الانصهار عملية تؤدي إلى تغير حالة المادة من الحالة الصلبة إلى حالة سائلة. تزداد الطاقة الداخلية للطور الصلب (عادة من جراء تطبيق الحرارة) إلى درجة حرارة معينة (تسمى نقطة الانصهار) والتي يتحول عندها إلى الطور السائل، ويسمى الجسم الذي ذاب تماماً بالمنصهر، ويحدث الانصهار عند درجة الحرارة التي يتواجد عندها الطور الصلب والسائل للمادة النقية في حالة توازن. عند الوصول إلى نقطة الانصهار سيؤدي المزيد من الحرارة إلى تحول الجسم الصلب تدريجياً إلى سائل بدون تغير في درجة الحرارة، ولكنه أثناء هذه الحالة يحصل على ما يسمى حرارة الانصهار. درجة الأنصهار وحرارة الانصهار خاصتان من خواص المادة. حرارة انصهار مادة تكون عند ذوبان جميع المادة الصلبة، فإن الحرارة الإضافية سوف ترفع درجة حرارة السائل.

مثال: ينصهر الثلج عند درجة حرارة 0 درجة مئوية ، وحرارة انصهاره تساوي 333.500 جول/كيلوجرام. تلك الحرارة هي اللازمة لتحويل 1 كيلوجرام من الثلج إلى ماء. أثناء عملية التحول تبقى درجة الحرارة ثابتة عند الصفر المئوي حتى يتم تحول كل الثلج إلى ماء.

نقطة الانصهار للمادة الصلبة البلورية هي صفة مميزة للمادة، وتستخدم لتعيين هوية المركبات والعناصر النقية. معظم الخلائط والأجسام غير البلورية (أمورفية = يكون توزيع الذرات فيه عشوائيا بدون تنظيم) تنصهر ضمن مجال من درجات الحرارة.

تعتبر نقطة انصهار المادة الصلبة عمومًا هي نفسها نقطة تجمد المادة السائلة . وقد يتجمد السائل وفق عدة أنظمة بلورية مختلفة ، ولأن الشوائب تخفض درجة حرارة التجمد، فالواقع يفرض أن تكون درجة حرارة التجمد ليست مساوية لدرجة حرارة الانصهار. وبالتالي لتعيين هوية المادة يتم اللجوء إلى درجة حرارة الانصهار. فمثلا، تحتاج بلورات الماء إلى نويات تبدأ حولها تشكل البلورات. فالماء في كأس نظيف سوف يبرد لعدة درجات تحت نقطة تجمده بدون أن يتجمد.

من وجهة نظر الديناميكا الحرارية، يكون التغير في طاقة جيبس الحرة للمادة عند نقطة الانصهار مساويًا للصفر، بسبب ازدياد السخانة (H) والاعتلاج (S)ا (ΔH,ΔS> 0). تحدث ظاهرة الانصهار عندما تصبح طاقة جيبس الحرة للحالة السائلة أقل منها للحالة الصلبة. وعند ضغوط متنوعة، يحدث هذا في درجة حرارة محددة. ويمكن أيضا أن يكون:

حيث ""،""، و"". هي على التوالي درجة الحرارة عند نقطة الانصهار، التغيير في إنتروبي الانصهار، التغيير في سخانة الانصهار.

انصهار مادة صلبة

عندما نقوم بتسخين مادة صلبة نقية تبدأ درجة حرارته في الارتفاع حتى تصل إلى نقطة الانصهار وتحول الحرارة التي يمتصها الجسم الصلب إلى سائل . خلال تلك الفترة تظل درجة حرارة النظام ثابته حتى تتحول كل المادة الصلبة إلى حالة سائلة (تحول الطور ). وبعدما تتحول كل قطعة المادة الصلبة إلى سائل تبدأ درجة حرارة السائل في الزيادة مع استمرار التسخين . ويستمر ارتفاع درجة حرارة السائل بمواصلة التسخين حتى تصل درجة حرارته إلى نقطة الغليان ، وعندها يبدأ السائل يتحول إلى بخار . وهذا أيضا هو تحول طوري آخر .

خلال عملية التبخير تبقى درجة حرارة النظام ثابتة . فمثلا بالنسبة للماء تظل درجة حرارة الماء الذي يغلى ثابته عند درجة 100 درجة مئوية حتى يتحول كل الماء إلى بخار . في هذه الاثناء يختزن البخار الحرارة التي اكتسبها خلال تحوله من حالة سائلة إلى طور حالة غازية في هيئة حرارة كامنة .

كمية الحرارة اللازمة لانصهار مادة تسمى حرارة انصهار أو انثالبي الانصهار أو الحرارة الكامنة للانصهار ، وهي تقاس جول/مول ، أو تقاس جول/كيلوجرام .

ويبين الشكل البياني تغير درجة الحرارة (المحور الرأسي) للمادة الصلبة مع زمن التسخين (المحور الأفقي) . ونرى ثبات درجة الحرارة عند تحول المادة الصلبة إلى سائل ، وكذلك ثبات درجة الحرارة عند نقطة الغليان أثناء تحول السائل إلى بخار .

حرارة انصهار بعض المواد

انصهار غير متوافق

الانصهار غير المتوافق  هو تمييع مادة صلبة يتصاحب بتفكك أو تفاعل المادة الصلبة مع المادة المنصهرة لتعطي مادة صلبة أخرى وطور سائل يختلفان بتركيبهما عن المادة الصلبة الأصلية. مثال، مادة إنستاتايت(Enstatite)، وهي سيليكات المغنزيوم MgSiO3، تنصهر بشكل غير متوافق عند ضغط منخفض لتشكل فورسترايت (Forsterite) والتي هي نوع آخر من سيليكات المغنزيوم Mg2SiO4، وسائل غني بالسيليكا SiO2. عند ضغط يتراوح بين 2,5 و 5,5 كيلوبار، يصبح انصهار الإنستاتايت متوافقًا.

اقرأ أيضا
 درجة الغليان
 حرارة التبخر

المراجع
 الموسوعة البريطانية تم الوصول إلى هذا الموقع بتاريخ 7 أكتوبر 2008

تغيرات الطور
خواص المواد
ديناميكا حرارية
صناعة المعادن
علم المعادن
علم المواد

انصهار


Der MIL-STD-810 ist eine US-amerikanische technische Militärnorm, die Umwelt-Testbedingungen für militärische Ausrüstung spezifiziert. Dies besagt auch der Untertitel der Norm, Environmental Engineering Considerations and Laboratory Tests.

Die aktuelle Version dieser Norm ist MIL-STD-810H vom 31. Januar 2019. Sie löst damit die Version MIL-STD-810G w/Change 1 von April 2014 ab.

Testmethoden
Die Norm definiert Tests für die Verträglichkeit von Ausrüstung und Geräten mit extremen Temperaturen und Luftdrücken, Sonneneinstrahlung, Feuchtigkeit, Chemikalien, Beschleunigungskräften und Vibrationen, z. B. in großen Höhen und im Zusammenhang mit Schusswaffengebrauch. Die einzelnen Testmethoden sind in einzelnen Kapiteln zusammengefasst, beispielsweise umfasst die MIL-STD-810G folgende Testmethoden (nicht vollständige Auflistung):

Darüber hinausgehend umfasst die Spezifikation auch sehr spezielle Testmethoden und Parameter, wie beispielsweise Erschütterungstests und Vibrationen, die fahrende Eisenbahnen, LKWs oder Panzer bei Geländefahrten umfassen.

Einschränkungen
Die Norm als solche schreibt Herstellern von Ausrüstung nicht vor, dass die in ihr definierten Tests tatsächlich durchgeführt werden und dass das Testobjekt diese auch bestehen muss. Dies wird nicht in der Norm, sondern in den jeweiligen Vertragsbestimmungen zwischen Herstellern/Lieferanten und Abnehmern geregelt.

Der Hinweis auf die Norm oder Prüfungen nach der Norm in Herstellerangaben oder Werbung besagt also nicht, dass der betreffende Gegenstand gemäß allen Teilen der Norm geprüft wurde und diese Prüfungen bestanden hat. Das gilt insbesondere, wenn Hersteller ziviler Geräte mit Prüfungen nach dieser Norm werben. Welche Prüfungen und Teil der Norm tatsächlich durchgeführt und bestanden wurden, ist Sache des Herstellers.

Weblinks
 Offizielle Website (PDF; 24 MB)

Einzelnachweise

00810
Schutz- und Verträglichkeitsprüfung
Waffentest

MIL-STD-810


Association Football Club Tsarsko Selo 2015 (), comumente referido como Tsarsko Selo, foi um time da Bulgária com sede em Sofia. Ele jogou na Primeira Liga, a primeira divisão do Sistema de liga de futebol búlgaro.

O Tsarsko Selo jogou em casa no Complexo Esportivo Tsarsko Selo, no bairro Dragalevtsi de Sofia.

História

No verão de 2015, a ex-presidente do CSKA Sofia Stoyne Manolov estabeleceu uma nova academia chamada Football Academy Tsarsko Selo, com foco na observação e desenvolvimento de jovens jogadores de futebol nascidos entre 2002 e 2010. O clube foi inicialmente registrado e uma equipe masculina subsequente no A RFG Sofia South foi estabelecida, com o ex-capitão de longa data do CSKA Sofia, Todor Yanchev, nomeado como gerente. Em 12 de novembro de 2015, Manolov anunciou uma parceria de academia com o clube espanhol da La Liga, Málaga Club de Fútbol. No final de dezembro de 2015, Todor Yanchev assumiu o Sofia 2010, que foi comprada por Manolov e fundida com o Tsarsko Selo para fundar um novo clube chamado Tsarsko Selo Sofia.

Em 28 de julho de 2016, a equipe foi aceita na recém-criada Segunda Liga Profissional da Bulgária. Eles terminaram sua primeira partida contra o Botev Galabovo com um empate. Em sua primeira partida pela Copa da Bulgária, eles jogaram contra o Levski Sofia. A partida foi disputada em 22 de setembro de 2016 no Estádio Lokomotiv em Sofia e foi vencida pelo Levski por 2 a 0. Após 2 derrotas pesadas, Yanchev renunciou ao cargo de gerente e em 29 de outubro de 2016, o técnico anterior do Cherno More Varna, Nikola Spasov, foi anunciado como o novo gerente da equipe. A equipe terminou sua primeira temporada na Segunda Liga em 5º lugar.

O bom início de temporada do Tsarsko Selo foi marcado não só pelo primeiro lugar na liga após 8 rodadas, mas com sua primeira vitória pela Copa, vencendo a primeira rodada contra o Neftochimic Burgas em 19 de setembro de 2017. Em 3 de janeiro de 2018, Nikola Spasov foi anunciado como o novo treinador do Kyzylzhar, time da Premier League do Cazaquistão. Logo no mesmo dia, Veselin Velikov foi anunciado como o novo gerente do clube. Em 8 de maio de 2018, Velislav Vutsov foi anunciado como o novo treinador da equipe, com Velikov se tornando um selecionador.

Em 22 de abril de 2019, em um empate sem gols contra o CSKA 1948, os reis garantiram o primeiro lugar na Segunda Liga e conquistaram a promoção na Primeira Liga pela primeira vez em sua história, estando 18 pontos à frente do segundo e terceiro colocados cinco rodadas antes do final da a Estação.

A primeira partida do Tsarsko selo na Primeira Divisão búlgara resultou em uma derrota fora de casa por 2 a 0 contra o atual campeão PFK Ludogorets. Isto foi seguido por um empate em casa por 0 a 0 para o outro estreante Arda Kardzhali. A primeira vitória de Tsarsko selo veio na quinta rodada, quando a equipe conseguiu vencer o Botev Plovdiv por 2 a 0. Dois gols da vitória foram marcados pelo ala holandês Rodney Antwi. A primeira vitória em casa veio na sétima rodada com 2 a 1 contra Beroe Stara Zagora. Tsarsko Selo acabou em 13º, tendo que jogar uma partida de playoff para permanecer na elite. Eles foram sorteados contra o segundo colocado da Segunda Liga, Septemvri Sofia. Em um jogo muito disputado em Sofia, o Tsarsko Selo venceu por 2 a 0, garantindo sua vaga na Primeira Liga para a próxima temporada.

Em janeiro de 2022, uma empresa italiana de investimento privado juntou-se à liderança do clube.

Extinção

Em 21 de maio de 2022, na última partida da temporada, Tsarsko Selo recebeu um pênalti que poderia trazer a vitória. Yusupha Yaffa decidiu cobrar o pênalti, apesar de Martin Kavdanski ser o cobrador de pênaltis regular. Yaffa estava pronto para cobrar o pênalti quando o dono do time, Stoyne Manolov, entrou em campo e lutou com ele. Ele deixou o campo e Kavdanski cobrou o pênalti, mas errou. No dia seguinte, Manolov anunciou que a equipe não participará da liga na próxima temporada e encerrará sua existência.

Títulos

Referências

Clubes de futebol da Bulgária
Clubes de futebol fundados em 2015
Clubes de futebol extintos da Bulgária
Clubes de futebol extintos em 2022

Tsarsko Selo


Nikola Jambrošić (Podturen, 19. studenoga 1921. – Zagreb, 25. listopada 1993.) bio je hrvatski glazbenik (violinist) i sudionik križnoga puta 1945. godine.

Djetinjstvo i mladost
Rođen je u obitelji Đure i Franciske Jambrošić (rođene Munđar) u mjestu Podturen, tada u sklopu kotara Varaždin, u Kraljevini SHS / Jugoslaviji. Otac mu je bio gostioničar, a imao je ugostiteljski objekt u Varaždinu do 1947. godine. Imao je i mlađeg brata, Dragutina, koji je živio i radio u Varaždinu te bio zaposlen kao činovnik u tekstilnoj industriji. Pučku školu završio je 1932. u Varaždinu, a potom je upisao gimnaziju koju je pohađao u Varaždinu do 1936.godine kada mu je otac financijski propao i bio prisiljen zatvoriti gostionicu te pronaći posao, stoga se zaposlio u jednom odvjetničkom uredu u Varaždinu gdje je radio do 1939. godine, a od tih je sredstava uzdržavao obitelj. Iste je godine njegov otac Đuro Jambrošić ponovno otvorio gostionicu, a Nikola Jambrošič mogao je upisati glazbenu školu u Varaždinu. Nakon izbijanja Drugog svjetskog rata, okupacije Jugoslavije i proglašenja NDH u srpnju 1941. dobio poziv za služenje vojnog roka u hrvatskom domobranstvu u Zagrebu.

Drugi svjetski rat i križni put

Drugi svjetski rat
U razdoblju Drugog svjetskog rata cijelo je vrijeme proveo u Zagrebu gdje je bio smješten u Rudolfovoj vojarni, osim jednog kraćeg razdoblja kada je boravio privatno u stanu jednog domobranskog časnika. Cijelo to vrijeme služenja vojnog roka paralelno je pohađao glazbenu školu u Zagrebu gdje ga je podučavao glazbeni pedagog Vaclav Huml. Potom je pristupio ustaškoj vojnici kao član glazbenog orkestra PTS-a (Poglavnikov tjelesni zdrug) gdje je radio kao glazbenik (violinist) u činu vodnika. U svibnju je 1945. godine sudjelovao je u povlačenju iz Zagreba prema Sloveniji i dalje prema Austriji gdje su se snage vojske NDH nadale predati Britancima i Amerikancima. O atmosferi toga vremena jasno svjedoči Jambrošić u intervjuu novinaru časopisa Start iz srpnja 1990.: "Pričalo se još u Zagrebu, jer kraj se znao, sve je bilo očito, da će se organizirati nekakva obrambena linija i zaustaviti partizani kod Zagreba. Onda se tumačilo da je došlo do izmjene toga plana, pošto bi Zagreb teško stradao, a također i stotine , tisuće bjegunaca od bombardiranja, jer bi Amerikanci i Englezi bombardirali Zagreb, tako da bi Zagreb bio uništen, a mi nemamo ni oružja ni avijacije da se suprostavimo. Uostalom, sami smo znali da nismo imali municije... Prema tome, svaki je otpor bio suvišan i idemo u povlačenje, idemo Englezima. Pričalo se da će doći do sukoba Istoka i Zapada, da tako kažem slikovito, i da ćemo mi onda iznova naoružani, pripremljeni, izvježbai ući u taj sukob, a da će glavni udar preuzeti poljska armija s generalom Andersom, da su Poljaci već u Italiji i da ih ima 300.000." U nastavku Jambrošić navodi kako je u javnost puštena glasina da vlasti NDH vode pregovore s Britancima: "Pričalo se da se vode pregovori. Da je dogovoreno, to nije rečeno, Nije rečeno da je perfektuirano. Nego da se vode pregovori, da se još uvijek pregovara, i da je to kao gotovo, kao gotovo! Mi smo u to naivno povjerovali, a kako nam ova nadolazeća strana nije bila simpatična dali smo se na povlačenje. Po meni to je bio sukob dviju ideologija, fašizma i komunizma, u kojemu je treći mastio bradu..."

Povlačenje u Sloveniju 1945.
Na povlačenje je krenuo sa svojom jedinicom iz Zagreba, točnije iz Rudolfove vojarne, gdje je bio stacioniran kao pripadnik vojne muzike ustaške vojnice odnosno PTS-a. U svojem iskazu novinarima magazina Start u srpnju 1990. naveo je da tada još nije završio glazbeni studij, ali je bio pred diplomom. Još u travnju 1945. svjedočio je velikom priljevu izbjeglica u Zagreb i tadašnjoj atmosferi koja je vladala u tada, po njegovom kazivanju, skoro udvostručenom stanovništvom Zagreba i vojsci za koju kaže da je pred slom Njemačke, 8.svibnja 1945., i povlačenje iz Zagreba, barem u njegovoj vojarni, vojska bila pod posebnim pripremama. Na put za povlačenje krenuli su rano jutro oko 5 ili 6 sati 8.svibnja 1945.godine i bili su među posljednjima koji su napustili Zagreb pred dolaskom partizana. Krenuli su pješke iz vojarne Ilicom preko Črnomerca dalje preko samoborskog gorja. Prošli su pokraj Novih Dvora u Zaprešiću gdje je tih dana zadnju sjednicu imao poglavnik Ante Pavelić, već u bijegu. Dalje navod Jambrošić da su putovi bili zakrčeni brojnim vojnim vozilima, seljačkim kolima, mnoštvom vojske gdje su prevladavali domobrani uz prisustvo mnoštva civila.

Naveo je kako je na putu kroz Sloveniju u nekoliko prigoda zapazio domobranskog generala Slavka Štancera, kako s oficirima promatra kolonu u pokretu. Jambrošić se nalazio u koloni koja je preko Celja išla pravac Slovenj Gradeca te dalje do Dravograda, ali su bili prisiljeni skrenuti s puta, prema Bleiburgu, gdje su stigli na dan kad su se održavali pregovori s Englezima, 15.svibnja 1945.godine. Dolaskom na Loibaško polje ispred grada Bleiburga, prema Jambrošićevu navođenju, u 17 sati toga dana, stiže naređenje da se položi oružje i izvjese bijele zastave. Navodi dalje Jambrošić, kako je tada došlo do galame, kako su se pripadnici Bobanove Crne legije opirali polaganju oružja, te su se odlučili na proboj, dok je ostatak vojske, pretežito domobrana, i civili odlučili na mirnu predaju. Naveo je kako su ispred njih Englezi postavili tenkovski kordon, kroz koji su morali proći, nakon što su polagali oružje, te su ih Englezi prebrojavali, kako navodi Jambrošić, primjetio je da su njihovi časnici stajali na tenkovima, te je primjetio jednog kako je imao u ruci notes i brojao kolonu prethodno poredanu u desetorede, te su ih od Engleza u tom trenutku, po Jambrošićevu navođenju, preuzeli Bugari, da bi ih tek ovi na povratku, nekoliko kilometara dalje od Bleiburga, ali još u granicama Austrije, predali jugoslavenskim partizanima, koji ih odvode do Dravograda i dalje sprovode prema Mariboru.

Križni put
Nakon prelaska mosta preko Dravograda, put do Maribora je, prema Jambrošićevom iskazu, trajao tri do četiri dana, vraćaju se pješke, po danu i po noći, te dolazi do strijeljanja onih koji posustaju, stalno se čuje pucnjava i neprestano vikanje čuvara koji su pješice pratili kolonu, a u koloni se pronio glas kako strijeljaju sve one koji imaju dugu kosu, tzv. tarzanicu, jer su partizani smatrali da samo ustaše nose takav tip frizure. Po dolasku u Maribor, navodi dalje Jambrošić, među zarobljenicima se pronio glas kako su partizani pobili najmanje 30 000 tih dugokosih mladića. Negdje na periferiji Maribora, njegovu jedinicu je zapazio jedan partizanski oficir, te ih je izvukao iz kolone, njih dvadesetak glazbenika, te mu je njihov zapovjedik objašnjavao kako su oni vojni glazbenici, na što mu partizan odgovora "a Vi ste ustaše?", na što im prilazi drugi partizanski oficir i glasno govoreći ostalim partizanima, govori kako bi ih "trebalo sve postreljati, to je banda! Oni su svirali bandi, dizali moral bandi. To treba sve poubijati!" Našao se tu i jedan drugi oficir, koji je iskazao: "Drugovi, nema smisla. Zašto ih strijeljati? Svirali su bandi, sad će i nama, što ne bi?" Na što su se okupljeni složili, i pozvali da izađu iz kolone svi kojima su ostali instrumenti, ali Jambrošić tu nije dolazio u obzir, jer je prethodno izgubio violinu pri povlačenju. Grupa je, ne promijenivši uniforme glazbenog orkestra PTS-a, već samo stavivši na kape partizanske oznake, krenila svirajući iz Maribora prema Deutschlandsbergu, dijelu Austrije koji su partizani okupirali, gdje su se pridružili jednom partizanskom pjevačkom zboru, kojeg su sačinavale uglavnom djevojke od 16 do 17 godina. Jedan njegov bivši suborac i orkestra se upoznao s jednom djevojkom iz te partizanskog pjevačkog zbora, te mu je naveo kako je ona negdje oko 20.svibnja 1945., samo nestala, da bi se potom odnekud pojavila nakon tri dana, da bi na njegovo pitanje gdje je bila dobio odgovor; "Sve smo ih pobili, njih 30 000! I tebe ću, i ti si ustaša!" Da bi zatim dobila padavicu i zapala u trans, na što su priskočili komesar i delegat, te su ga žurno pitali: "Što ti je govorila? Što ti je rekla?" Dalje je naveo Jambrošić, kako se njegova bivša grupa iz PTS-a, vratila u Maribor, te su se vlakom vozili do Petrovaradina, da bi pješke svirajući stigli u Vršac, gdje su dobivši vojne knjižice pristupili jedinicama Jugoslavenske armije.

S druge strane, Jambrošića je zadesila druga sudbina, u Mariboru su grupu u kojoj je bio skrenuli u jedno dvorište i poredali ih uza zid."Pred nama četa partizana s njihovim komandirom. Palo je naređenje: Skidaj se! Morali smo se skinuti do gologa, sasvim. Isto su radili i njihovi vojnici preko puta nas. Skidamo se mi, skidaju se oni. Na nama su bile one naše nove uniforme, na njima njihove onakve kakve su imali. Taj preda mnom bio je krupan momak, imao je neku njemačku bluzu s prekratkim rukavima, valjda od pranja, parenja zbog ušiju. I nosio je one srpske čojane hlače. Veš na sebi nije imao. On uzima moje, ja njegovo. Tragikomično. Jedina je bila sreća da je on imao nogu broj 43, ja broj 41, tako da su mi ostale moje dobre cipele, a on je ostao u svojim cokulama. (...) Nakon presvlačenja, ili kostimiranja ako hoćete, njihov komandant naredi njima puške na gotovs. Oni repetiraju, spremni da pucaju. Komanda: Nišani! U to izjuri iz kuće jedna žena s djetetom na ruci, Slovenka, vrišti: Ne boste streljali tu, ne dam, ne dam! Bacila se komandantu pod noge. Spasila nas je!" Tada ih u Mariboru vode na željezničku stanicu i kasno navečer, oko 21 ili 22 sata, čekaju ukrcavaje u željezničke vagone, neki govore da ih vode u Sibir, svašta se moglo čuti, navodi Jambrošić. Potom im prilaze partizani, te idu od jednog do drugog zarobljenika u potrazi za dragocjenostima, nalivpero, sat upaljač, spominje jednog Nijemca kojeg ubijaju zbog naočala.  Slijedilo je ukrcavanje u vagone, u vagonu je bila izmješana skupina zarobljenika, navodi civile, domobrane, a ustaša je bilo najmanje. U kompoziciji od 15 do 20 teretnih vagona su se vozili do Dugog Sela, te je to trajalo dva dana, cijelo to vrijeme nisu dobili hranu i piće, a ostavljali su ih u zatvorenim vagonima, gdje su ih ugurali oko stotinjak, te su u vagonima cijelo vrijeme morali stajati na nogama, a na pokrajnjim stanicama vlak je znao satima stajati po žarkom Suncu, te je u njegovoj blizini, navodi Jambrošić, jedan čovjek umro. U Dugom Selu izlaze iz vagona, tu su i prespavali, te su se zaputili u Bjelovar, gdje su stigli oko 20. svibnja 1945., da bi bili smješteni u bivšu oružničku kasarnu koja je pretvorena u zarobljenički logor. U Bjelovaru su boravili samo jedan dan, da bi potom išli put Osijeka, gdje su stigli 24. svibnja 1945., te su smješteni u nekoj kasarni, njih oko 10 000, te su dobili prvi topli obrok nakon dugo vremena. Najednom, navodi dalje Jambrošić, odlučuju ih vratiti natrag, preko Podravske Slatine, Virovitice, Đurđevca i Bilogore, natrag u Bjelovar. Jednom prilikom, kada su zastali da prenoće u jednom mjestu, poslije ledene kiše i hladnoće, njih nekoliko zarobljenika se odlučuju od ostataka razrušene barake zapaliti vatru kako bi se ugrijali, ali im na to dolazi jedan partizanski kapeta:"A tako, bando! Niste dosta razarali četiri godine, rušili i palili, nego to sad i ovdje radite! Mi jadni pokušavamo ga uvjeriti da smo mokri, da drhtimo od hladnoće. On niti da čuje, naređuje nekom postarijem partizanskom vodnku: Zapiši ih sve sutra za strijeljanje! Vodnik, neki Zagorac, obilazi nas: Kak se ti zoveš? Kak se ti zoveš?... Mi odgovaramo. Sutradan za ručak onaj kapetan objavljuje: Zbog rušenja, paljenja itd. osuđuju se na smrt taj i taj, taj i taj... U nama se sve presjeklo, pratimo pročitana imena i prezimena. Ali to nismo mi, to su neki drugi. Gdje su ovi koje sam prozvao? Tko ih poznaje? Žestio se kapetan. Zamislite, taj vodnik, on je bio zapisao neka bezvezna imena, izmislio ih je!" Uskoro 14. lipnja 1945., na blagdan Tijelova, zaputili su se na put preko Bilogore, prema Virovitici, njih 10 000 vode kroz neka sela, u hrvatskim selima, žene im daju malo vode, polijevaju ih, raspituju se o svojim najmilijima, potom prolaze kroz srpska sela, gdje ih drugačije dočekuju, napadaju ih i i žene viču za njima, prokazuju kako su im navodno pojedini zarobljenici iz kolone ubili sina, kćer, zapalili kuću, na što se čuje pucnjava, bivaju ubijeni neki od onih na koje su upirali prstom. Dolaskom u Viroviticu, zastaju pokraj ceste, Jambrošića je zapalo da bude među posljednjima u koloni, te čuje kako izvještavaju komandanta kako je 1800 zarobljenika na broju.

Nakon toga, opet ih gone preko Podravske Slatine, natrag u Osijek, pa onda opet iz Osjeka u Podravsku Slatinu, gdje su ih navodno počeli cijepiti, ali se Jambrošić, zbog glasina koje su kružile da to nije cjepivo, nego otrov, sakrio i nije primio cjepivo. Navodi dalje Jambrošić, kako su svi cjepljeni dobili visoku temperaturu, te su sve njih zarobljenike utovarili na otvorene vagone, i prebacili, sada njih 1200, iz Podravske Slatine za Zemun, te su ovi umrli od posljedica upale pluća koje su zadobili u vagonima. Ostatak se kolone iz Zemuna zaputio pješke prema Beogradu, gdje su ih uputili za Užice, gdje ih 19. srpnja 1945. stiglo njih 800. U Užicama su ih podijelili na bataljune, te su vršili radove na cesti, popravke kuća i sl. Njegova grupa od 4 -5 glazbenika, je susrela jednog partizana, isto glazbenika, te su ga pitali da li im trebaju glazbenici, na što je ovaj otisao kod kapetana, koji se kod nadređenih zauzeo za njih. Tako da im je taj period boravka u Užicama, od 19.srpnja do 26. kolovoza ušao u vojnu knjižicu, da bi uskoro bili otpušteni kućama, te su se 26. kolovoza 1945. s valjanim propusnicama mogli vratiti doma.

Karijera u socijalističkoj Jugoslaviji

Povratak u normalan život
U svibnju 1945. sudjelovao je u povlačenju prema Sloveniji gdje ga je zarobila jedinica Jugoslavenske armije (JA), te se dva mjeseca nalazio u zarobljeništvu u logoru u Bjelovaru kako bi potom bio mobiliziran u 37. diviziju JA u Užici gdje je proveo dva i pol mjeseca. Demobiliziran je krajem kolovoza 1945. godine i tada se vratio u Varaždin gdje je od jeseni iste godine bio nastavnik u glazbenoj školi, školska godina 1946./1947.godine. Godine 1948./1949. služi vojsku u Đakovici, na Kosovu.

Po povratku iz vojske bio je od 1949. do 1953. koncertni majstor varaždinskog Gradskog orkestra uz koji je nastupao i solistički te kao dirigent 1952. godine. U razdoblju od 1953. do 1957. bio je koncertni majstor orkestra osječkog HNK te je bio jedan od osnivača i članova Osječkog kvarteta. Tada je bio i profesor violine u glazbenoj školi u Osijeku. Otišao je u Zagreb gdje je od 1957. do 1965. bio koncertni majstor Simfonijskog orkestra RTV Zagreb, član Komornog orkestra RTV Zagreb, Zagrebačkog kvarteta i Zagrebačke filharmonije.

Nakon karijere u Zagrebu otvorila mu se prilika za inozemne pozornice pa je od 1965. do 1966. godine bio član Simgonijskoga i Komornog orkestra u Kairu u Egiptu, a onda, od 1966. do 1972. godine, bio koncertni majstor Den Norske Opere u Oslu u Norveškoj. Po povratku u Jugoslaviju 1972. bio je član orkestra HNK u Zagrebu sve do odlaska u mirovinu 1979.godine. Kao umirovljenik, od 1979. do 1985. godine, radio je kao honorarni član orkestra Teatro Verdi u Trstu u Italiji.

Nikola Jambrošić jedan je od istaknutijih nositelja violinističke škole profesora Vaclava Humla i napočetku karijere bio je zapažen u izvedbi kao solist, interpetator koncertantnih skladbi Wolfganga Amadeusa Mozarta, Ludwiga von Beethovena, Edouarda Laloa, a kasnije se istaknuo i smislom za komorno muziciranje.

Pod nadzorom UDB-e
U ožujku 1948. poslan je na odsluženje vojnog roka u Đakovicu, grad na jugozapadu Kosova, te je zbog tadašnje klime oko IB-a bio osumnjičen da se neprijateljski izražavao o jugoslavenskom CK-u, te kako se šovinistički odnosio prema pojedinim vojnicima, pripadnicima makedonske nacionalnosti. Vojno tužilaštvo je 15. rujna 1948. otvorilo kaznenu istragu u JA, protiv Jambrušića, da bi dana 19. studenoga 1948. donijelo rješenje kojim se obustavlja kazneni postupak. Demobiliziran je iz JA u proljeće 1949. S obzirom da je tijekom služenja vojnog roka bio sumnjičen da se izjasnio o rezoluciji IB-a, bio je registriran u kartoteci UDB-e Hrvatske, IV. odsjeka, da bi zbog navodnog pristajanja uz rezoluciju IB-a, i u kasnijim razdobljima socijalističke Jugoslavije, 1970., Služba državne sigurnosti (SDS) vršila provjeru, te su iznijeli zapažanje kako nisu primijetili da se Jambrošić ili netko iz njegove uže obitelji negativno izražavao protiv društveno - političkog uređenja Jugoslavije.

Demokratske promjene u suvremenoj Hrvatskoj
Uslijed demokratskih promjena u Hrvatskoj istupio je u javnosti davši intervju novinaru časopisa Start, Aleksandru Vojinoviću, u srpnju 1990. govoreći otvoreno o tome što je u kritičnim događajima završetka Drugog svjetskog rata u Jugoslaviji doživio na povlačenju iz Zagreba kroz Sloveniju i kako je dospio na Loibaško polje kod austrijskog grada Bleiburga gdje su ih po njegovim navodima prebrojavali Englezi, a preuzeli Bugari da bi ih ovi potom predali jedinicama Jugoslavenske armije.

Svojim je iskazom kao izravni sudionik događaja iz 1945. sudjelovao i u antologijskoj trodijelnoj dokumentarnoj seriji Bleiburg – naličje pobjede emitiranoj na HTV-u 1990. gdje je HRT prvi put obradio dugo godina u Hrvatskoj i Jugoslaviji prešućivane događaje s kraja Drugog svjetskog rata poznate pod nazivom Križni put 1945. godine. Scenaristica serije bila je Lada Džidić, a režiser je bio Danko Volarić.

Umro je u Zagrebu 25. listopada 1993. godine.

Vidi još

 Vaclav Huml
 Hrvatski glazbeni zavod
 Zagrebački kvartet
 Bleiburg i križni put

Izvori

Hrvatski violinisti
Hrvatski glazbeni pedagozi

Nikola Jambrošić


Killi topraklar, kil bölümünün hakim olduğu topraklardır. İnce çaplı kil tanecikleri arasında kalan küçük gözeneklerde suyun ve havanın hareketi güçleşmiştir. Bu nedenle kil toprakları sıkı, ıslandıkları vakit havalanmaları çok güç, ısınmaları da o derece geç olan topraklardır. Genellikle süzek değillerdir.

Kil topraklarının kireçli olanlarında iyi bir kırıntı bünyesi gelişmiştir. Kireçli kil toprakları daha iyi havalanabilen ve suyun da belirli bir ölçüde sızabildiği topraklardır. Kireçsiz kil topraklarında suyun sızması genellikle engellenmiş ve su durgunlaşmış olabilir. Kilin yüksek miktarda bulunuşu kil topraklarının bitki besin maddelerince zenginliğini ve gübrelemelerin etkisinin kalıcılığını sağlar. Buna karşılık kök gelişimi için fiziksel özellikler pek elverişili sayılmaz veya bazı şartlarda yetersiz dahi kalabilir.

Kil topraklarının özelliklerinin iyileştirilmesi için kil mineralinin cinsini de bilmek veya tahmin etmek gerekir. Üç tabakalı kil minerallerinin bulunduğu kil topraklarını kireçlemek ve böylece kırıntı bünyesini geliştirmek mümkündür. Ayrıca organik madde ilavesi de toprağın fiziksel ve kimyasal özelliklerini iyileştirir. Buna karşılık iki tabakalı kil minerallerinin bulunduğu topraklara kireç ilavesi ile toprağın kırıntılanması pek sağlanamaz. Bu topraklara organik madde karıştırılarak toprağın özellikleri iyileştirilebilir.

Toprak bilimi
Toprak türleri

Killi toprak


Hermine "Miep" Gies (; ; 15 February 1909 – 11 January 2010) was one of the Dutch citizens who hid Anne Frank, her family (Otto Frank, Margot Frank, Edith Frank) and four other Dutch Jews (Fritz Pfeffer, Hermann van Pels, Auguste van Pels, Peter van Pels) from the Nazis in an annex above Otto Frank's business premises during World War II. She was Austrian by birth, but in 1920, at the age of eleven, she was taken in as a foster child by a Dutch family in Leiden to whom she became very attached. Although she was initially only to stay for six months, this stay was extended to one year because of frail health, after which Gies chose to remain with them, living the rest of her life in the Netherlands.

In 1933, Gies began working for Otto Frank, a Jewish businessman who had moved with his family from Germany to the Netherlands in the hope of sparing his family from Nazi persecution. She became a close, trusted friend of the Frank family and was a great support to them during the twenty-five months they spent in hiding. Together with her colleague Bep Voskuijl, she retrieved Anne Frank's diary after the family was arrested, and kept the papers safe until Otto Frank returned from Auschwitz in June 1945 and learned of his younger daughter's death soon afterwards. Gies had stored Anne Frank's papers in the hopes of returning them to the girl, but gave them to Otto Frank, who compiled them into a diary first published in June 1947.
In collaboration with Alison Leslie Gold, Gies wrote the book Anne Frank Remembered: The Story of the Woman Who Helped to Hide the Frank Family in 1987. She died in 2010 at age 100, a month before her 101st birthday.

Early life
Born in Vienna, Austria, to Karoline Maria Santrouschitz, Gies was transported to Leiden from Vienna in December 1920 to escape the food shortages prevailing in Austria after World War I. The Nieuwenburgs, a working-class family who already had five children of their own, took her as their foster daughter, and called her by the diminutive "Miep" by which she became known. In 1922, she moved with her foster family to Gaaspstraat 25 in Amsterdam. Gies was an honor student, and described herself as "reserved and very independent"; after graduating high school, she worked as an accountant and then in 1933 as a secretary with the Dutch branch of the German spice firm Opekta. Gies wrote, "But the office was not the only thing in my life. My social life at this time was very lively. I loved to dance and belonged like many young Dutch girls, to a dance club."

Otto Frank had just relocated from Germany and had been appointed managing director of Opekta's recently expanded Dutch operations. Gies, Frank's employee, became a close friend of the family, as did her fiancé, Jan Gies. After refusing to join a Nazi women's association, her passport was invalidated, and she was ordered to be deported back to Austria within 90 days (by then annexed by Germany, which classified her as a German citizen). The couple faced some difficulties, but they were married on 16 July 1941 so that she could obtain Dutch citizenship and thus evade deportation. "Anne was impressed with my gold ring. She looked at it dreamily. (...) Because times were hard, we had only one ring, although the custom was for a couple to have two. Henk [In her book, Miep called Jan by the name of Henk, because Anne Frank had used that pseudonym in her diary] and I had barely scraped together enough money for one gold ring. He had insisted that I should wear it." Gies's fluency in Dutch and German helped the Frank family assimilate into Dutch society, and she and her husband became regular guests at the Franks' home.

Hiding the families
With her husband Jan and other Opekta employees (Victor Kugler, Johannes Kleiman and Bep Voskuijl), Miep Gies helped hide Otto and Edith Frank; their daughters Margot and Anne; Hermann, Auguste and Peter van Pels; and Fritz Pfeffer in several upstairs rooms in the company's office building on Amsterdam's Prinsengracht from 6 July 1942 to 4 August 1944. In an interview, Gies said she was glad to help the families hide because she was extremely concerned after seeing what was happening to the Jews in Amsterdam. Every day, she saw trucks loaded with Jews heading to the railway station, en route to Nazi concentration camps. She did not tell anyone, not even her own foster parents, about the people in hiding whom she was assisting.

When purchasing food for the people in hiding, Gies avoided suspicion in many ways: for example, by visiting several different suppliers in a day. She never carried more than what one shopping bag could hold or what she could hide under her coat. To prevent the Opekta workers from becoming suspicious, Gies tried not to enter the hiding place during office hours. Her husband also helped by providing ration cards that he had obtained illegally. By visiting various grocery shops and markets on a regular basis, Gies developed a good sense of the supply situation.

At their apartment, close to the Merwedeplein where the Franks had lived before going into hiding, Gies and her husband Jan (who belonged to the Dutch resistance) also hid an anti-Nazi university student.

The capture
On the morning of 4 August 1944, sitting at her desk, Gies, along with Voskuijl and Kleiman, was confronted by a man with a gun commanding "Stay put! Don't move! Not a sound!" The families had been betrayed and the Grüne Polizei arrested the people hidden at 263 Prinsengracht, as well as Kugler and Kleiman. The next day, Gies went to the German police office to try to find the arrestees. She offered money to buy their freedom but did not succeed. Gies and the other helpers could have been executed if they had been caught hiding Jews; however, she was not arrested because the police officer who came to interrogate her was from Vienna, her birth town. She recognized his accent and told him they had the same hometown. He was amazed, then started pacing and cursing at her, finally deciding to let her stay. Gies remained safe with her husband in Amsterdam throughout the rest of the war.

Before the hiding place was emptied by the authorities, Gies and the younger secretary Bep Voskuijl retrieved parts of Anne Frank's diaries and saved them in their desk drawer. Gies was determined to give them back to Anne. After the war had ended and it was confirmed that Anne Frank had perished in the Bergen-Belsen concentration camp, Gies gave the collection of papers and notebooks to the sole survivor from the Secret Annex, Otto Frank. After transcribing sections for his family, Frank was persuaded of the value of Anne's account of their ordeal and arranged for the book's publication in 1947. Gies did not read the diaries before turning them over to Otto and later remarked that if she had, she would have had to destroy them because the papers contained the names of all five of the helpers as well as of their black-market suppliers. She was persuaded by Otto Frank to read the diary in its second printing. In 1947, Miep and Jan Gies moved to Jekerstraat 65, by the , along with Otto Frank.

Miep Gies had assured Anne Frank's biographer Melissa Müller repeatedly that she did not think the main suspect, Willem van Maaren, was the culprit in the betrayal.

Gies was interviewed about her memories of hiding the Frank family for the 1995 documentary film Anne Frank Remembered by Jon Blair.  Gies was portrayed by Bel Powley in the 2023 miniseries A Small Light.

Honors and awards

In 1994, Gies was awarded the Order of Merit of the Federal Republic of Germany as well as the Wallenberg Medal by the University of Michigan. The following year, Gies received the Yad Vashem Righteous Among the Nations medal. In 1997, she was knighted in the Order of Orange-Nassau by Queen Beatrix of the Netherlands. The minor planet 99949 Miepgies is named in her honor. She always maintained that while she appreciated the honors, they embarrassed her: "I am not a hero. I am not a special person. I don't want attention. I did what any decent person would have done."

On 30 July 2009, the Austrian Ambassador to the Netherlands, Wolfgang Paul, presented the Grand Decoration of Honour for Services to the Republic of Austria to Gies at her home.

Death
On 11 January 2010, a month before her 101st birthday, Miep Gies died in the city of Hoorn after suffering injuries from a fall.

Notes

References

Further reading
 : Frauen mit Visionen – 48 Europäerinnen (Women with visions – 48 Europeans). With text by Alice Schwarzer. Munich: Knesebeck, 2004. , 88–95 p.

External links

  Official website of Miep Gies (English)

 Profile of Miep Gies from the Anne Frank Museum
 Miep Gies – her activity to save Jews' lives during the Holocaust, at Yad Vashem website
 Holocaust Rescuers Bibliography with information and links to books about Miep Gies and other Dutch rescuers
 Miep Gies - Daily Telegraph obituary

1909 births
2010 deaths
Accidental deaths from falls
Austrian emigrants to the Netherlands
Dutch centenarians
Dutch humanitarians
Dutch Roman Catholics
Austrian Roman Catholics
Dutch people of World War II
Dutch resistance members
Dutch Righteous Among the Nations
Officers Crosses of the Order of Merit of the Federal Republic of Germany
Recipients of the Grand Decoration for Services to the Republic of Austria
Knights of the Order of Orange-Nassau
Women in World War II
Austrian centenarians
Women centenarians
People from Vienna
Anne Frank

Miep Gies


The red junglefowl (Gallus gallus) is a tropical bird in the family Phasianidae. It ranges across much of Southeast Asia and parts of South Asia. It was formerly known as the bankiva or bankiva fowl. It is the species that gave rise to the chicken (Gallus domesticus); the grey junglefowl, Sri Lankan junglefowl and green junglefowl have also contributed genetic material to the gene pool of the chicken.

Evidence from the molecular level derived from whole-genome sequencing revealed that the chicken was domesticated from red junglefowl about 8,000 years ago, with this domestication event involving multiple maternal origins. Since then, their domestic form has spread around the world where they are kept by humans for their meat, eggs, and companionship.

Taxonomy and systematics

The red jungle fowl has 5 recognized subspecies:
 G. g. bankiva (Temminck, 1813) - Java and Bali
 G. g. gallus (Linnaeus, 1758) - southern Myanmar through Indochina
 G. g. jabouillei (Delacour & Kinnear, 1928) - south China to northern Vietnam and northern Laos
 G. g. murghi (Robinson & Kloss, 1920) - north India, Nepal, Bhutan, and Bangladesh
 G. g. spadiceus (Bonnaterre, 1792) - northeastern India to south China, the Malay peninsula, and north Sumatra

Description
The nominate race of red junglefowl has a mix of feather colours, with orange, brown, red, gold, grey, white, olive and even metallic green plumage. The tail of the male roosters can grow up to , and the whole bird may be as long as . There are 14 tail feathers. A moult in June changes the bird's plumage to an eclipse pattern, which lasts through October. The male eclipse pattern includes a black feather in the middle of the back and small red-orange plumes spread across the body. Female eclipse plumage is generally indistinguishable from the plumage at other seasons, but the moulting schedule is the same as that of males.

Compared to the more familiar domestic chicken, the red junglefowl has a much smaller body mass (around  lbs (1 kg) in females and  lbs (1.5 kg) in males) and is brighter in coloration. Junglefowl are also behaviourally different from domestic chickens, being naturally very shy of humans compared to the much tamer domesticated subspecies.

Sexual dimorphism
Male junglefowl are significantly larger than females and have brightly coloured decorative feathers. The male's tail is composed of long, arching feathers that initially look black, but shimmer with blue, purple, and green in direct light. He also has long, golden hackle feathers on his neck and on his back. The female's plumage is typical of this family of birds in being cryptic and adapted for camouflage. She alone looks after the eggs and chicks. She also has a very small comb and wattles (fleshy ornaments on the head that signal good health to rivals and potential mates) compared to the males.

During their mating season, the male birds announce their presence with the well known "cock-a-doodle-doo" call or crowing. Within flocks, only dominant males crow. Male red junglefowl have a shorter crowing sound than domestic roosters; the call cuts off abruptly at the end. This serves both to attract potential mates and to make other male birds in the area aware of the risk of fighting a breeding competitor. A spur on the lower leg just behind and above the foot serves in such fighting. Their call structure is complex and they have distinctive alarm calls for aerial and ground predators to which others react appropriately.

Genetics

Orthology
G. gallus has three transferrins, all of which cluster closely with other vertebrates' orthologs.

Distribution and habitat
The range of the wild form stretches from India, Nepal and Bangladesh in the west, and eastwards across southern China, to Indochina; south/southeast into Malaysia, Singapore, the Philippines, and Indonesia. Junglefowl/Chickens were one of three main animals (along with domesticated pigs and dogs) carried by early Austronesian peoples from Island Southeast Asia in their voyages to the islands of Oceania in prehistory, starting around 5,000 years BP . Today, their modern descendants are found throughout Micronesia, Melanesia, and Polynesia.

Red junglefowl prefer disturbed habitats and edges, both natural and human-created. Apparently the forage and thick cover in these sorts of areas are attractive to junglefowl, especially nesting females. Junglefowl use both deforested and regenerating forests, and often are found near human settlements or areas of regrowth from slash-and-burn cultivation. Areas burned to promote bamboo growth also attract junglefowl, with edible bamboo seeds more available. In some areas, red junglefowl are absent from silvicultural and rubber plantations; elsewhere, they will occur in both tea plant and palm oil plantations. In the state of Selangor, Malaysia, palm foliage provides suitable cover; palm nut fruit provides adequate food, as well as insects (and their larvae) within, and adjacent to, the trees.  The palms also offer an array of roost sites, from the low perches (~4 m) favored by females with chicks to the higher perches (up to 12 m) used by other adults.

Red junglefowl drink surface water when it is available, but they apparently do not require it.  Birds in North-Central India visit water holes frequently during the dry season, although not all junglefowl on the subcontinent live close enough to water to do so; population densities may thus be lower, where surface water is limited.

Behaviour and ecology

Red junglefowl regularly bathe in dust to keep the right balance of oil in their plumage. The dust absorbs extra oil and subsequently falls off.

Flight in these birds is almost purely confined to reaching their roosting areas at sunset in trees or any other high and relatively safe places free from ground predators, and for escape from immediate danger through the day.

Dominant male junglefowl appear to defend a territory against other dominant males, and the size of the territories has been inferred based on the proximity of roosts. Beebe concluded that territories were rather small, especially as compared to some of the pheasants with which he was familiar. This was supported by Collias and Collias, who reported that adjacent roost sites can be as close as . Within flocks, male red junglefowl exhibit dominance hierarchies and dominant males tend to have larger combs than subordinate males. Red junglefowl typically live in flocks of one to a few males and several females. Males are more likely to occur alone than are females.

Breeding

Males make a food-related display called "tidbitting", performed upon finding food in the presence of a female. The display is composed of coaxing, cluck-like calls, and eye-catching bobbing and twitching motions of the head and neck. During the performance, the male repeatedly picks up and drops the food item with his beak. The display usually ends when the hen takes the food item either from the ground or directly from the male's beak. Eventually, they sometimes mate.

In many areas, red junglefowl breed during the dry portion of the year, typically winter or spring. This is true in parts of India, Nepal, Thailand, Vietnam, and Laos. However, year-round breeding by red junglefowl has been documented in palm-oil plantations in Malaysia and also may occur elsewhere. During the laying period, red junglefowl females lay an egg every day. Eggs take 21 days to develop. Chicks fledge in about 4 to 5 weeks, and at 12 weeks old they are chased out of the group by their mother — at which point they start a new group or join an existing one. Sexual maturity is reached at 5 months, with females taking slightly longer than males to reach maturity.

Dominant males attempt to maintain exclusive reproductive access to females, though females chose to mate with subordinate males about 40% of the time in a free-ranging feral flock in San Diego, California.

Diet
Red junglefowl are attracted to areas with ripe fruit or seeds, including fruit plantations, fields of domestic grain, and stands of bamboo. Although junglefowl typically eat fallen fruits and seeds on the ground, they occasionally forage in trees by perching on branches and feeding on hanging fruit. Fruits and seeds of scores of plant species have been identified from junglefowl crops, along with grasses, leaves, roots, and tubers. In addition, red junglefowl capture a wide variety of arthropods, other invertebrates, and vertebrates such as small lizards. Even mammalian faeces may be consumed. Many of these items are taken opportunistically as the birds forage, although some arthropods, such as termites, are taken in large quantities; about 1,000 individual termites have been found in a single crop. Plant materials constitute a higher proportion of the diet of adult red junglefowl than do arthropods and other animals. In contrast, chicks eat mostly adult and larval insects, earthworms, and only occasional plant material.

Relationship to humans

Chickens were created when red junglefowl were domesticated for human use around 8,000 years ago as subspecies Gallus gallus domesticus. They are now a major source of food for humans. However, undomesticated red junglefowl still represent an important source of meat and eggs in their endemic range. The undomesticated form is sometimes used in cock-fighting.

Timeline of domestication
In 2012, a study examined mitochondrial DNA recovered from ancient bones from Europe, Thailand, the Pacific, and Chile, and from Spanish colonial sites in Florida and the Dominican Republic, in directly dated samples originating in Europe at 1,000 BP and in the Pacific at 3,000 BP. Chicken was primarily domesticated from red junglefowl, with subsequent genetic contributions from grey junglefowl, Sri Lankan junglefowl, and green junglefowl. Domestication occurred about 8,000 years ago, as based on molecular evidence from a common ancestor flock in the bird's natural range, and then proceeded in waves both east and west. Zoogeography and evolutionary biology points to the original domestication site of chickens as somewhere in Mainland Southeast Asia and southern China in the Neolithic. Chickens were one of the ancestral domesticated animals of the Austronesian peoples. They were transported to Taiwan and the Philippines around 5,500 to 4,500 years ago. From there, they spread outwards with the Austronesian migrations to the rest of Island Southeast Asia, Micronesia, Island Melanesia, and Polynesia in prehistoric times.

Other archaeological evidence suggests domestication date around 7,400 BP from the Chishan site, in the Hebei province of China. However, the domestication event in China has now been disputed by several studies citing unfavourable weather condition at the time. In the Ganges region of India, wild red junglefowl were being used by humans as early as 7,000 years ago. No domestic chicken remains older than 4,000 years have been identified in the Indus Valley, and the antiquity of chickens recovered from excavations at Mohenjodaro is still debated.

Hybridization
The other three members of the genus — Sri Lanka junglefowl (G. lafayetii), grey junglefowl (G. sonneratii), and the green junglefowl (G. varius) — do not usually produce fertile hybrids with the red junglefowl. However, supporting the hypothesis of a hybrid origin, research published in 2008 found that the gene responsible for the yellow skin of the domestic chicken most likely originated in the closely related grey junglefowl and not from the red junglefowl. Similarly, a 2020 study that analysed the whole genomes of Sri Lanka junglefowl, grey junglefowl, and the green junglefowl found strong introgressive hybridisation events in different populations of indigenous village chickens. The study also shows that 71–79% of red junglefowl DNA is shared with the domestic chicken. A culturally significant hybrid between the red junglefowl and the green junglefowl in Indonesia is known as the bekisar.

Status

Wild-type red junglefowl are thought to be facing threats due to hybridisation at forest edges, where domesticated free-ranging chickens are common. Nevertheless, they are classified by the IUCN as a species of least concern.

References

External links

 Malaysian Red Junglefowl
 Red Junglefowl: Pure-bred v/s Cross-bred
 ARKive – images and movies of the Red Junglefowl (Gallus gallus)
 BirdLife Species Factsheet
 Red Junglefowl
 View the red junglefowl genome in Ensembl

 Gallus bankiva (illustration) in Sir William Jardine, The natural history of gallinaceous birds: Vol. I., published by W. H. Lizars, and Stirling and Kenney, 1834; at Google Books.
 Reference guide to the four species of the genus Gallus, commonly known as junglefowl. Contains information and photographs of each of the species
 Ancestors of chickens studied for conservation; 7 August 2008; The Economic Times, Times of India

red junglefowl
Birds of India
Birds of Bangladesh
Birds of Nepal
Birds of Eastern Himalaya
Birds of South China
Birds of Southeast Asia
red junglefowl
red junglefowl

Red junglefowl


عبد الله التركماني (5 ديسمبر 1981 -)، ممثل كويتي.

عن حياته
درس في المعهد العالي للفنون المسرحية وبعد تخرجه عمل بالعديد من المسلسلات والمسرحيات في المهرجانات كما عمل كمخرج لعدد من الأعمال.

حياته الأسرية
في يوليو 2016 أعلن عن زواجه من الإعلامية حبيبة العبد الله، وانجبا ابنهما «عبد الحميد» في أكتوبر 2017.

أعماله

من المسلسلات

في المسرح

كمخرج

مراجع

أشخاص على قيد الحياة
مخرجون كويتيون
ممثلون كويتيون
مواليد 1402 هـ
مواليد 1979

عبد الله التركماني


O MAS Modèle 36, abreviado como MAS 36 e designado pelo Exército Francês como Fusil à répétition 7 mm 5 M. 36, é um fuzil de ação de ferrolho militar. Adotado pela primeira vez em 1936 pela França e destinado a substituir as séries de fuzis de serviço Berthier e Lebel, ele serviu da Segunda Guerra Mundial aos conflitos coloniais na Indochina e Argélia. Foi fabricado a partir do final de 1937 pela Manufacture d'armes de Saint-Étienne (MAS), uma das várias fábricas de armas estatais na França.

Apenas 250.000 fuzis MAS-36 estavam disponíveis para equipar a infantaria francesa durante a Batalha da França em 1940. A produção em massa finalmente iniciou após a Segunda Guerra Mundial e os fuzis MAS-36 tornaram-se amplamente usados em serviço durante a Primeira Guerra da Indochina e a Guerra da Argélia; sendo usados na Crise de Suez. Ao todo, cerca de 1,1 milhão de fuzis MAS-36 foram fabricados quando a produção cessou em 1952.

Seu desenho de ferrolho também foi usado nos posteriores fuzis de precisão franceses FR F1 e FR F2. O fuzil seguiu em uso pelas ex-colônias francesas e ainda é usado na Guerra Civil Síria.

Antecedentes
O MAS 36 foi planejado como um fuzil econômico e simples visando servir com tropas de escalão de retaguarda, coloniais e de reserva e destinado a compartilhar a usinagem e abrir caminho para um novo fuzil semiautomático padrão antes do próximo grande conflito. Na Primeira Guerra Mundial, os franceses colocaram em serviços os fuzis RSC 1917 e RSC 1918, com o primeiro fuzil semiautomático dessa nova tentativa de padronização sendo uma evolução do protótipo MAS 38/39. Um número limitado de fuzis semiautomáticos MAS 40 entrou em serviço experimental em março de 1940, durante a Drôle de Guerre. A Batalha da França e a consequente ocupação alemã da França impediram a introdução em larga escala de fuzis de serviço semiautomáticos entre as tropas francesas da linha de frente. Durante a década de 1950, as forças armadas francesas adotaram o fuzil semiautomático MAS 49 como seu fuzil de serviço padrão.

Embora destinado a substituir os fuzis Lebel Modèle 1886 e Berthier, bem como as carabinas Berthier, as restrições orçamentárias limitaram a produção do MAS 36 e ele entrou em serviço ao lado dos antigos fuzis no exército e unidades coloniais. O Exército Polonês na França, chamado Exército de Sikorski, teve unidades equipadas com fuzis MAS 36. Após a Queda da França, os alemães tomaram posse de um grande número de fuzis MAS 36, os quais receberam a designação de Gewehr 242(f) e foram colocados em serviço com suas próprias unidades de guarnição baseadas na França ocupada e mais tarde na Volkssturm. As unidades Waffen-SS da Letônia também receberam alguns fuzis MAS 36. Além dos franceses de Vichy, os franceses livres também usaram os fuzis MAS 36 que eles pudessem conseguir.

Características técnicas

O MAS-36 é um fuzil curto estilo carabina com coronha de duas peças e receptor de lado plano. É calibrado no moderno cartucho francês de 7,5×54mm sem aro; uma versão abreviada do cartucho 7,5×57mm MAS mod. 1924 que foi introduzido em 1924 (e modificado em 1929), para a metralhadora leve FM 24/29 da França. O fuzil foi desenvolvido com base na experiência francesa na Primeira Guerra Mundial e combina várias características de outros fuzis, como as duas alças de trancamento do fuzil britânico SMLE (fáceis de limpar e resistentes à sujeira). A alça do ferrolho em forma de "perna de cachorro" veio do fuzil britânico-americano P14 / M1917 Enfield que coloca o botão do ferrolho em uma posição ergonômica favorável em relação ao gatilho e alça de mira. A desmontagem do ferrolho é semelhante àquela do fuzil japonês Arisaka Tipo 38 e o carregador de cinco tiros (extrator de garra) é do fuzil alemão Gewehr 98, o qual armazenava 5 cartuchos em uma coluna escalonada e era alimentado por clipes de 5 tiros.A desmontagem é simples, com apenas cinco partes removíveis pelo usuário: o corpo do ferrolho, a tampa traseira do ferrolho, o percussor e a mola do percussor. As partes metálicas do fuzil eram pretas assadas no forno.

A alça do ferrolho do MAS-36 é dobrada para a frente para colocá-la em uma posição conveniente para a mão do atirador. Alguns já foram encontrados dobrados para trás em uma posição voltada para baixo, como a de muitos outros fuzis ferrolhados. O MAS-36 tem um cano relativamente curto e é equipado com miras de grande abertura (traseira) e poste (frontais) projetadas para alcances de combate típicos. Como é típico dos fuzis franceses da época, o MAS-36 não tem registro de segurança manual.

O fuzil foi projetado com uma linha de mira de ferro consistindo em um elemento de visada de abertura do tipo tangente e que foi calibrado para munição francesa Mle 1929C de 7,5×54mm para 100–1.200m (109–1.312 jardas) em incrementos de 100 metros (109 jardas). O elemento de mira frontal original era fresado e consistia em um poste frontal protegido por duas arestas abertas. Havia 25 elementos de abertura traseira disponíveis para a linha de visada para otimizá-la horizontal e lateralmente em incrementos de 2,32 MOA durante a montagem no arsenal. Esses elementos de abertura traseira montados em arsenal deslocavam-se para o ponto de mira 13,5 ou 27cm (5,3 ou 10,6 pol.) para a esquerda ou direita ou para cima ou para baixo em um alcance de 200 metros (219 jardas). Vale a pena notar que os encaixes dianteiros da coronha são um componente importante para ajustar as miras em um MAS 36. Para desencorajar a desmontagem da telha, parafusos não padronizados com cabeça de chave foram usados na faixa do cano e nas tampas do nariz. Somente os armeiros receberam as chaves de fenda apropriadas para remover a telha. Se removida, a telha provavelmente enfrentará um pouco de tentativa e erro para colocar os parafusos de volta em suas posições exatas novamente.

Normalmente, o MAS 36 era portado pelo usuário com um carregador alimentado e a câmara vazia até que o soldado entrasse em combate, quando então seria ordenado a carregar o fuzil. Embora o mecanismo de disparo do MAS 36 pudesse ser bloqueado levantando a alça do ferrolho, este procedimento padrão de segurança era feito por tradição. O MAS 36 foi emitido com uma baioneta cruciforme de ponta do tipo Lebel, de 17 polegadas, a qual era guardada invertida em um tubo abaixo do cano. Para usar a baioneta, um êmbolo de mola é pressionado para liberar a baioneta. Estava então livre para ser puxada para fora, virada e colocada em seu receptáculo. Estas baionetas foram adquiridas pelos alemães após o armistício e utilizadas no fuzil paraquedista FG-42.

A implementação inicial desse desenho de baioneta tem uma desvantagem distinta: com uma baioneta armazenada em um fuzil e o outro vazio, a parte superior da baioneta armazenada pode ser travada no tubo de baioneta vazio do segundo fuzil. Isso obscurece o botão de liberação na baioneta e resulta em fuzis enganchados permanentemente (pelo menos até a desmontagem destrutiva). No uso pós-guerra, os franceses atualizaram o desenho do armazenamento da baioneta perfurando um orifício na baioneta, o que permitia que a trava fosse pressionada através de um orifício já perfurado na tampa da baioneta. Tal como o fuzil Lebel 1886, o MAS-36 tem um gancho de empilhamento deslocado para o lado direito do cano para colocar vários fuzis em sarilho (geralmente um trio) na posição vertical.

Desenvolvimento adicional

Os fuzis produzidos após a Segunda Guerra Mundial apresentam simplificações de produção com estampagem, tais como anéis do cano estampados com a massa de mira com toldo, placas da base do carregador estampadas, retém frontal da bandoleira estampada com um anel; além de uma medida protetora para evitar a entrada de sujeira na área do gatilho, um trilho de ressalto lateral montado e botão para mudar e travar o alcance de tiro selecionado na alça de mira. A massa de mira com toldo reduziu o brilho sob condições de luz desfavoráveis e adicionou proteção extra para o poste de mira. O ferrolho dos fuzis produzidos após a Segunda Guerra Mundial não pode ser fechado em uma câmara vazia, indicando que o fuzil precisa ser recarregado. Os lotes posteriores do pós-guerra apresentam a fosfatização e parquerização introduzidas como um tratamento de superfície de metal mais eficaz contra a ferrugem. O "segundo modelo" é a versão mais produzida com seu derivado, o MAS 36/51.

Serviço pós-guerra

O MAS-36 foi amplamente utilizado pelo exército francês e pelas forças de defesa colonial durante as operações de contra-insurgência do pós-guerra na Guerra da Indochina e na Guerra da Argélia, bem como na Crise de Suez. Durante a operação de Suez, atiradores de elite paraquedistas franceses do 2ème RPC (Régiment de Parachutistes Coloniaux), empregaram fuzis MAS-36 com mira telescópica para eliminar snipers inimigos. O MAS-36 permaneceu em serviço no início dos anos 1960 como um fuzil de infantaria, muitas vezes servindo com unidades coloniais indígenas. Foi oficialmente um fuzil padrão substituto depois que a França adotou a série semiautomática de fuzis MAS-49 em 1949, embora seu desenho de ferrolho vive ainda em uma versão dedicada do fuzil, o FR F1 (agora calibrado em 7,62×51mm OTAN) e seu sucessor, o fuzil sniper FR F2.

O Gabão e a Costa do Marfim continuaram a usar o MAS-36 após a independência e, em 1968 e 1969, eles forneceram a Biafra fuzis MAS-36 durante a Guerra Civil da Nigéria. O Haiti presenteou Biafra com 300 fuzis como presente no final do conflito.

Após a Segunda Guerra Mundial, versões de fuzis de caça civis foram feitas pela MAS e pelo armeiro Jean Fournier. Esses fuzis de semi-coronha foram calibrados para o 7×54mm Fournier (7,5x54mm comum com o pescoço diminuído para 7mm), 7×57mm Mauser (muito raro), 8×60mmS (menos comum) e 10,75×68mm (raro). Os fuzis de caça nos dois últimos calibres tinham freios de boca integrados. Também foram importados para os Estados Unidos alguns fuzis MAS-36 excedentes militares, convertidos para 7,62×51mm OTAN do original 7,5×54mm. Além desses fuzis serem modificados para disparar a munição da OTAN, eles também receberam um gatilho de segurança do tipo SKS instalado.

Nas ilhas Comores, os franceses tinham uma quantidade decente de fuzis MAS-36 armazenados durante a Segunda Guerra Mundial e o pós-guerra. Quando as Comores se tornaram uma nação independente em 1975, os fuzis foram entregues ao novo Exército das Comores. O MAS 36 foi amplamente utilizado durante muitos dos golpes e tentativas de golpe que ocorreram na nação insular de 1975 a 1989. Após uma reforma do Exército de Comores em 1990, o MAS-36 foi substituído por armas de assalto mais recentes, como o AK-47 e o FAL.

Quando as forças francesas partiram da Síria em 1946, os fuzis foram entregues às Forças Armadas da Síria para armar seu próprio exército e milícias. O MAS-36 foi amplamente utilizado pelas forças sírias na Guerra Árabe-Israelense de 1948. A vitória israelense e, mais tarde, um golpe na Síria levaram a lealdade da Síria a mudar em direção à União Soviética em vez dos países ocidentais. Nas décadas de 1950 e 1960, os sírios expandiram seu exército e compraram grandes quantidades de armamento, com os fuzis mais modernos SKS, AK-47 e FN FAL tornando o MAS 36 obsoleto e relegado a armazéns do governo. Em 2011, durante a Guerra Civil Síria, as forças da oposição síria capturaram milhares de fuzis armazenados. Com quase todos os fuzis ainda operacionais, o Exército Livre da Síria usou amplamente o MAS 36 de 2011 a 2015; quando começou a diminuir o seu uso devido à escassez da munição 7,5mm necessária à operação do fuzil. Também foram feitas modificações artesanais pelos combatentes. Um fuzil MAS 36 em Idlib teve o cano recalibrado em 7,62mm OTAN e recebeu uma armação impressa em 3D, para se tornar um fuzil de precisão.

Usuários
: Designado Gewehr 242(f). Emitido para unidades de ocupação na França, para unidades da Volkssturm e unidades Waffen-SS estrangeiras

França Livre e Resistência Francesa
França de Vichy
Pós-guerra

Companhia de Carabineiros do Príncipe
: Usado por algumas unidades do exército polonês na França em 1940

Usuários não-estatais
 Estado Islâmico: Usado por insurgentes do EIIL em 2019.

Ver também

vz. 24
Karabiner 98k
MAS-49

Bibliografia

Fuzis de ferrolho
Fuzis da França
Fuzis da Guerra Fria
Armas de infantaria da Guerra Fria
Armas de infantaria da França na Segunda Guerra Mundial

MAS-36


Esta é a lista de prefeitos do município de Caém, estado brasileiro da Bahia.

Caém
Caém

Lista de prefeitos de Caém


Zafer Plaza, Bursa'nın Şehreküstü semtinde 1999 tarihinde Torunlar GYO tarafından açılan ilk alışveriş merkezidir. Cam piramit biçmindeki çatısıyla ünlüdür.

Tarihçe
Mimar Faruk Eşim ve Hayri Anamuroğlu tarafından tasarlanan yapının en önemli özelliği mağazaların çoğunun yer altında olmasıdır. Kuzey ve güney binalarında üçer adet yerin üstünde, 6 adet de yerin altında kat vardır. Yerin altındaki ilk üç katta mağazalar yer alırken bu üç katın altında kalan diğer 3 katta ise otopark mevcuttur. Dışarıda yer alan 2 bina ve cam piramit yeraltı katlarında birbiri ile bağlantılıdır. Piramit olan kısımda ise mağazalar vardır. Piramitin şeffaf elemanlardan oluşturulması yapıyı hem tanımlayan, hem de doğal ışık almasını sağlayan bir mimari unsur olmuştur.

Kuzey Binası
Kuzey Binası, AVM'nin kuzeyinde yer alan, pek çok mağazanın ve katlı otopark bağlantısının bulunduğu ana binadır. Üst katında sinema salonları ve buraya özel bir teras; orta katta restoranlar ve fast-food mekânları ile diğer 2 teras; alt katlarsa ise kitapçı, oyun alanları, giyim, kozmetik, teknoloji mazağaları bulunmaktadır.

Cam Piramit
Cam Piramit, Paris'teki Louvre Piramidi'den esinlenilerek inşa edilen ve Zafer Plaza'nın yeraltındaki kısmının çatısı olma özelliği taşıyan yapıdır. Eşkenar dörtgen kesim cam tasarımıyla çelikten inşa edilmiştir. Kuzey binasıyla arasında kafeler bulunur. Güney binasına bakan cephede ise ufak bir meydan yer alır.

Piramidin dört cephesi ve iki girişi bulunur. Her bir cephesinde birbirine simetrik yerleştirilmiş dört pencere olmak üzere toplamda 16 penceresi vardır. Bu yönüyle hem alt katlara gün ışığını yansıtma işlevi görür, hem de genellikle açık tutulan pencereler sayesinde havalandırma sağlar.

Güney Binası ve Meydan
Güney Binası, veya eski adıyla YKM Binası, yapının güney kısmında yer alır.  2013'te kadar tek başına YKM'ye ev sahipliği yapan bina, 2013 yılında YKM'nin Boyner'e satılmasının ardından Boyner'e ev sahipliği yapmaya başlamıştır.

Zafer Meydanı ise güney binası ile cam piramit arasında bulunan ufak bir meydandır. Trafiğe kapalı olan tarihî Cumhuriyet Caddesi'nin Cemal Nadir Caddesi ile kesiştiği noktada bulunur. Meydanda banklar, bir fıskiyeli havuz ve Şemsiyeli Kız heykeli bulunur.

Dış bağlantılar
 Resmi Sitesi

Kaynakça

Bursa ilindeki alışveriş merkezleri
Bursa'daki meydanlar
Piramitler
1999'da açılan alışveriş merkezleri
Türkiye'deki brütalist yapılar

Zafer Plaza


Robert "Robi" Boldižar (Osijek, 9. lipnja 1974.) je hrvatski violinist i glazbeni pedagog. Član je rock skupine Zabranjeno pušenje.

Životopis
Boldižar se rodio u Osijeku. Prije svog prvog rođendana preselio se s obitelji u Sarajevo gdje je i odrastao. Njegov otac je glazbenik. U dobi od šest godina (1980.) upisao je glazbenu školu i počeo svirati violinu. Godine 1988. upisao je srednju glazbenu školu i počeo svirati gitaru. U to vrijeme se pridružio Kulturno-umjetničkom društvu "Unis" gdje je došao u doticaj s tradicionalnom glazbom. Godine 1992. pridružio se Vokalno-instrumentalnom sastavu "Pax", koji je izvodio vjersku glazbu. U to vrijeme je povremeno i radio za Sarajevsku filharmoniju.

Godine 1995. Boldižar se preselio u Zagreb. Godine 2000. osnovao je bend nazvan Generalna proba. Bend je 2002. godine objavio jedini album Iznad oblaka. Boldižar je diplomirao 2005. godine na Muzičkoj akademiji Sveučilišta u Zagrebu. Skladao je glazbu za album Školska priča u izdanju Dječjeg zbora "Pahuljice".

Od 2004. godine Boldižar je član rock skupine Zabranjeno pušenje. S njima je radio na posljednjih pet njihovih studijska albuma: Hodi da ti čiko nešto da! (2006.), Muzej Revolucije (2009.), Radovi na cesti (2013.), Šok i nevjerica (2018.) i Karamba! (2022.). Pored toga, kao gost-izvođač svirao je na koncertima u Zagrebu i Sarajevu kada su se radili snimci za live album Zabranjenog pušenje Hapsi sve! (1998).

Skupa s članom Zabranjenog pušenja Tonijem Lovićem, Boldižar je i član benda glazbeno-scenskog ansambla "Medley Teatar". Taj ansambl izvodi adaptirani rock mjuzikl Antigona: ProckKletstvo Roda, između ostalog. Boldižar se preselio u Bjelovar 2013. godine gdje radi kao profesor violine u Glazbenoj školi "Vatroslav Lisinski".

Diskografija
Zabranjeno pušenje
 Hapsi sve! (1998.), kao gost
 Hodi da ti čiko nešto da! (2006.)
 Muzej Revolucije (2009.)
 Radovi na cesti (2013.)
 Šok i nevjerica (2018.)
 Live in Skenderija Sarajevo 2018 (2022.)
 Karamba! (2022.)
Shaderwan Code
 Kad procvatu behari (2011)
 Ah, što ćemo ljubav kriti (2018) (gost)

Izvori

Vanjske poveznice
 Robert Boldižar na Discogsu
 Zabranjeno pušenje

Članovi sastava Zabranjeno pušenje
Hrvatski rock-glazbenici
Hrvatski violinisti
Hrvatski skladatelji
Hrvatski klavijaturisti
Životopisi, Osijek
Životopisi, Sarajevo
Životopisi, Bjelovar

Robert Boldižar


Monochromatic painting has played a significant role in modern and contemporary Western visual art, originating with the early 20th-century European avant-gardes. Artists have explored the non-representational potential of a single color, investigating shifts in value, diversity of texture, and formal nuances as a means of emotional expression, visual investigation into the inherent properties of painting, as well as a starting point for conceptual works. Ranging from geometric abstraction in a variety of mediums to non-representational gestural painting, monochromatic works continue to be an important influence in contemporary art.

Origins

Monochrome painting was initiated at the first Incoherent arts' exhibition in 1882 in Paris, with a black painting by poet Paul Bilhaud entitled Combat de Nègres pendant la nuit ("Battle of negroes during the night"). Missing since 1882, this painting was found by expert Johann Naldi in 2017-2018 in a private collection. It has been classified as a National Treasure by the French state. Although Bilhaud was not the first to create an all-black artwork: for example, Robert Fludd published an image of Darkness in his 1617 book on the origin and structure of the cosmos; and Bertall published his black Vue de La Hogue (effet de nuit) in 1843. In the subsequent exhibitions of the Incoherent arts (also in the 1880s) the writer Alphonse Allais proposed other monochrome paintings, such as Première communion de jeunes filles chlorotiques par un temps de neige ("First communion of anaemic young girls in the snow", white), or Récolte de la tomate par des cardinaux  apoplectiques au bord de la Mer Rouge ("Tomato harvesting by apoplectic cardinals on the shore of the Red Sea", red).  Allais published his Album primo-avrilesque in 1897, a monograph with seven monochrome artworks. However, this kind of activity bears more similarity to 20th century Dada, or Neo-Dada, and particularly the works of the Fluxus group of the 1960s, than to 20th century monochrome painting since Malevich.

Jean Metzinger, following the Succès de scandale created from the Cubist showing at the 1911 Salon des Indépendants, in an interview with Cyril Berger published in Paris-Journal 29 May 1911, stated:

We cubists have only done our duty by creating a new rhythm for the benefit of humanity. Others will come after us who will do the same. What will they find? That is the tremendous secret of the future. Who knows if someday, a great painter, looking with scorn on the often brutal game of supposed colorists and taking the seven colors back to the primordial white unity that encompasses them all, will not exhibit completely white canvases, with nothing, absolutely nothing on them. (Jean Metzinger, 29 May 1911)Mark Antliff and Patricia Leighten: A Cubism Reader, Documents and Criticism, 1906-1914, University of Chicago Press, 2008, Document 17, Cyril Berger, Chez Metzi, Paris-Journal, 29 May 1911, pp. 108-112

Metzinger's (then) audacious prediction that artists would take abstraction to its logical conclusion by vacating representational subject matter entirely and returning to what Metzinger calls the "primordial white unity", a "completely white canvas" would be realized two years later. The writer of a satirical manifesto entitled Manifeste de l'école amorphiste, published in Les Hommes du Jour (3 May 1913), may have had Metzinger's vision in mind when the author justified amorphism's blank canvases by claiming 'light is enough for us'. With perspective, writes art historian Jeffery S. Weiss, "Vers Amorphisme may be gibberish, but it was also enough of a foundational language to anticipate the extreme reductivist implications of non-objectivity".

In a broad and general sense, one finds European roots of minimalism in the geometric abstractions of painters associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian and other artists associated with the De Stijl movement, and the Russian Constructivist movement, and in the work of the Romanian sculptor Constantin Brâncuși. Minimal art is also inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi, and others. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s.

The wide range of possibilities (including impossibility) of interpretation of monochrome paintings is arguably why the monochrome is so engaging to so many artists, critics, and writers. Although the monochrome has never become dominant and few artists have committed themselves exclusively to it, it has never gone away. It reappears as though a spectre haunting high modernism, or as a symbol of it, appearing during times of aesthetic and sociopolitical upheavals.

Suprematism and Constructivism

Monochrome painting as it is usually understood today began in Moscow, with Suprematist Composition: White on White   of 1918 by Suprematist artist Kazimir Malevich. This was a variation on or sequel to his 1915 work Black Square on a White Field, a very important work in its own right to 20th century geometric abstraction.

In 1921, Constructivist artist Alexander Rodchenko exhibited Pure Red Color, Pure Blue Color, and Pure Yellow Color: three paintings together, each a monochrome of one of the three primary colors. He intended this work to represent the "death of painting." While Rodchenko intended his monochrome to be a dismantling of the typical assumptions of painting, Malevich saw his work as a concentration on them, a kind of meditation on art's essence ("pure feeling").

These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or "painting as object") which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution—a new beginning—in Western painting's history (Malevich). Additionally, many have pointed out that it may be difficult to deduce the artist's intentions from the painting itself, without referring to the artist's comment.

Artists

New York

Abstract Expressionists

 Milton Resnick had a long career as an Abstract Expressionist painter. Initially, during the 1940s, he explored the then-current style of  Action Painting. His later work, from the 1950s through the 1970s is often characterized as Abstract Impressionist—largely because he constructed his allover compositions with multiple, repetitive, and close-valued brushstrokes, in the manner of Claude Monet in the famous Waterlilies series. During the final two and a half decades of his painting career Resnick's paintings became monochromatic, albeit with thickly brushed and layered surfaces.
 Ad Reinhardt was an Abstract Expressionist artist notable for painting nearly "pure" monochromes over a considerable span of time (roughly from 1952 to his death in 1967), in red or blue, and lastly and most (in)famously, in black. Like the Johns works mentioned below, Reinhardt's black paintings contained faint indications of geometrical shape, but the actual delineations are not readily visible until the viewer spends time with the work. This tends to encourage a state of contemplative meditation in the viewer, and to create uncertainty about perception; in terms of Frank Stella's famous quote, you may question whether "what you see" is actually what you are seeing.
 Richard Pousette-Dart created several distinct series of paintings during his long career as an Abstract Expressionist painter, his monochromatic series called Presences spanning the late 1950s through the early 1990s, was among his most powerful.

Color field

Beginning in the 1950s and 1960s, several Abstract Expressionist / color field artists (notably: Barnett Newman, Mark Rothko, Robert Motherwell, Adolph Gottlieb, Theodoros Stamos, Sam Francis, Ludwig Sander,  Clyfford Still, Jules Olitski, and others) explored motifs that seemed to imply monochrome, employing broad, flat fields of colour in large scale pictures which proved highly influential to newer styles, such as Post-Painterly Abstraction, Lyrical Abstraction, and Minimalism.

One of Barnett Newman's near monochrome paintings generated outrage and widespread ridicule (and discussion) in Canada when the National Gallery purchased his 1967 painting Voice of Fire for $1.8 million in the 1980s. Another of Barnett Newman's very sparse (though technically not monochrome) geometric abstractions was slashed with a knife by an enraged viewer in the 1980s at the Stedelijk Museum in Amsterdam.

Lyrical Abstraction

Lyrical Abstractionist painters such as Ronald Davis, Larry Poons, Walter Darby Bannard, Dan Christensen, Larry Zox, Ronnie Landfield, Ralph Humphrey, David Budd, David R. Prentice, David Diao, David Novros, Jake Berthot, and others also explored and worked on series of shaped and rectangular canvases that approached the monochrome—with variations especially during the 1960s and 1970s.

Shaped canvas

Since the 1960s artists as diverse as Frank Stella, Ellsworth Kelly, Ronald Davis, David Novros, Paul Mogensen, Patricia Johanson and others made monochrome paintings on various shaped canvases. While some of their monochromatic works related to minimalism none of the above were minimalists.

Neo-Dada

 Robert Rauschenberg: "A canvas is never empty".  In the early 1950s, became known for white, then black, and eventually red monochrome canvases. In the White Paintings (1951) series, Rauschenberg applied everyday house paint with paint rollers to achieve smooth "blank" surfaces. White panels were exhibited alone or in modular groupings. The Black Paintings (1951–1953) incorporated texture under the painted surface by way of collaged newspaper that sometimes indicates a grid-like structure. The Red Paintings (1953–54) incorporate still more materials such as wood and fabric under the heavily worked painted surface, and seem to foreshadow Rauschenberg's development of assemblage in his "Combine Paintings" as well as his stated intention to act in "the gap" between "Art" and "Life".
The white canvases became associated with the work 4'33" by the composer John Cage, which consisted of three movements of silence, and was inspired at least in part by Cage's study of Zen Buddhism. In both works attention is drawn to elements of listening / viewing which lie outside the artist's control: e.g. the sounds of the concert environment, or the play of shadows and dust particles accumulating on the 'blank' canvas surfaces ("landing strips" – Cage).
In a related work, his Erased de Kooning Drawing of 1953, Rauschenberg erased a drawing by abstract expressionist artist Willem de Kooning. Perhaps surprisingly, De Kooning was sympathetic to Rauschenberg's aims and implicitly endorsed this experiment by providing the younger artist with one of his own drawings which was very densely worked, taking 2 months and many erasers for Rauschenberg to (incompletely) erase.
 Jasper Johns was a friend of Rauschenberg, and both were often categorized as Neo-Dadaist, pointing to their rejection of the Abstract Expressionist aesthetic which was dominant in the 1950s. Johns painted a number of works such as White Flag, Green Target, and Tango, in which there is only a slight indication of an image, resembling the White Square on a White Field of Malevich in technique.
These works often show more evidence of brushwork than is typically associated with monochrome painting. Many other works also approach monochrome, like the melancholic "grey" works of the early 1960s, but with real objects ("assemblage") or text added.

Minimalists

 Ellsworth Kelly spent a lot of time in both Paris and New York. Not strictly a minimalist, he has made a number of monochrome paintings on shaped canvases and single color rectangular panels. His  abstractions were "abstracted" from nature. His interest in nature extends so far that he has made a series of plant lithographs in an impressive and sincerely realistic style.
 Mino Argento monotones, white on white paintings were variations on the gridded, rectangle on rectangle themes, but were enlivened with differences in rhythm and conception. One composition included grayed grids and vertical rectangles in several, more opaque whites, clustered centrally.
 Agnes Martin whose works of the 1950s and 1960s are serene meditations on "perfection", and hence "beauty", are typically white, off-white or pale grey canvases with faint evidence of pencil dragged in lines or grids across the painted surface.
 Robert Ryman in works such as Ledger (1982) purposely draws attention to supports, framing, and the artist's signature as important elements of works which are usually white, or off-white, and in square format. Abstract Expressionist brushwork is used as formal material in these minimalist constructions. Ryman exhibits a tour de force of variation on a deliberately limited theme.

 Brice Marden in his earliest mature works explored a reductive strategy which seemed similar to that of Jasper Johns's and Ellsworth Kelly's contemporaneous works, yet more formalist: paintings such as Return 1 consist of subtly grey fields painted in encaustic (wax-medium) with a narrow strip along the bottom of the canvas where Marden left bare evidence of process (i.e., drips and spatters of paint). During the late 1980s Brice Marden, who held a spiritual/emotional view of abstraction, began a more multi-colored and calligraphic form of abstract painting.
 Frank Stella echoed composer Igor Stravinsky's famous assertion that "music is powerless to express anything but itself" when he said "What you see is what you see", a remark he later qualified by saying his early paintings were influenced to a degree by the writing of Samuel Beckett (see above). In his work he was attempting to minimize any inference of "spiritual" or even "emotional" response on the part of the viewer, and this is perhaps most striking in his pinstripe beginning in the late 1950s, where the pinstripes are articulated by unpainted canvas. Later, Stella abandoned not only monochrome, but also eventually geometric painting.
 John McCracken is characteristically Minimalist in that his "objects" aren't adequately categorized as "painting" or "sculpture". Famous since 1965 for "slabs, columns, planks ... Neutral forms", his meticulously finished, polished monochrome objects are often simply leaned up against gallery walls, in what some critics describe as a casual "West Coast-lean". Although he draws from techniques characteristic of surfboard manufacture, his works are personally and meticulously handcrafted, unlike those of John M. Miller and other more recent artists, which are typically factory-made according to the artist's specifications.

 Allan McCollum determined in the mid-1970s that the social forces that give paintings meaning may be better understood if the "painting" itself could be reduced to a generic form—a painting that could read as a "sign" for a painting", which could function of a "placeholder", or a kind of "prop". In the 1970s and early 80s he painted what he called Surrogate Paintings, and ultimately began casting them in plaster, frame and all. These hundreds of objects that looked like framed, matted, fields of painted blackness, worked as neutral, "generic signs" that might inspire the viewer to think about the social expectations that constructed the "idea" of a painting, more than the actual painting itself. By reducing paintings to mere signs of themselves, McCollum turned the gallery and the museum setting into a kind of theater, highlighting the drama of presenting, displaying, buying and selling, exchanging, photographing, assessing, criticizing, choosing, and writing about the works; the object-paintings at the center of the action were purposely rendered moot, in order to turn one's attention to the supplementary devices and social practices that, in the end, bestow the value on the work. Paradoxically, as time went by, these neutral objects became valuable in themselves, as symbols of an anthropological way of looking at art.
 Anne Truitt was an American artist of the mid-20th century; she is associated with both minimalism and Color Field artists like Morris Louis and Kenneth Noland. Primarily thought of as a minimalist sculptor, and as a colorist who painted her sculpture, throughout her career Truitt produced several series of Monochromatic paintings.
She made what is considered her most important work in the early 1960s anticipating in many respects the work of minimalists like Donald Judd and Ellsworth Kelly. She was unlike the minimalists is some significant ways. She named, for instance, many of her works after places and events that were important to her—a practice suggesting a narrative beyond and yet somehow contained by the sculpture.
The sculpture that made her significant to the development of Minimalism were aggressively plain and painted structures, often large. The recessional platform under her sculpture raised them just enough off the ground that they appeared to float on a thin line of shadow. The boundary between sculpture and ground, between gravity and verticality, was made illusory. This formal ambivalence is mirrored by her insistence that color itself, contained a psychological vibration which when purified, as it is on a work of art, isolates the event it refers to as a thing rather than a feeling. The event becomes a work of art, a visual sensation delivered by color.

Europe
 Lucio Fontana started from 1949 the so-called Spatial Concept or slash series, consisting in holes or slashes on the surface of monochrome paintings, drawing a sign of what he named "an art for the Space Age" (Concetto spaziale (50-B.1), 1950, MNAM, Paris).

Monochrome works: The Blue Epoch

 Yves Klein: although Klein had painted monochromes as early as 1949, and held the first private exhibition of this work in 1950, his first public showing was the publication of the artist's book Yves: Peintures in November 1954. Parodying a traditional catalogue, the book featured a series of intense monochromes linked to various cities he had lived in during the previous years. Yves: Peintures anticipated his first two shows of oil paintings, at the Club des Solitaires, Paris, October 1955 and Yves: Proposition monochromes at Gallery Colette Allendy, February 1956. These shows, displaying orange, yellow, red, pink and blue monochromes, deeply disappointed Klein, as people went from painting to painting, linking them together as a sort of mosaic.

The next exhibition, Proposte Monochrome, Epoca Blu (Proposition Monochrome; Blue Epoch) at the Gallery Apollinaire, Milan, (January 1957), featured 11 identical blue canvases, using ultramarine pigment suspended in a synthetic resin Rhodopas. Discovered with the help of Edouard Adam, a Parisian paint dealer, the effect was to retain the brilliance of the pigment which tended to become dull when suspended in linseed oil. Klein later patented this recipe to maintain the "authenticity of the pure idea". This colour, reminiscent of the lapis lazuli used to paint the Madonna's robes in medieval paintings, was to become famous as "International Klein Blue" (IKB). The paintings were attached to poles placed 20 cm away from the walls to increase their spatial ambiguities.

The show was a critical and commercial success, traveling to Paris, Düsseldorf and London. The Parisian exhibition, at the Iris Clert Gallery, May 1957, became a seminal happening; As well as 1001 blue balloons being released to mark the opening, blue postcards were sent out using IKB stamps that Klein had bribed the postal service to accept as legitimate. An exhibition of tubs of blue pigment and fire paintings was held concurrently at Gallery Collette Allendy.
 Gerhard Richter is an artist who is probably best known for his technically stunning photo-realist paintings, which overshadow his abstract and monochrome works. Both his abstract and representational works seem to cover similar emotional terrain, a kind of ironic pessimism which made his work very fashionable in the late 1980s. His grey paintings, are made by drawing "expressive" gestures in wet paint.
 Olivier Mosset also has spent considerable time in New York and Paris. In Paris in the 1960s he was a member of the BMPT group, along with Daniel Buren, Michel Parmentier, and Niele Toroni. The group brought forth questions about the notions of authorship and originality, implying that they often did each other's works, and that the art object was more important than its authorship. Later, in New York in the late 1970s, Mosset undertook a long series of monochrome paintings, during the heyday of Neo-expressionism. He became a founding member of the New York Radical Painting group, radical referring both to an implied radical social stance, as well as a returning to the radical "root" of painting. This re-assertion of social relevance for abstraction, and even the monochrome, hadn't been emphasized to such a degree since Malevich and Rodchenko. 1980s neo-geo artists such as Peter Halley who assert a socially relevant, critical role for geometric abstraction, cite Mosset as an influence.

Others
 Sally Hazelet Drummond (b. 1924, USA), exhibited her monochromatic paintings during the late 1950s in New York City at the Tanager Gallery, one of the first Tenth Street cooperative galleries. As of 2007 she continues to paint monochrome paintings.
 Alan Ebnother is an American painter who explores the heritage of momochrome painting, confining himself to the single color green.
 Florence Miller Pierce was a member of the TAOS Transcendental Painting Group in the 1930s, currently residing in Albuquerque, New Mexico. Her square monochromes,  made with translucent resin poured onto mirrored plexiglass, seem to glow of their own accord.
 Blažej Baláž with his "double monochrom". Colour versus filings of coins, junk, soil or poppy seed. Painting Poppy Seed Field / Makové pole 2001/02.
 Marcia Hafif has exhibited monochrome paintings for over 50 in New York, Los Angeles, and Europe. She has created monochromatic works with oil, enamel, egg tempera, watercolor, glaze, acrylic, and ink. Her work was included in the 2014 biannual at the Hammer Museum where the artist exhibited 24  monochrome paintings, each one tinged with black.

Monochrome painting in popular culture

 The 1998 Tony award winning Broadway play 'Art' employed a white monochrome painting as a prop to generate an argument about aesthetics which made up the bulk of the play.
 The 1995 Cesar award winning movie The Three Brothers featured a white monochrome painting by fictitious artist Whiteman (inspired by K. Malevich White on White masterpiece).

Monochrome paintings most expensive sales
The following sales marked record prices for monochrome paintings:

 R. Rauschenberg, White Painting [three panel], 1951 - SFMoMa, San Francisco - sold for $88,8m in 2019
 K. Malevitch, White on White, 1918 - MoMa, New York - sold for $60m in 2008
 R. Ryman, Untitled oil on canvas, 1961 - sold for $15m in 2014

See also
 Anti-art (Note: it is disputed as to whether or not Monochrome painting is indeed "anti-art")
 Grisaille—a monochrome painting or underpainting within figurative art
 International Klein Blue

Sources
 Tate Glossary on Monochrome
 Artnet page on Monochrome Painting
 Monochromes: From Malevich to the Present by Barbara Rose
 In the age of the monochrome - Art in America - Jan, 2005 by Terry Berne - Find Articles
 Geoffrey Dorfman pays tribute to Milton Resnick

References

External links

 On view at MoMA: Kazimir Malevich. Suprematist Composition: White on White. 1918
 Henri Matisse. View of Notre-Dame. 1914. Oil on canvas. The Museum of Modern Arts, New York, NY, USA.
 Henri Matisse. French Window at Collioure. 1914. Oil on canvas. Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France.
 Singular Forms (Sometimes Repeated): Robert Rauschenberg
 Guggenheim Collection - Pop art - Rauschenberg - Untitled (Red Painting)
 Site devoted to work of Gerhard Richter
 Johannes Meinhardt: Painting as Empty Space: Allan McCollum's Subversion of the Last Painting. AURA. Wiener Secession. Vienna, Austria, 1994
 The Charlotte Jackson Gallery
 Olivier Mosset in the Spencer Brownstone Gallery
 Conversation between Alan Ebnother and Chris Ashley April 17 - May 4, 2005
 What's New? - New New Painters - Art in America - July, 1999 by Ken Carpenter - Find Articles
 From Monochrome painting to net art: Thomas Dreher/Birgit Rinagl/Franz Thalmair: Monochromacity as a Reflection of Computing Processes in Internet-based Art

Modern art
Contemporary art

Monochrome painting


Nikolaj Hübbe (30. oktober 1967) er balletmester ved Den Kongelige Ballet.

Karriere
Hübbe begyndte på Det Kongelige Teaters balletskole i en alder af 10 år.  "Jeg valgte balletten fordi jeg som barn da jeg var 5 år så ballet for første gang og det blev et skelsættende lynnedslag som jeg aldrig har fortrudt. Dans og ballet har lige siden været mit ét og alt. Man kan sige det som Obelix der faldt i tønden som spæd hvor kraften aldrig forlod ham."
I 1986 blev han medlem af balletkorpset ved Den Kongelige Ballet og I 1988 blev han udnævnt solodanser.  Nikolaj Hübbe har danset i hele Den Kongelige Ballets repertoire fra hovedroller i romantiske og klassiske balletter som Sylfiden og Romeo og Julie til neo-klassiske værker som Apollon, Caroline Mathilde og Tjajkovskij Pas de Deux.

I 1992 blev han balletdanser ved New York City Ballet, hvor han var solodanser. Her dansede han hovedpartier i Balanchine-balletter som Agon, Apollon, Concerto Barocco, Coppélia, Duo Concertant, Nøddeknækkeren, Jewels, Liebslieder Walzer, Mozartiana, La Sonnambula, La Source, Square Dance, Stravinsky Violin Concerto, Sylvia Pas de Deux, Tschaikovsky Suite No. 3, Tzigane, Union Jack, Vienna Waltzes, Western Symphony, og Who Cares?, Jerome Robbins en Fauns Eftermiddag, Andantino, The Cage, The Four Seasons, Gershwin Concerto, I'm Old Fashioned, In the Night, Moves, Opus 19/The Dreamer, Other Dances og Suite of Dances, samt Peter Martins Tornerose og Svanesøen, Robert La Fosse og Robert Garlands Tributary, Sean Lavery's Romeo og Julie og Richard Tanners A Schubert Sonata.

I 2008 kom han tilbage til København, denne gang som balletmester ved Den Kongelige Ballet.

I 2011 kom der fra en konsulent i en rapport beskyldninger om, at Nikolaj Hübbe var kokainmisbruger, og at misbruget havde ført til alvorlige samarbejdsproblemer, idet Hübbe fik spontane raseriudfald. Forskeren bag rapporten skrev efterfølgende i et brev til teatrets bestyrelse, at Nikolaj Hübbe skulle have erkendt et sådan misbrug til hende personligt. Nikolaj Hübbe selv afviste at have taget kokain i forbindelse med sit arbejde. Et internt notat viste senere, at mistanken om kokainmisbrug opstod på baggrund af et fejlfortolket udsang fra Nikolaj Hübbe, og da Nikolaj Hübbe lod sig teste for kokain, viste prøverne negativ. Teaterledelsen forklarede, at Nikolaj Hübbes humørsvingninger ikke behøvedes at skyldes kokain,  og de afviste rygterne og kaldte det for "urimeligt, at der på et useriøst grundlag viderebringes udokumenterede rygter om Det Kongelige Teaters medarbejdere". I det interne notat fra balletledelsen blev konsulenten til gengæld beskyldt for at lægge an på balletmesteren samt opsøge og ønske at møde Nikolaj Hübbe i hans private bolig i weekender og sene aftener. Dette afviste konsulenten. Rapporten fra konsulenten oplyste desuden, at 20 dansere overvejede at søge væk fra Den Kongelige Ballet, og flertallet af dansere ikke ville anbefale udenlandske kolleger at søge arbejde ved balletten.

Film og TV
Han har siden 2011 været dommer på programmet Vild med dans, hvor han erstattede Allan Tornsberg.

Nikolaj Hübbe har desuden været skildret som kunstner og vraget balletmesterkandidat i Ulrik Wivels film Dancer (2000), og samme instruktør havde Hübbe som central skikkelse i Sylfide-filmen Jeg dig elsker (2005). Han har også medvirket i filmen Steppeulven instrueret af Ole Christian Madsen (2015).

Han har desuden været medvirkende i TV2's portrætprogram "Stjernerne på Slottet" (2016), DR1's tv-program "Kender du typen" (2018), været hovedperson i DR2+ dokumentar "Hübbe har magten" (2020) samt censor i DR's julekalender "Julefeber" (2020).

Priser og legater
Hübbe har modtaget følgende priser og legater:

 Legat fra Marguerite Vibys Jubilæumsfond, 1990.
 Teaterpokalen, 1990.
 Bikubens Hæderspris ved Reumert 2002.
 American-Scandinavian Foundation Kulturpris, 2009.
 Årets Teaterkat for Et folkesagn, 2011.
 Årets Danseforestilling for Et folkesagn ved Reumert 2011.
 Kåret til Årets Verdensdansker af Danes Worldwide, 2012.
 Ridder af Dannebrog 2013
 Detlefs æreslegat, 2020

Fodnoter

Eksterne henvisninger
 Archival footage of Nikolaj Hubbe and Darci Kistler performing Apollo in 2002 at Jacob's Pillow

Personer fra København
Balletdansere fra Danmark
Det Kongelige Teaters balletmestre
Personer i Kraks Blå Bog
Modtagere af Teaterpokalen

Nikolaj Hübbe