View allAll Photos Tagged 231d,
Crosville DFG231 (JFM 231D), a 1966 Bristol FS6G 'Lodekka' with Eastern Coachworks H33/27RD body in all-over National green livery skirts the City Walls in Chester 13/4/74
Another view of 231D 717 with the 15:30 boat train that shows the cramped location of Dieppe Maritime station. 06/06/1964 [F141].
Eastern Scottish had more than a preference for the Bristol Lodekka and up to 1966 were still placing orders for them.
1966 wasn't just an ordinary year for the company though. It was the year a new bus station-cum-depot was opened in the town of Dalkeith, ironically on the site of the old railway station - a casualty of the infamous Dr Beeching. The new facility gave local travellers not only a spacious and well planned bus station but also 25 brand new Bristol FLF6 LX double-decked buses with seating for 76 passengers. Seen in York Place Edinburgh is AA231G (GSG 231D) the final bus of the series and became a regular on the Edinburgh-Birkenside route for many years. This route matched up with the Edinburgh-Rosewell route - requiring at peak times around 26 buses, two thirds of which were provided from Dalkeith. Staff on these routes had to be acquainted with a large group of route numbers - ranging from route 78 through to route 90 and some with letters suffixed (87A as seen here) - all serving an assortment of variations on the route and all still transfixed in my mind 40 years later !
Shiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism. He is one of the five primary forms of God in the Smarta tradition, and "the Destroyer" or "the Transformer" among the Trimurti, the Hindu Trinity of the primary aspects of the divine.
Shiva has many benevolent and fearsome forms. At the highest level Shiva is limitless, transcendent, unchanging and formless. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash, as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.
The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument.
Shiva is usually worshiped in the aniconic form of Lingam. Temples of Lord Shiva are called shivalayam.
ETYMOLOGY & OTHER NAMES
The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word śi means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.
The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).
The Sanskrit word śaiva means "relating to the God Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect. It is used as an adjective to characterize certain beliefs and practices, such as Shaivism. He is the oldest worshipped Lord of India.
The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.
Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".
Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great God"; mahā "Great" and deva "god"), Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"), and Parameśvara ("Supreme Lord").
There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva. The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition. Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.
The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.
ASSIMILATION OF TRADITIONS
The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure. How the persona of Shiva converged as a composite deity is not well documented. According to Vijay Nath:
Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."
Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.
An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes. The foremost center of worship of Khandoba in Maharashtra is in Jejuri. Khandoba has been assimilated as a form of Shiva himself, in which case he is worshipped in the form of a lingam. Khandoba's varied associations also include an identification with Surya and Karttikeya.
INDUS VALLEY ORIGINS
Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra. Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.
This claim has been criticised, with some academics like Gavin Flood and John Keay characterizing them as unfounded. Writing in 1997 Doris Srinivasan said that "Not too many recent studies continue to call the seal's figure a 'Proto-Siva'", rejecting thereby Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man. According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.
INDO-EUROPEAN ORIGINS
Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.
RUDRA
Shiva as we know him today shares many features with the Vedic god Rudra, and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.
The oldest surviving text of Hinduism is the Rig Veda, which is dated to between 1700 and 1100 BCE based on linguistic and philological evidence. A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods. Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.
The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:
Rudra is called "The Archer" (Sanskrit: Śarva), and the arrow is an essential attribute of Rudra. This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.
The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill", and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness". The names Dhanvin ("Bowman") and Bāṇahasta ("Archer", literally "Armed with arrows in his hands") also refer to archery.
AGNI
Rudra and Agni have a close relationship. The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva. The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra." The interconnections between the two deities are complex, and according to Stella Kramrisch:
The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.
In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities. Agni is said to be a bull, and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned. In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.
INDRA
According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra. Doniger gives several reasons for his hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3, 6.45.17, and 8.93.3.) Indra, like Shiva, is likened to a bull. In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.
The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion, and the Indo-Iranian religion. According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran. It was "a syncretic mixture of old Central Asian and new Indo-European elements", which borrowed "distinctive religious beliefs and practices" from the Bactria–Margiana Culture. At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma. According to Anthony,
Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.
LATER VEDIC LITERATURE
Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BCE), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BCE to 100 CE also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.
Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.
PURANIC LITERATURE
The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.
TANTRIC LITERATURE
The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.
POSITION WITHIN HINDUISM
SHAIVISM
Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.
PANCHAYATANA PUJA
Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century CE Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.
TRIMURTI
The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer. These three deities have been called "the Hindu triad" or the "Great Trinity", often addressed as "Brahma-Vishnu-Maheshwara."
ICONOGRAPHY AND PROPERTIES
ATTRIBUTES
Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite.
Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes, called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources. In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes". However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers". These three mother-goddesses who are collectively called the Ambikās. Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā. It has been mentioned that when Shiva loses his temper, his third eye opens which can destroy most things to ashes.
Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon. The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown") refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva. The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon. The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.
Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence. Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy. These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism. One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.
Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair", and Kapardin, "endowed with matted hair" or "wearing his hair wound in a braid in a shell-like (kaparda) fashion". A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly. His hair is said to be like molten gold in color or being yellowish-white.
Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat"). Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue. (See Maha Shivaratri.)
Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva. The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair. The flow of the Ganges also represents the nectar of immortality.
Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin, an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.
Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.
Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.
Trident: (Trishula): Shiva's particular weapon is the trident. His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.
Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru). This is one of the attributes of Shiva in his famous dancing representation known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum. This drum is particularly used as an emblem by members of the Kāpālika sect.
Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.
Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana). Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle" and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra. Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.
Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".
Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode. In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.
Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.
LINGAM
Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important. These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness". Shiva also means "one in whom the whole creation sleeps after dissolution". Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself. Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol, although this interpretation is disputed by others, including Christopher Isherwood, Vivekananda, Swami Sivananda, and S.N. Balagangadhara.
JYOTIRLINGA
The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.
The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.
SHAKTI
Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali and Chandika. Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).
THE FIVE MANTRAS
Five is a sacred number for Shiva. One of his most important mantras has five syllables (namaḥ śivāya).
Shiva's body is said to consist of five mantras, called the pañcabrahmans. As forms of God, each of these have their own names and distinct iconography:
Sadyojāta
Vāmadeva
Aghora
Tatpuruṣha
Īsāna
These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action. Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes. The overall meaning of these associations is summarized by Stella Kramrisch:
Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.
According to the Pañcabrahma Upanishad:
One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)
FORMES AND ROLES
According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[168] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.
DESTROYER AND BENEFACTOR
In the Yajurveda, two contrary sets of attributes for both malignant or terrific (Sanskrit: rudra) and benign or auspicious (Sanskrit: śiva) forms can be found, leading Chakravarti to conclude that "all the basic elements which created the complex Rudra-Śiva sect of later ages are to be found here". In the Mahabharata, Shiva is depicted as "the standard of invincibility, might, and terror", as well as a figure of honor, delight, and brilliance. The duality of Shiva's fearful and auspicious attributes appears in contrasted names.
The name Rudra (Sanskrit: रुद्र) reflects his fearsome aspects. According to traditional etymologies, the Sanskrit name Rudra is derived from the root rud-, which means "to cry, howl". Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means "wild, of rudra nature", and translates the name Rudra as "the wild one" or "the fierce god". R. K. Sharma follows this alternate etymology and translates the name as "terrible". Hara (Sanskrit: हर) is an important name that occurs three times in the Anushasanaparvan version of the Shiva sahasranama, where it is translated in different ways each time it occurs, following a commentorial tradition of not repeating an interpretation. Sharma translates the three as "one who captivates", "one who consolidates", and "one who destroys". Kramrisch translates it as "the ravisher". Another of Shiva's fearsome forms is as Kāla (Sanskrit: काल), "time", and as Mahākāla (Sanskrit: महाकाल), "great time", which ultimately destroys all things. Bhairava (Sanskrit: भैरव), "terrible" or "frightful", is a fierce form associated with annihilation.
In contrast, the name Śaṇkara (Sanskrit: शङ्कर), "beneficent" or "conferring happiness" reflects his benign form. This name was adopted by the great Vedanta philosopher Śaṇkara (c. 788 - 820 CE), who is also known as Shankaracharya. The name Śambhu (Sanskrit: शम्भु), "causing happiness", also reflects this benign aspect.
ASCETIC AND HOUSEHOLDER
He is depicted as both an ascetic yogi and as a householder, roles which have been traditionally mutually exclusive in Hindu society.[185] When depicted as a yogi, he may be shown sitting and meditating. His epithet Mahāyogi ("the great Yogi: Mahā = "great", Yogi = "one who practices Yoga") refers to his association with yoga. While Vedic religion was conceived mainly in terms of sacrifice, it was during the Epic period that the concepts of tapas, yoga, and asceticism became more important, and the depiction of Shiva as an ascetic sitting in philosophical isolation reflects these later concepts. Shiva is also depicted as a corpse below Goddess Kali, it represents that Shiva is a corpse without Shakti. He remains inert. While Shiva is the static form, Mahakali or Shakti is the dynamic aspect without whom Shiva is powerless.
As a family man and householder, he has a wife, Parvati and two sons, Ganesha and Kartikeya. His epithet Umāpati ("The husband of Umā") refers to this idea, and Sharma notes that two other variants of this name that mean the same thing, Umākānta and Umādhava, also appear in the sahasranama. Umā in epic literature is known by many names, including the benign Pārvatī. She is identified with Devi, the Divine Mother; Shakti (divine energy) as well as goddesses like Tripura Sundari, Durga, Kamakshi and Meenakshi. The consorts of Shiva are the source of his creative energy. They represent the dynamic extension of Shiva onto this universe. His son Ganesha is worshipped throughout India and Nepal as the Remover of Obstacles, Lord of Beginnings and Lord of Obstacles. Kartikeya is worshipped in Southern India (especially in Tamil Nadu, Kerala and Karnataka) by the names Subrahmanya, Subrahmanyan, Shanmughan, Swaminathan and Murugan, and in Northern India by the names Skanda, Kumara, or Karttikeya.
Some regional deities are also identified as Shiva's children. As one story goes, Shiva is enticed by the beauty and charm of Mohini, Vishnu's female avatar, and procreates with her. As a result of this union, Shasta - identified with regional deities Ayyappa and Ayyanar - is born. Shiva is also mentioned in some scriptures or folktales to have had daughters like the serpent-goddess Manasa and Ashokasundari. Even the demon Andhaka is sometimes considered a child of Shiva.
NATARAJA
he depiction of Shiva as Nataraja (Tamil: நடராஜா,Kannada: ನಟರಾಜ, Telugu: నటరాజు, Sanskrit: naṭarāja, "Lord of Dance") is popular. The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama. His association with dance and also with music is prominent in the Puranic period. In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular. The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya. and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati. Lasya is regarded as the female counterpart of Tandava. The Tandava-Lasya dances are associated with the destruction-creation of the world.
DAKSHINAMURTHY
Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति), literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras. This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu. Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.
ARDANARISHVARA
An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman". According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.
TRIRUPANTAKA
Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras. Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[216] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.
OTHER FORMS, AVATARS IDENTIFICATIONS
Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism. The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars. According to the Svetasvatara Upanishad, he has four avatars.
In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”. Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).
Other traditions regard the sage Durvasa, the sage Agastya, the philosopher Adi Shankara, as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.
FESTIVALS
Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati. The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.
BEYOND HINDUISM
BUDDHISM
Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna. In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.
SIKHISM
The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi." In the same chapter, it also says, "Shiva speaks, the Siddhas speak."
In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.
OTHERS
The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty, and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan. In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita"). He is clad in tiger skin while his attendants are wearing Sodgian dress. In Eastern Turkestan in the Taklamakan Desert. There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls. Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh. It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.
Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.
In Indonesia, Shiva is also worshiped as Batara Guru. His other name is "Sang Hyang Jagadnata" (king of the universe) and "Sang Hyang Girinata" (king of mountains). In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hindu worship is "Maharaja Dewa" (Mahadeva). Both the forms are closely identified with the Sun in local forms of Hinduism or Kebatinan, and even in the genie lore of Muslims. Mostly Shiva is worshipped in the form of a lingam or the phallus.
WIKIPEDIA
The Vernon Tigers were a Minor League Baseball team that represented Vernon, California in the Pacific Coast League from 1909 to 1925. The team won back-to-back PCL pennants in 1919 and 1920. The Tigers, together with the Sacramento Solons, joined the PCL as a new team in 1909 when the league expanded from four teams to six. The Tigers effectively were a second team in Los Angeles, rivals of the existing Los Angeles Angels.
------------------------------------------------------------------------------------------
Roy Hitt
Position: Pitcher
Bats: Left • Throws: Left
5-10, 200 lbs
Born: June 22, 1884 in Carleton, NE
Died: February 8, 1956 (Aged 71-231d) in Pomona, CA
Buried: Pomona Cemetery, Pomona, CA
Full Name: Roy Wesley Hitt
Nicknames: Rhino
Roy Wesley "Rhino" Hitt (b. June 22, 1884 – d. February 8, 1956 at age 71) was a pitcher in Major League Baseball. He played for the Cincinnati Reds in 1907 and also had a long career in the Pacific Coast League. He stood at 5 ft 10 in and weighed 200 lbs.
Nicknamed "Rhino" because "his shape reminded people of a rhinoceros," Hitt was born in Carleton, Nebraska. He started his professional baseball career in 1903, with the Oakland Oaks of the Pacific Coast League and joined the San Francisco Seals the following season. In 1905, he went 25–14 with a 1.79 earned run average. In 1906, he was the ace of the Seals pitching staff, going a career-high 403.2 innings in the long PCL season and winning a career-high 31 games.
Hitt was acquired by the National League's Cincinnati Reds for the 1907 season. In that year's Spalding's Official Base Ball Guide, it was reported that, "San Francisco's star pitcher, Roy Hitt, will go to Cincinnati ... there is little danger of him falling." Hitt cracked the Reds' starting rotation that year but was not one of their better pitchers; he went just 6–10. It was his only season in the major leagues.
After a short stint in the American Association, Hitt returned to the Pacific Coast League in 1909, with the Vernon Tigers. He immediately became the ace of the Tigers' staff, leading the team in innings pitched and ERA. In 1910, he had one of his best seasons, going 26–17 with a career-low 1.68 ERA in 402.2 innings. Hitt stayed with the Tigers until 1916. He won over 20 games each year for five straight years (1910–1914), and he ended his organized baseball career with 206 minor league wins to go along with his 6 major league ones.
Hitt was inducted into the Pacific Coast League Hall of Fame in 2004.
Link to his minor league stats - www.baseball-reference.com/register/player.fcgi?id=hitt--...
Link to SABR article - Roy Hitt - written by Stephen V. Rice - sabr.org/bioproj/person/c519edde
MLB debut - April 27, 1907, for the Cincinnati Reds
Last MLB appearance - October 5, 1907, for the Cincinnati Reds
MLB statistics:
Win–loss record 6–10
ERA 3.40
Strikeouts - 63
Teams:
Cincinnati Reds (1907)
Link to all of his issued baseball cards - www.tradingcarddb.com/Person.cfm/pid/93567/col/1/yea/0/Ro...
Auto rickshaws are a common means of public transportation in many countries in the world. Also known as a three-wheeler, Samosa, tempo, tuk-tuk, trishaw, autorick, bajaj, rick, tricycle, mototaxi, baby taxi or lapa in popular parlance, an auto rickshaw is a usually three-wheeled cabin cycle for private use and as a vehicle for hire. It is a motorized version of the traditional pulled rickshaw or cycle rickshaw. Auto rickshaws are an essential form of urban transport in many developing countries, and a form of novelty transport in many developed countries. However, in some parts of Europe they remain an essential mode of transportation, notably Italy's.
OVERVIEW
ORIGN
Auto rickshaws of Southeast Asia started from the knockdown production of the Daihatsu Midget which had been introduced in 1957.
Japan had been exporting three-wheelers to Thailand since 1934. Moreover, The Ministry of Posts and Telecommunications of Japan donated about 20,000 used three-wheelers to Southeast Asia. In Japan, three-wheelers went out of use in the latter half of the 1960s.
DESIGN
An auto rickshaw is generally characterized by a sheet-metal body or open frame resting on three wheels, a canvas roof with drop-down sides, a small cabin in the front of the vehicle for the driver (sometimes called an auto-wallah), and seating space for up to three passengers in the rear. Newer models are generally fitted with a compressed natural gas (CNG) fuel scooter version of a 200 cc four-stroke engine, with handlebar controls instead of a steering wheel.
REGIONAL VARIATIONS
AFRICA
EASTERN AFRICA
There are tuk-tuks in several Kenyan towns. Using them is somewhat cheaper than ordinary taxis. However, tuk-tuks cannot operate in mountainous towns, which are common in Kenya. Fierce competition with Boda-bodas (bicycle taxis) and Matatus (minibuses) hinders popularity of Tuk-tuks, especially within the interior of Kenya. While they may not be widely found in Kenya, they are numerous in the coastal regions, which are less mountainous. For example, in the town of Malindi they offer an economical and convenient mode of transportation.
Tuk-tuks are also common in Ethiopia and are becoming common in Tanzania, particularly in the outer areas of Dar es Salaam. In Tanzania and Ethiopia they are known as "Bajaj" or "Bajajis", after the Bajaj Auto company which manufactures many of them. Since 2009, tuk-tuks have become common in Maputo, Mozambique.
EGYPT
In Egypt, auto rickshaws are called toktok (Egyptian Arabic: توك توك pronounced [ˈtoktok], plural: تكاتك takātek [tæˈkæːtek]); they are widely used as taxis in poorer neighborhoods of the capital, and have become a popular symbol for lower class Egyptians, although they are banned from the streets of wealthier neighborhoods. Deposed president Mohamed Morsi (June 2012-July 2013) in his opening speech addressed the Tuk-Tuk (toktok) drivers as a symbol of the lower class population, but his political rivals and mass media considered it as a mean of emotional deception for the masses by rendering what could be a promise to legalize their status.
MADAGASCAR
In Madagascar, man-pulled rickshaws are a common form of transportation in a number of cities, especially Antsirabe. They are known as "posy" from pousse-pousse, meaning push-push. Cycle rickshaws never took off, yet Posy are threatened by the auto-rickshaws, introduced in numbers since 2009. Provincial capitals like Toamasina, Mahajanga, Toliara, Antsiranana are taking to them rapidly. They are known as "bajaji" and now licenced to operate as taxis. They are not yet allowed an operating licence in the congested, and more pollution prone national capital, Antananarivo.
NIGERIA
There are keke-marwa's in several Nigerian towns and cities. Although not as popular as the ubiquitous "Okada" in Nigeria, keke-marwa's are embraced as an alternative means of transport by the middle and lower class citizens. Keke-marwa is named after Lagos former military Governor, Buba Marwa in the late 1990s.
SOUTH AFRICA
Tuk-tuks, introduced in Durban in the late 1980s enjoyed growing popularity in recent years, particularly in Gauteng.
SUDAN
Rickshaws are a major means of transport in all parts of Sudan, it's locally known as Raksha.
ASIA
BANGLADESH
Auto rickshaws (locally called "baby taxis" and more recently "CNGs" due to their fuel source) are one of the most popular modes of transport in Bangladesh mainly due to their size and speed. They are best suited to narrow, crowded streets, and are thus the principal means of covering longer distances within urban areas.
Earlier, auto rickshaws were colored black with a yellow canvas topping and ran on gasoline without any meter system. However, due to the vast supplies of natural gas in Bangladesh, the government has since encouraged the development of four-stroke compressed natural gas (CNG)-powered engines rather than the older two-stroke engine petrol-running models. Two-stroke engines had been identified as one of the leading sources of air pollution in Dhaka. Thus, since January 2003, traditional auto rickshaws were banned from the capital; only the new CNG-powered models were permitted to operate within the city limits. The newly manufactured CNG auto rickshaws are more fuel-efficient and have a lower center of gravity, making them safer than older models. All CNGs are painted green to signify that the vehicles are eco-friendly and that each one has a meter built in as standard.
Another version of the auto rickshaw can be seen in rural areas of Bangladesh, where they are called "helicopters". "Helicopters" are auto rickshaws modified to have a large body with which it can carry more than six or seven passengers.
At the end of the 1980s, a local company Atlas designed and built a new version of the auto rickshaw, called mishuk, a name derived from a children's mascot of a local deer. Unlike baby taxis, mishuks have spoke wheels and a green body, and have no meter system. Mishuks have more space than baby taxis or CNGs, which makes it more popular with women. They are commonly found in Dhaka and elsewhere in the country due to its four-stroke engine, which is not listed as a significant source of air pollution.
CAMBODIA
In Cambodia, the term tuk-tuk (Khmer: ទុកទុក) is used to refer to a motorcycle with a cabin attached to the rear. Cambodian cities have a much lower volume of automobile traffic than Thai cities, and tuk-tuks are still the most common form of urban transport. At the temple complex of Angkor, for example, tuk-tuks provide a convenient form of transport around the complex for tourists. One can hire a tuk-tuk and driver by the day.[citation needed]
Siem Reap tuk-tuks are generally of the style of motorcycle and trailer. This version does not have rear brakes.
Phnom Penh tuk-tuks are one piece. The one piece tuk-tuk is the front end of a motorcycle consisting of steering, tank and engine/gearbox with a covered tray mounted at the back. The power is transferred by chain to an axle mounted to the modified rear fork which drives the two rear wheels. Suspended upon the rear fork is an open cabin with an in-line seat on each side. This arrangement can carry 6 people at ease, with their luggage in the leg space. It is not unusual to see these vehicles greatly overloaded, especially in outer suburbs and around markets.
Sihanoukville tuk-tuks are generally a motorcycle and articulated trailer without rear brakes on the trailer. A minority of tuk-tuks are three wheeled. The rear wheel of the motorcycle is removed and the front of the bike is melded with a trailer. Power is supplied to the trailer wheels by a driveshaft and differential. Rear wheel brakes add significantly to the safety of this design, especially when going downhill.
Currently, Tuk Tuk in Cambodia is being developed to be more convenient and safer. It is also becoming a popular form of transportation for Phnom Penh residents.
Gaza
Together with the recent boom of recreational facilities in Gaza for the local residents, donkey carts have all but been displaced by tuk-tuks in 2010. Due to the ban by Israel on the import of most motorised vehicles, the tuk-tuks have had to be smuggled in parts through the tunnel network connecting Gaza with Egypt.
CHINA
Various types of auto rickshaw are used around China, where they are called 三轮 (Sān lún - three wheeler) or 嘟嘟车 (Dū dū chē - beep beep car).
In Hainan, the southernmost province, electric models are used in the capital Haikou. These may be heavy, purpose-built vehicles, or simple bicycles attached to a light chassis, with a small electric motor housed underneath.
In rural areas, a sturdy, petrol-powered, plastic-bodied type is common, similar to the Philippine motorized tricycle.
INDIA
OVERVIEW
Most cities offer auto rickshaw service, although hand-pulled rickshaws do exist in some areas, such as Kolkata.
Auto rickshaws are used in cities and towns for short distances; they are less suited to long distances because they are slow and the carriages are open to air pollution. Auto rickshaws (often called "autos") provide cheap and efficient transportation. Modern auto rickshaws run on compressed natural gas (CNG) and are environmentally friendly compared to full-sized cars.
It is also not uncommon in many parts of India (including major cities like Delhi) to see primary school children crammed into an auto-rickshaw, transporting them between home and school.
To augment speedy movement of traffic, Auto rickshaws are not allowed in the southern part of Mumbai.
DESIGN & MANUFACTURE
There are two types of autorickshaws in India. In older versions the engines were situated below the driver's seat, while in newer versions engines are located in the rear. They normally run on petrol, CNG and diesel. The seating capacity of a normal rickshaw is four, including the driver's seat. Six-seater rickshaws exist in different parts of the country, but the model was officially banned in the city of Pune 10 January 2003 by the Regional Transport Authority (RTA).
CNG autos are distinguishable from the earlier petrol-powered autos by a green and yellow livery, as opposed to the earlier black and yellow appearance. Certain local governments are advocating for four-stroke engines instead of the current two-stroke versions.
Auto rickshaw manufacturers in India include Bajaj Auto, Kumar Motors, Kerala Automobiles Limited, Force Motors (previously Bajaj Tempo), Mahindra & Mahindra, Piaggio Ape and TVS Motors.
LEGISLATION
Generally rickshaw fares are controlled by the government.
INDONESIA
In Indonesia, auto rickshaws are popular in Jakarta, Medan, Java, and Sulawesi. In Jakarta, the auto rickshaws are similar to the ones in India but are colored blue and orange. Outside of Jakarta the bentor-style auto rickshaw is more ubiquitous, with the passenger cabin mounted as a sidecar to a motorcycle. Where these sidecar style auto rickshaws do occur in Jakarta they are not referred to as bentor, but rather as bajaj (bajai). They were also popular in East Java until the end of the 20th century and were known as a bemo.
LAOS
Lao tuk-tuks come as tuk-tuks or jumbo tuk-tuks. Jumbos have a larger 3- or 4-cylinder four-stroke engine, and many are powered by Daihatsu engines. Jumbos' larger engine and cabin size allow for greater loads, up to 12 persons, and higher top speeds. Jumbos are (with few exceptions) only found in Vientiane and Luang Prabang.
NEPAL
Auto rickshaws were the popular mode of transport in Nepal during the 1980s and 1990s, till Nepal Government decided to ban the movement of 600 such vehicles in the early 2000. Earliest model of auto rickshaw running in Kathmandu were manufactured by Bajaj Auto. Nepal has been a popular destination for Rickshaw Run. The 2009 Fall Run took place in Goa, India and concluded in Pokhara, Nepal.
PAKISTAN
Auto rickshaws are a popular mode of transport in Pakistani towns and is mainly used for traveling short distances within cities. One of the major brands of auto rickshaws is Vespa (an Italian Company). Lahore is hub of CNG Auto rikshaws manufacturers in Pakistan.The government of Pakistan is taking measures to convert all the gasoline run auto-rickshaws to more effective CNG rickshaw by 2015 in all the major cities of Pakistan by issuing easy loans through commercial banks. Environment Canada is implementing pilot projects in Lahore, Karachi and Quetta with engine technology developed in Mississauga, Ontario, Canada that uses CNG instead of gasoline in the two-stroke engines, in an effort to combat environmental pollution and noise levels.
In many cities in Pakistan, there are also motorcycle rickshaws, usually called chand gari (moon car) or Chingchi (after the Chinese company Jinan Qingqi Motorcycle Co. Ltd who first introduced these to the market).
Rickshaws are forbidden in the capital, Islamabad.
Auto rickshaws have had a history of displaying political statements. In February 2013, that legacy was modified to promote peace. According to Syed Ali Abbas Zaidi, head of the Pakistan Youth Alliance, "We need to take back this romanticized art form and use it for peace sloganeering and conflict resolution."
Manufacturers There are many companies involving in Rickshaw manufacturing in Pakistan, some of them are, AECO Export Company, STAHLCO Motors, Global Sources, Parhiyar Automobiles, Global Ledsys Technologies, Siwa Industries, Prime Punjab Automobiles, Murshid Farm Industries, Sazgar Automobiles, NTN Enterprises, Imperial Engineering Company
PHILLIPINES
Auto rickshaws are an especially popular form of public transportation in the Philippines, where they are referred to as "tricycles" (Filipino: traysikel; Cebuano: traysikol). In the Philippines, the design and configuration of tricycles varies widely from place to place, but tends towards rough standardization within each municipality. The usual design is a passenger or cargo sidecar fitted to a motorcycle, usually on the right of the motorcycle. It is rare to find one with a left sidecar. Tricycles can carry five passengers or more in the sidecar, one or two pillion passengers behind the motorcycle driver, and even a few on the roof of the sidecar. Tricycles are one of the main contributors to air pollution in the Philippines, since majority of them employ two-stroke motorcycles. However, some local governments are working towards phasing out two-stroke-powered tricycles for ones with cleaner four-stroke motorcycles.
SRI LANKA
Auto rickshaws, commonly known as three-wheelers and more recently tuk-tuk, can be found on all roads in Sri Lanka from the curvy roads through the hill country to the congested roads of Colombo transporting locals, foreigners, or freight about. Sri Lankan three-wheelers are of the style of the light Phnom Penh type. Most of the three-wheelers in Sri Lanka are a slightly modified Indian Bajaj model, imported from India though there are few manufactured locally and increasingly imports from other countries in the region and other brands of three-wheelers such as Piaggio. In 2007 January the Sri Lankan government imposed a ban on all 2-stroke three-wheelers, due to environmental concerns and therefore the ones imported to the island now are the ones with four-stroke engines. Most three-wheelers are available as hiring vehicles, with few being used to haul goods and as private company or advertising vehicles. Bajaj enjoys a virtual monopoly in the island, with its agent being David Pieries Motor Co Ltd. A few three-wheelers in Sri Lanka have distance meters, and in the capital city it is becoming more and more common, however the vast majority of charges are negotiated between the passenger and driver.
THAILAND
The auto rickshaw, called tuk-tuk (Thai: ตุ๊กตุ๊ก, pronounced "took-took") or sam-lor (Thai: สามล้อ) meaning three-wheeler in Thailand, is a widely used form of urban transport in Bangkok and other Thai cities. It is particularly popular where traffic congestion is a major problem, such as in Bangkok and Nakhon Ratchasima. The name is onomatopoeic, mimicking the sound of a small (often two-cycle) engine. An equivalent English term would be "putt-putt."
Bangkok and other cities in Thailand have many tuk-tuks which are a more open variation on the Indian auto-rickshaw. There are no meters, and trip costs are negotiated in advance. Bangkok fares have risen to nearly equal normal taxis due to uninformed foreigners willing to pay the asking price, but leaves passengers more exposed to environmental pollution than taxis. The solid roof is so low that the tuk-tuk is a difficult touring vehicle. Today few locals take one unless they are burdened with packages or travelling in a big group for short distances.
The Thai tuk-tuk is starting to change from the old smoke-spewing vehicle of yesteryear. Many Thai tuk-tuk manufacturers now produce low emission vehicles, and even old ones are having new engines fitted along with LPG conversions. In an early morning of Bangkok, these same passenger vehicles can be seen busily transporting fresh produce around the city. Newer tuk-tuks also have wet weather sides to keep passengers and drivers dry.
The Thai auto-rikshaw manufacturers are, Monika Motors Ltd., TukTuk (Thailand) Co., Ltd., TukTuk Forwerder Co., Ltd. Bangkok and MMW Tuk-Tuks Co.,Ltd. in Hua Hin. Smaller manufacturers are the Chinnaraje Co., Ltd. in Chiang Mai and the Expertise Co., Ltd. in Chonburi which manufactures its models in Komaki, Japan, also.
VIETNAM
Known locally as xe lam, the vernacular pronunciation of the Lambro from the Lambretta line by Innocenti of Italy, these vehicles were very popular in the 1960s and 1970s, especially the urban centers of South Vietnam. Over time the authorities have moved to limit their use.
Xe lam with 1-wheel forward and 2-aft were designed to carry passengers whereas other variants with 2-forward and 1-aft, used mostly to transport goods are known as Xe ba gác máy. The motorized version of cycle rickshaw is the Xích lô máy is of the same design.
EUROPE
FRANCE
A number of Tuk-tuks ( 250 in 2013 according to the Paris Prefecture)are used as an alternative tourist transport system in Paris, some off them being pedal operated with the help of an electric engine. They are not yet fully licenced to operate and await customers on the streets. 'Velos taxis' were common during the Occupation years in Paris due to fuel restrictions.
ITALY
Auto rickshaws have been commonly used in Italy since the late 1940s, providing a low-cost means of transportation in the post-World-War-II years when the country was short of economic resources. The Piaggio Ape, designed by Vespa creator Corradino D'Ascanio and first manufactured in 1948 by the Italian company Piaggio, though primarily designed for carrying freight has also been widely used as an auto rickshaw. It is still extremely popular throughout the country, being particularly useful in the narrow streets found in the center of many little towns in central and southern Italy. Though it no longer has a key role in transportation, Piaggio Ape is still used as a minitaxi in some areas such as the islands of Ischia and Stromboli (on Stromboli no cars are allowed). It has recently been re-launched as a trendy-ecological means of transportation, or, relying on the role the Ape played in the history of Italian design, as a promotional tool. Since 2006 the Ape has been produced under licence in India.
NETHERLANDS
Since 2007, tuk-tuks have been active in the Netherlands, starting with Amsterdam. They now operate in Amersfoort, Amsterdam, The Hague, Zandvoort, Bergen op Zoom, the popular beach resort Renesse and Rotterdam. The tuk-tuks in the Netherlands are imported from India and Thailand. They are fitted with CNG engines and have passed the EURO-4 rules.
UNITED KINGDOM
The first Tuk Tuks to enter service in the United Kingdom were supplied and built by MMW Imports in 1999, under the brand name MMW Tuk Tuks. The very first Private Hire licence was issued to an MMW Tuk Tuk for tours of Bath in the year 2000, MMW also gained full Hackney license in Weston-super-Mare. MMW also now export Tuk Tuks from Thailand to the Netherlands, Germany, Spain, New Zealand and Australia. All the MMW range are built in their own factory in Thailand and are custom made for each customer's needs; hence no two tuk tuks are the same, and they come fully customized as per required spec.
Tukshop of Southampton started the commercial importing of Tuk Tuks into the UK in 2003, which resulted in many people being inspired to set up taxi-type operations in a number of cities including Blackpool, Brighton and Leeds. Tukshop failed to gain a taxi operator license for London after a number of media appearances in 2004. The company, founded by mrsteve, are specialists in experiential marketing using the iconic three-wheelers for street marketing campaigns. Clients of Tukshop include many household names, such as T Mobile, Harrods, Universal Pictures, O2, BBC, Freeview, Price Waterhouse Coopers, Tiger Beer & Grolsch lager. Tukshop have imported and put over one hundred tuk tuks on the roads of the UK and Europe between starting the business and Oct 2010. The company currently stocks models from Piaggio & Bajaj, including the commercial versions such as the TM Van.
A Bajaj tuk tuk is currently operated by Bangwallop of Salcombe, South Devon. Taking just two passengers at a time, the tuk tuk has an operator's licence issued by VOSA and trips can be booked in advance.[citation needed]
Auto rickshaws were introduced to the city of Brighton and Hove on 10 July 2006 by entrepreneur Dominic Ponniah's company Tuctuc Ltd, who had the idea after seeing the vehicles used in India and Sri Lanka. They were CNG-powered, using a four-speed (plus reverse) 175 cc engine. Under the terms of their license, the Bajas ran on a fixed single route, and stopped only at designated stops. They are of the same design as traditional auto rickshaws in other countries.
An investigation was launched into Tuctuc Ltd's operation of the service after complaints were raised, primarily by the city's taxi drivers, that routes, stopping points and timetables were not being adhered to. In November 2006, the company was fined £16,500 – the maximum penalty possible – by the South East Traffic Commissioner. After amendments were made to the timetable to reduce delays and improve reliability, the Commissioner allowed the company to keep its operating license. However, the company announced in January 2008 that it was ceasing operations, citing "archaic legislation" as the reason.
In the Scottish capital, Edinburgh, there is a new street food restaurant called Tuk Tuk Indian Street Food, that has its own branded Tuk Tuks, which are used for marketing around the town and picking up customers on special occasions.
CENTRAL AMERICA
EL SALVADOR
The mototaxi or moto is the El Salvadoran version of the auto rickshaw. These are most commonly made from the front end and engine of a motorcycle attached to a two-wheeled passenger area in back. Commercially produced models, such as the Indian Bajaj brand, are also employed.
GUATEMALA
In Guatemala the commercial vehicles are referred to as tuk-tuks. Tuk-tuks operate, both as taxis and private vehicles, in Guatemala City, Guatemala, around the island town of Flores, Peten, in the mountain city of Antigua Guatemala, and in many small towns in the mountains. In 2005 the tuk-tuks prevalent in the Lago de Atitlán towns of Panajachel and Santiago Atitlán all appeared to be from India (Bajaj Auto).
HONDURAS
Three-wheeled all-in-one tuk-tuks are used in the place of traditional taxis in most rural towns and villages.
NICARAGUA
As of 2011 there were an estimated 5,000 mototaxis, popularly known as "caponeras".
CARIBBEAN
Three-wheeled Coco taxis in Havana, Cuba
CUBA
Three-wheeled Coco taxis, named for their resemblance to a coconut, are used in Havana, Cuba.
SOUTH AMERICA
ECUADOR
The mototaxi is the Ecuatorian version of the auto rickshaw. These are most commonly made from the front end and engine of a motorcycle attached to a two-wheeled passenger area in back.
PERU
It is a common sight in the rural areas, towns and cities of Peru to see auto rickshaws, locally known as "mototaxis," "motokars", "taxi cholo", or "cholotaxi" lining up to pick up passengers as their fares are generally lower than car taxis. They are also in the capital, Lima, but they are usually restricted to the peripheral districts. The "jungle" cities and towns in eastern Peru are famous for their prevalence of auto rickshaws. This vehicle, usually running on regular unleaded gasoline, is the main non-private transport vehicle, and is known as "motocarro", "mototaxi" or "tuk-tuk" (for foreigners).
Many of the jungle areas of eastern Peru can be extremely noisy as a result of poorly maintained auto rickshaws and other 2 or 3-wheel vehicles, especially in high traffic or hilly areas. Auto-rickshaw brands such as the Indian-made Bajaj, which use GLP [a form of liquified petroleum gas which some car taxis also use] are much quieter.
NORTH AMERICA
UNITED STATES
Tuk Tuks were introduced to the United States through Tuk Tuk North America of Swainsboro, Georgia. As early as 2006, Mr. Roy Jordan, the owner of Tuk Tuk North America, began working with both the U.S. federal government and manufacturers in Thailand to configure a tuk tuk that was cost effective but adaptable to meet or exceed U.S. Department of Transportation regulations. He was able to contract a manufacturer who could make imported tuk tuks that could meet all necessary federal regulations in the U.S. Original products were imported from Thailand and were gas propelled. Due to the changing regulations of the Environmental Protection Agency, the introduction of imported gas-propelled tuk tuks was short-lived. Due to such changes, in 2009 Tuk Tuk North America decided to go dormant in its importing of gas propelled tuk tuks into the U.S.
However, with the growing emphasis on sustainable “green” energy and the recognition of the continuing rising oil prices, in 2011 the project's short dormancy was rejuvenated being redirected towards introduction of a complete line of all-electric tuk tuks. The line included eight models of "street legal" tuk tuks including passenger, utility, and delivery vehicles. These were offered under the manufacturer’s new name, Electro Technologies LLC, and marketed and sold exclusively through Tuk Tuk Transport LLC of Lenoir City, Tennessee, under the leadership of C. Phillip Tallant.
Prior to 2013, the greatest obstacle to commercial transportation usage of the electric tuk tuks created by Electro Technologies was addressed in mid 2013 by providing a means by which ET Tuk Tuks could be in service 24/7. With this advancement grew the opportunity for formation of Tuk Tuk of America, a company by which partnering affiliates across the U.S. could begin their own local niche urban mobility transportation company with guaranteed protected territories.
FUEL EFFICIENCY & POLLUTION
In July 1998, the Supreme Court of India ordered the Delhi government to implement CNG or LPG (Autogas) fuel for all autos and for the entire bus fleet in and around the city.[citation needed] Delhi's air quality has improved with the switch to CNG. Initially, auto rickshaw drivers in Delhi had to wait in long queues for CNG refueling, but the situation has improved with the increase of CNG stations. Certain local governments are pushing for four-stroke engines instead of the current two-stroke versions. Typical mileage for an Indian-made auto rickshaw is around 35 kilometers per liter of petrol (about 2.9 L per 100 km, or 82 miles per gallon [United States (wet measure), 100 miles per gallon Imperial (United Kingdom, Canada)]. Pakistan has passed a similar law prohibiting auto rickshaws in certain areas. CNG auto rickshaws have started to appear in huge numbers in many Pakistani cities.
In January 2007 the Sri Lankan government also banned two-stroke trishaws to reduce air pollution. In the Philippines there are projects to convert carburated two-stroke engines to direct-injected via Envirofit technology. Research has shown LPG or CNG gas direct-injection to be retrofit-able to existing engines in similar fashion to the Envirofit system. In Vigan City majority of tricycles-for-hire as of 2008 are powered by motorcycles with four-stroke engines, as tricycles with two-stroke motorcycles are prevented from receiving operating permits. Direct injection is standard equipment on new machines in India.
In March 2009 an international consortium coordinated by the International Centre for Hydrogen Energy Technologies initiated a two-year public-private partnership of local and international stakeholders aiming at operating a fleet of 15 hydrogen-fueled three-wheeled vehicles in New Delhi's Pragati Maidan complex. As of January 2011, the project was upon completion.
In the meantime, in October, 2011, the Department of Transportation for the U.S. approved the complete 2012 series of American made, all-electric tuk tuks by Electro Technologies. Chassis were still being shipped in from Thailand, but now with the inclusion of all electrical components as manufactured only in the U.S. with assembly completed in Chattanooga, Tennessee. The American made electric tuk tuks were unique in that they were charged through common 110v outlets providing a range of 60 to 100(+) miles per charge (depending upon model and conditions) with a recharge time between 4 to 6 hours. The Electro Technologies Tuk Tuks topped out at 40 miles per hour which perfectly addresses the needs of their design; niche urban mobile transportation.
The greatest obstacle to daily usage in niche urban mobile commercial transportation was addressed in 2013 by Electro Technologies when they introduced their quick-release battery pack allowing for restoration of 100% power availability in just a few short minutes. This commercial upgrade allowed niche urban transportation businesses to operate 24/7 with no interruption to business.
TRAFFIC ISSUES
Auto rickshaws have a top-speed of around 50 km/h (about 31 mph) and a cruising speed of around 35 km/h (22 mph), much slower than the automobiles they share the road with. Traffic authorities in big cities try to implement mechanisms to reduce the resulting traffic slowing, but none have proven effective.
The MMW Tuk Tuk has a top speed of around 70 mph and with the introduction of the new turbo will have much improved acceleration, to allow for increased speed these Tuk Tuks have anti-roll bars and are fitted with disc brakes.
The triangular form of the vehicle makes maneuvering easy, with the single front wheel negotiating the available gap, and the rear two wheels forcing a larger space. Care must be taken even at low speeds, however, because of the stability problems of three-wheeler vehicles with a single front wheel. Such a "delta"-configuration three-wheeler can easily roll if the driver turns while braking.
In the Philippines, 2-stroke motor tricycle such as Yamaha RS-100T can give a top speed of 55 km/h (one passenger in the sidecar), or 30–40 km/h (full passengers in the sidecar).
More powerful four-stroke motor tricycles such as Honda TMX & Yamaha STX & Bajaj CT-100 can give a top speed up to 70–85 km/h (special trip/one passenger) or 40–50 km/h (full passengers).
RACING
Due to their relatively low top-speed, auto rickshaws have never lent themselves to conventional road or street racing. However, their modest speed, simple construction and impressive fuel economy has endeared them to the international amateur adventuring community, most notably with the Rickshaw Run and also the Indian Autorickshaw Challenge, and even off-road racing with the Apecar competitions in Italy. A Tuk Tuk built by Art In Motion, LLC competed in the 2008 Fireball Run II – Back to the Track
PORTRAYAL IN MEDIA
Auto rickshaws are often portrayed in Indian films (Auto Shankar, Basha, Aye Auto, Oram Po, Hero Hiralal) as well as some Hollywood and foreign productions such as the James Bond film Octopussy, the Canada-India film Amal and the Indonesian movie Pembalasan Rambu. Auto rickshaws are also prominent in the fuel-poor London of 2027 A.D. depicted in Children of Men. A memorable tuk-tuk chase features in the Thai film Ong-Bak: Muay Thai Warrior, climaxing with many of them driving off the edge of an unfinished elevated expressway. The video games Just Cause 2, Stuntman, Far Cry 4 and Battlefield: Bad Company 2: Vietnam feature Tuk-Tuks as drivable vehicles. James Bond (Pierce Brosnan) rides in a tuk-tuk in a Visa Card commercial.
WIKIPEDIA
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.773
Place details: Lineside SOTTEVILLE (Rouen) photo 1 of 2
Additional notes: BHAR.2800
Original source material: 35mm colour slide
Photographer: Bernard Harrison
Copyright: Photographer's estate
Library locator reference: BHAR.0010
30937 Transport Photograph Database
1966APR09BHAR800cs
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.598
Place details: LE HARVE VILLE Station
Additional notes: 08:40 train to Paris St.Lazare
Original source material: Kodak 35mm slide
Photographer: Charles F Firminger
Copyright: Photographer
Library locator reference: CHFF.0014
30937 Transport Photograph Database
1961SEP16CHFF001cs
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.683
Place details: LES SABLES
Additional notes: BHAR.4424 10:05 Paris Montparnasse to Les Sables
Original source material: 35mm colour slide
Photographer: Bernard Harrison
Copyright: Photographer's estate
Library locator reference: BHAR.0010
30937 Transport Photograph Database
1967AUG30BHAR424cs
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.733
Place details: SOTTEVILLE (Rouen)
Additional notes: BHAR.2778
Original source material: 35mm colour slide
Photographer: Bernard Harrison
Copyright: Photographer's estate
Library locator reference: BHAR.0010
30937 Transport Photograph Database
1966APR09BHAR778cs
A smoke haze from scores of steam engines hangs over the former Etat Paris (Batignolles) Depot, outside Gare de St.Lazaire, 07/65. 141D & G Pacifics, 140C 2-8-0's and 141TD 2-8-2T's are visible. Scanned from a photograph taken with an Halina 35X Super camera from a boat train. I was on a school holiday to Cannes. We travelled by overnight bus from Neath Grammar School to Newhaven Harbour, caught a cross-channel ferry to Dieppe, took a boat train hauled by an Etat "231D" Pacific to Paris Gare de St.Lazaire, then by metro to Gare de Lyon to catch an overnight couchette sleeper hauled by a Class "D2-9100" 1Do1 electric to Marseiiles, where we changed - finally - to an express hauled by an SNCF Class "141R" 2-8-2 to Cannes - a long journey!
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.525
Place details: lineside MALAUNAY Station
Additional notes: BHAR.2839
Original source material: 35mm colour slide
Photographer: Bernard Harrison
Copyright: Photographer's estate
Library locator reference: BHAR.0009
30937 Transport Photograph Database
1966APR12BHAR839cs
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.655
Place details: PARIS ST.LAZARE loco backing train out
Additional notes: BHAR.1860 stock off 12:50 from Le Havre
Original source material: 35mm colour slide
Photographer: Bernard Harrison
Copyright: Photographer's estate
Library locator reference: BHAR.0010
30937 Transport Photograph Database
1964SEP03BHAR860cs
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/B/231G
Wheel Arrangement or Type: 4-6-2
Number: 231G.227
Place details: Near NANTES Stn also 231D.628 light engines
Additional notes: BHAR.3664
Original source material: 35mm colour slide
Photographer: Bernard Harrison
Copyright: Photographer's estate
Library locator reference: BHAR.0011
30937 Transport Photograph Database
1966AUG31BHAR664cs
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.689
Place details: PARIS ST.LAZARE
Additional notes: BHAR.1871
Original source material: 35mm colour slide
Photographer: Bernard Harrison
Copyright: Photographer's estate
Library locator reference: BHAR.0010
30937 Transport Photograph Database
1964SEP05BHAR871cs
Country: FRANCE
Operator: SNCF
Item: STEAM & STATION
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.676
Place details: DOL Station
Additional notes: std
Original source material: Agfa 35mm colour slide
Photographer: Mike Hudson
Copyright: Photographer
Library locator reference: MHUD_36_37_38
30937 Transport Photograph Database
1963JUL11MHUD623cs
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.598
Place details: LE HARVE VILLE Station
Additional notes: -
Original source material: Kodak 35mm slide
Photographer: Charles F Firminger
Copyright: Photographer
Library locator reference: CHFF.0014
30937 Transport Photograph Database
1961SEP16CHFF003cs
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.756
Place details: ROUEN R.D. Station
Additional notes: BHAR.2772
Original source material: 35mm colour slide
Photographer: Bernard Harrison
Copyright: Photographer's estate
Library locator reference: BHAR.0010
30937 Transport Photograph Database
1966APR09BHAR772cs
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.689
Place details: ROUEN R.D. Station
Additional notes: BHAR.2756
Original source material: 35mm colour slide
Photographer: Bernard Harrison
Copyright: Photographer's estate
Library locator reference: BHAR.0010
30937 Transport Photograph Database
1966APR08BHAR756cs
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.564
Place details: Lineside of ten coach train NANTES
Additional notes: BHAR.3660 13:30 Paris M. to Le Croisic
Original source material: 35mm colour slide
Photographer: Bernard Harrison
Copyright: Photographer's estate
Library locator reference: BHAR.0009
30937 Transport Photograph Database
1966AUG31BHAR660cs
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.667
Place details: MALAUNAY
Additional notes: BHAR.2828
Original source material: 35mm colour slide
Photographer: Bernard Harrison
Copyright: Photographer's estate
Library locator reference: BHAR.0010
30937 Transport Photograph Database
1966APR11BHAR828cs
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.648
Place details: NANTES Station
Additional notes: BHAR.3651
Original source material: 35mm colour slide
Photographer: Bernard Harrison
Copyright: Photographer's estate
Library locator reference: BHAR.0010
30937 Transport Photograph Database
1966AUG31BHAR651cs
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.628
Place details: NANTES Station
Additional notes: BHAR.3650
Original source material: 35mm colour slide
Photographer: Bernard Harrison
Copyright: Photographer's estate
Library locator reference: BHAR.0009
30937 Transport Photograph Database
1966AUG31BHAR650cs
Country: FRANCE
Operator: SNCF
Item: STEAM
Class or Maker: SNCF/3/231D
Wheel Arrangement or Type: 4-6-2
Number: 231D.685
Place details: ROUEN lineside 141R.150 on other train
Additional notes: BHAR.2760
Original source material: 35mm colour slide
Photographer: Bernard Harrison
Copyright: Photographer's estate
Library locator reference: BHAR.0010
30937 Transport Photograph Database
1966APR08BHAR760cs