courtyard, looking to the first row of columns.

Hypostyle hall.

The Temple of Hathor in the Dendera Temple Complex was built during the 00’s BC.  The columns supporting its hypostyle hall were crowned with 4-sided Hathor-head capitals.  The upper part of the capitals depicted the mammisi (birth house), which was identified with divine descent.  Hathor was the goddess of love.

Temple of Hathor.

Columns in the hypostyle hall.

The cornice was a projecting ornamental moulding, on along the top of pylons and temple walls.  It was a standard part of Egyptian decoration.  The earliest designs were simple mud-brick and reed, and later elaborate designs were of detailed cult symbolism, such as the striking cobra and sun-disc.  Cornices gave elegance to monumental structures.

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Middle Assyrian Chalcedony Cylinder Seal with a Lion-Dragon, 1300-1200 BC

This has the image of Ashur*, chief god of Assyria, on a winged solar disc facing a scorpion-tailed lion-dragon**. Above the lion-dragon is a recumbent crescent moon, a symbol of Sin, the moon god and alongside it is an eight-pointed star which represents the goddess Ishtar. Next are seven dots representing the Sebittu, seven benevolent gods whose power could be harnessed against evil by means of magic incantation. Astrologically these dots were identified with the Pleiades. There were temples dedicated to the Sebbitu at the Assyrian cities of Kalhu (Nimrud), Dur-Sharrukin (Khorsabad) and Nineveh.

*The god in the winged sun disc could also be Shamash, the sun god. Scholars are not all in agreement over which god is being represented within the winged sun disc in Assyrian art. Ashur is an indistinct deity with no clear iconography of his own. When he is represented in art his attributes tend to be borrowed from another god (in this case Shamash), which makes it difficult to definitively identify him.

**The lion-dragon is a beast which could be a reference to either the chief Assyrian god Ashur, the moon god Sin or the storm god Adad.

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Ancient Worlds - BBC Two

Episode 1 “Come Together”

Kudurru (boundary stone) from the Temple of Marduk in Babylon, dating from around 900-800 BC. It is a commemorative monument set up in honour of a private individual called Adad-etir, an official in the temple, known as ‘the dagger bearer’, and this stela was erected by his son.

The figures carved in relief on the front represent the father and son together. Their shaven heads show that they are both priests, it being normal in ancient Mesopotamia for a son to adopt his father’s profession. There are three divine symbols above the two priests: a winged solar disc representing the sun-god Shamash, a crescent of the moon-god Sin and a lion-headed mace on a pedestal.

The cuneiform inscription includes a curse upon anyone who defaces the stela. It translates:

“May Marduk, the great lord, in anger look upon him, and his name and his seed may he cause to disappear.
May Nabu, the scribe of all, curtail the number of his days.
But may the man who protects it be satisfied with the fulness of life.”

British Museum, London, UK 

A newspaper in June 1934 declared that this brainchild of inventor Steven P. Nemeth was virtually “foolproof”, “stall-proof” and able to land just about in any field. Nemeth had been a former flight instructor at the McCook field (near Dayton, Ohio) before it shut down in 1927, and had been carrying out experiments on rotating wings for several years, since 1929.
So students at Miami University constructed a protoype based on Nemeth’s design, so they could test configurations of circular wings. The resulting strange aircraft was called the Nemeth or Nemuth Parasol, and it was tested in 1934. People who observed the Nemeth’s test flight from the ground called it the “flying umbrella.” The round, saucer like wings of the airplane spanned fifteen feet, leading many in the media to dub it a “saucer plane.”
According to Nemeth, the airplane was so easy to fly that someone who had never flown a plane before could learn to maneuver the Nemeth Parasol in thirty minutes. During testing, this strange aircraft achieved a speed of 135 mph, powered by the 110 hp Warner engine. Coupled with a relatively more mild landing speed of 25 mph, this made the machine quite an impressive craft.During the test flight, Nemeth stalled the craft mid-air and let the disc wing do the work of a parachute. The demonstration was a success: with the motor off, the wing stabilized the aircraft, and it came down “almost vertically” to a gentle landing, according to a 1934 report from Popular Science. The Nemeth Parasol became the first round wing design to maintain consistent flight. Sadly, only one prototype of the Nemeth Parasol was ever made. It did see a later redesign, with a 120 hp Warner Scarab engine and divided wings. However, there is little additional information about why there were no further improvements or tests, which is a shame. The Nemeth Parasol demonstrated strong flight characteristics in its test flight, including smooth take off and landing capabilities. However, the design’s low aspect ratio wing may have meant a lot of additional drag, and this may be why the Nemeth Parasol has been relegated to the dust bin of the weird and strange aircraft. This is by far my favorite post I’ve made as this is why I made this blog

Assyrian Magic Incantation from the Series Hulbazizi, c. 900-600 BC

In Assyrian cuneiform on white chalcedony, with a fine detailed visage of the demon Pazuzu combining human and lionine features, deeply carved on one side, and a winged solar disc beneath the text which says:

MAY SÎN, LORD OF THE CROWN, QUIETEN YOU; MAY NINURTA, LORD OF WEAPONS, BREAK YOUR WEAPONS; MAY NERGAL, LORD OF THE NETHERWORLD HOLD YOU IN BATTLE; MAY EA AND ASALLUHI CUT OFF YOUR POISON. CLEAR OFF!

Urartian Bronze Lion’s Foot, Late 8th Century BC

This large bronze foot (one of two discovered) comes from Toprakkale (ancient Rusahinili) in Urartu, the site of a major temple of the god Haldi. It was probably fitted onto the leg of a table or a bed. The knuckles and claws would have been inlaid, as would the ornament on the front. This consists of two Anatolian sun symbols above an Urartian version of the Egyptian winged sun disc.

In antiquity furniture was primarily of wood. Costlier materials like bronze were used mainly for decoration. Representations of decorated furniture can be seen on Urartian engravings and also on contemporary Assyrian reliefs.The kingdom of Urartu was particularly known for fine metal-work, and Urartian bronzes were highly prized by the Assyrians, who list quantities of bronze objects amongst captured Urartian booty. This foot was made using the lost-wax casting method.

Urartu, centered on Lake Van, was the northern neighbour and rival of the Assyrian Empire from the ninth to the seventh centuries BC but it had disappeared before 600 BC. It was possibly destroyed by raids of horse-borne warriors, known to the Greeks as Scythians, associated with the Medes from western Iran. The name survives, however, in that of its highest mountain, Ararat.

Rare Egyptian Limestone Stele for Tutu, Late Ptolemaic - Roman Period, 1st Century BC/AD

Sculpted in relief in the form of a naos with a cavetto cornice surmounted with a row of twenty-four stylized uraei supported by two columns at either end, with the god Tutu depicted as a sphinx walking to the right, the lean and elongated body with the ribs protruding, the head turned to face outwards, surrounded by a thick mane-like wig with a tni crown of rams horns and plumes, the curling tail terminating with a cobra head, a knife in each paw, a winged solar disc with cobra above

A rare subject matter, Tutu, meaning ‘he who keep enemies at a distance’, was an apotropaic god venerated mainly in the Greco-Roman Period.

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Egyptianized Near Eastern Hematite Cylinder Seal, Syria, 1820-1730 BC

In the area that corresponds roughly with the boundaries of modern Syria and Lebanon, there arose in the first half of the second millennium BC many centers of culture that maintained contact with lands both to the east and the west. The seals produced in this region—in a number of local styles—often bear imagery and stylistic features that relate them to Egyptian and Aegean art.

The main scene on this cylinder seal depicts a worshiper (probably the king) before a divinity, who holds a vase (?) and is seated above two human-headed bulls. The god is enthroned on a stool with lion legs of a type known from actual contemporary remains in wood and ivory from both Egypt and Anatolia. The smaller images include a sphinx wearing an Egyptian crown, attacking an antelope; an ankh, the Egyptian symbol for life; a winged solar disc representing Shamash over a recumbent crescent moon representing Sin; two eight pointed stars representing Ishtar; a kneeling bird-man under a plait-like motif which probably represents subterranean fresh water; a quadruped and a monkey are in front of the king, possibly as sacrificial offerings to the seated god.